Predrag Milošević - portret muzičkog stvaraoca

Predrag Milošević (1904–1988) was a composer, conductor, pianist, professor, music writer and organizer. A multitalented and versatile creative music figure, he enriched and contributed to the musical life in Serbia in the inter-war and post-war periods in many ways. His compositional oeuvre – although relatively small – represents a valuable milestone in the history of Serbian music, most no-tably with the genres of chamber and symphonic music. The monograph Predrag Milošević – Portrait of the Music Artist, highlights all of his versatile artistic ac-tivities. Milošević was born in Knjaževac, Serbia in 1904. He started piano studies at the Academie der Tonkunst in Munich (with Professor Eduard Bah) from 1922– 24, then continued studies of piano, and also composition and conducting at the State Conservatory in Prague, where he studied with professors Jaroslav Křička (composition) and Pavel Dědeček (conducting). Milošević mastered composi-tion with Josef Suk at the Meister School in Prague, and also attended a master class in conducting with Nikolai Malko. The central position in his professional trajectory was occupied by con-ducting, which lasted for several decades and gave fruitful results. He started as a choir conductor already in his student days in Prague, leading the choir “Hlahol” which was quite famous and internationally recognized at that time. After returning to his homeland, Milošević was engaged as the Opera conductor in the Belgrade National Theater (from 1932 to 1941), conducting over twenty opera and ballet premieres of both international and domestic works. He was the only Serbian conductor of that time who had five of the most important Mozart’s operas on the repertoire (The Magic Flute, Cosi fan tutte, Don Giovanni, The Abduction from the Seraglio , Le nozze di Figaro). At the same time, he also acted as the choir-leader of the Belgrade Singing Society (Beogradsko pevačko društvo), performing well known cantatas, oratorios and church choir music by Dvořák, Handel, Verdi, Mokranjac and others. This important domain of his work is presented in a separate chapter (III. PERIOD OF RISING – VERSATILE CONTRIBUTIONS TO THE MUSIC LIFE OF BELGRADE 1932–1941, III.1, III.2. III.3) and documented with many excerpts from reviews published in daily newspapers and periodicals from the inter-war period. During the Second World War, Milošević was imprisoned in camps in Warburg, Nürnberg and Hamelburg in Germany. In difficult times and condi-tions, he still managed to organize quite a rich music life, establishing a “Music Section” with a choir, chamber orchestra, giving performances, organizing lec-tures in various fields of music theory. A separate chapter of this book is dedicated to this period of hardship in Milošević’s life, based on the memoirs that he published in a joint collection of memories Muzika iza bodljikavih žica / Music behind Barbed Wires. After the war, Milošević continued with his engagement as the opera con-ductor at The National Theater in Belgrade (1945–55), then at the Serbian National Theater in Novi Sad (1955–60), where he acted also as the director for two years. From 1945, Predrag Milošević was employed as the professor of com-position at the Music Academy; from 1948 he also led a class of conducting, and from 1960–67 was the Dean of this institution. Among his versatile activities, the book also gives an insight to Milošević as a pianist, lecturer and music writer. For many years, he published music reviews in periodicals. Being the most long-standing and central area of his artistic career, conduct-ing was perhaps the reason why Milošević did not manage to compose more. Namely, Sonatina for piano, String Quartet and Symphonietta – which he com-posed during his studies, are his only three significant works, but their quality positions Milošević as an important figure in the history of Serbian music. The value and significance of these three compositions are not only historical in the sense of documenting a period in Serbian music history; these works are highly professional, showcasing a skillful compositional technique, individually round-ed, fresh in ideas, expression and sound even today. As such, they rightfully de-serve to be thoroughly analyzed and that is why the sixth chapter is the longest and most important part of this monograph. The encompassing results of precise analytical interpretation of his compositional oeuvre – presented here – are the first of this kind in our musicological-theoretical literature. The interesting point in Milošević’s compositional expression is that he start-ed with impressionism in the Sonatina, and then