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Serbian Music: Yugoslav Contexts

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2014
bitstream_15053.pdf (5.739Mb)
Contributors
Milin, Melita
Samson, Jim
Book (Published version)
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Abstract
The initial idea for this volume was expressed during a study session called The Multiple Identities of Serbian Musics in Changing Geopolitical Contexts: Views from Without and from Within, presented at the Congress of the International Musicological Society, held in Rome in July 2012. Jim Samson, coordinator of the session, which consisted of four participants from Serbia, one from Greece and one from Britain, kindly agreed to help in preparing and editing the present book, which has a rather different focus: Serbian music within the Yugoslav multinational state. Four of the papers read in Rome (those by Katy Romanou, Melita Milin, Katarina Tomašević and Biljana Milanović) have been substantially revised; Atanasovski has provided an article on a new topic in accordance with the different focus of the present book; and another four articles (by Ivan Moody, Ivana Medić, Jernej Weiss and Ana Petrov) were newly commissioned. As its title suggests, the volume aims to throw light on dif...ferent aspects of Serbian music (art and popular) composed and performed during the lifetime of the Yugoslav state (1918–1991). The Yugoslav multinational frame is considered by most of our authors as of essential importance for the shaping of Serbian music and musical life, as indeed it was for the music of all the other nations in Former Yugoslavia. What kind of continuity was established with the era that preceded the establishment of that complex state? How did the competing political programmes of the different nations influence the sphere of music? How was the official cultural policy of rapprochement among the different Yugoslav nations implemented in practice? How did the different nationalisms shape musical creativity in Yugoslavia? Is it possible to speak of Yugoslav music at all? What can musicological discourses tell us about self-representation among the different Yugoslav nations? And how were political tensions (communism v capitalism) reflected in popular music? These are some of the questions which the authors of this volume attempt to address. In order that a wider temporal context is provided, two chapters (3 and 8) focus on major developments in Serbian music before and after the existence of Yugoslavia, thus representing a kind of temporal prelude and postlude to the seven-decade long period of the state. In addition to the six chapters on the construction of Serbian cultura identity within Yugoslavia by Serbian scholars (‘insiders’), there are ‘outsider’ perspectives by scholars who have researched Serbian and Yugoslav music. There is a contribution from Greece, exploring how Serbian music has been dealt with in Western music historiography, another from Portugal on an issue concerning Serbian church music as transposed into art works, and finally a contribution from Slovenia, a former Yugoslav republic, on the correspondence between two outstanding composers of the interwar period, a Serb and a Slovenian. This book is the first of its kind in English. Its aim is by no means to present a history of Serbian music from the last decades of the nineteenth century to the present, but rather to offer fresh insights into the complex, dynamic relationship between national continuities and state discontinuities in a country that has always viewed itself as part of European cultural space. Melita Milin

Keywords:
Serbian Music / Yugoslavia / Musicology
Source:
2014, 199 str.
Publisher:
  • Belgrade : Institute of Musicology of the Serbian Academy of Sciences and Arts
Funding / projects:
  • Serbian musical identities within local and global frameworks: traditions, changes, challenges (RS-177004)
Note:
  • This book has been published thanks to the financial support of the Ministry of education, science and technological development of the Republic of Serbia.

