7 research outputs found
ΠΠΠΠΠΠΠ‘ΠΠΠ ΠΠΠ’ΠΠ Π’ΠΠΠ‘Π’ Π Π ΠΠΠΠΠ₯ Π‘Π’ΠΠ₯ΠΠ’ΠΠΠ ΠΠΠΠ―Π₯ Π. ΠΠ ΠΠΠΠ¬Π (Β«Π‘Π£Π‘ΠΠΠΠΒ», Β«ΠΠ£ΠΠΠΠΠ ΠΠΠΠ’ΠΠΠ Π ΠΠΠΠ―ΠΠΠΒ», Β«ΠΠΠΠΠΠΠΠ¦Π)
Π Π°Π½Π½ΠΈΠ΅ ΡΡΠΈΡ
ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΈΡ Π. Π΄Π΅ ΠΠΈΠ½ΡΠΈ ΠΈΡΡΠ»Π΅Π΄ΡΡΡΡΡ ΠΊΠ°ΠΊ Π±ΠΈΠ±Π»Π΅ΠΉΡΠΊΠΈΠΉ ΠΈΠ½ΡΠ΅ΡΡΠ΅ΠΊΡΡ ΠΈ ΠΌΠΈΡΠΎΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΈΠΉ Π΄ΠΈΡΠΊΡΡΡ Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ
ΠΈΠ΄Π΅ΠΉ ΠΎ ΡΠΎΠΌΠ°Π½ΡΠΈΠ·ΠΌΠ΅
ΠΠΠΠΠΠΠ‘ΠΠΠ ΠΠΠ’ΠΠ Π’ΠΠΠ‘Π’ Π Π ΠΠΠΠΠ₯ Π‘Π’ΠΠ₯ΠΠ’ΠΠΠ ΠΠΠΠ―Π₯ Π. ΠΠ ΠΠΠΠ¬Π (Β«Π‘Π£Π‘ΠΠΠΠΒ», Β«ΠΠ£ΠΠΠΠΠ ΠΠΠΠ’ΠΠΠ Π ΠΠΠΠ―ΠΠΠΒ», Β«ΠΠΠΠΠΠΠΠ¦Π)
Π Π°Π½Π½ΠΈΠ΅ ΡΡΠΈΡ
ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΈΡ Π. Π΄Π΅ ΠΠΈΠ½ΡΠΈ ΠΈΡΡΠ»Π΅Π΄ΡΡΡΡΡ ΠΊΠ°ΠΊ Π±ΠΈΠ±Π»Π΅ΠΉΡΠΊΠΈΠΉ ΠΈΠ½ΡΠ΅ΡΡΠ΅ΠΊΡΡ ΠΈ ΠΌΠΈΡΠΎΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΈΠΉ Π΄ΠΈΡΠΊΡΡΡ Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ
ΠΈΠ΄Π΅ΠΉ ΠΎ ΡΠΎΠΌΠ°Π½ΡΠΈΠ·ΠΌΠ΅
Π€ΡΠ°Π½ΡΡΠ·ΡΠΊΠ°Ρ ΡΠΎΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠ°Ρ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ° 1820-Ρ Π³Π³.: ΡΡΡΡΠΊΡΡΡΠ° ΠΌΠΈΡΠΎΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΊΡΡΠ°
ΠΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½Ρ ΡΡΠ°Π½ΡΡΠ·ΡΠΊΠ°Ρ ΡΠΎΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠ°Ρ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ° 1820-Ρ
Π³Π³.,
ΠΌΠΈΡΠΎΠΏΠΎΡΡΠΈΠΊΠ° ΠΈ ΡΠΈΠΌΠ²ΠΎΠ»ΠΈΠΊΠ° Π² ΡΠ΅ΡΠ΅ΠΏΡΠΈΠΈ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠΎΠ²Π΅Π΄Π΅Π½ΠΈΡ.
Π Π°ΡΡΠΌΠΎΡΡΠ΅Π½Ρ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ ΠΌΠΈΡΠΎΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠ΅ΠΊΡΡΠ°, ΡΠΏΠ΅ΡΠΈΡΠΈΠΊΠ° ΠΈΠ½ΡΠ΅ΡΡΠ΅ΠΊΡΡΡΠ°Π»Ρ-
Π½ΠΎΠΉ ΡΡΡΡΠΊΡΡΡΡ. ΠΡΠ²Π΅ΡΠ΅Π½Ρ ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ ΡΡΠ½ΠΊΡΠΈΠΎΠ½ΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΠ»ΠΈΠ½ΠΈΠ·ΠΌΠΎΠ², Π±ΠΈΠ±Π»ΠΈΠΈΠ·ΠΌΠΎΠ²,
ΡΠΊΠ·ΠΎΡΠΈΠ·ΠΌΠΎΠ² ΠΈ ΠΈΡΡΠΎΡΠΈΠ·ΠΌΠΎΠ² Π² ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡΡ
Π. Π΄Π΅ ΠΠΈΠ½ΡΠΈ, Π. Π΄Π΅ ΠΠ°ΠΌΠ°ΡΡΠΈΠ½Π°, Π. ΠΡΠ³ΠΎ,
Π¨. ΠΠΎΠ΄ΡΠ΅, Π¨.Π. Π‘Π΅Π½Ρ-ΠΠ΅Π²Π°, Π. Π΄Π΅ ΠΡΡΡΠ΅, Π. Π΄Π΅ ΠΠ΅ΡΠ²Π°Π»Ρ, Π. ΠΠ΅ΡΡΡΠ°Π½Π° 1820-Ρ
Π³Π³.
