Музичко пројектовање нације: етносимболизам Мокрањчевих руковети
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У тексту се Мокрањчеви руковетни циклуси сагледавају као стваралачко
пројектовање нације. Руковети су проучене из теоријске перспективе етносимболизма, па је и фолклорна материја посматрана контекстуално, чиме је
омогућено дефинисање Мокрањчевог односа према патријархалној култури,
као и тумачење просторних и временских аспеката нације, које је Мокрањац
понудио кроз произвођење интегралне традиције српске народне песме у
пољу уметничке музике.
This article deals with Stevan Mokranjac’s ffthteen garlands (rukoveti),
which are commonly regarded as the national project in Serbian art music that
was accomplished through the producing of the tradition of the Serbian folk song.
The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and
especially those aspects of this theory through which the articulation of a national
identity activates connections with pre-modern myths, recollections and collective
symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections.
With his project Mokranjac created a rich network of ethno-symbols associated
with the themes and motives of both rural and semi-urban communities that were
characterized by their preservation of the model of patriarchal culture. Their strong
attachment to ‘ethno-history’ a...s well as ‘symbolic geography’ produced various
‘ethno-scapes’, which established an increasingly symbiotic context of a ‘naturalized’ community and ‘historicized’ nature and territory. Mokranjac presented them
as a representative sample in the process of legitimizing national consolidation and
homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac’s garlands. The connection between his
feldwork and his compositions is also problematized.
Mokranjac’s garlands are distinguished by their inclusiveness and a constant
blending of older and newer ethno-historical elements, with an aim of constructing
a unique tradition of national song, as an integral time-and-space image of the
nation. Through this dimension of collectivism we can observe Mokranjac’s close
connection to the patriarchal culture, as it remained an important ethno-symbolist
element in both the politics and the poetics of his artistic project. At the same time,
it provided a platform for free invention when it came to the more advanced stages
of composition, when the patriarchal culture would be subjected to transfguration
by his individual creative imperatives. Mokranjac’s Garlands were the frst works
in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the
framework of Serbian art music.
Кључне речи:
Стеван Стојановић Мокрањац / руковети / етносимболизам / нација / традицијаИзвор:
Музикологија / Musicology, 2014, 16, 211-226Издавач:
- Београд : Музиколошки институт Српске академије наука и уметности
Финансирање / пројекти:
URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2014/1450-98141416211M.pdfhttps://dais.sanu.ac.rs/123456789/3894
Колекције
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Милановић, Биљана PY - 2014 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2014/1450-98141416211M.pdf UR - https://dais.sanu.ac.rs/123456789/3894 AB - У тексту се Мокрањчеви руковетни циклуси сагледавају као стваралачко пројектовање нације. Руковети су проучене из теоријске перспективе етносимболизма, па је и фолклорна материја посматрана контекстуално, чиме је омогућено дефинисање Мокрањчевог односа према патријархалној култури, као и тумачење просторних и временских аспеката нације, које је Мокрањац понудио кроз произвођење интегралне традиције српске народне песме у пољу уметничке музике. AB - This article deals with Stevan Mokranjac’s ffthteen garlands (rukoveti), which are commonly regarded as the national project in Serbian art music that was accomplished through the producing of the tradition of the Serbian folk song. The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and especially those aspects of this theory through which the articulation of a national identity activates connections with pre-modern myths, recollections and collective symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections. With his project Mokranjac created a rich network of ethno-symbols associated with the themes and motives of both rural and semi-urban communities that were characterized by their preservation of the model of patriarchal culture. Their strong attachment to ‘ethno-history’ as well as ‘symbolic geography’ produced various ‘ethno-scapes’, which established an increasingly symbiotic context of a ‘naturalized’ community and ‘historicized’ nature and territory. Mokranjac presented them as a representative sample in the process of legitimizing national consolidation and homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac’s garlands. The connection between his feldwork and his compositions is also problematized. Mokranjac’s