On music and art in the journal Danica (1860-1872)

This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances), new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyze the narrative style of these articles. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges

Српско-руске везе у хорској црквеној музици XIX века

In this study I am concerned with Russian and Serbian choral church music. Two Slavic traditions of church singing, both with the Byzantine roots, initially developed as monodies; over the centuries they acquired polyphonic attire – the former since the 17th century, and the latter only since the 1830s. In the nineteenth century, at a time when polyphonic singing was just entering the liturgical practice of the Serbian Church, Russian choral music already had a rich, two centuries-long history and it was entering a new stage of development. Therefore, in this study, my analytical approach is primarily directed towards two different fields of church and artistic creativity, dependent on different cultural and historical terms and conditions. I have attempted to overview these two different dynamics of development by explaining certain aspects of the treatment of monodic church chant in Russian and Serbian choral compositions of the nineteenth century. I have also tried to raise questions about certain relationships and the points of direct contacts between these two traditions.Предмет истраживања у овом раду биле су руска и српска традиција хорске црквене музике у XIX веку, два различита поља црквено-уметничког стваралаштва, са различитим динамикама развоја. Покушали смо да их представимо тумачећи поједине аспекте третмана једногласног црквеног напева у руској, односно српској хорској композицији XIX века. У овом контексту, дат је кратак осврт на стваралаштво композитора руске „петербуршке“ и „московске“ школе, односно преглед главних карактеристика композиционих поступака којима су прибегавали српски композитори у XIX веку. У српској музиколошкој литератури често се говори о утицајима руске црквене музике на традицију српског хорског појања, иако могућности праћења путева ових утицаја до сада нису прецизно дефинисане. У раду су осветљена питања о појединим директним везама и додирним тачкама између двеју традиција. Међу кључним тачкама истакнуте су активности појединаца, у приватним и професионалним везама са Русијом, дела руских аутора на репертоару српских хорова, као и интересовање руских композитора и историчара црквене музике за традицију српског појања у контексту ширих историјских, културолошких и музиколошких истраживања

Напеви српског црквеног поjaњa у мелографским записима и хармонизациjама Корнелиjа Станковића

Es ist bekannt, dass die ersten melographischen Aufzeichnungen des traditionellen serbischen Kirchengesangs durch Bemühung von Kornelije Stanković (1831–1865) entstanden sind. Umfangreiche Sammlung der Kirchenmelodien ist in Sremski Karlovci (1854–1857) gemäß dem Gesang der hervorragenden Kirchensänger von Karlovci und von Fruška Gora aufgezeichnet worden. Unter diesen Kirchensänger waren orthodoxe Prister Atanasije Popović und Nikanor Grujić, Schriftsteller und Dichter, Episkopus von Pakrac, welcher den Kirchengesang von Dionisije Čupić und Jerotije Mutibarić gelernt hat. Sie sind besonders verdienstvoll für Pflegen des traditionellen serbischen Kirchengesangs von Karlovci. Bei der Arbeit an der Notierung des Gesangs im Zeitabschnitt, als auch in der Serbischen Kirche die Frage der Einführung der mehrstimmigen Musik in den Gottesdienst aktuell geworden war, harmonisierte Stanković nach der Notierung auch die meisten Melodien für den vierstimmigen Chor.Познато је да су први мелографски записи традиционалног српског црквеног појања настали трудом Корнелија Станковића (1831-1865). Обиман корпус црквених мелодија забележен је у Сремским Карловцима (1854–1857), према појању врсних карловачких и фрушкогорских појаца, међу којима су били прота Атанасије Поповић и Никанор Грујић, књижевник и песник, пакрачки епископ, у појању ученик Дионисија Чупића и Јеротеја Мутибарића, посебно заслужних за неговање традиционалног српског, карловачког појања

The contribution of Edison Bell Penkala to presentation and preservation of church music tradition: The Conservatory of Serbian Orthodox Church Chant

In this paper I will present the first project of sound recording of the Traditional Serbian Church Chant and the edition of Edison Bell Penkala from 1933, as the result of that project

Documentary Literature as a Source for Musicological Research : The Relations between the Serbian Literary and Music History of the 19th Century

The aim of this paper is to present some of the main findings of a research on the Serbian documentary prose of the second half of the 19th century, and to show that documentary literature is a significant source for musicological research. This issue of the status of music as a theme in contexts of memoir narrating will be discussed, taking stylistic and formal features of the genres of documentary prose into consideration. Drawing upon genetic criticism, the documentary testimonies on music and musical life will be presented in parallel with interpretation of various external influences to the creation of documentary works. Within the same theoretical framework, the documentary memories' contribution to the music historiography will be also discused

