Davorin Jenko, „Our Foreigner” in Belgrade`s Cultural Scene (1865–1914): Contradictory Nature of Ethnic Concept of National Identity

Muzičke institucije u Beogradu i Srbiji u drugoj polovini 19. veka u velikoj su meri zavisile od inostranih kadrova, najčešće građana Austrougarske, usled nedostatka adekvatno obrazovanih domaćih muzičkih stručnjaka. Ovakva situacija doprinela je dolasku značajnog broja Čeha, Austrijanaca, Nemaca, kao i Mađara u srpske gradove gde su radili na muzičkom opismenjavanju kako imućnijih, tako i širih slojeva, a po tom i na utemeljenju i ekspanziji visoko umetničke i popularne muzičke prakse. Iz istih razloga se polovinom 60-ih godina u Beogradu našao i Slovenac Davorin Jenko koji će zahvaljujući svom angažmanu u Beogradskom pevačkom društvu i u Narodnom pozorištu steći značajan ugled u srpskoj sredini, kao i u među srpskom obrazovanom populacijom iz Austrougarske. Budući da se Jenkovo delanje u Beogradu poklapalo sa intenzivnim širenjem panslavističkog diskursa i diskursa kulturnog nacionalizma u okviru političkog, kulturnog, naučnog i umetničkog polja uspeh njegovih muzičkih ostvarenja i prestiž koji je vremenom sticao među publikom različitog društvenog profila nailazili su na podeljene reakcije među pripadnicima intelektualne elite. Činjenica da je kompozitor slovenačkog porekla stvarao muziku uglavnom proisteklu iz elemenata šire shvaćenog srpskog muzičkog foklora koju je publika prihvatala i prepoznavala kao srpsku muziku otvorila je prostor za polemike hroničara i komentatora beogradskog muzičkog života u srpskim, vojvođanskim i bosanskim listovima i časopisima. Pokušavajući da objasne fenomen srpske muzike „stranog” porekla autori su izvodili interpretacije koncepa srpstva otkrivajući u njemu izvesne epistemološke rupture. Rasprave oko statusa Jenkove muzike u vidu njenog poimanja kao srpske ili ne-baš-sasvim srpske, ukazivale su na različitost ideoloških pozicija koje su se pojavile u okviru srpske elite iz Kraljevine Srbije i Austrougarske. Cilj rada je da se ukaže na izdiferenciranost etničkog koncepta nacionalnog identiteta proisteklog kao rezultat nepoklapanja u viđenjima elite kada je reč o daljem razvoju srpske kulture. Važan segment predstavljaće predočavanje značaja te pojave u teorijskom i kulturno-istorijskom pogledu.In the second half of the 19th century music institutions in Belgrade and Serbia depended a lot on the work of foreign musicians, most of them citizens of Austria-Hungary, because of the continual lack of local educated professionals. Th ese circumstances contributed to the large-scale migration of Czech, Austrian, German and Hungarian musicians to Serbian towns where they helped with the expansion of the musical literacy of both the upper and middle-class parts of society, as well as the establishment of the high-art and popular music practices. Th e same type of ”missionary work” motivated Slovenian musician Davorin Jenko to settle in Belgrade during the 1860s where he was active for several decades fi rst in the Belgrade’s singing society and later in the National theater gaining public appraisal from the Serbian theatergoers, intellectuals and music experts both from Serbia and Austria-Hungary. Since Jenko’s arrival to Belgrade coincided with the growing popularity of the Pan-Slavic ideas and the discourse of cultural nationalism in the fields of politics, culture, science and arts the success of his works among the theatre spectators and music consumers created divergent response in the parts of the Serbian elite. Th e fact that the composer of Slovenian origin created music on the basis of largely defi ned Serbian music folklore that was well accepted and perceived as Serbian among the consumers inspired the debates of music critics, chroniclers and experts in journals published in Serbia, Vojvodina and Bosnia and Herzegovina. Trying to explain the phenomenon of the Serbian music of ”foreign” origin commentators performed diff erent interpretations of the concept of Serbian identity showing throughout the process its epistemological ruptures. Th e confl icting views on the status of Jenko’s music as Serbian or not-completely-Serbian was a result of divergent ideological positions that appeared among the elites from Kingdom of Serbia and Austria-Hungary. Our aim is to point to the diversity of the defi nitions of the ethnic concept of nation and national identity among the Serbian elites at that time as a consequence of the diff erent understanding of the progress of Serbian culture. Th e special emphasis will be put on the theoretical and cultural-historical implications of that phenomenon

Reflections of All-Slavic Political Ideals in the Narratives on Music: The Case of Yugoslav Music Journals in the Interwar Period

