Jugoslovenska elektroakustička muzika pre sedamdesetih: Produkcija i promocija na Muzičkom bijenalu Zagreb i na Jugoslavenskoj muzičkoj tribini

Osnivanjem Elektronskog studija Radija Beograd (1971), započinje zrela faza jugoslovenske elektroakustičke muzike, čime ona dobija i svojevrsnu institucionalizaciju u zemlji. No, budući da domaći autori interesovanje za elektronski medij pokazuju znatno ranije, boraveći i usavršavajući se u inostranim centrima, period pre osnivanja prvog jugoslovenskog elektronskog studija mogao bi se definisati kao rana faza jugoslovenske elektroakustičke muzike. Skromna elektroakustička produkcija započinje pedesetih godina, ali šezdesetih će vidno početi da raste. Njenoj ekspanziji umnogome će doprineti osnivanje festivala u Jugoslaviji, Muzičkog bijenala Zagreb/MBZ (1961) i Jugoslavenske muzičke tribine/JMT (1964), kao adekvatnih mesta za afirmaciju i promociju modernističkih stremljenja. Na ovim se festivalima, gotovo od početka, intenzivno promovisalo elektroakustičko stvaralaštvo, te se uvid u repertoare pomenutih manifestacija pokazuje kao izuzetno pogodan metod za rekonstrukciju slike o domaćoj elektroakustičkoj muzičkoj produkciji pre osnivanja prvog elektronskog studija u Jugoslaviji. Dakle, u radu se osvetljava neretko zanemaren period razvoja elektroakustičke muzike jugoslovenskih autora, počev od pedesetih godina prošlog veka, dok se pomenuti festivali tumače kao glavni akteri u popularizaciji elektronskog medija u jugoslovenskoj umetničkoj muzici.Establishment of the Electronic Studio Radio Belgrade (1971) represents the beginning of a new period, as well as the kind of institutionalization of the electroacoustic music in Yugoslavia. However, given the fact that Yugoslav composers (who worked in the foreign music centers) have already produced some electroacoustic pieces during the 1950s and the 1960s, this period could be defined as the early age of Yugoslav electroacoustic music. This research will focus on the Music Biennale Zagreb (MBZ, founded in 1961) and the Yugoslav Music Tribune (YMT, founded in 1964) – festivals that have directly caused the progress and the great expansion of the electroacoustic music production in Yugoslavia. Considering that electroacoustic music was intensely promoted at these festivals, the repertoirs of the MBZ and the YMT proved to be an absolutely suitable method for reconstructing the image of Yugoslav electroacoustic works produced before the establishment of the first electronic studio in the country. Therefore, on the one hand, this paper gives a brief overview of the often neglected period of the development of Yugoslav electroacoustic music. On the other hand, this study has found that mentioned festivals could be interpreted as the main actors for the popularization of the electronic media in Yugoslav art music

Nove (inter)nacionalne perspektive jugoslovenske umetničke muzičke scene (Muzički bijenale Zagreb i Jugoslavenska muzička tribina)

