Традиционална вокална музика Влаха у Хомољу у заоставштини Оливере Младеновић

Olivera Mladenović researched Vlach culture in the 1980s. Recordings preserved in the archive of the Institute of Ethnography SASA also contain examples of vocal practice of the Vlachs from Homolje region (Northeast Serbia). The material was recorded on six audio cassettes, which were later digitized. As ethnomusicological studies of this area are very scarce, the recorded material certainly represents a valuable testimony to the musical culture of the Vlach ethnic community. The aim of this article is to determine the particularities of the recorded examples, based on ethnomusicological analysis and transcription, as well as to isolate the vocal genres found on these audio cassettes. Vocal examples from the recordings of Olivera Mladenović will be paired with existing examples from the literature, as well as examples of current practice recorded by the author of this article. In this way, at least a partial picture of the Vlachs’ musical life in Homolје from the 1980s to the present day will be established, and the comparison will allow us to observe continuity and change.Оливера Младеновић се бавила истраживањем влашке културе осамдесетих година прошлог века. На снимцима који се налазе у архиву Етнографског института САНУ забележена је и вокална пракса Влаха из Хомоља (североисточна Србија), а материјал је снимљен на шест аудио-касета, које су дигитализоване. Будући да су етномузиколошка проучавања поменуте области веома оскудна, забележена грађа свакако представља драгоцено сведочење о музичкој култури влашке етничке заједнице. Циљ рада јесте утврђивање специфичности забележених примера, на основу етномузиколошке анализе и транскрипције, као и издвајање вокалних жанрова који се налазе на тим аудио касетама. Вокалним примерима са снимака Оливере Младеновић биће придружени постојећи примери из литературе, као и примери актуелне праксе које је забележила ауторка овог рада. На овај начин формираће се барем делимична слика музичког живота Влаха у Хомољу од осамдесетих година прошлог века до данас, а њиховом компарацијом сагледаће се континуитет и промене.С обзиром на чињеницу да су записи влашке музике Хомоља веома скромни, заоставштина Оливере Младеновић је недвосмислено драгоцен прилог тој материји. Звучни материјал снимљен је на шест аудио касета, које се налазе у архиву Етнографског институтта САНУ у Београду, а заведене су као „кутија 39, касета 12, 13, 14, 17, 18, 23“. Љубазношћу колега из поменутог института, добила сам свих шест касета на коришћење, које сам најпре дигитализовала у Фоноархиву Музиколошког института САНУ, а потом и приступила обради снимака, анализи и транскрипцији. На снимцима О. Младеновић налази се укупно 18 примера вокалне праксе, међу којима су песме везане за годишњи и животни циклус обичаја (посмртни ритуал, Бадње вече и паљење обредне ватре), као и песме опште намене и један пример певања без речи. Велика вредност снимака лежи и у самим разговорима о песмама и певању, будући да је О. Младеновић инсистирала да јој се текстови песама и терминологија везана за певање говоре на влашком језику. Тим примерима биће придружени примери из литературе, као и 27 примера из личне архиве ауторке студије, а захваљујући њиховој компарацији може се пратити (дис)континуитет вокалног наслеђа Влаха из Хомоља. Иако је звучни материјал из заоставштине О. Младеновић од изузетне важности, интерпретација туђег теренског рада није нимало лак ни захвалан посао. Разлог томе јесу на првом месту изостанак личног доживљаја теренског рада и личног контакта с казивачима, као и оскудни подаци о сакупљеном материјалу. Ипак, и поред свих недостатака, захваљујући снимцима О. Младеновић вокална пракса хомољских Влаха из осамдесетих година XX века реконструисана је у великој мери. Увид у материјал употпуњује сазнања не само о вокалној пракси Хомоља у једном историјском тренутку, већ и целокупна сазнања о влашкој музици у Србији. Примери на касетама потврђују одлике влашког певања о којем је до сада писано и одражавају многе карактеристике до сада забележене влашке музике. Међутим, на основу њих се могу издвојити и локалне специфичности вокалне праксе хомољског краја.The study was conducted within the Scientific Research Organization Institute of Musicology SASA, funded by the Ministry of Education, Science and Technological Development. Also, the study was presented in one version at the international symposium Vlado Milošević: Ethnomusicologist, Composer and Educator – Tradition as Inspiration, held in Banja Luka, from 12 to 14 April 2019. Apart from the aforementioned, this study is also part of the author’s research within the scope of doctoral academic studies at the Faculty of Music in Belgrade