stylistically turned to neo-ba-roque and neoclassicism in the String Quartet and Symphonietta. Like many of his fellow composers who studied in Prague (known as The “Prague Group”) and brought some of the new, contemporary tendencies from Prague back home – thus enriching Serbian music, Milošević turned to these new tendencies, but they were filtered through his own artistic prism. Thus, the stylistic turn from impressionism to neoclassicism in such a short period (1926–30) and within only a few compositions, was even more compact and strikingly successful. The main characteristics of Milošević’s compositional style are: a distinc-tive linear-melodic flow paired with skillful transformations of motifs, leading to thematic unity; polyphonic textures, also displaying his mastery in counter-point techniques; well-orchestrated rhythmic and harmonic ostinatos, and spe-cific sense for rhythmic movement and metric diversity. Harmonic features in the Sonatina show impressionistic obscuring of tonal functions, which evolve to free tonality in the Quartet and atonality in Symphonietta with dissonant chordblocks built of fourths, bi-chords, and “mini-clusters”. Milošević’s treatment of form, on the one hand, shows a traditional starting point (sonata form, rondo, fugue, ternary forms), but it is enriched with individual interventions on the other hand, which lead to merging of different formal patterns. The sonata cy-cle of the String Quartet introduces baroque forms of each movement: Preludio, Passacaglia, Fugue, merging a compressed sonata form of the first movement with imitative and fugato-like sections; the third movement is a rondo form but in a manner of the fugue. The polyphonic texture as being logical in the neo-baroque Quartet, is linked not only to this composition; it is also present in Symphonietta as the result of various counterpoint techniques which Milošević masterly employs, and can be observed as one of the defining characteristics of his own compositional style. The use of block-type ostinatos and static ostina-tos with a resulting coloristic effect, the emerging of thematic material from the mutual core, the “synthetic” principle in section building, along with the harsh and dissonant harmonic structures, fourth-chord blocks, bi-tonal and poly-tonal plains – all these combined stand as the most significant features of Milošević’s compositional style in Symphonietta. Sonatina, String Quartet and Symphonietta, despite being his student (and graduation) compositions, show all the attributes of a mature author. Characterized by the richness of thematic ideas, original melodic profile, undu-lating metro-rhythmic sculpting and compositional proficiency, these composi-tions stand not only as his personal creative peak, but represent exemplary pieces in the anthology of Serbian music.Kompozitor, dirigent, pijanista, muzički pisac, pedagog, redovni profesor i dekan Fakulteta muzičke umetnosti, prevodilac, organizator muzičkog života, društveno angažovan poslenik, sve su to bila profesionalne okupacije vezane za ime samo jedne ličnosti – Predraga Miloševića, čije je sveukupno stvaralačko zračenje ostavilo dubokog traga u izgrađivanju srpske muzičke kulture i umnogome ga na osoben način obogatilo. Predrag Milošević rođen je 11. februara 1904. godine u Knjaževcu, malom mestu istočne Srbije; preminuo je januara 1988. godine u Beogradu. Autorka ove monografije imala je čast i zadovoljstvo da lično upozna Predraga Miloševića 1986. godine. Susreti sa njim su se odvijali u prijatnoj poslovnoj atmosferi u njegovom domu u Gogoljevoj ulici na Banovom Brdu. Pričao je o svojoj mladosti i dolasku u Beograd, evocirao sećanja sa školovanja, studija, putovanja, o vremenu provedenom u logoru za vreme Drugog svetskog rata. Govorio je o dirigentskoj i pedagoškoj karijeri. Iako sa izuzetno raznolikim i bogatim životnim i profesionalnim iskustvom, pripovedao je skromno ali sa žarom, zanimljivo i živo, sa puno duhovitih dosetki. U to vreme, iako u poodmaklim godinama, Milošević je radio na svojoj knjizi „O drugima – o sebi”. Nažalost, u delu zaostavštine Predraga Miloševića, poklonjenom Fakultetu muzičke umetnosti u Beogradu, nije nađen trag o ovom rukopisu i nije poznato da li ga je završio. U to vreme je i dalje aktivno pisao i prevodio, i sa budnom pažnjom pratio sva značajnija događanja u svim oblastima kulturnog života, često uzimajući i sam učešća u njima. Iako tako mnogostranog umetničkog profila, celokupna delatnost Predraga Miloševića nije do sada bila predmet šireg, sveobuhvatnog sagledavanja, koji po značaju svakako zaslužuje, te ova monografija ima za cilj da osvetli stvaralački doprinos i ostvareni kvalitet u svim domenima njegovog delovanja

