Muzikografija Srpskog književnog glasnika i ideologija jugoslovenstva

It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine’s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojević began to develop the idea of union with Slavs from the South in a critical analysis he rendered of their performance. Until the end of the first/old series, SLM highlighted a noticeable number of texts about Croatians and Slovenians: critical reviews of Croatian musical books, concerts of Slovenian artists in Belgrade, score editions of Slovenian music performances of instrument soloists from Zagreb in Belgrade - as well as notes about the musical work of Croatian Academy (Yugoslav Academy of Sciences and Arts, Zagreb). Echoes of rare tours of Serbian musicians in South Slavs cultural centers did not go unheard, either. In the older series of the journal, lasting and two-fold relations had already begun to lean towards Yugoslav ideology. From one side, even before World War I, Yugoslav ideology in the Magazine was accepted as a program objective of Serbian political and cultural elite. On the other, the journal does not appear to have negotiated any of its aesthetic criterion when estimating musical events that came from Zagreb and Ljubljana to Belgrade - at least not "in the name of Yugoslav ideology". In later series of SLM, the Yugoslav platform was being represented as official ideological statehood of newly created Kingdoms of Serbs, Croats and Slovenians (1918), i.e., the Kingdom of Yugoslavia (1929). At that time, the Magazine had occasional literary cooperation from Croatian musical writers such as Lujo Šafranek-Kavić, Božidar Širola and Antun Dobronić. Their articles described activities of the Croatian National Theatre and evaluated new works of Croatian composers. But they were not at all remiss about acknowledging great masterpieces of European music being performed in Zagreb in their day, either. The works of Claude Debussy, Pelléas et Mélisande; Ludwig van Beethoven, Missa solemnis Richard Wagner, Lohengrin were also followed through reviews, albeit within a curious Croatian-paradigm of musical history which included musical and dramatic theatre from Ljubljana, Zagreb, Split, Sarajevo, Skoplje, Osijek. In other words, they seem to have been aware of the cultural differences without ignoring what from them were shared in common. Before the First World War, SLM classified Bulgarians together with Serbs, Croats and Slovenians, as the future "Yugoslav nation". When the reality of politics clouded their vision, the Magazine’s musical critics nevertheless pursued a troupe of Bulgarian performers to visit Belgrade, and thus added to their repertoire from works of Bulgarian composers. Among musical contributors to the journal were the eminently known "Yugoslavs", Dr Miloje Milojević (1884 - 1946) and Dr Viktor Novak (1889 - 1977). From Croatia and Slovenia musicians Juro Tkalčić and Ćiril Ličar, Milojević spoke about "our national artists" and praised musicians who, in their program, included compositions of "all Yugoslav nations". Dr Novak demanded that Belgrade become the musical capital of South Slavs, and invited Belgrade Opera to show on its scene the best Serbian, Croatian and Slovenian operas and ballets. From its onset, the Kingdom of Yugoslavia was burdened by heavy political and economical problems. That would also lead to bitter dispute about Yugoslavian ideology. Nevertheless, SLM did not renounce the system of its objectives and values upon which it was built. But there is one particular section where the Magazine’s inconsistency can be noticed - when seen from a Yugoslav dimension of the journal - is the necrology column. Magazine did not publish even one obituary of Croatian musicians, and wrote fragmentary unclear and unconvincing criterion about Slovenians. However, it would be neither appropriate, nor real, to interpret incompleteness of the Magazine’s musical necrological texts in purely ideological light. Namely an insufficient number of musical contributors from all Yugoslav provinces - with the exception of Serbia - was probably the main reason for these omissions. After all, SLM was a literary journal and, as such, entertained numerous literary problems and questions. At some point, the editors must have agreed that the information in the field of musical posthumous articles was insufficient. The obvious absence of said would indicate that they did.Jedan od najznačajnijih časopisa u istoriji srpske književnosti, i u istoriji nacionalne muzike, Srpski književni glasnik (1901-1914, 1920 1941), pokrenut je kao srpski časopis, ali je njegova ideološka platforma ubrzo postalo jugoslovenstvo. U radu se utvrđuje da je Glasnikova muzička kritika jugoslovensku ideju eksplicitno prihvatila 1911. godine. Do kraja stare serije objavljen je značajan broj priloga o hrvatskoj i slovenačkoj muzici. Posle Prvog svetskog rata jugoslovenstvo se u SKG-u zastupa kao zvanična državna ideologija i časopis je donosio priloge o muzičkoj umetnosti i kulturi čitave Kraljevine Srba, Hrvata i Slovenaca/Jugoslavije. Izvesna nesistematičnost i nepotpunost zapaža se u vezi s jugoslovenskom muzičkom nekrologikom, ali se ti propusti ne mogu tumačiti u ideološkom ključu, već kao odraz praktičnih problema s kojima su se suočavali urednici ovoga časopisa

