Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности
Petar Konjović’s Contribution to the Constitution and the Beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts
Članak u časopisu (Objavljena verzija)
Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Студија је посвећена почецима рада Музиколошког института Српске
академије наука, који су обележен улогом и Петра Коњовића, оснивача и првог
управника Института, а истовремено и првог секретара Одељења ликовне
и музичке уметности Српске академије наука. Полазећи од претпоставке о
међусобној условљености (1) успостављања институционалног поретка и (2)
дисциплиновања научноистраживачког рада у правцу настанка музикологије
и етномузикологије у локалном контексту, конституисање и рад институције
проблематизоваласамкрозанализуархивскедокументацијеисагледалауоквиру
три потпоглавља. Прво од њих доноси основне информације о реорганизацији
Српске академије наука у оквирима културне политике новог режима и бави се
аспектимаформалногоснивањаИнститута(1947)иконтекстуализацијомпрвих
програмских пројекција његовог рада. Друго се односи на разнородне проблеме
који су пратили одлагање почетка институтских активности, а завршна целина
посвећена је периоду од ангажовања првих сарадника до к...раја Коњовићевог
управљања Музиколошким иститутом (1948–1954).
In the text I deal with the period of establishment and the beginnings of the
work of the Institute of Musicology of the Serbian Academy of Sciences, which
is marked by the role of composer and music writer Petar Konjović (1883–
1970), who founded and was the first director of the Institute (1947–1954). I
examined and problematized Konjović’s efforts to establish and manage the
institution, which were inseparable from his role of Fellow of the Academy and
Secretary of the Department of Fine Arts and Music of the Serbian Academy of
Sciences (1948–1954), through the analysis of archival documentation. The basic
assumption that I started from was related to the interdependence between (1)
the establishment of an institutional order and (2) the disciplining of scientific
research in the direction of the emergence of musicology and ethnomusicology
in the local context. In particular, issues related to the Institute’s relationship
with the wider organizational environment and res...earch policy of the SAN, as
well as the role and support of its significant individuals in the process of the
institutionalization of music science were especially highlighted.The problem
of acquiring legitimacy in clearly hierarchical relationships proved to be very
complex, since the Institute represented, on the one hand, a scientific unit of
the Academy of Arts, that is, the Department of Fine Arts and Music, which, on
the other hand, was marked by the inheritance of marginalized status of artists
in comparison to other entities within the SAN. The formation of scientific tasks
and objectives and the questions related to their realization were shaped in such
a context.
I analyzed these problems within three subchapters. The first of them provides
basic information on the reorganization of the Serbian Academy of Sciences within
the framework of the cultural policy of the new regime and deals with the aspects
of the formal establishment of the Institute (1947) and the contextualization of
the first programmatic projections of its work. The second question relates to
the diverse problems that accompanied the delay of the start of the Institute’s
activities, while the final subchapteris dedicated to the period from hiring the first
associates to the end of Konjović’s directorship (1948–1954).
Konjović’s strategies pointed to his simultaneous stability and flexibility in
the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjović’s time can be
outlined in several general aspects: reliance on pre-war experiences, without the
destruction of inherited value canons, but with constant changes in the direction
of widening the scope of processed material through research of hitherto neglected
creative personalities, performing practices and institutions;melographed
and studied folklore material from various rural and urban areas, including
different national and ethnic communities; the establishment of completely new
thematic areas in the local context that destabilize the concept of purely national
science; the emphasis on interdisciplinarity and openness to communication
and exchange of scientific and methodological experiences in the international
context. Konjović’s position at the Serbian Academy of Sciences, his experience
in managing various institutions, persistence and strategically planned actions, his
high criteria and consideration in the selection of associates, managing without
ideological divergences from his position of the bourgeois pre-war intellectual,
but also his patient waiting for certain decisions of the competent instances, were
crucial for the constitution and survival of the Institute of Musicology, within
which the platform of musicological and ethnomusicological disciplines in Serbia
was established in just a few years.