Drvengrad i Andrićgrad u razvoju ideje i koncepta heterotopnih prostora - tematski parkovi i "tematski gradovi"

Heterotopic spaces represent a more present phenomenon in contemporary architecture since the utopic thought, concept, narrative and revolutionary programme in architectural discourse as well as generally in socio-political setting has arguably come to an end. The aim of this paper is to explain the heterotopic concept broadly as well as to offer the possibility of viewing and clarifying it through conceptualization of theme parks and "theme towns". While theme parks "improve" corporative scenery, theme towns came into being as a product of an artistic initiative, which alongside their conceptualization in the sense of façade formation have the tendency to promote both commercial and artistic content. The very thesis of the paper is based on the possibility of detecting phenomena which point at the presence of "otherness" in architecture beyond what belongs to the category of everydayness and commonness. It is assumed that the realizations present in the development of an idea and the conception of the theme parks and "theme towns" as forms of artistic aspirations, especially regarding domestic examples of Drvengrad and Andricgrad, are the reflection of the current tendencies within heterotopic discourse.Prostori heterotopija predstavljaju sve zastupljeniji fenomen u savremenoj arhitekturi, budući da je primetan, uslovno rečeno, kraj utopijske misli, koncepcije, narativa, revolucionarnog programa, kako u arhitektonskom diskursu, tako i uopšte u društveno-političkom ambijentu. Cilj ovog rada je pojašnjenje heterotopnog koncepta, kao i mogućnost njegovog sagledavanja i pojašnjenja kroz prikaz primera tematskih parkova i "tematskih gradova". Dok tematski parkovi "upotpunjuju" korporativni pejzaž, "tematski gradovi", koji su nastali kao produkt umentničke inicijative i koji pored koncipipiranja u vidu kulisnih formacija, poseduju tendenciju za promovisanjem, kako komercijalnih, tako i umetničkih sadržaja. Sama teza rada se zasniva na mogućnosti detektovanja fenomena, koji ukazuju na prisustvo "drugosti" u arhitekturi, izvan onoga što se svrstava u kategoriju sdvakodnevice i uobičajenosti. Pretpostavlja se da su relacije, koje postoje u razvoju ideje i koncipiranja "tematskih gradova", kao vida umetničkih aspiracija, posebno kada je reč o domaćim primerima, Drvengradu i Andrićgradu, odraz aktuelnih tendencija unutar heterotopnog diskursa

Увод: Музика и етномузикологија – сусрети на Балкану

This paper presents an overview of the latest experiences in ethnomusicological research based on the texts incorporated in this collection of works. These experiences emanate primarily from the local researchers’ works on music of the Balkans, with a heightened theoretical and methodological dimension. The distinctive Balkan musical practices, created through the amalgamation of elements from different cultures, ethnicities, and religions, made this geo-cultural space intriguing not only to researchers from this very region but also to those from other cultural communities. A theoretical framework for interpreting these practices together with the contemporary research methods stem from interactions of local scientific communities’ experiences, sources and practices they deal with, circumstances, ideologies and politics, including the influences of the world’s dominant ethnomusicological communities as well as researchers’ individual affinities and choices. A comparison with the research strategies applied in similar, transitory geo-cultural spaces contributes to a more complex exploration of the Balkan ethnomusicologists’ experiences.Рад доноси преглед новијих искустава у етномузиколошким истраживањима музика Балкана, првенствено на основу радова који чине овај зборник. Пажња је кључно усмерена на теоријско-методолошку димензију. Специфичне музичке праксе Балкана, формиране амалгамисањем елемената различитих култура, етницитета и религија, учиниле су овај гео- културни простор интригантним не само за истраживаче из самог региона, већ и за оне из других културних средина. Теоријски оквири у којима се оне интерпретирају и методе које се данас користе у истраживањима резултат су интеракција искустава локалних научних заједница, извора и пракси којима се баве, околности, идеологија и политика, укључујући и утицаје доминантних светских етномузиколошких заједница и индивидуалних афинитета истраживача. Комплексније разматрање искустава етномузиколога са Балкана остварено је поређењима са истраживачким стратегијама примењиваним на сличним, транзиторним геокултурним просторима