Поведение водорода при кристаллизации и охлаждении железа

С позиций теории направленной химической связи показано, что растворимость водорода в жидком железе и его аллотропических формах α–, γ– и δ–Fe коррелирует с изменением параметра Δе (положительная величина Δе соответствует донорному характеру связи, отрицательная – акцепторному)

Quantum scars of bosons with correlated hopping

Recent experiments on Rydberg atom arrays have found evidence of anomalously slow thermalization and persistent density oscillations, which have been interpreted as a many-body analog of the phenomenon of quantum scars. Periodic dynamics and atypical scarred eigenstates originate from a “hard” kinetic constraint: the neighboring Rydberg atoms cannot be simultaneously excited. Here we propose a realization of quantum many-body scars in a 1D bosonic lattice model with a “soft” constraint in the form of density-assisted hopping. We discuss the relation of this model to the standard Bose-Hubbard model and possible experimental realizations using ultracold atoms. We find that this model exhibits similar phenomenology to the Rydberg atom chain, including weakly entangled eigenstates at high energy densities and the presence of a large number of exact zero energy states, with distinct algebraic structure

Arhiv Muzikološkog instituta SANU - kolekcija dokumenata, autografa, prepisa, starih notnih izdanja i fotografija

Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade possesses a comprehensive collection of manuscripts, copies and rare editions of Serbian music. The collection also contains textual documents, photographs and objects important for the national musical history. This study presents a history, review of the content and structure of the Institute's Archive. Attention is focused on the most important documents in the Collection, also on the structure of users. Finally, author speaks about the actual problems in the Institute's Archive.Muzikološki institut SANU poseduje obimnu arhivsku zbirku rukopisa, prepisa i retkih izdanja srpske muzike, kao i literarnih dokumenata, fotografija i predmeta od značaja za nacionalnu istoriju muzike. U ovom radu daju se istorijat i pregled strukture i sadržaja Arhiva Instituta. Ukazano je na najznačajnije arhivalije, na strukturu korisnika Arhiva, kao i na aktuelne probleme u funkcionisanju ovog segmenta Muzikološkog instituta

Categorization of pornographic video clips on the Internet : a cognitive anthropological approach