Ključne reči:
Петар Коњовић / Музиколошки институт САН/САНУ / Одељење ликовне и музичке уметности САН/САНУ / музикологија / етномузикологија / Petar Konjović / Institute of MusicologySAS/SASA / Department of Fine Arts and Music SAS/SASA / musicology / ethnomusicologyIzvor:
Музикологија / Musicology, 2018, 25, 15-48Izdavač:
- Београд : Музиколошки институт Српске академије наука и уметности
Finansiranje / projekti:
DOI: 10.2298/MUZ1825015M
Cobiss ID: 173918727
ISSN: 1450-9814 (print); 2406-0976 (online)
[ Google Scholar ]URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2018/1450-98141825015M.pdfhttps://dais.sanu.ac.rs/123456789/4850
Kolekcije
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Милановић, Биљана PY - 2018 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2018/1450-98141825015M.pdf UR - https://dais.sanu.ac.rs/123456789/4850 AB - Студија је посвећена почецима рада Музиколошког института Српске академије наука, који су обележен улогом и Петра Коњовића, оснивача и првог управника Института, а истовремено и првог секретара Одељења ликовне и музичке уметности Српске академије наука. Полазећи од претпоставке о међусобној условљености (1) успостављања институционалног поретка и (2) дисциплиновања научноистраживачког рада у правцу настанка музикологије и етномузикологије у локалном контексту, конституисање и рад институције проблематизоваласамкрозанализуархивскедокументацијеисагледалауоквиру три потпоглавља. Прво од њих доноси основне информације о реорганизацији Српске академије наука у оквирима културне политике новог режима и бави се аспектимаформалногоснивањаИнститута(1947)иконтекстуализацијомпрвих програмских пројекција његовог рада. Друго се односи на разнородне проблеме који су пратили одлагање почетка институтских активности, а завршна целина посвећена је периоду од ангажовања првих сарадника до краја Коњовићевог управљања Музиколошким иститутом (1948–1954). AB - In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjović (1883– 1970), who founded and was the first director of the Institute (1947–1954). I examined and problematized Konjović’s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948–1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute’s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted.The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute’s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjović’s directorship (1948–1954). Konjović’s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjović’s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions;melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjović’s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности T1 - Petar Konjović’s Contribution to the Constitution and the Beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts SP - 15 EP - 48 IS - 25 DO - 10.2298/MUZ1825015M UR - https://hdl.handle.net/21.15107/rcub_dais_4850 ER -
@article{ author = "Милановић, Биљана", year = "2018", abstract = "Студија је посвећена почецима рада Музиколошког института Српске академије наука, који су обележен улогом и Петра Коњовића, оснивача и првог управника Института, а истовремено и првог секретара Одељења ликовне и музичке уметности Српске академије наука. Полазећи од претпоставке о међусобној условљености (1) успостављања институционалног поретка и (2) дисциплиновања научноистраживачког рада у правцу настанка музикологије и етномузикологије у локалном контексту, конституисање и рад институције проблематизоваласамкрозанализуархивскедокументацијеисагледалауоквиру три потпоглавља. Прво од њих доноси основне информације о реорганизацији Српске академије наука у оквирима културне политике новог режима и бави се аспектимаформалногоснивањаИнститута(1947)иконтекстуализацијомпрвих програмских пројекција његовог рада. Друго се односи на разнородне проблеме који су пратили одлагање почетка институтских активности, а завршна целина посвећена је периоду од ангажовања првих сарадника до краја Коњовићевог управљања Музиколошким иститутом (1948–1954)., In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjović (1883– 1970), who founded and was the first director of the Institute (1947–1954). I examined and problematized Konjović’s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948–1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute’s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted.The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute’s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjović’s directorship (1948–1954). Konjović’s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjović’s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions;melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjović’s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности, Petar Konjović’s Contribution to the Constitution and the Beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts", pages = "15-48", number = "25", doi = "10.2298/MUZ1825015M", url = "https://hdl.handle.net/21.15107/rcub_dais_4850" }
Милановић, Б.. (2018). Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности. in Музикологија / Musicology Београд : Музиколошки институт Српске академије наука и уметности.(25), 15-48. https://doi.org/10.2298/MUZ1825015M https://hdl.handle.net/21.15107/rcub_dais_4850
Милановић Б. Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности. in Музикологија / Musicology. 2018;(25):15-48. doi:10.2298/MUZ1825015M https://hdl.handle.net/21.15107/rcub_dais_4850 .
Милановић, Биљана, "Допринос Петра Коњовића конституисању и почецима рада Музиколошког института Српске академије наука и уметности" in Музикологија / Musicology, no. 25 (2018):15-48, https://doi.org/10.2298/MUZ1825015M ., https://hdl.handle.net/21.15107/rcub_dais_4850 .