Bibliografija Predraga Miloševića

Predrag Milošević (1904–1988) was a composer, conductor, pianist, professor, music writer and organizer. A multitalented and versatile creative music figure, he enriched and contributed to the musical life in Serbia in the inter-war and post-war periods in many ways. His compositional oeuvre – although relatively small – represents a valuable milestone in the history of Serbian music, most no-tably with the genres of chamber and symphonic music. The monograph Predrag Milošević – Portrait of the Music Artist, highlights all of his versatile artistic ac-tivities. Milošević was born in Knjaževac, Serbia in 1904. He started piano studies at the Academie der Tonkunst in Munich (with Professor Eduard Bah) from 1922– 24, then continued studies of piano, and also composition and conducting at the State Conservatory in Prague, where he studied with professors Jaroslav Křička (composition) and Pavel Dědeček (conducting). Milošević mastered composi-tion with Josef Suk at the Meister School in Prague, and also attended a master class in conducting with Nikolai Malko. The central position in his professional trajectory was occupied by con-ducting, which lasted for several decades and gave fruitful results. He started as a choir conductor already in his student days in Prague, leading the choir “Hlahol” which was quite famous and internationally recognized at that time. After returning to his homeland, Milošević was engaged as the Opera conductor in the Belgrade National Theater (from 1932 to 1941), conducting over twenty opera and ballet premieres of both international and domestic works. He was the only Serbian conductor of that time who had five of the most important Mozart’s operas on the repertoire (The Magic Flute, Cosi fan tutte, Don Giovanni, The Abduction from the Seraglio , Le nozze di Figaro). At the same time, he also acted as the choir-leader of the Belgrade Singing Society (Beogradsko pevačko društvo), performing well known cantatas, oratorios and church choir music by Dvořák, Handel, Verdi, Mokranjac and others. This important domain of his work is presented in a separate chapter (III. PERIOD OF RISING – VERSATILE CONTRIBUTIONS TO THE MUSIC LIFE OF BELGRADE 1932–1941, III.1, III.2. III.3) and documented with many excerpts from reviews published in daily newspapers and periodicals from the inter-war period. During the Second World War, Milošević was imprisoned in camps in Warburg, Nürnberg and Hamelburg in Germany. In difficult times and condi-tions, he still managed to organize quite a rich music life, establishing a “Music Section” with a choir, chamber orchestra, giving performances, organizing lec-tures in various fields of music theory. A separate chapter of this book is dedicated to this period of hardship in Milošević’s life, based on the memoirs that he published in a joint collection of memories Muzika iza bodljikavih žica / Music behind Barbed Wires. After the war, Milošević continued with his engagement as the opera con-ductor at The National Theater in Belgrade (1945–55), then at the Serbian National Theater in Novi Sad (1955–60), where he acted also as the director for two years. From 1945, Predrag Milošević was employed as the professor of com-position at the Music Academy; from 1948 he also led a class of conducting, and from 1960–67 was the Dean of this institution. Among his versatile activities, the book also gives an insight to Milošević as a pianist, lecturer and music writer. For many years, he published music reviews in periodicals. Being the most long-standing and central area of his artistic career, conduct-ing was perhaps the reason why Milošević did not manage to compose more. Namely, Sonatina for piano, String Quartet and Symphonietta – which he com-posed during his studies, are his only three significant works, but their quality positions Milošević as an important figure in the history of Serbian music. The value and significance of these three compositions are not only historical in the sense of documenting a period in Serbian music history; these works are highly professional, showcasing a skillful compositional technique, individually round-ed, fresh in ideas, expression and sound even today. As such, they rightfully de-serve to be thoroughly analyzed and that is why the sixth chapter is the longest and most important part of this monograph. The encompassing results of precise analytical interpretation of his compositional oeuvre – presented here – are the first of this kind in our musicological-theoretical literature. The interesting point in Milošević’s compositional expression is that he start-ed with impressionism in the Sonatina, and then stylistically turned to neo-ba-roque and neoclassicism in the String Quartet and Symphonietta. Like many of his fellow composers who studied in Prague (known as The “Prague Group”) and brought some of the new, contemporary tendencies from Prague back home – thus enriching Serbian music, Milošević turned to these new tendencies, but they were filtered through his own artistic prism. Thus, the stylistic turn from impressionism to neoclassicism in such a short period (1926–30) and within only a few compositions, was even more compact and strikingly successful. The main characteristics of Milošević’s compositional style are: a distinc-tive linear-melodic flow paired with skillful transformations of motifs, leading to thematic unity; polyphonic textures, also displaying his mastery in counter-point techniques; well-orchestrated rhythmic and harmonic ostinatos, and spe-cific sense for rhythmic movement and metric diversity. Harmonic features in the Sonatina show impressionistic obscuring of tonal functions, which evolve to free tonality in the Quartet and atonality in Symphonietta with dissonant chordblocks built of fourths, bi-chords, and “mini-clusters”. Milošević’s treatment of form, on the one hand, shows a traditional starting point (sonata form, rondo, fugue, ternary forms), but it is enriched with individual interventions on the other hand, which lead to merging of different formal patterns. The sonata cy-cle of the String Quartet introduces baroque forms of each movement: Preludio, Passacaglia, Fugue, merging a compressed sonata form of the first movement with imitative and fugato-like sections; the third movement is a rondo form but in a manner of the fugue. The polyphonic texture as being logical in the neo-baroque Quartet, is linked not only to this composition; it is also present in Symphonietta as the result of various counterpoint techniques which Milošević masterly employs, and can be observed as one of the defining characteristics of his own compositional style. The use of block-type ostinatos and static ostina-tos with a resulting coloristic effect, the emerging of thematic material from the mutual core, the “synthetic” principle in section building, along with the harsh and dissonant harmonic structures, fourth-chord blocks, bi-tonal and poly-tonal plains – all these combined stand as the most significant features of Milošević’s compositional style in Symphonietta. Sonatina, String Quartet and Symphonietta, despite being his student (and graduation) compositions, show all the attributes of a mature author. Characterized by the richness of thematic ideas, original melodic profile, undu-lating metro-rhythmic sculpting and compositional proficiency, these composi-tions stand not only as his personal creative peak, but represent exemplary pieces in the anthology of Serbian music.Kompozitor, dirigent, pijanista, muzički pisac, pedagog, redovni profesor i dekan Fakulteta muzičke umetnosti, prevodilac, organizator muzičkog života, društveno angažovan poslenik, sve su to bila profesionalne okupacije vezane za ime samo jedne ličnosti – Predraga Miloševića, čije je sveukupno stvaralačko zračenje ostavilo dubokog traga u izgrađivanju srpske muzičke kulture i umnogome ga na osoben način obogatilo. Predrag Milošević rođen je 11. februara 1904. godine u Knjaževcu, malom mestu istočne Srbije; preminuo je januara 1988. godine u Beogradu. Autorka ove monografije imala je čast i zadovoljstvo da lično upozna Predraga Miloševića 1986. godine. Susreti sa njim su se odvijali u prijatnoj poslovnoj atmosferi u njegovom domu u Gogoljevoj ulici na Banovom Brdu. Pričao je o svojoj mladosti i dolasku u Beograd, evocirao sećanja sa školovanja, studija, putovanja, o vremenu provedenom u logoru za vreme Drugog svetskog rata. Govorio je o dirigentskoj i pedagoškoj karijeri. Iako sa izuzetno raznolikim i bogatim životnim i profesionalnim iskustvom, pripovedao je skromno ali sa žarom, zanimljivo i živo, sa puno duhovitih dosetki. U to vreme, iako u poodmaklim godinama, Milošević je radio na svojoj knjizi „O drugima – o sebi”. Nažalost, u delu zaostavštine Predraga Miloševića, poklonjenom Fakultetu muzičke umetnosti u Beogradu, nije nađen trag o ovom rukopisu i nije poznato da li ga je završio. U to vreme je i dalje aktivno pisao i prevodio, i sa budnom pažnjom pratio sva značajnija događanja u svim oblastima kulturnog života, često uzimajući i sam učešća u njima. Iako tako mnogostranog umetničkog profila, celokupna delatnost Predraga Miloševića nije do sada bila predmet šireg, sveobuhvatnog sagledavanja, koji po značaju svakako zaslužuje, te ova monografija ima za cilj da osvetli stvaralački doprinos i ostvareni kvalitet u svim domenima njegovog delovanja