Godine 1961. održan je prvi međunarodni festival savremene muzike u SFRJ – Muzički bijenale Zagreb (Muzički biennale Zagreb). Otvorivši jugoslovenskoj publici horizonte ka savremenoj evropskoj i američkoj muzici, Bijenale je postavio i pitanje u vezi sa stanjem jugoslovenske muzike, a koje je glasilo: „gde smo tu mi?“ Na taj način je Bijenale, uz opatijski simpozijum Nova muzika i muzičke interpretacije (održan 1962. godine) inicirao osnivanje nacionalnog festivala u Opatiji – Jugoslavenska muzička tribina (1964), kao mesta gde bi se jednom godišnje sagledala realna slika muzičkog stvaralaštva Jugoslavije. Ova smotra predstavljala je svojevrsnu „izložbu“, na kojoj bi svoja dela predstavili bukvalno svi – od mladih studenata kompozicije do afirmisanih imena jugoslovenske umetničke muzičke scene. Tako koncipirana, Jugoslavenska muzička tribina predstavljala je svojevrsnu pripremu jugoslovenskim kompozitorima za inostranu muzičku scenu, što znači – i za Muzički bijenale Zagreb. U radu je ukazano na međusobna strujanja između Zagreba i Opatije, odnosno na čvrstu povezanost i komplementarni odnos dva festivala.The first international festival of contemporary music in the Socialist Federal Republic of Yugoslavia was organized in 1961 – Music Biennale Zagreb, which immediately made of the city of Zagreb, as well of the whole country (that, because of its specific position, was a "union" of Eastern and Western avant-garde), a very important center on the European music stage. The first Music Biennale Zagreb, as an extremely powerful tool toward the democratization of the music and the culture in our society, got a very positive critique, because the new horizons toward the latest contemporary European and American music were opened to the Yugoslavi audience; but, on the other hand, the festival opened also a different question, relative only to us and to the music of Yugoslavia, and it was – „where is our place here?" That’s why Biennale, during a symposium New Music and Musical Interpretation which was organized one year later in Opatija, directly initiated the formation of new festival, of national character, called Yugoslav Music Tribune (1964), which would have been a yearly occasion to realize the real situation of musical production in Yugoslavia. The fact that the Yugoslav Music Tribune in Opatija represented, as its founder, Branimir Sakač, said, the instrument for mutual understanding, the news review about creation and mutual meeting, indicates the right idea of ​​Yugoslav Music Tribune as a kind of "exhibition" where everyone would present his own works – from young composition students to the prominent names of Yugoslav art music scene. This annual review of the entire music art production in Yugoslavia was, in fact, the only possible review form of the current state of the national music creativity. In this way, the Yugoslav Music Tribune since its founding has represented for Yugoslav composers a kind of preparation for the foreign music stage, and it meant, also, for the Music Biennale Zagreb. That’s why we can say that the first Yugoslav Music Tribune was a reached goal, but also the beginning of the new period in the Yugoslav music history. The paper, in the political context, points to the present of the mutual running between Zagreb and Opatija, and the close and complementary relationship between the two mentioned festivals, as well

Music Festivals and Applied Musicology: Problems and Perspectives

Koncertni program centralni je deo muzičkog festivala, koji ima neprocenjivu ulogu u afirmaciji i promociji kompozitora i njihovih dela. Međutim, osim koncerata, savremena organizaciono-programska struktura muzičkog festivala gotovo redovno uključuje i prateći sadržaj. Predavanja, okrugli stolovi, tribine, panel diskusije, samo su neke od formi za javnu prezentaciju naučne, a u ovom slučaju, muzikološke misli, koje neretko obogaćuju sadržaje muzičkih festivala. Na taj način, muzički festivali postaju događaji “hibridnog” karaktera, koji mogu da se tumače kao svojevrsne “muzičko-muzikološke manifestacije”. S tim u vezi, muzički festivali u ovom su radu tumačeni kao potencijalne platforme za promociju istraživača u oblasti muzike. Osim toga, cilj istraživanja je da ukaže na višestruki značaj implementacije muzikoloških kompetencija u samu organizaciju muzičkih festivala, koja u praksi često izostaje

The Tradition of Troubadours and Pluralism in the Early Medieval Ballade

U fokusu ovog rada je balada anonimnog autora iz 13. veka, naslovljena A’lentrada del temps clar. Uprkos činjenici da je balada kao specifičan književno-muzički žanr postojala znatno pre 14. veka (od kada se prati njena zrela faza), u literaturi su vrlo retko analizirani rani primeri ovog žanra. Analitičkim pristupom pomenutoj baladi dokazuje se postojanje gotovo svih elemenata, karakterističnih za zrelu baladu, ukazuje na “napredan” muzički jezik anonimnog kompozitora, te se definiše izrazita hibridnost baladnog koncepta kao neodvojivog činioca trubadurske tradicije.This paper will focus on the ballade A’lentrada del temps clar by an anonymous author from the 13th century. Despite the fact that the ballade existed as a specific literary-music genre before the 14th century, early medieval ballades are rarely analyzed in the literature. An analytical approach to the above mentioned song, proves the existence of almost all the characteristic elements of a modern ballade, as well as “advanced” musical language. In addition, this study’s findings suggest that the early medieval ballade is an extremely hybrid and multifaceted genre, embedded in the essence of the troubadours tradition