The field of music in the Kingdom of Serbs, Croats and Slovenes/Kingdom of Yugoslavia went through a thorough transformative processes that affected not only music production and performance but also music journalism. Beside the fact that the musical phenomena gained attention in the popular newspapers and magazines of that time, the need for more specialized publications dedicated solely to diverse problems of music profession manifested continuously through various initiatives for the foundation of different types of music journals.Conference was Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca and Societat Catalana de Musicologia, Barcelona (17-19 October 2016

Music as a Mediator in the Process of Political and Cultural Transition: The Creation of Yugoslav Music in Radio Belgrade (1929-1941)

In this paper i will analyze the role of the interwar Radio Belgrade (1929-1941) in the process of mediation of the Yugoslav idea focusing on the music program. Attention was given to the strategies that music editors and professionals, hired by the radio station management, used in order to create radio shows and repertoires that would contribute to the dominant understanding of Yugoslav national culture and art. Because of the fact that there was no public consensus on the concept of Yugoslav music, radio officials dedicated to music program faced many difficulties while trying to implement it in practice

Radio Beograd u procesu kreiranja simboličkih granica - slučaj programa narodne muzike u periodu između dva Svetska rata (1929-1940)

This article deals with the process of creation of symbolic boundaries in the context of designing the folk music programs at Radio Belgrade since its foundation until the beginning of World War Two. A detailed insight into the musical contents aired on Radio Belgrade, the texts on folk music published in the radio weekly magazine (Radio Belgrade), and the preserved memoirs, with an emphasis on their broader socio-cultural and socio-political significance, has enabled me to single out the factors and mechanisms that played a key role in defining the boundaries of folk music. I will analyse the work of different editorial teams before World War Two; at the same time, I will consider the tastes and cultural preferences of the subscribers and listeners of the Radio Belgrade programs. By means of crossing out specific aesthetic, political and economical positions of radio editors and experts who designed the folk music program with the expectations of listeners and, to an extent, performers of folk music, I will attempt to explain how the process of symbolical demarcation of folk music as a separate entity, different from art and popular music, took place; but also, how the folk music broadcast on the radio related to the Serbian folk musical practices.U ovom radu razmatraćemo proces kreiranja simboličkih granica u kontekstu oblikovanja programa narodne muzike na Radio Beogradu od njegovog osnivanja do početka Drugog svetskog rata. Detaljnim uvidom u muzički sadržaj emitovan na Radio Beogradu, a potom i u tekstove o narodnoj muzici objavljene u radijskom nedeljniku (Radio Beograd), te u postojeću memoarsku građu, pokušaćemo da izdvojimo činioce i mehanizme koji su imali ključnu ulogu prilikom definisanja granica narodne muzike, ukazujući na njihov širi sociokulturni i sociopolitički značaj. Tom prilikom analiziraćemo delanje različitih uredničkih timova do Drugog svetskog rata, a ujedno ćemo se osvrnuti i na kulturne preferencije pretplatnika i slušalaca Radio Beograda. Ukrštajući specifične estetske, političke i ekonomske pozicije radijskih urednika i stručnjaka koji su učestvovali u stvaranju programa narodne muzike sa pozicijama slušalaca i, delimično, izvođača, pokušaćemo da istaknemo kako se odvijao proces simboličkog razgraničenja narodne muzike kao posebnog entiteta, distinktivnog u odnosu na visoumetničku i popularnu (komercijalnu) muzičku praksu, i ujedno, na specifičan način postavljenog u odnosu na folklornu

African American jazz singers and the politics of identity in the 1960s: the case of Nina Simone

Uporedo sа porаstom političkih tenzijа u globаlnim okvirimа usled аntаgonizmimа ekonomski i vojno nаjmoćnijih zemаljа, prve decenije nаkon Drugog svetskog rаtа donele su i intenzivirаnje konflikаtа unutаr аmeričkog društvа te njihovo problemаtizovаnje u jаvnom i političkom polju. Grаđаnsko nezаdovoljstvo nа tlu SAD-а imаlo je rаzličitа ishodištа kаo i rаzličite vidove kаnаlisаnjа kаdа je reč o metodаmа političkog i društvenog orgаnizovаnjа ugroženih ili obesprаvljenih društvenih grupа. Kаo jedаn od njegovih nаjupečаtljivijih oblikа ispoljаvаnjа bilo je političko, kulturno i društveno delаnje аfroаmeričke zаjednice nаročito tokom 60-ih godinа prošlog vekа, u „nаjborbenijoj“ fаzi Pokretа zа grаđаnskа prаvа.2 U ovom periodu znаčаjаn deo аfroаmeričke populаcije počev od predstаvnikа njene političke i kulturne elite do аkterа iz nаjnižih slojevа bio je uključen u rаzličite vidove аktivnosti sа ciljem dezintegrаcije represivnih mehаnizаmа аmeričkog društvа, te otklаnjаnjа ključnih činilаcа političke, kulturne i ekonomske nejednаkosti njegovih pripаdnikа.Since the beginning of the 20th century African American intellectual and political elite strived to define the place of black minority in the American society by formulating its political, cultural and economic goals. During that time different concepts of African American culture as well as different cultural policies were promoted in the political, artistic and academic fields. In the 1960s distinct visions of the future of African American community in the American society were consolidated and mediated through the Civil Rights Movement and its multiple organizations that included both the activist from the lower social strata and intellectuals and artists. Among them were many male jazz musicinas as well as a few female jazz artists. Focusing on the artistic work of Nina Simone in the 1960s as a specific example of fusion of political and feministic activism, we will examine the ideological and aesthetical distinction of her position in the fields of politics, music and culture of that period. In that process we will analyze the artistic sublimation of Simone`s understanding of African American racial and feminist identity comparing her views with the predominant perspectives of the African American political, intellectual and artistic elite