Multiculturalism of Kosovo and Metohija in the 1950s and 1960s Expressed in Traditional Music

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Contemporary spaces of heterotopians in architecture.

Иницијална намера овог рада је детектовање просторних феномена, а потом њихова инкорпорација у теоријске постулате Мишела Фукоа (Michel Foucault) о „другим просторима“ или хетеротопијама. У том циљу потребно је дати приказ доминатних тенденција присутних у урбаном пејзажу. Тренутни архитектонски и урбани простор је, претпоставља се, „дистанциран“ од модерне и постмодерне парадигме, услед чега га је тешко појаснити и категорисати...The initial intention of this work is detecting spatial phenomena, then their incorporation in theoretical postulates of Michel Foucault about ''other spaces'' or heterotopias. Due to that goal there is a need to give a display of dominant tendencies present in urban landscapes. Current architectural and urban space is, it is presumed, ''distant'' from modern and postmodern paradigm, due to which is hard to explain and categorize it. Nevertheless, although general actual social and cultural environment reveals the impression of nonexistence of space for production of something new and authentic, all-present are phenomena which negates that presumption..

Mother tongue language syllabi in former Serbo-Croatian speech areas

Предмет истраживања ове дисертације јесу наставни планови и програми за матерњи језик на простору некадашњег српскохрватског говорног подручја, те, према томе, рад припада домену наставне методологије. У основи његовог садржаја дато је поређење планова и програма за основне школе и гимназије четирију бивших истојезичних република: Србије, Хрватске, Босне и Херцеговине и Црне Горе. Како је њихово осамостаљивање неминовно довело и до преименовања до тада јединственог српскохрватског језика, у уводном делу дисертације осврнули смо се на језичку ситуацију од периода у коме на реформи језика дела Вук Стефановић Караџић (стварање јединственог српскохрватског језика) до распада СФРЈ, када се овај језик на поменутим територијама разједначава, добијајући нове лингвониме. Дат је осврт на структурну, генетску и социолингвистичку димензију српскохрватског језика; хронолошки су изложени: период у коме је српски језик био, можемо рећи, заједнички језик православаца, католика и муслимана (друга половина 19. века и период стварања прве Југославије), године између два светска рата, период после Другог светског рата до последњих сукоба на територији СФРЈ, те савремени догађаји.1 Поменути планови и програми за матерњи језик, који чине основни истраживачки корпус, праћени су најпре кроз дијахронијску, а потом, што чини суштински део рада, и синхронијску раван...This dissertation deals with the mother tongue language (MTL) syllabi in the former Serbo-Croatian speech area, therefore belonging to the field of teaching methodology. The main concern of the paper is the contrastive analysis of primary and secondary grammar school syllabi of the four countries that used to share one mother tongue: Serbia, Croatia, Bosnia and Herzegovina, and Montenegro. Since their secession led to the renaming of the once unified Serbo-Croatian language, the introductory part of the paper gives an overview of the language situation from the reformative work of Vuk Stefanović Karadžić (who actually created Serbo-Croatian) to the fall of SFRY when this language was differentiated into separate linguonyms. This comprises structural, genetic and sociolinguistic aspects of the language, organized in chronological order, including the period when Serbian was the common language of the Orthodox, Catholics and Muslims (second half of the 19th century as well as the constitution period of the first Yugoslavia), then the years between the two world wars, the period after the WWII till the last conflicts in former Yugoslavia, including recent events, too.2 As the basic reseach corpus, the MTL syllabi are firstly examined diachronically, and then synchronically which in fact constitutes the major part of the paper..