garlands are distinguished by their inclusiveness and a constant blending of older and newer ethno-historical elements, with an aim of constructing a unique tradition of national song, as an integral time-and-space image of the nation. Through this dimension of collectivism we can observe Mokranjac’s close connection to the patriarchal culture, as it remained an important ethno-symbolist element in both the politics and the poetics of his artistic project. At the same time, it provided a platform for free invention when it came to the more advanced stages of composition, when the patriarchal culture would be subjected to transfguration by his individual creative imperatives. Mokranjac’s Garlands were the frst works in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the framework of Serbian art music. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - Музичко пројектовање нације: етносимболизам Мокрањчевих руковети SP - 211 EP - 226 IS - 16 DO - 10.2298/MUZ1416211M UR - https://hdl.handle.net/21.15107/rcub_dais_3894 ER -
@article{ author = "Милановић, Биљана", year = "2014", abstract = "У тексту се Мокрањчеви руковетни циклуси сагледавају као стваралачко пројектовање нације. Руковети су проучене из теоријске перспективе етносимболизма, па је и фолклорна материја посматрана контекстуално, чиме је омогућено дефинисање Мокрањчевог односа према патријархалној култури, као и тумачење просторних и временских аспеката нације, које је Мокрањац понудио кроз произвођење интегралне традиције српске народне песме у пољу уметничке музике., This article deals with Stevan Mokranjac’s ffthteen garlands (rukoveti), which are commonly regarded as the national project in Serbian art music that was accomplished through the producing of the tradition of the Serbian folk song. The garlands are examined by employing the concept of ethno-symbolism, theoretically associated with Anthony Smith. The elements of ethno-symbolism, and especially those aspects of this theory through which the articulation of a national identity activates connections with pre-modern myths, recollections and collective symbols, have proven useful in contextualization of folk material and its ethnological environment, with which the art work establishes intertextual connections. With his project Mokranjac created a rich network of ethno-symbols associated with the themes and motives of both rural and semi-urban communities that were characterized by their preservation of the model of patriarchal culture. Their strong attachment to ‘ethno-history’ as well as ‘symbolic geography’ produced various ‘ethno-scapes’, which established an increasingly symbiotic context of a ‘naturalized’ community and ‘historicized’ nature and territory. Mokranjac presented them as a representative sample in the process of legitimizing national consolidation and homogenization through the folk song. These aspects are observed in both textual and musical dimensions of Mokranjac’s garlands. The connection between his feldwork and his compositions is also problematized. Mokranjac’s garlands are distinguished by their inclusiveness and a constant blending of older and newer ethno-historical elements, with an aim of constructing a unique tradition of national song, as an integral time-and-space image of the nation. Through this dimension of collectivism we can observe Mokranjac’s close connection to the patriarchal culture, as it remained an important ethno-symbolist element in both the politics and the poetics of his artistic project. At the same time, it provided a platform for free invention when it came to the more advanced stages of composition, when the patriarchal culture would be subjected to transfguration by his individual creative imperatives. Mokranjac’s Garlands were the frst works in Serbian music to emerge as results of an aesthetically rounded and ideologically grounded compositional project, which facilitated their canonization within the framework of Serbian art music.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "Музичко пројектовање нације: етносимболизам Мокрањчевих руковети", pages = "211-226", number = "16", doi = "10.2298/MUZ1416211M", url = "https://hdl.handle.net/21.15107/rcub_dais_3894" }
Милановић, Б.. (2014). Музичко пројектовање нације: етносимболизам Мокрањчевих руковети. in Музикологија / Musicology Београд : Музиколошки институт Српске академије наука и уметности.(16), 211-226. https://doi.org/10.2298/MUZ1416211M https://hdl.handle.net/21.15107/rcub_dais_3894
Милановић Б. Музичко пројектовање нације: етносимболизам Мокрањчевих руковети. in Музикологија / Musicology. 2014;(16):211-226. doi:10.2298/MUZ1416211M https://hdl.handle.net/21.15107/rcub_dais_3894 .
Милановић, Биљана, "Музичко пројектовање нације: етносимболизам Мокрањчевих руковети" in Музикологија / Musicology, no. 16 (2014):211-226, https://doi.org/10.2298/MUZ1416211M ., https://hdl.handle.net/21.15107/rcub_dais_3894 .