ΠΠ»Ρ ΡΡΡΠ΄Π΅Π½ΡΠΎΠ² ΡΠΈΠ»ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΏΠ΅ΡΠΈΠ°Π»ΡΠ½ΠΎΡΡΠ΅ΠΉ Π²ΡΡΡΠΈΡ
ΡΡΠ΅Π±Π½ΡΡ
Π·Π°Π²Π΅Π΄Π΅Π½ΠΈΠΉ, Π° ΡΠ°ΠΊΠΆΠ΅ Π΄Π»Ρ ΡΠΈΡΠΎΠΊΠΎΠ³ΠΎ ΠΊΡΡΠ³Π° ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ, ΠΈΠ½ΡΠ΅ΡΠ΅ΡΡΡΡΠΈΡ
ΡΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ°ΠΌΠΈ
Π·Π°ΡΡΠ±Π΅ΠΆΠ½ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΡ ΠΈ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ. ΠΠΎΠΆΠ΅Ρ Π±ΡΡΡ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½Π° Π°ΡΠΏΠΈΡΠ°Π½ΡΠ°ΠΌΠΈ,
ΠΏΡΠ΅ΠΏΠΎΠ΄Π°Π²Π°ΡΠ΅Π»ΡΠΌΠΈ, ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ΡΠΈΠΊΠ°ΠΌΠΈ, ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠ°ΠΌΠΈ Π΄ΡΡΠ³ΠΈΡ
Π³ΡΠΌΠ°Π½ΠΈΡΠ°ΡΠ½ΡΡ
ΠΎΡΡΠ°ΡΠ»Π΅ΠΉ
The role of Russian emigration in Belgrade's musical life (1918-1941)
Π£ ΡΠ°Π΄Ρ ΡΠ΅ ΠΏΡΠΎΡΡΠ°Π²Π° ΡΠ΅Π΄Π°Π½ ΠΎΠ΄ ΡΠ΅Π³ΠΌΠ΅Π½Π°ΡΠ° ΠΈΡΡΠΎΡΠΈΡΠ΅ ΡΡΠΏΡΠΊΠΎ-ΡΡΡΠΊΠΈΡ
Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
Π²Π΅Π·Π°, Π° ΡΠΎ ΡΠ΅ Π΄ΠΎΠ»Π°Π·Π°ΠΊ ΡΡΡΠΊΠΈΡ
Π΅ΠΌΠΈΠ³ΡΠ°Π½Π°ΡΠ° ΠΏΠΎΡΠ»Π΅ ΠΠΊΡΠΎΠ±Π°ΡΡΠΊΠ΅ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΡΠ΅ Ρ ΠΡΠ°ΡΠ΅Π²ΠΈΠ½Ρ Π‘Π₯Π‘/ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΡ ΠΈ ΡΠΈΡ
ΠΎΠ²Π° ΡΠ»ΠΎΠ³Π° Ρ ΡΠ°Π·Π²ΠΎΡΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ° ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠ΅ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ ΠΈΠ·ΠΌΠ΅ΡΡ Π΄Π²Π° ΡΠ²Π΅ΡΡΠΊΠ° ΡΠ°ΡΠ°. ΠΡΠ·ΠΈΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π° ΠΏΠΎΡΠΌΠ°ΡΡΠ°Π»ΠΈ ΡΠΌΠΎ Ρ ΡΠ²Π΅ΡΠ»Ρ ΡΡΠΈΡΠ°ΡΠ° Π ΡΡΠ° Π½Π° ΠΊΠΎΠ½ΡΠ΅ΡΡΠ½Ρ ΡΡΠ΅Π½Ρ, ΠΌΡΠ·ΠΈΡΠΊΡ ΠΏΠ΅Π΄Π°Π³ΠΎΠ³ΠΈΡΡ, ΠΌΡΠ·ΠΈΡΠΊΡ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΡΡ, ΡΠ²Π°ΠΊΠΎΠ΄Π½Π΅Π²ΠΈΡΡ ΠΈ ΠΊΠ°ΡΠ°Π½ΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ, ΡΠ΅ ΠΊΡΠΎΠ· ΠΏΡΠΈΠ·ΠΌΡ ΡΡΡΠΊΠΈΡ
ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ° ΠΊΠΎΡΠ΅ ΡΡ ΠΏΠΎΡΠΈΠ²Π°Π»Π΅ Π½Π° ΠΏΡΠΈΠ½ΡΠΈΠΏΠΈΠΌΠ° ΡΠΈΡ
ΠΎΠ²ΠΈΡ
Π΄ΠΎΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΎΠ½Π°ΡΠ½ΠΈΡ
ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΈΠΊΠ°. ΠΡΠΎΠ· ΡΠΈΡ
ΠΎΠ²Ρ Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π»ΠΈ ΡΠΌΠΎ ΡΠ°Π·Π²ΠΎΡ ΠΈ ΠΏΡΠΎΠΌΠ΅Π½Π΅ ΠΊΠΎΡΠ΅ ΡΡ ΡΠ΅ Π΄ΠΎΠ³Π°ΡΠ°Π»Π΅ Π½Π° ΠΏΠΎΡΡ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΠΊΡΠ»ΡΡΡΠ΅ Ρ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΡΡ ΠΊΠΎΡΠ° ΡΠ΅ ΠΏΠΎΡΡΠΎΡΠ°Π»Π° ΠΈΠ·ΠΌΠ΅ΡΡ Π·Π΅ΠΌΡΠ΅ Π΄ΠΎΠΌΠ°ΡΠΈΠ½Π° ΠΈ ΡΡΡΠΊΠΈΡ
Π΅ΠΌΠΈΠ³ΡΠ°Π½Π°ΡΠ°. ΠΠΎΠΏΡΠΈΠ½ΠΎΡ Π ΡΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΎΠΌ ΠΆΠΈΠ²ΠΎΡΡ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΡΠ΅ ΡΠΏΠ΅ΡΠ°ΡΡΠΈΠ² Ρ ΠΏΡΠ²ΠΎΡ ΠΏΠΎΠ»ΠΎΠ²ΠΈΠ½ΠΈ Π΄Π²Π°Π΄Π΅ΡΠ΅ΡΠΈΡ
Π³ΠΎΠ΄ΠΈΠ½Π°, ΠΊΠ°Π΄Π° ΡΡ ΡΠΈΡ
ΠΎΠ²Π΅
Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ Π΄Π°Π»Π΅ ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½Ρ βΠΈΠ½ΡΠ΅ΠΊΡΠΈΡΡβ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠΊΠΎΠΌ Π΄ΡΡΡΡΠ²Ρ ΠΈ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»Π΅ Π΄Π΅ΠΌΠΎΠΊΡΠ°ΡΠΈΠ·Π°ΡΠΈΡΠΈ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ Ρ ΡΡΠΏΡΠΊΠΎΡ ΠΈ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΡ ΡΡΠ΅Π΄ΠΈΠ½ΠΈ. ΠΡΠΎΡΡΠ°Π²Π°ΡΠ΅ ΡΠΈΡ
ΠΎΠ²ΠΎΠ³ Π΄Π΅Π»ΠΎΠ²Π°ΡΠ° Ρ Π²ΠΈΡΠΈΠΌ Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΊΡΡΠ³ΠΎΠ²ΠΈΠΌΠ° Π±Π΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΏΠΎΠΊΠ°Π·Π°Π»ΠΎ ΡΠ΅ Π΄Π° ΡΠ΅ Ρ ΠΎΠ΄Π½ΠΎΡΡ Π΄ΠΎΠΌΠ°ΡΠΈΡ
ΠΌΡΠ·ΠΈΡΠ°ΡΠ° ΠΈ ΠΊΡΠΈΡΠΈΡΠ°ΡΠ° ΠΏΡΠ΅ΠΌΠ° Π ΡΡΠΈΠΌΠ° Π½Π° ΠΎΠΏΡΡΠ΅ΠΌ ΠΏΠ»Π°Π½Ρ ΠΏΠΎΡΡΠΎΡΠ°ΠΎ Π²Π΅Π»ΠΈΠΊΠΈ ΡΠ°Π· ΠΈ ΠΌΠ°Π»ΠΎ ΠΌΠ΅ΡΡΡΠΎΠ±Π½Π΅ ΡΠ°ΡΠ°Π΄ΡΠ΅. ΠΠ΅ΡΠ΅ΡΠΊΠΎ ΡΡ ΡΠ΅ ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠΈ ΠΈ ΡΡΠΈΡΠ°ΡΠΈ ΡΡΡΠΊΠΈΡ
ΠΌΡΠ·ΠΈΡΠ°ΡΠ° ΡΠΌΠ°ΡΠΈΠ²Π°Π»ΠΈ, ΠΈΠ°ΠΊΠΎ ΠΈΠΌ ΠΊΡΠΈΡΠΈΠΊΠ° Π½ΠΈΡΠ΅ ΡΠΏΠΎΡΠΈΠ»Π° Π²Π΅Π»ΠΈΠΊΠΈ Π΅Π½ΡΡΠ·ΠΈΡΠ°Π·Π°ΠΌ ΠΏΡΠΎΠΏΡΠ°ΡΠ΅Π½ Π²ΡΠ»ΠΎ ΡΠΊΡΠΎΠΌΠ½ΠΈΠΌ ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΈΠΌ ΡΡΠ΅Π΄ΡΡΠ²ΠΈΠΌΠ°. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΠ΅ ΠΈ ΡΠΏΠΎΡΠ΅ΡΠΈΠ²Π°ΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠΈΡ
ΠΊΡΠΈΡΠΈΠΊΠ° ΡΠΎΠ³Π° Π΄ΠΎΠ±Π° ΠΏΠΎΠΊΠ°Π·Π°Π»ΠΎ ΡΠ΅ ΡΠ°Π·Π»ΠΈΠΊΡ Ρ ΠΎΠ΄Π½ΠΎΡΡ ΠΏΡΠ΅ΠΌΠ° Π΄ΠΎΠΌΠ°ΡΠΈΠΌ ΠΈΠ·Π²ΠΎΡΠ°ΡΠΈΠΌΠ° ΠΈ Π ΡΡΠΈΠΌΠ°, ΠΊΠ°ΠΎ βΠ΄ΡΡΠ³ΠΈΠΌΠ°β. Π’Π°ΠΊΠ°Π² ΠΎΠ΄Π½ΠΎΡ Π±ΠΈΠΎ ΡΠ΅ Π΄Π΅Π»ΠΈΠΌΠΈΡΠ½ΠΎ ΡΡΠ»ΠΎΠ²ΡΠ΅Π½ ΡΡΡΠΊΠΎΠΌ ΡΠ΅ΠΆΡΠΎΠΌ Π΄Π° ΡΠ΅ ΠΏΠΎΠΊΠ°ΠΆΠ΅ Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½ΠΈ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ΅Ρ ΠΈ ΡΠ°ΠΌΠΎΠ±ΠΈΡΠ½ΠΎΡΡ Π½Π° ΠΏΠΎΡΡ ΠΌΡΠ·ΠΈΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΡΡΠΏΡΠΊΠΈΠΌ/ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΈΠΌ ΡΡΡΠ΅ΠΌΡΠ΅ΡΠ΅ΠΌ Π΄Π° ΡΠΊΠ»ΠΎΠ½ΠΈ ΡΡΡΠ°Π½Π΅ ΡΠ°ΠΊΡΠΎΡΠ΅ ΠΈΠ· ΡΠΏΠ»ΠΈΡΠ°ΡΠ° Ρ ΡΠ°Π·Π²ΠΎΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ°. Π ΡΡΠΊΠΎΡ Π΅ΠΌΠΈΠ³ΡΠ°ΡΠΈΡΠΈ ΡΠ΅ ΠΊΡΠ»ΡΡΡΠ° ΠΏΠΎΡΡΠ°Π»Π° Π³Π»Π°Π²Π½ΠΈ ΡΠΈΠΌΠ±ΠΎΠ» Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½Π΅ ΠΈΠ΄Π΅Π½ΡΠΈΡΠΈΠΊΠ°ΡΠΈΡΠ΅, ΡΡΠΎΠ³Π° ΡΠ΅ ΠΎΠ½Π° ΠΏΠ°ΠΆΡΡ ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ ΡΡΠΌΠ΅ΡΠ°Π²Π°Π»Π° Π½Π° Π½Π΅Π³ΠΎΠ²Π°ΡΠ΅ ΡΠ²ΠΎΠ³ Π½Π°ΡΠ»Π΅ΡΠ°. ΠΠ±ΠΎΠ³ ΡΠΎΠ³Π° ΡΡ Ρ ΡΠ°Π΄Ρ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½Π΅ ΠΈ Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ ΡΡΡΠΊΠΈΡ
ΡΠ΄ΡΡΠΆΠ΅ΡΠ° β Π ΡΡΠΊΠΎΠ³ ΠΊΡΠΈΠΆΠ΅Π²Π½ΠΎ-ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΎΠ³ Π΄ΡΡΡΡΠ²Π°, Π ΡΡΠΊΠΎΠ³ Π½Π°ΡΠΎΠ΄Π½ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ°, Π ΡΡΠΊΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ Π΄ΡΡΡΡΠ²Π° ΠΈ ΠΏΠΎΡΠ΅Π±Π½Π΅ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ΅ Ρ ΡΡΡΠΊΠΎΠΌ Π·Π°Π³ΡΠ°Π½ΠΈΡΡΡ β Π ΡΡΠΊΠΎΠ³ Π΄ΠΎΠΌΠ°. ΠΠ΅Π· ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°ΡΠ° ΡΠ°Π΄Π° ΡΠΏΠΎΠΌΠ΅Π½ΡΡΠΈΡ