The Balkans as the Core of European Civilization? Kosta P. Manojlović’s collaboration with the Balkanski institut [Institute for Balkan Studies] in Belgrade (1934–1941)

Representations of the Balkans as a cultural and political entity in Western European historical, political, diplomatic and journalistic narratives in the past centuries have for the past two decades occupied a prominent place in the research of numerous scholars. The most influential among them were the investigations of Maria Todorova, Božidar Jezernik, Vesna Goldsworthy, David Norris, Milica Bakić Hayden (according to Čolović 2013), and others, whose focus was oriented towards the deconstruction of the so-called “Balkanist discourse” with the aim of discovering the trajectory of negative stereotypes on the Balkans and Balkan peoples until the most recent times. Although inspired by Edward Said’s insights into the problem of Orientalism as a derogatory discourse and practice of Western European politicians, scholars, and journalists, these researchers of the phenomenon of “Balkanism” have mostly been unfamiliar with their historical predecessors who, as early as the 1930s, initiated extensive debate on similar issues in the specific geopolitical circumstances of the time. This group of journalists close to the Yugoslav political elite, supported by dozens of scholars from Yugoslavia, Bulgaria, Romania, Germany, Austria, and elsewhere, founded the Institute for Balkan Studies, an entity with the primary objective of launching a broad campaign in both academic and public circles of Balkan and European countries to combat the widespread negative preconceptions of Balkan peoples and culture

Од великих очекивања до великих разочарења: допринос Петра Крстића реформама музичког образовања у међуратној Југославији (1918–1921)

This paper deals with the activities of Petar Krstić in the domain of music education in the first years after the First World War and the constitution of the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the Serbian Music School, Krstić initiated various processes in order to modernize it and transform it into institution of higher level of music education. For that purpose he focused on the school’s internal reorganization and ‘etatization’. As a result, Krstić prepared new school regulations and several drafts of legal texts and started negotiations with the authorities. Krstić’s ideas, plans and his undertakings concerning the reforms during the rule over the Serbian Music School/Music School in Belgrade will be discussed in detail together with their historical value.Петар Крстић је у својству директора Српске музичке школе/Музичке школе у Београду (1914–1921) након завршетка Првог светског рата започео интензиван рад на њеној реорганизацији и осавремењивању. Полазећи од уверења да ова установа може у блиској будућности да достигне ниво који би одговарао музичким школама у развијеним европским земљама он се усмерио на измене њеног начина функционисања и општег устројства. С тим увези, од изузетне важности била је припрема и усвајање новог Правилника школе, а затим и иницирање преговора с надлежнима из Министарства финансија и Министарства просвете не би ли се школи обезбедила материјална сигурност. Томе је убрзо придодат и предлог о подржављењу школе о чему је Крстић размишљао још у првим месецима управљања, 1914. године, захваљујући чему је настала Уредба Српске музичке школе. Предлог је у форми Нацрта Закона о државним музичким школама у Краљевини СХС предат министру просвете у јулу 1920, а озбиљнији кораци с тим у вези начињени су током 1921. године. Заправо, након поновног обраћања Крстића министру поводом питања подржављења у јуну те године, инициран је обиман рад на припреми одговарајућих докумената и извођењу овог процеса. Тако је отпочео историјски важан процес усвајања Уредбе о Конзерваторијуму у Београду који је имао неколико предфаза и потоњих разрада. Убрзо је питање подржављења Музичке школе у Београду прерасло почетне оквире и претворило се у питање конституисања високих школа за музику – конзерваторијума, на територији читаве земље. Иако напослетку овај процес није формализован, захваљујући њему начињени су помаци у реформи музичког образовања. Наиме, музичке школе у Загребу и Љубљани успеле су да материјализују своја вишегодишња настојања и оформе државне конзерваторијуме током двадесетих година. Рад на Уредби представљао је на известан начин круну активности Петра Крстића у погледу темељног преобликовања Музичке школе у Београду, али и музичког школства уопште. У току дискусија које су вођене пре и након њеног усвајања, Крстић је био прилици да изложи своје погледе на проблем стварања конзерваторијума и сумира дугогодишња размишљања, сазнања и искуства на ту тему. Иако пажљиво аргументована и чврсто утемељена, његова схватања нису наилазила на разумевање чланова комисије за припрему Уредбе, док су је поједини стручњаци оштро критиковали. Крстићеви јединствени погледи и нека врста „еволутивног модела“ који је путем њих пропагирао, нису, међутим, били узрок његовог потоњег дистанцирања од Министарства просвете с чијим челницима је одржавао добре односе од 1919. године. До тога је довело како „одуговлачење“ које је уследило у вези с применом Уредбе и усвајањем пропратних докумената, тако и сплетке које су настале око избора директора будућег Конзерваторијума у Београду. Ипак, Крстићев рад на реформама музичког образовања није завршен 1921. године. Он се наставио током наредне деценије када се Крстић, у улози инспектора Министарства просвете и члана комисије, посветио припреми најзначајнијег документа за ову област у читавом међуратном периоду – Пројекту Закона о уметничким школама