Methodological foundations of a modern textbook of the Russian lannguage for professionals ( in higher education for turismology and economics)

Дисертација представља покушај комплексне и системске разраде концепта савременог когнитивно-комуникативног уџбеника руског језика високошколског туризмолошког профила у српској говорној и социокултурној средини. Цео процес истраживања у спољашњем обухвату је постављен на тродимензионалном нивоу и плану посматрања међусобно условљаваних појава, тј. саодноса друштвених потреба, наставног процеса и концепта савременог уџбеника струке. Из те комплементарности разраста аспект интердисциплинарног приступа у сферу лингвистичке и туризмолошке науке. Додири ових двеју сфера у више тачака укрштања артикулишу комуникативну функцију језика, која са своје стране опредмећује језик струке. Управо тај комуникативни аспект језика, као стожер нашег истраживања, одређује постављање методолошких основа наставе руског језика на Високој школи за туризам. Они се, пак, манифестују кроз одређене циљеве у наставном процесу, методске концепције и принципе наставе, садржај наставе, избор наставног материјала, методе у настави. Примењујући их и анализирајући у виду општих начела, долазимо кроз сам наставни процес, који је уједно и наш експеримент, до извесних резултата. То значи да, на основу примарне анализе уз помоћ традиционалне руско-српске лингвистичке литературе, наставних и образовних програма и стандарда и уз помоћ наведених извора, реализујемо савремени методолошки приступ концепцији уџбеника руског језика високошколске туризмолошке струке. Он своје оправдање налази у теоријском објашњењу настанка и формирања аспектних говорних навика и комуникативних умења, који и јесу теоријски и практични саставни део самог наставног процеса. На тај начин се доводе у везу методолошки основи наставног процеса руског језика на Високој школи за туризам и методолошки основи концепције савременог уџбеника високошколског туризмолошког профила. Методолошки основи засебно, као и у својој корелацији јесу утемељени на лингвистичким основама научног стила руског језика, што тај међуоднос чини још оправданијим.The dissertation is an attempt to develop a complex system and the concept of modern cognitive-communicative textbooks of the Russian Language for students of higher education in tourismology in the Serbian speaking and socio-cultural environment. The whole research process in the external scope is based on a three-dimensional level and the observation plan on each mutually conditioned phenomena, ie interrelations and correlations between social needs, teaching process and the concept of a modern professional textbook. This aspect of complementarity brings about the interdisciplinary approach in the sphere of linguistics and tousrimology. Touches of these two spheres in multipoint crosses articulate the communicative function of language, which in turn reifies the professional language. It is this communicative aspect of the language, as the pillar of our research, which determines the methodological foundations of teaching the Russian language at the College for Tourism. They are, in turn, manifested through specific goals in the teaching process, methodological concepts and principles of teaching, the content of the curriculum, the selection of teaching materials, teaching methods. Analyzing and applying them in the form of general principles, we come from the teaching process itself, which is at the same time our experiment, to certain results. This means that, based on the primary analysis using the traditional Russian-Serbian linguistic literature, teaching curricula and standards, and with the help of these sources we implement modern methodological approach to the textbooks of Russian for higher levels of tourismology education. It finds its justification in the theoretical explanation of the origin and formation of aspect-speech habits and communication skills, which are theoretical and practical part of the education process itself. Thus the methodological basis of teaching the Russian language at the College of Tourism and methodological basis of the concept of a modern textbook for students of tourism at higher education level are associated. Methodological grounds alone, as well as in their correlation, are based on linguistic grounds of scientific style of the Russian Language, thus making this interrelationship even more justified