Реакције на први Mузички бијенале Загреб (1961) у београдској дневној штампи

As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (founded in 1961) attracted a lot of domestic and foreign media attention. This study discusses the reception of the first Music Biennale in the Belgradian daily newspapers, Politika [Politics], Borba [Struggle] and Večernje Novosti [Evening News], with reference to the characteristics of the editorial policies of these three newspapers. The timely and active reporting of the daily press in Belgrade indicates that the first Music Biennale Zagreb was promptly recognised as an important modernist musical festival for the then cultural life of the whole of Yugoslavia.Основан 1961. године, Музички бијенале Загреб, први фестивал савремене музике у социјалистичкој Југославији, од почетка је привлачио велику пажњу домаће и иностране јавности. У раду се анализира одјек првог Музичког бијенала у београдским дневним новинама, Политици, Борби и Вечерњним новостима, при чему се указује и на карактеристике уређивачких политика ових трију листова. Правовремено и активно извештавање београдске дневне штампе о првом загребачком Бијеналу сведочи о промптно препознатом значају ове авангардне манифестације за тадашњи културни живот целокупне Југославије

Yugoslav electroacustic music before the 1970s: production and promotion at Music Biennale Zagreb and Yugoslav Music Tribune

Osnivanjem Elektronskog studija Trećeg programa Radio Beograd (1971), započinje zrela faza jugoslovenske elektroakustičke muzike, čime ona dobija i svojevrsnu institucionalizaciju u zemlji. Skromna elektroakustička produkcija započinje pedesetih godina, ali šezdesetih će vidno početi da raste. Njenoj ekspanziji umnogome će doprineti osnivanje festivala u Jugoslaviji, Muzičkog biennala Zagreb 1961. godine (MBZ 1961) i Jugoslavenske muzičke tribine 1964. godine (JMT 1964), kao adekvatnih mesta za afirmaciju i promociju modernističkih stremljenja. Dakle, u radu se osvetljava neretko zanemaren period razvoja elektroakustičke muzike jugoslovenskih autora, počev od pedesetih godina prošlog veka, dok se pomenuti festivali tumače kao glavni akteri u popularizaciji elektronskog medija u jugoslovenskoj umetničkoj muzici.The establishment of the Electronic Studio Third program at Radio Belgrade (1971) represents beginning of a new period, as well as the institutionalization of electroacoustic music in Yugoslavia. This research will focus on the Music Biennale Zagreb (MBZ), founded in 1961, and the Yugoslav Music Tribune (YMT), founded in 1964 – festivals that have directly caused the progress and great expansion of electroacoustic music production in Yugoslavia. Therefore, on the one hand, this paper gives a brief overview of the often neglected period of the development of Yugoslav electroacoustic music. On the other hand, this study has found that the above-mentioned festivals could be interpreted as the main actors for the popularization of electronic media in Yugoslavian music.11. Međunarodni simpozij Muzika u društvu, Sarajevo, 25-27. oktobar 2018. / 11th International Symposium Music in Society, Sarajevo, October 25-27, 2018

Calculation of the Archard's wear coefficient of the polymer-based composite sliding bearings

Prediction and calculation of wear of the mechanical components in contact is one of the most important tasks in modern engineering. Due to time consumptive experiments and quite expensive test rig, it became even more challenging to evaluate wear by means of the computer simulation instead of the real experiments. With rapid improvement of the computer resources, this task became more realistic, and the results are more concurrent to those obtained by experiments. Since the most of the solvers evaluate wear by means of the Archard's equation, to perform the simulation it is mandatory to determine Archard's coefficient K. This paper provides necessary steps, experimental investigations and measurements in order to calculate Archard's coefficient K, as an input value for the simulation of wear of the polymer-based composite sleeve bearings

Wear simulation of the polymer based composite sliding bearings by means of ansys

Polymer based composite sliding bearings are increasingly applied in many industries, due to their economic (usually low cost of production) and technical (good tribological properties) benefits. In order to predict their life cycle, it is necessary to perform numerous experiments and evaluate their wear rate. This is generally quite expensive and time consuming. By applying only one series of the experiments and determining Archard’s wear coefficient, and embedding it into the code of the Ansys software, it is possible to simulate the wear, and thus save the time and the financial resources. This paper explains the procedure of the wear simulation in case of known Archard’s coefficient, for sliding bearings made of PTFE polyamide composite material in contact with shaft of steel. The output of the simulation is the contact pressure in relation of time and the amount of worn volume for 3 revolutions of the shaft