Антрополошко проучавање Интернет порнографије може да се односи на културну комуникацију између твораца садржаја и аутора порнографских сајтова, као и између аутора сајтова и корисника, при чему је, у случају овог рада, потоња битнија, пошто подразумева надкултурно деловање на Интернету и обухвата кориснике Интернет порнографије као посебну популацију. Циљ овог истраживања је да се кроз категоризације порнографских исечака на Интернету одреде когнитивне шеме и културни модели који објашњавају принципе таквог класификовања и носе информацију о културној мисли, која стоји иза тумачења Интернет порнографије приликом организовања тог дела виртуелне стварности од стране аутора порографских сајтова и корисника. Као методолошка средства, примењена су етнотаксономска анализа и Дандрадеов фолк модел ума. Категорије на сајтовима нису хијерархијски организоване, тако да су међусобне релације проналажене. Резулатати показују да категорије саме по себи не носе довољно значење, већ помоћу блиских категорија учествују у опису концепата, а сами концепти своје значење често одређују у поређењу са осталим концептима. Корисници, такође, врше поделу овог простора, користећи сличне веће сегменте, док су категорије преференције унутар сегмента коме је тренутно посвећена пажња. Једно од уочених понашања корисника које утиче на њихово одређење према катогрисању је представа о односу реално-спектакуларно. Већину исечака корсисници посматрају као одглумљену фикцију за коју учесници имају интерес да је спроводе, што са једне стране, имплицира већу компетeнцију популације корисника, а са друге је повезано са потребом да се представа о личној сексуалности дефинише, оправда и нађе у друштвено прихватљивим оквирима, уз тврдњу: „ниједна животиња није повређена приликом снимања филма“, што донекле одговара контексту изван порнографије у коме је легитимно било које понашање на Интернету, зато што је све виртуелно, те се као вредносни параметри јављају естетска компонента и физичка неугроженост, а све има своју цену. Интернет порнографија представља конзистентан наставак историје порнографије, зато што понашање приликом њеног коришћења, такође, представља бочни ефекат културног окружења групе која је користи.Anthropological study of the Internet pornography can refer to the cultural communication between the creators of the contents and authors of pornographic sites, as well as between the authors of sites and users, the latter being more relevant to this work as it assumes supracultural activities on the Internet and comprises the pornography users as a distinct population. The aim of this study is to determine, through the categorization of porn clips in the Internet, cognitive schemes and cultural models which explain the principles of such classification and provide the information on the cultural thought that lies behind the interpretation of the Internet pornography during the organization of that particular part of virtual reality by the pornographic sites’ authors and their users. Following methodological means have been applied: ethno-taxonomic analysis and D’Andrade’s folk model of the mind. Categories which appear on web sites are not organized in hierarchies, which means their interrelations had to be inferred. Results showed that categories do not carry sufficient meaning by themselves. Rather, related categories are used to describe concepts, and those concepts frequently derive their meaning from their relation with other concepts. Users also perform the partition of this space by using similar larger segments, whereas the categories themselves are merely preferences within the segment which is currently in focus. One of the observed user behaviours which affects their approach to categorization is their perception of the realistic-spectacular relationship. The users perceive most clips as a staged fiction whose actors take part in it for reasons of self-interest. On one hand, this implies a higher competence of users population; on the other, this relates to the need to define, justify and place the perception of one’s own sexuality within the framework of what is socially acceptable supporting it with the assertion that “no animal was harmed during the making of this movie”, which to a certain extent corresponds to the context outside the pornography in which any behaviour on the Internet is believed to be legitimate just because it is virtual, making the evaluation parameters appear to come down to the esthetic element and the physical safety, while everything has its price. The Internet pornography represents a consistent continuation of the history of pornography because the behaviour exhibited during its use also represents a side effect of a cultural environment of the group using it

Recepcija zapadnoevropske muzike u međuratnom Beogradu - primer časopisa Muzički glasnik i Muzika