Vidovi organizacije tonalnog sistema Sergeja Prokofjeva

Predmet proučavanja ove disertacije jeste tonalna struktura u harmonskom sistemu Sergeja Prokofjeva, koja se iskazuje kao jedan od ključnih označitelja njegovog upečatljivog i veoma prepoznatljivog muzičkog govora. Osobenost zvučnog prostora u muzici jednog od najznačajnijih kompozitora 20. veka, ogleda se u specifičnoj sprezi i prelamanju dijatonike i hromatike, modalnog i tonalnog, ostvarenim na način kojim se sveobuhvatnost tog prostora iskazuje unutar ne samo jasne centralizacije tonaliteta, već i tonalnog roda. U brojnim dosadašnjim teorijskim postavkama ruskih i anglosaksonskih teoretičara, uočava se terminološka neusaglašenost u definisanju tonalnog sistema ovog autora; većina se, ipak, slaže u tome da je njegova muzika tonalna. Polazeći od te pretpostavke, jedan od ciljeva rada jeste da najpre otkrije i definiše, a potom i tipološki sistematizuje sve postupke i procedure na osnovu kojih bi se formirao teorijski okvir za tumačenje specifičnog tonalnog jezika Prokofjeva, kao i prilog dubljem razumevanju stvaralačke poetike kompozitora. U tom cilju detaljno su proučeni: unutar-tonalni i međutonalni odnosi, politonalni i među-tonalni prostori, presek horizontalnog i vertikalnog uzajamnog dejstva, profil akordike unutar odnosa dijatonika-hromatika, kao i načini promene tonaliteta. Navedene oblasti proučene su na osnovu detaljne analize devet sonata za klavir koje, nastale u vremenskom okviru od skoro četrdeset godina (1909–1947), spajaju liniju različitih stvaralačkih faza kompozitora, te predstavlju mogući obrazac za sagledavanje tretmana forme, tematizma, osobenog spoja linearnosti i vertikalnog nadslojavanja, a naročito harmonskog sistema i strukture tonalnosti. Jedan od, takođe, ključnih označitelja harmonskog jezika Prokofjeva jeste pozicija dijatonike i njeno dejstvo unutar hromatizovanog tonalnog prostora. Iz tog razloga bilo je neophodno poći od proučavanja odnosa dijatonika – hromatika, kao ključnog polja unutar koga smo najpre ispitali analitičke interpretacije pojedinačnih elemenata dijatonike, a potom sagledali i ukrštanje međusobnog dejstva dijatonike sa hromatikom, načina na koje se takva dejstva ispoljavaju, kao i u kom stepenu zastupljenosti pojedinačnih elemenata se oni manifestuju. Dijatonika kao jedna od ključnih tačaka u ostvarivanju tonalne stabilnosti unutar složenijih hromatizacijskih slojeva, iskazuje se, pored ostalih, i na način koji dijatonizira upravo isti hromatski tonski prostor. Sa druge strane, hromatika se iskazuje kako u linearnom-melodijskom, tako još više u vertikalnom smislu, gde su hromatska zasićenja proizvod bilo naslojavanja različitih akordskih formacija, često bikordalnih bilo onih, koji u sudaru sa (ponovo) dijatonskim akordima tvore specifične zvučne sklopove. U tom smislu osim, za Prokofjeva tipičnih – Lidijskog, Frigijskog i Polarnog akorda, posebno su izdvojene složene strukture sa dvorodnim i disalterovanim tonovima, a predložena je i nova tipologija vertikalnih formacija u koju su svrstani vođični, prijanjajući, klizajući akordi i hromatski dvojnik. Težište rada čini istraživanje strukture tonalnog sistema, te smo u ovoj disertaciji ponudili kriterijume za hipotezu nove tipologije vidova ispoljavanja složenosti tog sistema. Specifičan spoj dijatonike sa hromatikom, tonalnih i modalnih obeležja, objašnjen je kao činilac koji uslovljava ekstenziju gravitacionog polja zajedničkog tonskog prostora, čime se, u sadejstvu sa navedenim pod-sistemima, formira suštinski novi oblik tonalne višeslojnosti, koji se manifestuje kroz tri osnova upečatljiva modaliteta. To su: fuzija više vrsta tonal-modaliteta u jednom (zajedničkom) centru; asocijativno-policentrična tonalnost i međutonalni prostor – međutonalnost. Jedna od posebno detaljno proučenih oblasti je i fenomen klizanja, čiji značaj se ogleda u uticaju na hromatizacijskom proširenju tonalnog centra. Ovaj fenomen, idiosinkratičan za Prokofjeva, iskazuje se u dva vida, a sistematizovan je i definisan kao 1) iskliznuće i 2) hromatsko akordsko klizanje. Iskliznuće se manifestuje u dva vida: sa tonalnim izmeštanjem, i u vidu unutartonalnog ili melodijskog iskliznuća (koje dovodi do simulacije bitonalnosti). Treća značajna proučena oblast jeste način promene tonaliteta, gde se, takođe, kao idiosinkratične izdvajaju tri vrste. Ove modulacije nisu dosad bile prepoznate unutar interpretacijskog okvira tonalne harmonije, te je predložena njihova tipologija. Na osnovu detaljno sagledanih i precizno proučenih harmonskih procedura u odabranom analitičkom korpusu, može se zaključiti da se međutonalno prelamanje i presek sa asocijativnim tonalnim platoima, kao i sapostojanje ovih tonalnih prostora u fuziji sa elementima više pod-sistema, iskazuju kao najznačajnije determinante u pretpostavci definisanja sveobuhvatnog tonalnog polja unutar predloženih (novih) vidova organizovanja tonalnog sistema Sergeja Prokofjeva.The subject of this dissertation is the exceptional tonal structure in the harmonic system of Sergei Prokofiev, one of the most prominent composers of the 20th century. His tonal system is one of the key points in determining his outstanding and notably recognisable music language. The exquisite sound sphere of his music is reflected in specific interactions and refractions of diatonic and chromatic