Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923)
Shaping National Memory: The Beginning Of Memorizing Stevan Stojanović Mokranjac in Serbian Music (1919–1923)
Članak u časopisu (Objavljena verzija)
Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Рад је осмишљен као прилог изучавању дуготрајних процеса канонизације
Стевана Стојановића Мокрањца у оквирима националне уметничке
традиције. Анализирани су концертни догађаји посвећени Мокрањчевим
делима (1919–1923), као и дводневна комеморативна свечаност, одржана
поводом преноса композиторових посмртних остатака из Скопља у Београд
(1923). Циљ рада односи се на проучавање првих, због ратних околности
закаснелих примера меморисања Мокрањца по његовој смрти 1914. године.
The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by efforts towards a material, economic and cultural consolidation of the city afer a war disaster; thus the mapping of continuity with pre-war traditions acquired a special signifcance. Te frst joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testifed to that effect. Soon there followed four similar events (1922– 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). The aim of this article is to examine these events as the frst, though belated (due to war circumstances) cases of memorizing Mokranjac afer his death in 1914. Tis research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented... by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; aferwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also offered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the ofcial state apparatus and puting memories of Mokranjac into desirable Yugoslav frameworks.
Ključne reči:
национални музички канон / Стеван Стојановић Мокрањац / национално памћење / хорска музика / концерти / national musical canon / Stevan Stojanović Mokranjac / national memory / choral music / concertsIzvor:
Музикологија / Musicology, 2017, 23, 199-218Izdavač:
- Бегорад : Музиколошки институт Српске академије наука и уметности
Finansiranje / projekti:
URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2017/1450-98141723199M.pdfhttps://dais.sanu.ac.rs/123456789/3731
Kolekcije
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Милановић, Биљана PY - 2017 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2017/1450-98141723199M.pdf UR - https://dais.sanu.ac.rs/123456789/3731 AB - Рад је осмишљен као прилог изучавању дуготрајних процеса канонизације Стевана Стојановића Мокрањца у оквирима националне уметничке традиције. Анализирани су концертни догађаји посвећени Мокрањчевим делима (1919–1923), као и дводневна комеморативна свечаност, одржана поводом преноса композиторових посмртних остатака из Скопља у Београд (1923). Циљ рада односи се на проучавање првих, због ратних околности закаснелих примера меморисања Мокрањца по његовој смрти 1914. године. AB - The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by efforts towards a material, economic and cultural consolidation of the city afer a war disaster; thus the mapping of continuity with pre-war traditions acquired a special signifcance. Te frst joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testifed to that effect. Soon there followed four similar events (1922– 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). The aim of this article is to examine these events as the frst, though belated (due to war circumstances) cases of memorizing Mokranjac afer his death in 1914. Tis research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; aferwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also offered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the ofcial state apparatus and puting memories of Mokranjac into desirable Yugoslav frameworks. PB - Бегорад : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923) T1 - Shaping National Memory: The Beginning Of Memorizing Stevan Stojanović Mokranjac in Serbian Music (1919–1923) SP - 199 EP - 218 IS - 23 DO - 10.2298/MUZ1723199M UR - https://hdl.handle.net/21.15107/rcub_dais_3731 ER -
@article{ author = "Милановић, Биљана", year = "2017", abstract = "Рад је осмишљен као прилог изучавању дуготрајних процеса канонизације Стевана Стојановића Мокрањца у оквирима националне уметничке традиције. Анализирани су концертни догађаји посвећени Мокрањчевим делима (1919–1923), као и дводневна комеморативна свечаност, одржана поводом преноса композиторових посмртних остатака из Скопља у Београд (1923). Циљ рада односи се на проучавање првих, због ратних околности закаснелих примера меморисања Мокрањца по његовој смрти 1914. године., The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by efforts towards a material, economic and cultural consolidation of the city afer a war disaster; thus the mapping of continuity with pre-war traditions acquired a special signifcance. Te frst joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testifed to that effect. Soon there followed four similar events (1922– 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). The aim of this article is to examine these events as the frst, though belated (due to war circumstances) cases of memorizing Mokranjac afer his death in 1914. Tis research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; aferwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also offered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the ofcial state apparatus and puting memories of Mokranjac into desirable Yugoslav frameworks.", publisher = "Бегорад : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923), Shaping National Memory: The Beginning Of Memorizing Stevan Stojanović Mokranjac in Serbian Music (1919–1923)", pages = "199-218", number = "23", doi = "10.2298/MUZ1723199M", url = "https://hdl.handle.net/21.15107/rcub_dais_3731" }
Милановић, Б.. (2017). Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923). in Музикологија / Musicology Бегорад : Музиколошки институт Српске академије наука и уметности.(23), 199-218. https://doi.org/10.2298/MUZ1723199M https://hdl.handle.net/21.15107/rcub_dais_3731
Милановић Б. Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923). in Музикологија / Musicology. 2017;(23):199-218. doi:10.2298/MUZ1723199M https://hdl.handle.net/21.15107/rcub_dais_3731 .
Милановић, Биљана, "Уобличавање Националног Памћења: Почеци Меморисања Стевана Стојановића Мокрањца у Српској Музици (1919–1923)" in Музикологија / Musicology, no. 23 (2017):199-218, https://doi.org/10.2298/MUZ1723199M ., https://hdl.handle.net/21.15107/rcub_dais_3731 .