The very first music magazines started in Belgrade between World Wars were 'Muzički glasnik' (issued monthly from January to December 1922) and 'Muzika' (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. 'Muzički glasnik' published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a report on the concert held in Leipzig in1922 in honour of late Arthur Nikisch. 'Glasnik' also published an obituary to Camille Saint-Saëns containing, by contemporary standards, excessively complimentary evaluation of his music. West European music was far more present on the pages of 'Muzika' magazine. The editorial board used to publish thematic issues dedicated to jubilees of great European composers (such as Franz Schubert, Ludwig van Beethoven). One issue was dedicated to English music and this magazine also wrote about Puccini. Essays on European music were translated from foreign languages and the authors of some were coming from Yugoslavia. 'Muzika' magazine was addressing wide, educated audience, not only musicians. Therefore the texts giving biographical and psychological portraits of composers used to prevail over musicological analyses of their works. Serbian music community was not highly developed thus 'Muzika' moderately used expert terminology. Essays, as dominant forms in Serbian musicography up to 1941, were often written in a literary manner. This is evident in 'Muzika' as well. 'Muzika' and 'Muzički glasnik' adopted different aesthetics and ideology. The fact that the reception of West European music in 'Glasnik' was minimal was not only due to the insufficient number of associates. The editorial board of 'Glasnik' was more concerned with domestic music and problems of music institutions. Besides, the editors of this magazine were of opinion that the Serbian music should not solely look up to West European composers but even more to the Slav and domestic music exemplars. The editors of 'Muzika' were, however, strongly adhering to West European tradition. They thought that only high culture and knowledge could bring the Serbian music to a serious level, both technique and art wise. The editors of this magazine did not desire our composers to be epigones of Western musicians, but wanted to provide domestic musicians and readers with information on European art. In this regard, 'Muzika' used to have an enlightening mission in our country.Studija je posvećena ispitivanju recepcije zapadnoevropske muzike (do kraja XIX veka) u prvim dvama muzičkim časopisima u međuratnom Beogradu: u Muzičkom glasniku (1922) i Muzici (1928-1929). Ispitivanje je pokazalo da svojim različitim odnosom prema muzici Zapadne Evrope ovaj segment srpske muzičke periodike odslikava podeljenost onovremene muzičke kulture u ideološkom i estetičkom pogledu

'Muzički glasnik' 1922 - estetički i ideološki aspekti

The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstić, a composer. Other members of the editorial staff were Božidar Joksimović, Stevan Hristić, Kosta Manojlović (composers) Vladimir R. Đorđević (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies and bibliographies. Twenty-four compositions by native composers were published in the musical supplement of The Music Herald, among them the works of its editors as well as those of other Yugoslav musicians. The Music Herald dealt with three fields of interest: music historiography, ethnomusicology and the current topics of its epoch. When the magazine started, Serbian musicology was in its initial stage so the editors were trying to foster its development. They published numerous biographies of Serbian 19th century musicians, as well as documents on Serbian music culture during the reign of Prince Miloš Obrenović. Music folklore was also very often the subject of interest in the magazine. The Music Herald was interested in current topics and covered the Yugoslav music school system, opera houses, military music music associations, etc. It was especially interested in choral societies which in the course of the 19th century took up not only an artistic, but also a political and patriotic role in the liberation movement. After WWI choral societies entered a period of crisis. Their political raison d'être was lost, so they were faced with the challenge of achieving higher professional standards. This study deals with two aspects of 'The Music Herald': aesthetic and ideological aspects. In terms of ideology, the magazine was strongly in favor of the Yugoslav idea. Its correspondents (more then 40 of them) came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland). The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian). The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanović were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.Prvi muzički časopis pokrenut u Beogradu posle Prvog svetskog rata bio je 'Muzički glasnik'. Izlazio je od januara do decembra 1922. godine. Glavni urednik bio je kompozitor Petar Krstić. Studija donosi analizu estetičke i ideološke orijentacije ovoga glasila, čiji su urednici i saradnici najvećim delom bili tradicionalno usmereni

Starija srpska muzička kritika - kanon, postupak, prosvetiteljska tendencija

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccolò Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubelík. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.U radu se analiziraju dva karakteristična problema/aspekta srpske muzičke kritike prve polovine XX veka: negativan odnos prema muzičkom virtuozitetu kao bitan elemenat estetičkog kanona starije srpske kritike, i problem postupka ondašnjih kritičara. Oba problema povezana su sa prosvetiteljskom tendencijom koja je obeležila stariju srpsku muzikografiju. Za uzorak je odabrana do sada neistraživana građa Srpskog književnog glasnika najznačajnijeg srpskog književnog časopisa između 1901. i 1941. godine