Идеја и пракса југословенства у периоду 1945-1960, према написима у музичкој периодици

Abstract

Југословенство као државни пројекат подстицано је на различите начине у музичком животу социјалистичке Југославије, настављајући предратне тенденције, мада у сложенијим условима с обзиром на новоуспостављену федерализацију земље. Иако се у музичкој периодици из првих петнаестак година постојања нове државе уочавају тенденције ка што равномернијој заступљености свих република, односно ка пропорционалном објављивању прилога из њих, тај циљ није био остварен због превасходне окренутости музичком животу сопствене републике. Редакције су само ретко успевале да ангажују ауторе који би писали о неком композитору или делу из друге републике, тако да је заправо било заступљено самопредстављање, са мало испољавања правог интересовања за бављење збивањима ван своје матичне средине.

The idea of yugoslavism as an essential state project in the Kingdom of Yugoslavia (1918– 1941) acquired some important new features in the second attempt to build a South Slavs’ state. However, in the field of culture some main goals stayed the same, such as the support to mutual communications between different constitutive nations because they didn’t know much about each other’s traditions and more recent achievements. So, in musical journals created after the war a marked tendency was expressed to publish articles and other texts about musical life in different republics, as well as about composers from the past and contemporary and their works. The ideal that all republics would be represented more or less proportionally to the relevance of their musical heritage and new works was however never attained. The main reason for that was that due to historical circumstances Yugoslav nations that were proclaimed as such only after the war had rather modest traditions of art music in comparison with the others and they needed more time for young musically educated generations to appear. Other reasons include the relatively low number of musicologists and music writers, even in more developed republics, who were disposed to write articles on domestic music other than that from their own republics. It was a good decision of some editors to publish reports from conferences of Yugoslav composers and musicians, sometimes even very detailed stenographic records. Among the important issues discussed at those meetings were the insufficient quantity of guest tours of different musicians and ensembles within Yugoslavia, also of insufficient presence of works of composers from one republic on concert and radio programs in other republics.