Испољавање идеје југословенства у стваралаштву Вука Куленовића
Manifestations of the Idea of Yugoslavism in Vuk Kulenović's Oeuvre
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Композитор Вук Куленовић (Сарајево, 1946 – Бостон, 2017) био је прави
Југословен по пореклу, образовању и припадности културним круговима. У овом раду
разматрају се остварења Вука Куленовића у којима се могу уочити испољавања идеје
југословенства – кантата Стојанка мајка Кнежопољка, компонована на стихове његовог оца Скендера Куленовића, те кантата Hymnos, изведена на отварању XIV Зимских
олимпијских игара у Сарајеву 1984. године.
Composer Vuk Kulenović (Sarajevo, 1946 – Boston, 2017) was a true Yugoslav by his origin,
education and affiliation with cultural circles. This article examines the works of Vuk
Kulenović, in which one can observe the expression of the idea of Yugoslavism – the cantata
Mother Stojanka from the Knežopolje Field, composed on the verses of his father Skender
Kulenović and dedicated to the slaughter of Serbian people during the fascist invasion of the
mountain Kozara in World War II, and the cantata Hymnos, performed at the opening of the
XIV Winter Olympic Games in 1984. Based on Vuk Kulenović’s personal and professional
biography, one would expect that his works written on relevant Yugoslav topics – such as the
people’s suffering during World War II, or the sense of national pride that Yugoslavia was entrusted
with organising the Olympic Games – should contain a poster display of Yugoslavia
achieved e.g. through the use of quotations of folk songs and dances (related to Kozara,... or to
Sarajevo, or to the wider Yugoslav space), or mass songs from the National Liberation War,
etc. However, Vuk Kulenović’s musical “Yugoslavism” was primarily mediated by the lyrics
he used and / or the context in which a particular work was commissioned, performed and /
or published – while the musical language of his cantatas was identical to the one used in the
works which were not related to the Yugoslav theme. Apart from the composer’s name and
reputation, practically the only thing that ensured the implicit “Yugoslavism” of the cantata
Hymnos was the very context of the performance at the opening of the XIV Olympic Games,
the first and only Olympics held in Yugoslavia. Furthermore, Kulenović’s musical image of
the Kozara massacre was achieved largely by abstract-cosmopolitan musical means, in keeping
with what was close to his generation, educated on the achievements of the European
postwar avant-garde. Vuk Kulenović’s musical language is abstract and programmatic, applicable
to a variety of contexts; thus his “Yugoslavism” is never explicit, but merely implied.
Кључне речи:
Вук Куленовић / Скендер Куленовић / СФР Југославија / кантата / Стојанка мајка Кнежопољка / HymnosИзвор:
Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године, 2020, 141-153Издавач:
- Београд : Музиколошко друштво Србије
- Нови Сад : Матица српска
Финансирање / пројекти:
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - CHAP AU - Медић, Ивана PY - 2020 UR - https://dais.sanu.ac.rs/123456789/8980 AB - Композитор Вук Куленовић (Сарајево, 1946 – Бостон, 2017) био је прави Југословен по пореклу, образовању и припадности културним круговима. У овом раду разматрају се остварења Вука Куленовића у којима се могу уочити испољавања идеје југословенства – кантата Стојанка мајка Кнежопољка, компонована на стихове његовог оца Скендера Куленовића, те кантата Hymnos, изведена на отварању XIV Зимских олимпијских игара у Сарајеву 1984. године. AB - Composer Vuk Kulenović (Sarajevo, 1946 – Boston, 2017) was a true Yugoslav by his origin, education and affiliation with cultural circles. This article examines the works of Vuk Kulenović, in which one can observe the expression of the idea of Yugoslavism – the cantata Mother Stojanka from the Knežopolje Field, composed on the verses of his father Skender Kulenović and dedicated to the slaughter of Serbian people during the fascist invasion of the mountain Kozara in World War II, and the cantata Hymnos, performed at the opening of the XIV Winter Olympic Games in 1984. Based on Vuk Kulenović’s personal and professional biography, one would expect that his works written on relevant Yugoslav topics – such as the people’s suffering during World War II, or the sense of national pride that Yugoslavia was entrusted with organising the Olympic Games – should contain a poster display of Yugoslavia achieved e.g. through the use of quotations of folk songs and dances (related to Kozara, or to Sarajevo, or to the wider Yugoslav space), or mass songs from the National Liberation War, etc. However, Vuk Kulenović’s musical “Yugoslavism” was primarily mediated by the lyrics he used and / or the context in which a particular work was