ΡΠ΄ΡΡΠΆΠ΅ΡΠ° ΠΈ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ° ΡΠ»ΠΈΠΊΠ° ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π° Π½Π΅ Π±ΠΈ Π±ΠΈΠ»Π° ΡΠ΅Π»ΠΎΠ²ΠΈΡΠ°. ΠΠΎΡΠ΅Π΄ Π΄Π΅Π»ΠΎΠ²Π°ΡΠ° Π½Π° ΠΏΠΎΡΡ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅, Ρ ΡΠ°Π΄Ρ ΡΡ ΠΏΡΠΈΠΊΠ°Π·Π°Π½ΠΈ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡ Π ΡΡΠ° ΠΎΠ±ΠΎΠ³Π°ΡΠ΅ΡΡ ΠΏΠΎΠΏΡΠ»Π°ΡΠ½ΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ° ΠΈ Π½ΠΎΠ²ΠΈΠ½Π΅ ΠΊΠΎΡΠ΅ ΡΡ ΡΠ½Π΅Π»ΠΈ Ρ Π½Π΅Π·Π°ΠΎΠ±ΠΈΠ»Π°Π·Π½ΠΈ Π±Π΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠΈ ΠΊΠ°ΡΠ°Π½ΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ. Π Π°Π΄ ΡΠ΅ Π±Π°Π·ΠΈΡΠ° Π½Π° ΠΎΠ±ΡΠ°Π΄ΠΈ Π½Π΅ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½Π΅ Π³ΡΠ°ΡΠ΅ ΠΈΠ· Π°ΡΡ
ΠΈΠ²Π° Ρ Π‘ΡΠ±ΠΈΡΠΈ ΠΈ Π ΡΡΠΈΡΠΈ β ΠΡΡ
ΠΈΠ²Π° ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, ΠΡΡΠΎΡΠΈΡΡΠΊΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π°, ΠΡΠ·Π΅ΡΠ° ΠΏΠΎΠ·ΠΎΡΠΈΡΠ½Π΅ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ Π‘ΡΠ±ΠΈΡΠ΅, Π¦Π΅Π½ΡΡΠ°Π»Π½ΠΎΠ³ Π΄ΡΠΆΠ°Π²Π½ΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° Ρ Π‘Π°Π½ΠΊΡ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³Ρ, ΠΊΠ°ΠΎ ΠΈ ΠΏΡΠΈΠ²Π°ΡΠ½ΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° ΠΠ»Π΅ΠΊΡΠ΅ΡΠ°
ΠΠΎΡΠΈΡΠΎΠ²ΠΈΡΠ° ΠΡΡΠ΅ΡΠ΅Π²Π°. ΠΠΎΡΠ΅Π΄ ΡΠΎΠ³Π°, Π²Π°ΠΆΠ°Π½ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π» Π·Π° ΠΏΠΈΡΠ°ΡΠ΅ ΡΠ°Π΄Π° ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°Π»ΠΈ ΡΡ ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ΠΈ ΠΈΠ·Π²ΠΎΡΠΈ, ΠΌΠ΅ΠΌΠΎΠ°ΡΡΠΊΠ° Π³ΡΠ°ΡΠ°, ΡΡΠΏΡΠΊΠ° ΠΈ ΡΡΡΠΊΠ° ΠΏΠ΅ΡΠΈΠΎΠ΄ΠΈΠΊΠ°, ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΈ ΠΌΡΠ·ΠΈΡΠΊΠΈ ΡΠ°ΡΠΎΠΏΠΈΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΡΠ΅Π»Π΅Π²Π°Π½ΡΠ½Π° Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ° Π½Π° ΡΡΠΏΡΠΊΠΎΠΌ ΠΈ ΡΡΡΠ°Π½ΠΈΠΌ ΡΠ΅Π·ΠΈΡΠΈΠΌΠ°.The study explores one of the segments in the history of Serbo-Russian social relations: the arrival of Russian Γ©migrΓ©s after the October Revolution to the Kingdom of Serbs, Croats and Slovenes/Yugoslavia and their role in the development of the capitalβs music scene in the interwar period. It attempts to assess Belgradeβs interwar music life in light of the Russian influence on the local concert scene, music pedagogy, music historiography, everyday life and nightlife, as well as through the prism of Russian institutions rooted in the principles of their prerevolutionary predecessors. Retracing their activities, it analyzes the evolution and changes in the field of music culture in the capital and the interaction between the