spheres, as well as of modal and tonal elements; these are accomplished in such a manner that direct the allencompassing sound space not only to one undeniable key center but also, to a clear key mode (minor or major). The numerous studies by Russian and Anglo-Saxon theorist which deal with defining Prokofiev’s tonal system show significant terminological divergence; nevertheless, most of them do not deny that his music is tonal. One of the main fields of this research is identifying and defining all the processes and procedures in order to form a systematic typology, the basis for a theoretical interpretation of the specific tonal design as well as of the very music poetics of Sergei Prokofiev. The dissertation brings a thorough examination of relations both in and out of tonality i.e. those within one center and between different centers; furthermore, the research includes polytonal and inter-tonal spaces, interaction mutual effects between the linear chromatic and vertical diatonic spheres, chord profiles within diatonic-chromatic relations, and modulation techniques. Examinations of these fields and procedures were conducted through detailed analyses of nine Piano sonatas which, being composed during almost forty years (1909–1947), connect the diverse creative composer’s phases. They are observed as a possible pattern for perceiving the treatment of form, thematic shaping, the specific junction of linear and vertical layers, and especially for the harmonic system and tonal structure. One of the key elements to elicit the harmonic speech of Prokofiev is also the manifestation of diatonics within the chromaticized tonal space. Thus, the diatonic-chromatic relation was the initial point of the research within which the interpretations of separate diatonic elements were firstly analyzed, followed by examining the manifestation of their interaction and mutual influence with chromatics, with regard to grading the presence of each of these elements. Diatonics, as the crucial point in preserving the tonal stability within complex chromatized layers, is manifested in the specific way which enables the same chromatic tone space to sound in a diatonic manner. On the other hand, chromatism is manifested both in linear-melodic and even more in vertical aspects, where chromatic complexity derives from the superimposition of various chord formations, as in bi-chord stuctures, or in junction with (again) diatonic chords. Aside from the Lydian, Phrygian and Polar chords, typical for Prokofiev, other complex structures with disaltered tones were especially emphasized; a new chord typology was also proposed introducing leading-chord structures, sliding chords, leaning-chords and chromatic twins. The main focus of this work is the research of the structure of the tonal system, and the criterion for the hypothesis of a new typology of its complex manifestations was subsequently proposed. The specific junctions of diatonic and chromatic sub-systems and tonal and modal elements are pointed out as crucial elements in building-up the extension of the gravitation sphere of one common tone space, in which new forms of multi-layer tonality are demonstrated. There are three basic modalities which manifest these junctions. 1) Fusion of several scale types with the same tonic (major, minor, modes), 2) Associative level, or associative-polycentric tonality, meaning refraction of two or more different keys and, 3) Inter-tonal space (intertonality), meaning fusion of several different tonal centers into one layer. The phenomenon of chromatic slippages is also emphasized, as its influence on the chromatic extension of the tonal center is of notable significance. This phenomenon, idiosyncratic for Prokofiev, is manifested in two ways which were systematized and defined in this dissertation as: 1) slippage and 2) chromatic chord sliding. The slippage is realized in two basic ways – the first resulting with a tonal shift, and the second within one key as an inner-tonal or melodic slippage (leading to the simulation of bitonality). Finally, the third significant field of research was devoted to tonal shifts, within which are three types recognized as idiosyncratic, and a new typology is proposed since they have not been so far systematized within the analytical frame of tonal harmony. The thorough and precise interpretations of complex harmonic procedures in the analytical samples confirm that the inter-tonal refractions, their intersection with associative tonal plans, as well as with the fusion of various sub-system elements, represent the most outstanding determinants in defining the all-encompassing tonal field within the proposed new ways of tonal organization in the music of Sergei Prokofiev

Variability of Phomopsis populations in sunflower (Helianthus annuus L.)

Various reports state that the sunflower disease, primarily caused by Diaporthe/Phomopsis helianthi Munt.-Cvet. et al., has a wide geographic distribution in Europe, USA, Argentina and Australia. Various Phomopsis isolates obtained during this investigation of the sunflower disease differed in conidial type (α, β, α and β). Phomopsis helianthi was the only isolate producing exclusively β-conidia and perithecia on debris (Diaporthe helianthi). The other Phomopsis isolates were saprobes on sunflower plants.nul