commissioned, performed and / or published – while the musical language of his cantatas was identical to the one used in the works which were not related to the Yugoslav theme. Apart from the composer’s name and reputation, practically the only thing that ensured the implicit “Yugoslavism” of the cantata Hymnos was the very context of the performance at the opening of the XIV Olympic Games, the first and only Olympics held in Yugoslavia. Furthermore, Kulenović’s musical image of the Kozara massacre was achieved largely by abstract-cosmopolitan musical means, in keeping with what was close to his generation, educated on the achievements of the European postwar avant-garde. Vuk Kulenović’s musical language is abstract and programmatic, applicable to a variety of contexts; thus his “Yugoslavism” is never explicit, but merely implied. PB - Београд : Музиколошко друштво Србије PB - Нови Сад : Матица српска T2 - Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године T1 - Испољавање идеје југословенства у стваралаштву Вука Куленовића T1 - Manifestations of the Idea of Yugoslavism in Vuk Kulenović's Oeuvre SP - 141 EP - 153 UR - https://hdl.handle.net/21.15107/rcub_dais_8980 ER -
@inbook{ author = "Медић, Ивана", year = "2020", abstract = "Композитор Вук Куленовић (Сарајево, 1946 – Бостон, 2017) био је прави Југословен по пореклу, образовању и припадности културним круговима. У овом раду разматрају се остварења Вука Куленовића у којима се могу уочити испољавања идеје југословенства – кантата Стојанка мајка Кнежопољка, компонована на стихове његовог оца Скендера Куленовића, те кантата Hymnos, изведена на отварању XIV Зимских олимпијских игара у Сарајеву 1984. године., Composer Vuk Kulenović (Sarajevo, 1946 – Boston, 2017) was a true Yugoslav by his origin, education and affiliation with cultural circles. This article examines the works of Vuk Kulenović, in which one can observe the expression of the idea of Yugoslavism – the cantata Mother Stojanka from the Knežopolje Field, composed on the verses of his father Skender Kulenović and dedicated to the slaughter of Serbian people during the fascist invasion of the mountain Kozara in World War II, and the cantata Hymnos, performed at the opening of the XIV Winter Olympic Games in 1984. Based on Vuk Kulenović’s personal and professional biography, one would expect that his works written on relevant Yugoslav topics – such as the people’s suffering during World War II, or the sense of national pride that Yugoslavia was entrusted with organising the Olympic Games – should contain a poster display of Yugoslavia achieved e.g. through the use of quotations of folk songs and dances (related to Kozara, or to Sarajevo, or to the wider Yugoslav space), or mass songs from the National Liberation War, etc. However, Vuk Kulenović’s musical “Yugoslavism” was primarily mediated by the lyrics he used and / or the context in which a particular work was commissioned, performed and / or published – while the musical language of his cantatas was identical to the one used in the works which were not related to the Yugoslav theme. Apart from the composer’s name and reputation, practically the only thing that ensured the implicit “Yugoslavism” of the cantata Hymnos was the very context of the performance at the opening of the XIV Olympic Games, the first and only Olympics held in Yugoslavia. Furthermore, Kulenović’s musical image of the Kozara massacre was achieved largely by abstract-cosmopolitan musical means, in keeping with what was close to his generation, educated on the achievements of the European postwar avant-garde. Vuk Kulenović’s musical language is abstract and programmatic, applicable to a variety of contexts; thus his “Yugoslavism” is never explicit, but merely implied.", publisher = "Београд : Музиколошко друштво Србије, Нови Сад : Матица српска", journal = "Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године", booktitle = "Испољавање идеје југословенства у стваралаштву Вука Куленовића, Manifestations of the Idea of Yugoslavism in Vuk Kulenović's Oeuvre", pages = "141-153", url = "https://hdl.handle.net/21.15107/rcub_dais_8980" }
Медић, И.. (2020). Испољавање идеје југословенства у стваралаштву Вука Куленовића. in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године Београд : Музиколошко друштво Србије., 141-153. https://hdl.handle.net/21.15107/rcub_dais_8980
Медић И. Испољавање идеје југословенства у стваралаштву Вука Куленовића. in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године. 2020;:141-153. https://hdl.handle.net/21.15107/rcub_dais_8980 .
Медић, Ивана, "Испољавање идеје југословенства у стваралаштву Вука Куленовића" in Југословенска идеја у/о музици. Зборник радова са научног скупа одржаног 25-26.маја 2019. године (2020):141-153, https://hdl.handle.net/21.15107/rcub_dais_8980 .