host country and Russian Γ©migrΓ©s. The contribution of Russians to the local music scene is particularly striking in the first half of the 1920s when their activities gave an βinjectionβ to the capitalβs social life and contributed to the democratization of art music in the Serbian and Yugoslavian milieu. The research of their involvement in Belgradeβs high music scene has revealed a deep gap and little cooperation between local musicians and critics and the Russian newcomers. Often, the results and influences of Russian musicians tended to be minimized, although critics hardly disputed their impressive enthusiasm hampered by modest financial means. An analysis and comparison of music critiques from this period have shown a different attitude towards local performers and Russians as the βothers.β Such an attitude was partially the result of the Russian aspiration to display their national identity and self-relevance in the field of music and partly of the Serbian/Yugoslav tendency to remove any outside factors and limit their involvement in the countryβs musical life. For the Russian emigration, culture became the main symbol of national identification, and hence they focused their efforts on cultivating their own heritage. The study, therefore, includes an analysis of the activities of Russian cultural associations: the Russian Association for Literature and Arts, Russian Peopleβs University, Russian Music Society, and the Russian House (cultural center), an institution of particular importance beyond the territory of Russia. Without investigating the efforts of those societies and institutions, the landscape of Belgradeβs interwar music scene would have been incomplete. Besides their involvement in art (or cultivated) music, the study showcases the Russian contribution to the enrichment of popular music life and the innovations they introduced into Belgradeβs nightlife and bar scene. This study is based on unpublished material kept in archives in Serbia and Russia: the
Archive of Yugoslavia, Historical Archive of Belgrade, Museum of Performing Arts of Serbia, and the Central State Historical Archive of St. Petersburg, as well as the private archive of Aleksey Borisovich Arsenyev. In addition, relevant material was found in published sources, memoirs, Serbian and Russian periodicals, interwar music journals, and relevant literature in Serbian and other languages.ΠΠ΅Π½ΡΠΎΡ: ΠΡΠΎΡ. Π΄Ρ ΠΠ»Π΅ΠΊΡΠ΅Ρ Π’ΠΈΠΌΠΎΡΠ΅ΡΠ΅Π², Π²Π°Π½ΡΠ΅Π΄Π½ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΎΡ, Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅Ρ Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ, Π€ΠΈΠ»ΠΎΠ·ΠΎΡΡΠΊΠΈ