The influence of the singer’s personality on traditional singing practice: Young vs. old

This case study focuses on two active interpreters of the traditional folk song in Serbia: the first is a member of the older generation (71 years old), a self-taught singer who grew up in the countryside; the other belongs to the younger generation (20 years old), a state educated singer who grew up in Belgrade, the capital of Serbia. We compare their views on traditional singing and styles of interpretation (singing technique, gesture, dressing, etc.) in order to determine what elements of personality connect these two singers, and what elements distinguish them. The aim is to map the current state of traditional singing practice as it relates to urban society as well to outline the personalities of the singers, who are bearers of singing tradition. This mapping, along with a diachronic perspective of Serbian traditional singing, helps us to perceive the potential for development and survival, especially among members of the younger generation, on whom, of course, the tradition depends most directly

Examining contemporary fieldwork challenges: researching minority music in Serbia

Exploring musical culture to which you approach as cultural outsider, brings with it many challenges. This is also the case with Vlach minority living in northeastern Serbia, whose research is further complicated by the current political developments and division of its members over how they see themselves. The first problem that arises is the question of who to choose as interlocutor (should the selection be made exclusively on the basis of nationality or on the basis of knowledge of Vlach music). In this regard also arises question how to choose (whether to address local communities, cultural centers and National Council of Vlachs, or go to the fi eld without prior notice and inquire directly with the people in the village). Next dilemma is what aspects of musical life should be taken in consideration (private, public, virtual). The issues of attitudes towards the researcher is particularly important, especially since the (re)construction of cultural values is in force in the Vlach community (researcher is usually seen in two ways: as someone who can professionally contribute to this process, or as someone who, as a cultural outsider, should not deal with it at all). In that sense, the question of the infl uence of researchers on the examined community is also inevitable (is it possible not to infl uence at all?). In addition to addressing issues from a dichotomous perspective, it will be explored a space that allows the researcher to take “in between” position (of both insider and outsider) that brings challenges and benefi ts. These are just some of the issues and problems that will be raised in this paper, the methods of fi eld research will be reviewed and some new solutions that have emerged as a result of challenges in the field today will be presented

Male Singing Octet from the Village of Drmno. A Unique Example of Polyphonic Folk Singing in the Region of Stig

Južno od Dunava, u regiji severoistočne Srbije koja se naziva Stig, leži selo Drmno koje krije oblike narodnog muziciranja do sada nepoznate etnomuzikološkoj javnosti. Budući da su ovaj predeo istraživači (neopravdano) kroz istoriju zaobilazili, podaci o srpskoj vokalnoj praksi Stiga su do skora bili vrlo oskudni. Situacija se donekle izmenila zahvaljujući projektu Istraživanje muzičko-plesnog folklornog nasleđa Stiga, koji je finansiralo Ministarstvo kulture i informisanja Republike Srbije. Ovim, tek početnim istraživanjima nisu detektovani višeglasni oblici na području Stiga, budući da oni danas ne egzistiraju ni u aktuelnoj praksi, ni u sećanju sagovornika sa terena. Ipak, proučavanje je nastavljeno i nakon okončanja samog projekta, te je pronađeno nekoliko audio snimaka muškog vokalnog okteta iz sela Drmna. Ovaj ansambl je pesme izvodio u četvoroglasnom stavu, a struktura i faktura otpevanih primera ne korespondira u potpunosti sa do sada zabeleženim primerima višeglasnog pevanja Srbije. Cilj ove studije biće da se muzički primeri etnomuzikološki obrade, zahvaljujući čemu će se izdvojiti njihove muzičke karakteristike. Pokušaj je i da se ovo pevanje kontekstualno smesti u istorijski okvir aktivnog delovanja okteta, te da se odgovori na pitanja: Šta je dovelo do razvoja ovakvog načina pevanja? Kakav je uticaj imalo ne samo na lokalnu, već i regionalnu (muzičku) kulturu? Zbog čega se ovakva praksa nije primila u okruženju i zašto je danas napuštena