Cobiss ID: 211613964

ISBN: 978-86-80639-19-2

[ Google Scholar ]
Handle
https://hdl.handle.net/21.15107/rcub_dais_4828
URI
https://dais.sanu.ac.rs/123456789/4828
Collections
  • МИ САНУ - Зборници / MI SASA - Collective monographs and conference proceedings
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASA
TY  - BOOK
PY  - 2014
UR  - https://dais.sanu.ac.rs/123456789/4828
AB  - The initial idea for this volume was expressed during a study session called The Multiple Identities of Serbian Musics in Changing Geopolitical Contexts: Views from Without and from Within, presented at the Congress of the International Musicological Society, held in Rome in July
2012. Jim Samson, coordinator of the session, which consisted of four participants from Serbia, one from Greece and one from Britain, kindly agreed to help in preparing and editing the present book, which has a rather different focus: Serbian music within the Yugoslav multinational
state. Four of the papers read in Rome (those by Katy Romanou, Melita Milin, Katarina Tomašević and Biljana Milanović) have been substantially revised; Atanasovski has provided an article on a new topic in accordance with the different focus of the present book; and another four articles (by Ivan Moody, Ivana Medić, Jernej Weiss and Ana Petrov) were
newly commissioned.
As its title suggests, the volume aims to throw light on different aspects of Serbian music (art and popular) composed and performed during the lifetime of the Yugoslav state (1918–1991). The Yugoslav multinational frame is considered by most of our authors as of essential importance for the shaping of Serbian music and musical life, as indeed it was for the music of all the other nations in Former Yugoslavia. What kind of continuity was established with the era that preceded the establishment of that complex state? How did the competing political programmes of the different nations influence the sphere of music? How was the official cultural policy of rapprochement among the different Yugoslav nations implemented in practice? How did the different nationalisms shape musical creativity in Yugoslavia? Is it possible to speak of Yugoslav
music at all? What can musicological discourses tell us about self-representation among the different Yugoslav nations? And how were political tensions (communism v capitalism) reflected in popular music? These are some of the questions which the authors of this volume attempt to address.
In order that a wider temporal context is provided, two chapters (3 and 8) focus on major developments in Serbian music before and after the existence of Yugoslavia, thus representing a kind of temporal prelude and postlude to the seven-decade long period of the state.
In addition to the six chapters on the construction of Serbian cultura 
identity within Yugoslavia by Serbian scholars (‘insiders’), there are ‘outsider’ perspectives by scholars who have researched Serbian and Yugoslav music. There is a contribution from Greece, exploring how Serbian music has been dealt with in Western music historiography, another from Portugal on an issue concerning Serbian church music as transposed into art works, and finally a contribution from Slovenia, a former Yugoslav republic, on the correspondence between two outstanding composers of the interwar period, a Serb and a Slovenian. This book is the first of its kind in English. Its aim is by no means to present a history of Serbian music from the last decades of the nineteenth century to the present, but rather to offer fresh insights into the complex, dynamic relationship between national continuities and state discontinuities in a country that has always viewed itself as part of European cultural space.
Melita Milin
PB  - Belgrade : Institute of Musicology of the Serbian Academy of Sciences and Arts
T1  - Serbian Music: Yugoslav Contexts
VL  - 199 str.
UR  - https://hdl.handle.net/21.15107/rcub_dais_4828
ER  - 
@book{
year = "2014",
abstract = "The initial idea for this volume was expressed during a study session called The Multiple Identities of Serbian Musics in Changing Geopolitical Contexts: Views from Without and from Within, presented at the Congress of the International Musicological Society, held in Rome in July
2012. Jim Samson, coordinator of the session, which consisted of four participants from Serbia, one from Greece and one from Britain, kindly agreed to help in preparing and editing the present book, which has a rather different focus: Serbian music within the Yugoslav multinational
state. Four of the papers read in Rome (those by Katy Romanou, Melita Milin, Katarina Tomašević and Biljana Milanović) have been substantially revised; Atanasovski has provided an article on a new topic in accordance with the different focus of the present book; and another four articles (by Ivan Moody, Ivana Medić, Jernej Weiss and Ana Petrov) were
newly commissioned.
As its title suggests, the volume aims to throw light on different aspects of Serbian music (art and popular) composed and performed during the lifetime of the Yugoslav state (1918–1991). The Yugoslav multinational frame is considered by most of our authors as of essential importance for the shaping of Serbian music and musical life, as indeed it was for the music of all the other nations in Former Yugoslavia. What kind of continuity was established with the era that preceded the establishment of that complex state? How did the competing political programmes of the different nations influence the sphere of music? How was the official cultural policy of rapprochement among the different Yugoslav nations implemented in practice? How did the different nationalisms shape musical creativity in Yugoslavia? Is it possible to speak of Yugoslav
music at all? What can musicological discourses tell us about self-representation among the different Yugoslav nations? And how were political tensions (communism v capitalism) reflected in popular music? These are some of the questions which the authors of this volume attempt to address.
In order that a wider temporal context is provided, two chapters (3 and 8) focus on major developments in Serbian music before and after the existence of Yugoslavia, thus representing a kind of temporal prelude and postlude to the seven-decade long period of the state.
In addition to the six chapters on the construction of Serbian cultura 
identity within Yugoslavia by Serbian scholars (‘insiders’), there are ‘outsider’ perspectives by scholars who have researched Serbian and Yugoslav music. There is a contribution from Greece, exploring how Serbian music has been dealt with in Western music historiography, another from Portugal on an issue concerning Serbian church music as transposed into art works, and finally a contribution from Slovenia, a former Yugoslav republic, on the correspondence between two outstanding composers of the interwar period, a Serb and a Slovenian. This book is the first of its kind in English. Its aim is by no means to present a history of Serbian music from the last decades of the nineteenth century to the present, but rather to offer fresh insights into the complex, dynamic relationship between national continuities and state discontinuities in a country that has always viewed itself as part of European cultural space.
Melita Milin",
publisher = "Belgrade : Institute of Musicology of the Serbian Academy of Sciences and Arts",
title = "Serbian Music: Yugoslav Contexts",
volume = "199 str.",
url = "https://hdl.handle.net/21.15107/rcub_dais_4828"
}
(2014). Serbian Music: Yugoslav Contexts. 
Belgrade : Institute of Musicology of the Serbian Academy of Sciences and Arts., 199 str..
https://hdl.handle.net/21.15107/rcub_dais_4828
Serbian Music: Yugoslav Contexts. 2014;199 str..
https://hdl.handle.net/21.15107/rcub_dais_4828 .
"Serbian Music: Yugoslav Contexts", 199 str. (2014),
https://hdl.handle.net/21.15107/rcub_dais_4828 .

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