ΡΠ°ΠΊΡΠ»ΡΠ΅Ρ, ΠΠ΄Π΅ΡΠ΅ΡΠ΅ Π·Π° ΠΈΡΡΠΎΡΠΈΡΡ, ΠΠ°ΡΠ΅Π΄ΡΠ° Π·Π° ΠΎΠΏΡΡΡ ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½Ρ ΠΈΡΡΠΎΡΠΈΡ
ΗThe Ηrole of Russian emigration in Belgrade's musical life : (1918-1941)
Π£ ΡΠ°Π΄Ρ ΡΠ΅ ΠΏΡΠΎΡΡΠ°Π²Π° ΡΠ΅Π΄Π°Π½ ΠΎΠ΄ ΡΠ΅Π³ΠΌΠ΅Π½Π°ΡΠ° ΠΈΡΡΠΎΡΠΈΡΠ΅ ΡΡΠΏΡΠΊΠΎ-ΡΡΡΠΊΠΈΡ
Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
Π²Π΅Π·Π°, Π° ΡΠΎ ΡΠ΅ Π΄ΠΎΠ»Π°Π·Π°ΠΊ ΡΡΡΠΊΠΈΡ
Π΅ΠΌΠΈΠ³ΡΠ°Π½Π°ΡΠ° ΠΏΠΎΡΠ»Π΅ ΠΠΊΡΠΎΠ±Π°ΡΡΠΊΠ΅ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΡΠ΅ Ρ ΠΡΠ°ΡΠ΅Π²ΠΈΠ½Ρ Π‘Π₯Π‘/ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΡ ΠΈ ΡΠΈΡ
ΠΎΠ²Π° ΡΠ»ΠΎΠ³Π° Ρ ΡΠ°Π·Π²ΠΎΡΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ° ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠ΅ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ ΠΈΠ·ΠΌΠ΅ΡΡ Π΄Π²Π° ΡΠ²Π΅ΡΡΠΊΠ° ΡΠ°ΡΠ°. ΠΡΠ·ΠΈΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π° ΠΏΠΎΡΠΌΠ°ΡΡΠ°Π»ΠΈ ΡΠΌΠΎ Ρ ΡΠ²Π΅ΡΠ»Ρ ΡΡΠΈΡΠ°ΡΠ° Π ΡΡΠ° Π½Π° ΠΊΠΎΠ½ΡΠ΅ΡΡΠ½Ρ ΡΡΠ΅Π½Ρ, ΠΌΡΠ·ΠΈΡΠΊΡ ΠΏΠ΅Π΄Π°Π³ΠΎΠ³ΠΈΡΡ, ΠΌΡΠ·ΠΈΡΠΊΡ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΡΡ, ΡΠ²Π°ΠΊΠΎΠ΄Π½Π΅Π²ΠΈΡΡ ΠΈ ΠΊΠ°ΡΠ°Π½ΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ, ΡΠ΅ ΠΊΡΠΎΠ· ΠΏΡΠΈΠ·ΠΌΡ ΡΡΡΠΊΠΈΡ
ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ° ΠΊΠΎΡΠ΅ ΡΡ ΠΏΠΎΡΠΈΠ²Π°Π»Π΅ Π½Π° ΠΏΡΠΈΠ½ΡΠΈΠΏΠΈΠΌΠ° ΡΠΈΡ
ΠΎΠ²ΠΈΡ
Π΄ΠΎΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΎΠ½Π°ΡΠ½ΠΈΡ
ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΈΠΊΠ°. ΠΡΠΎΠ· ΡΠΈΡ
ΠΎΠ²Ρ Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π»ΠΈ ΡΠΌΠΎ ΡΠ°Π·Π²ΠΎΡ ΠΈ ΠΏΡΠΎΠΌΠ΅Π½Π΅ ΠΊΠΎΡΠ΅ ΡΡ ΡΠ΅ Π΄ΠΎΠ³Π°ΡΠ°Π»Π΅ Π½Π° ΠΏΠΎΡΡ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΠΊΡΠ»ΡΡΡΠ΅ Ρ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΡΡ ΠΊΠΎΡΠ° ΡΠ΅ ΠΏΠΎΡΡΠΎΡΠ°Π»Π° ΠΈΠ·ΠΌΠ΅ΡΡ Π·Π΅ΠΌΡΠ΅ Π΄ΠΎΠΌΠ°ΡΠΈΠ½Π° ΠΈ ΡΡΡΠΊΠΈΡ
Π΅ΠΌΠΈΠ³ΡΠ°Π½Π°ΡΠ°. ΠΠΎΠΏΡΠΈΠ½ΠΎΡ Π ΡΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΎΠΌ ΠΆΠΈΠ²ΠΎΡΡ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΡΠ΅ ΡΠΏΠ΅ΡΠ°ΡΡΠΈΠ² Ρ ΠΏΡΠ²ΠΎΡ ΠΏΠΎΠ»ΠΎΠ²ΠΈΠ½ΠΈ Π΄Π²Π°Π΄Π΅ΡΠ΅ΡΠΈΡ
Π³ΠΎΠ΄ΠΈΠ½Π°, ΠΊΠ°Π΄Π° ΡΡ ΡΠΈΡ
ΠΎΠ²Π΅ Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ Π΄Π°Π»Π΅ ΡΠ²ΠΎΡΠ΅Π²ΡΡΠ½Ρ βΠΈΠ½ΡΠ΅ΠΊΡΠΈΡΡβ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠΊΠΎΠΌ Π΄ΡΡΡΡΠ²Ρ ΠΈ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»Π΅ Π΄Π΅ΠΌΠΎΠΊΡΠ°ΡΠΈΠ·Π°ΡΠΈΡΠΈ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ Ρ ΡΡΠΏΡΠΊΠΎΡ ΠΈ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΡ ΡΡΠ΅Π΄ΠΈΠ½ΠΈ. ΠΡΠΎΡΡΠ°Π²Π°ΡΠ΅ ΡΠΈΡ
ΠΎΠ²ΠΎΠ³ Π΄Π΅Π»ΠΎΠ²Π°ΡΠ° Ρ Π²ΠΈΡΠΈΠΌ Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΊΡΡΠ³ΠΎΠ²ΠΈΠΌΠ° Π±Π΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΏΠΎΠΊΠ°Π·Π°Π»ΠΎ ΡΠ΅ Π΄Π° ΡΠ΅ Ρ ΠΎΠ΄Π½ΠΎΡΡ Π΄ΠΎΠΌΠ°ΡΠΈΡ