Marija Vitas: Sephardim – the Thread of the Mediterranean, Production of Thematic Channels of Radio Belgrade, RTS, Serbia

Non-profit association COPEAM, dedicated to the promotion of dialogue and cultural integration in the Mediterranean region, which has operational headquarters in Rome at the offices of the Italian Radio and Television (RAI), this year for the third time announced a competition titled “Making a story from archives” for audio-visual work. This year’s regional competition was dedicated to the topic “The relationship between Mediterranean countries: a historical perspective”, which is not surprising, considering the fact that the association organizes various events to protect and promote the Euro-Mediterranean audiovisual heritage..

Changes in quality characteristics of fresh blueberries: Combined effect of cultivar and storage conditions

The influences of two storage conditions (regular atmosphere-RA and modified-atmosphere packaging-MAP) and different storage time on fruit textural parameters, chemical composition, and total quality index (TQI) of two blueberry cultivars were investigated. Freshly harvested fruit of mid and late season cultivars (‘Bluecrop’ and ‘Liberty’, respectively) were placed in plastic punnets, packed into low-density polyethylene bags of 25 μm thickness with two perforations of 3 mm and stored at 2 ◦C and 90% relative humidity for 30 days, either in RA or in MAP. Changes in gas composition inside the package and fruit quality characteristics were analyzed at 10- day intervals during storage: 0, 10, 20, and 30 days. ‘Liberty’ was dominant over ‘Bluecrop’ in terms of hardness (428 g and 296 g, respectively), as well as individual and total sugars (100 and 76 g⋅kg–1, respectively), organic acids (19 and 12 g⋅kg–1, respectively) and most subclasses of phenolic compounds (anthocyanins, flavonols, and hydroxycinnamic acids). In addition, a novel mathematical index of TQI was introduced to compare all evaluated parameters in order to obtain a quantitative single score, as an indicator of overall fruit quality. ‘Liberty’ had the better TQI score in RA, whereas ‘Bluecrop’ behaved better in MAP. Accordingly, for longer storage of blueberry fruit MAP should not be assumed to be uniformly helpful, since the effect of storage duration in the specific type of atmosphere substantially depends on the proper cultivar selection

Changes in quality characteristics of fresh blueberries: Combined effect of cultivar and storage conditions

The influences of two storage conditions (regular atmosphere-RA and modified-atmosphere packaging-MAP) and different storage time on fruit textural parameters, chemical composition, and total quality index (TQI) of two blueberry cultivars were investigated. Freshly harvested fruit of mid and late season cultivars (‘Bluecrop’ and ‘Liberty’, respectively) were placed in plastic punnets, packed into low-density polyethylene bags of 25 μm thickness with two perforations of 3 mm and stored at 2 ◦C and 90% relative humidity for 30 days, either in RA or in MAP. Changes in gas composition inside the package and fruit quality characteristics were analyzed at 10- day intervals during storage: 0, 10, 20, and 30 days. ‘Liberty’ was dominant over ‘Bluecrop’ in terms of hardness (428 g and 296 g, respectively), as well as individual and total sugars (100 and 76 g⋅kg–1, respectively), organic acids (19 and 12 g⋅kg–1, respectively) and most subclasses of phenolic compounds (anthocyanins, flavonols, and hydroxycinnamic acids). In addition, a novel mathematical index of TQI was introduced to compare all evaluated parameters in order to obtain a quantitative single score, as an indicator of overall fruit quality. ‘Liberty’ had the better TQI score in RA, whereas ‘Bluecrop’ behaved better in MAP. Accordingly, for longer storage of blueberry fruit MAP should not be assumed to be uniformly helpful, since the effect of storage duration in the specific type of atmosphere substantially depends on the proper cultivar selection