Проучвания върху православната църковна музика в България и Сърбия във втората половина на ХХ век

Целта на тази статия е да предложи сравнителен анализ на развитието в проучванията върху православната църковна музика, извършвани в България и Сърбия от 60-те години на ХХ век. Съществено е да се отбележи, че е налице подновяване на интереса към старата църковна музика на православните народи в условията на неблагоприятната социалнополитическа среда в периода на социалистическо управление в двете страни. Текстът разглежда хронологично развитието на този интерес, някои фундаментални насоки в провежданите изследвания, както и сходствата в методологията. Такива сходства са например фокусирането върху палеографски, текстови и структурни анализи на стари невмени ръкописи с отчитане на влиянията на византийските песнопения върху музиката на славянските страни, отбелязване на двустранните българо-руски и сръбско-руски музикални връзки и т.н. Международният фестивал и конгрес Musica Antiqua Europae Orientalis, провеждан в Бидгошч, е възлова точка, в която се срещат българските и сръбските специалисти. Ракурсите на изследване в полето на българската и сръбската музика се разглеждат в сравнителен план и в един по-широк контекст на осмисляне на старата музика от Централна и Източна Европа

Hausmusizieren beim serbischen Bürgertum im 19. Jahrhundert: Auf der Spur der Memoirenliteratur, Heft 20

Die Parallelität der verschiedenen Kulturmodelle, die aus zwei Zivilisationskreisen, dem bürgerlichen Europa und der balkan-osmanischen Kultur, abstammen sowie die allgemeine politische Situation und die religiöse Zugehörigkeit bedingten die Erscheinung eines kulturellen Pluralismus unter den Serben, die im 19. Jahrhundert auf dem Gebiet der Habsburgermonarchie, Österreich-Ungarns und im Fürstentum und Königreich Serbien lebten. Auf die Prädisposition für eine Kulturentwicklung wirkten die geografischen und klimatischen Eigenschaften und staatlichen Rahmenbedingungen ein, und kulturelle Modelle wurden aufgrund der aktuellen ideellen, religiösen, bildungsbezogenen, staatlichen, sozialen und wirtschafts-ökonomischen Entwicklungsrichtungen sowie der traditionellen Praktik gebildet. Jedes der erwähnten Kulturmodelle wurde in den historischen Studien auch durch verschiedene Formen des Privatlebens und das Spezifikum der Beziehungen zwischen den privaten und öffentlichen Sphären ausgelegt

Great chant in the liturgical practice of the Serbian Orthodox Church

In the Serbian traditional liturgical music, great chant is the term which appeared in the 19th century, implying very melismatic melodies of certain liturgical hymns. Probably the examples of melismatic music had existed also in former centuries, but that can be determined only partially, considering the analysis of texts from liturgical books which show that repeated vowels in text actually signified melismatic melodies. In the last quarter of the 19th century, certain clergy, teachers and good connoisseurs of traditional chant, as well as the students of the Seminary in Sremski Karlovci, wrote down collections of great chant in the modern European notation. Our aim is to present the existing collections and liturgical hymns which had both, their syllabic and developed melismatic versions, as well as to analyze the melismatic melodies themselves.International Musicological Conferenc

Mirjana Belić Koročkin Davidović and Radivoje Davidović: Eнрико Јосиф: виђења и сновиђења [Enriko Josif: Views and Visions]. Belgrade: Čigoja štampa [Čigoja publishing], 2022, 333 pp. ISBN 978-86-531-0736-9

Fundamental research is of exceptional significance for the musicological interpretations of various historical currents and phenomena in art and culture, and particularly for exploring composers’ lives and creation. In Serbian music historiography, it is not unusual to conduct basic research and produce documentary materials that do not belong to the field of musicology but exert considerable influence and greatly contribute to future research

Recordings of Twentieth Century Serbian Church Chant – Material Evidence of Intangible Cultural Heritage

Traditional Orthodox Serbian church chant, based on the older Greek, Byzantine and Serbian church chant tradition, was set on its course at the end of the eighteenth and the beginning of the nineteenth century. In the history of Serbian church music this was a turning point to the new period. After the Great Migrations of the Serbs to the Habsburg monarchy (at the end of the seventeenth century), the musical tradition with Byzantine basis and with the roots in the work of the brothers Cyril and Methodius continued its living and gradually modified in the new cultural space. Serbian, that is, Byzantine musical practice was ’confronted’ with the music of Western Europe and Europeanized Russian church music. Among the other influences, the diverse musical life in the new environment encouraged ’adaptation’ to the European musical style. Nevertheless, the need for preservation of the national identity and religious affiliation was dominant among Serbs in the Austro-Hungarian Empire