ΠΌΡΠ·ΠΈΡΠ°ΡΠ° ΠΈ ΠΊΡΠΈΡΠΈΡΠ°ΡΠ° ΠΏΡΠ΅ΠΌΠ° Π ΡΡΠΈΠΌΠ° Π½Π° ΠΎΠΏΡΡΠ΅ΠΌ ΠΏΠ»Π°Π½Ρ ΠΏΠΎΡΡΠΎΡΠ°ΠΎ Π²Π΅Π»ΠΈΠΊΠΈ ΡΠ°Π· ΠΈ ΠΌΠ°Π»ΠΎ ΠΌΠ΅ΡΡΡΠΎΠ±Π½Π΅ ΡΠ°ΡΠ°Π΄ΡΠ΅. ΠΠ΅ΡΠ΅ΡΠΊΠΎ ΡΡ ΡΠ΅ ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠΈ ΠΈ ΡΡΠΈΡΠ°ΡΠΈ ΡΡΡΠΊΠΈΡ
ΠΌΡΠ·ΠΈΡΠ°ΡΠ° ΡΠΌΠ°ΡΠΈΠ²Π°Π»ΠΈ, ΠΈΠ°ΠΊΠΎ ΠΈΠΌ ΠΊΡΠΈΡΠΈΠΊΠ° Π½ΠΈΡΠ΅ ΡΠΏΠΎΡΠΈΠ»Π° Π²Π΅Π»ΠΈΠΊΠΈ Π΅Π½ΡΡΠ·ΠΈΡΠ°Π·Π°ΠΌ ΠΏΡΠΎΠΏΡΠ°ΡΠ΅Π½ Π²ΡΠ»ΠΎ ΡΠΊΡΠΎΠΌΠ½ΠΈΠΌ ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΈΠΌ ΡΡΠ΅Π΄ΡΡΠ²ΠΈΠΌΠ°. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΠ΅ ΠΈ ΡΠΏΠΎΡΠ΅ΡΠΈΠ²Π°ΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠΈΡ
ΠΊΡΠΈΡΠΈΠΊΠ° ΡΠΎΠ³Π° Π΄ΠΎΠ±Π° ΠΏΠΎΠΊΠ°Π·Π°Π»ΠΎ ΡΠ΅ ΡΠ°Π·Π»ΠΈΠΊΡ Ρ ΠΎΠ΄Π½ΠΎΡΡ ΠΏΡΠ΅ΠΌΠ° Π΄ΠΎΠΌΠ°ΡΠΈΠΌ ΠΈΠ·Π²ΠΎΡΠ°ΡΠΈΠΌΠ° ΠΈ Π ΡΡΠΈΠΌΠ°, ΠΊΠ°ΠΎ βΠ΄ΡΡΠ³ΠΈΠΌΠ°β. Π’Π°ΠΊΠ°Π² ΠΎΠ΄Π½ΠΎΡ Π±ΠΈΠΎ ΡΠ΅ Π΄Π΅Π»ΠΈΠΌΠΈΡΠ½ΠΎ ΡΡΠ»ΠΎΠ²ΡΠ΅Π½ ΡΡΡΠΊΠΎΠΌ ΡΠ΅ΠΆΡΠΎΠΌ Π΄Π° ΡΠ΅ ΠΏΠΎΠΊΠ°ΠΆΠ΅ Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½ΠΈ ΠΈΠ΄Π΅Π½ΡΠΈΡΠ΅Ρ ΠΈ ΡΠ°ΠΌΠΎΠ±ΠΈΡΠ½ΠΎΡΡ Π½Π° ΠΏΠΎΡΡ ΠΌΡΠ·ΠΈΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΡΡΠΏΡΠΊΠΈΠΌ/ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΈΠΌ ΡΡΡΠ΅ΠΌΡΠ΅ΡΠ΅ΠΌ Π΄Π° ΡΠΊΠ»ΠΎΠ½ΠΈ ΡΡΡΠ°Π½Π΅ ΡΠ°ΠΊΡΠΎΡΠ΅ ΠΈΠ· ΡΠΏΠ»ΠΈΡΠ°ΡΠ° Ρ ΡΠ°Π·Π²ΠΎΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ°. Π ΡΡΠΊΠΎΡ Π΅ΠΌΠΈΠ³ΡΠ°ΡΠΈΡΠΈ ΡΠ΅ ΠΊΡΠ»ΡΡΡΠ° ΠΏΠΎΡΡΠ°Π»Π° Π³Π»Π°Π²Π½ΠΈ ΡΠΈΠΌΠ±ΠΎΠ» Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½Π΅ ΠΈΠ΄Π΅Π½ΡΠΈΡΠΈΠΊΠ°ΡΠΈΡΠ΅, ΡΡΠΎΠ³Π° ΡΠ΅ ΠΎΠ½Π° ΠΏΠ°ΠΆΡΡ ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ ΡΡΠΌΠ΅ΡΠ°Π²Π°Π»Π° Π½Π° Π½Π΅Π³ΠΎΠ²Π°ΡΠ΅ ΡΠ²ΠΎΠ³ Π½Π°ΡΠ»Π΅ΡΠ°. ΠΠ±ΠΎΠ³ ΡΠΎΠ³Π° ΡΡ Ρ ΡΠ°Π΄Ρ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½Π΅ ΠΈ Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ ΡΡΡΠΊΠΈΡ
ΡΠ΄ΡΡΠΆΠ΅ΡΠ° β Π ΡΡΠΊΠΎΠ³ ΠΊΡΠΈΠΆΠ΅Π²Π½ΠΎ-ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠΎΠ³ Π΄ΡΡΡΡΠ²Π°, Π ΡΡΠΊΠΎΠ³ Π½Π°ΡΠΎΠ΄Π½ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ°, Π ΡΡΠΊΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ Π΄ΡΡΡΡΠ²Π° ΠΈ ΠΏΠΎΡΠ΅Π±Π½Π΅ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ΅ Ρ ΡΡΡΠΊΠΎΠΌ Π·Π°Π³ΡΠ°Π½ΠΈΡΡΡ β Π ΡΡΠΊΠΎΠ³ Π΄ΠΎΠΌΠ°. ΠΠ΅Π· ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°ΡΠ° ΡΠ°Π΄Π° ΡΠΏΠΎΠΌΠ΅Π½ΡΡΠΈΡ
ΡΠ΄ΡΡΠΆΠ΅ΡΠ° ΠΈ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ° ΡΠ»ΠΈΠΊΠ° ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π° Π½Π΅ Π±ΠΈ Π±ΠΈΠ»Π° ΡΠ΅Π»ΠΎΠ²ΠΈΡΠ°. ΠΠΎΡΠ΅Π΄ Π΄Π΅Π»ΠΎΠ²Π°ΡΠ° Π½Π° ΠΏΠΎΡΡ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅, Ρ ΡΠ°Π΄Ρ ΡΡ ΠΏΡΠΈΠΊΠ°Π·Π°Π½ΠΈ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡ Π ΡΡΠ° ΠΎΠ±ΠΎΠ³Π°ΡΠ΅ΡΡ ΠΏΠΎΠΏΡΠ»Π°ΡΠ½ΠΎΠ³ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΆΠΈΠ²ΠΎΡΠ° ΠΈ Π½ΠΎΠ²ΠΈΠ½Π΅ ΠΊΠΎΡΠ΅ ΡΡ ΡΠ½Π΅Π»ΠΈ Ρ Π½Π΅Π·Π°ΠΎΠ±ΠΈΠ»Π°Π·Π½ΠΈ Π±Π΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠΈ ΠΊΠ°ΡΠ°Π½ΡΠΊΠΈ ΠΆΠΈΠ²ΠΎΡ.