The Structural Transformation of the Sphere of Musical Amateurism in Socialist Yugoslavia : a Case Study of the Beogradski Madrigalisti Choir

In this paper we focused on investigating how the sphere of musical amateurism functioned in Yugoslavia in the decades following the end of WWII. Observing through changes in the role and significance of amateur music ensembles, specifically choirs, in Yugoslav society from the late 1940s until the late 1960s / early 1970s that were manifest in their de-massification, gradual professionalisation and extensive use in cultural diplomacy, we sought to explain that this involved multiple factors – above all, the shifts in Yugoslav international policy after the confrontation with the Soviet Union in 1948, and, consequently, the revisions of its cultural policies. Their influence was observed through a detailed examination of the activities of the Beogradski madrigalisti choir, from its foundation in 1951 until the late 1960s / early 1970s. Although it was unique among Yugoslav choirs in many respects, the early history of this ensemble clearly reflected the demand for excellence in the sphere of amateur performance from the 1950s onwards, one of the most prominent indicators of its deep structural transformation

From Myth to Reality: Stevan Stojanović Mokranjac and Serbian Church Music

V prispevku se bomo osredotočili na zgodovinsko rekonstrukcijo dela Stevana Stojanovića Mokranjca na področju melografije (melography) in peda-gogike srbskih cerkvenih napevov. O prestižnem statusu, ki ga je kot melograf (melographer) in strokovnjak za srbske cerkvene napeve pridobil tako v očeh svojih sodobnikih kot pri današnjih muzikologih in zgodovinarjih glasbe, je redko kdo podvomil ali ga obravnaval objektivno, zato sva se odločili ponovno pretresti nekaj prevladujočih interpretacij njegovih dejavnostih na tem področju. V ta namen sva temeljito raziskali arhivske vire in tisk od konca 19. stoletja naprej, pri čemer sva želeli kritično proučiti Mokranjčevo vlogo pri populari-zaciji konceptov karlovškega in beograjskega sloga cerkvenega petja, njegove poskuse zapisovanja enoglasnih cerkvenih napevov, nazadnje pa še njegov pristop k poučevanju cerkvenega petja na Semenišču Sv. Save. Poudarili bova neskladje med ustvarjeno podobo Mokranjca kot nesporne avtori-tete na tem področju in zgodovinskimi podatki, ki kažejo na pomen, ki ga je imel njegov simbolni (in socialni) kapital v procesu pridobivanja širokega pripoznanja.In this paper, we will focus on the historical recon-struction of Stevan Stojanović Mokranjac’s work in the field of melography and pedagogy of Serbian church chant. Since the prestigious status he rea-ched among his contemporaries, as well as musi-cologists and music historians of the recent past, both as a melographer and expert in Serbian church chant of his time, has rarely been questioned or objectively approached, we decided to reconsider some of the dominant interpretations of his activi-ties in this domain. For that purpose, we conducted a thorough research of archival resources and press material from the late 19th century onward aiming at a critical examination of Mokranjac’s role in the popularization of concepts of the Karlovac and Belgrade church chant styles, his undertakings in the documentation of monophonic church chants, and, finally, his approach to the teaching of chant singing in Saint Sava’s Seminary. We will underline the discrepancy between the created image of Mokranjac as an indisputable authority in the field and historical data, which point to the significance of his symbolic (and social) capital in the process of gaining broader recognition