Π Π°Π΄ ΡΠ΅ Π±Π°Π·ΠΈΡΠ° Π½Π° ΠΎΠ±ΡΠ°Π΄ΠΈ Π½Π΅ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½Π΅ Π³ΡΠ°ΡΠ΅ ΠΈΠ· Π°ΡΡ
ΠΈΠ²Π° Ρ Π‘ΡΠ±ΠΈΡΠΈ ΠΈ Π ΡΡΠΈΡΠΈ β ΠΡΡ
ΠΈΠ²Π° ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, ΠΡΡΠΎΡΠΈΡΡΠΊΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π°, ΠΡΠ·Π΅ΡΠ° ΠΏΠΎΠ·ΠΎΡΠΈΡΠ½Π΅ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ Π‘ΡΠ±ΠΈΡΠ΅, Π¦Π΅Π½ΡΡΠ°Π»Π½ΠΎΠ³ Π΄ΡΠΆΠ°Π²Π½ΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° Ρ Π‘Π°Π½ΠΊΡ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³Ρ, ΠΊΠ°ΠΎ ΠΈ ΠΏΡΠΈΠ²Π°ΡΠ½ΠΎΠ³ Π°ΡΡ
ΠΈΠ²Π° ΠΠ»Π΅ΠΊΡΠ΅ΡΠ° ΠΠΎΡΠΈΡΠΎΠ²ΠΈΡΠ° ΠΡΡΠ΅ΡΠ΅Π²Π°. ΠΠΎΡΠ΅Π΄ ΡΠΎΠ³Π°, Π²Π°ΠΆΠ°Π½ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π» Π·Π° ΠΏΠΈΡΠ°ΡΠ΅ ΡΠ°Π΄Π° ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°Π»ΠΈ ΡΡ ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ΠΈ ΠΈΠ·Π²ΠΎΡΠΈ, ΠΌΠ΅ΠΌΠΎΠ°ΡΡΠΊΠ° Π³ΡΠ°ΡΠ°, ΡΡΠΏΡΠΊΠ° ΠΈ ΡΡΡΠΊΠ° ΠΏΠ΅ΡΠΈΠΎΠ΄ΠΈΠΊΠ°, ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΈ ΠΌΡΠ·ΠΈΡΠΊΠΈ ΡΠ°ΡΠΎΠΏΠΈΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΡΠ΅Π»Π΅Π²Π°Π½ΡΠ½Π° Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ° Π½Π° ΡΡΠΏΡΠΊΠΎΠΌ ΠΈ ΡΡΡΠ°Π½ΠΈΠΌ ΡΠ΅Π·ΠΈΡΠΈΠΌΠ°.The study explores one of the segments in the history of Serbo-Russian social relations: the arrival of Russian Γ©migrΓ©s after the October Revolution to the Kingdom of Serbs, Croats and Slovenes/Yugoslavia and their role in the development of the capitalβs music scene in the interwar period. It attempts to assess Belgradeβs interwar music life in light of the Russian influence on the local concert scene, music pedagogy, music historiography, everyday life and nightlife, as well as through the prism of Russian institutions rooted in the principles of their pre-revolutionary predecessors. Retracing their activities, it analyzes the evolution and changes in the field of music culture in the capital and the interaction between the host country and Russian Γ©migrΓ©s. The contribution of Russians to the local music scene is particularly striking in the first half of the 1920s when their activities gave an βinjectionβ to the capitalβs social life and contributed to the democratization of art music in the Serbian and Yugoslavian milieu. The research of their involvement in Belgradeβs high music scene has revealed a deep gap and little cooperation between local musicians and critics and the Russian newcomers. Often, the results and influences of Russian musicians tended to be minimized, although critics hardly disputed their impressive enthusiasm hampered by modest financial means. An analysis and comparison of music critiques from this period have shown a different attitude towards local performers and Russians as the βothers.β Such an attitude was partially the result of the Russian aspiration to display their national identity and self-relevance in the field of music and partly of the Serbian/Yugoslav tendency to remove any outside factors and limit their involvement in the countryβs musical life. For the Russian emigration, culture became the main symbol of national identification, and hence they focused their efforts on cultivating their own heritage. The study, therefore, includes an analysis of the activities of Russian cultural associations: the Russian Association for Literature and Arts, Russian Peopleβs University, Russian Music Society, and the Russian House (cultural center), an institution of particular importance beyond the territory of Russia. Without investigating the efforts of those societies and institutions, the landscape of Belgradeβs interwar music scene would have been incomplete. Besides their involvement in art(or cultivated) music, the study showcases the Russian contribution to the enrichment of popular music life and the innovations they introduced into Belgradeβs nightlife and bar scene.
This study is based on unpublished material kept in archives in Serbia and Russia: the Archive of Yugoslavia, Historical Archive of Belgrade, Museum of Performing Arts of Serbia, and the Central State Historical Archive of St. Petersburg, as well as the private archive of Aleksey Borisovich Arsenyev. In addition, relevant material was found in published sources, memoirs, Serbian and Russian periodicals, interwar music journals, and relevant literature in Serbian and other languages