Одрази ’шопског’ mелодијског mодела у свадбеним и ђурђевданским песмама источне и централне Србије

This article examines a melodic model that characterizes Serbian ‘Shop’ musical idiom both in eastern and central Serbia, where it was disseminated through migrations from the ‘Shop’ cultural region to the west and northwest. In some of the ‘Shop’ areas and in neighbouring regions in East Serbia, as well as in more remote central Serbia, examples of this model are consistent in their main characteristics, while in more remote areas in central Serbia these characteristics appear in various forms of the model. The goal of this paper is to contribute to knowledge of the distribution of elements of ‘Shop’ musical culture in eastern and central Serbian areas.Ова студија, резултат ауторкиних дугогодишњих проучавања сеоских музичких традиција централне Србије, представља први научни допринос теми карактеризације елемената традиционалног музичког идиома српског дела области ’Шоплук’, распрострањеног у источној и у централној Србији посредством тзв. шопске метанастазичке струје која је кроз историју текла из ’шопских’ предела (источна Србија и западна Бугарска) према западу и северозападу. Овај стари фолклорни мелодијски модел и његове особине, идентификоване и окарактерисане као морфолошке доминанте према методи коју је образложио Игор Мацијевски (Maciewsky 2002), налазе се у свадбеним и ђурђевданским песмама на широј територији обухваћеној овом селидбеном струјом. У неким од ареала источне и централне Србије примери овог модела су конзистентни у својим главним карактеристикама, док се у нешто удаљенијим местима централне Србије његови елементи јављају у различитим формама увек препознатљивог, истог модела. Циљ овог рада јесте да дâ допринос познавању просторне дистрибуције елемената ’шопске’ традицијске музичке културе у регионима источне и централне Србије. Такође, упоредном анализом долази се до елемената музичке структуре који се могу идентификовати као припадајући ’шопском’ музичком идиому, у форми која је карактеристична за ’шопске’ области, као и у симбиози са елементима других идиома у делу централне Србије – долини Велике Мораве и у источној Шумадији. Најзад, просторна дистрибуција овог модела није заступљена у свим ’шопским’ пределима источне Србије, што упућује на и закључак о културној диференцираности самог српског дела ’Шоплука’

Ethnomusicological Researches in Šumadija

Šumadija is nowadays defined as a geographical area in central Serbia, between the rivers Sava and Danube in the north, Velika Morava in the cast, Zapadna Morava in the south, Kolubara in the west and the Kamenica - Čemernica watershed in the southwest. Accordinc to a hypothesis made by Petar Ž. Petrović, the name of the region originated in the 17th century, but the first known written mention dates to 1713, tn a document of the Metropoly of Belgrade.International symposium, Brčko, Decembre 06-09 200

Nikola Borota’s Kameni cvijet (Stone flower) and inscriptions on stećak tombstones: Semantic and poetic level

Тeme umetnosti u kamenu i simbolike samog kamena aktuelizovane su u sferi poezije, likovnih umetnosti i umetničke muzike u SFR Jugoslaviji u drugoj polovini XX veka, s jedne strane verovatno pod uticajem pojačanog interesovanja za ove teme u SSSR neposredno pre i u periodu posle Drugog svetskog rata i, s druge strane, kao rezultat naučne i umetničke fascinacije srednjovekovnim nadgrobnim spomenicima, stećcima (pretežno sa prostora Hercegovine i Bosne). Opšte teme kamena, sa simbolikom večnog života i vrline, otpora prolaznosti i zaboravu, prevladavanja smrti, ostavile su traga i u delima popularne muzike tog doba – ranim jugoslovenskim reprezentima (poli)žanra world music. Balada Kameni cvijet sarajevskog kompozitora i producenta Nikole Borote zasnovana je na južnoslovenskim folklornim muzičkim predlošcima i na aranžmanskim i produkcijskim principima britanskog sastava Procol Harum. Studija je posvećena temi intertekstualnosti na relaciji simbolike kamena, muzičko-folklornih modela i popularne muzike u ovoj kompoziciji, o čemu svedoče rezultati analize muzičko- strukturnih komponenata.Themes of art in stone and the symbolism of the stone itself are actualized in the sphere of poetry, fine arts and art music in the SFR Yugoslavia in the second half of the 20th century, on the one hand probably under the influence of increased interest in these topics in the USSR, just before and after the World War Two, and, on the other hand, as a result of scientific and artistic fascination with medieval tombstones, stećci (predominantly from the territory of Herzegovina and Bosnia). General themes of stone, with the symbolic of eternal life and virtue, the resistance of transience and oblivion, the overcoming of death, left also a trace in the pieces of popular music of that era (the early Yugoslav representatives of the world music genre). The ballade “Stone Flower”, by the Sarajevo composer and producer Nikola Borota, is based on the South Slavic folk music templates, and on the arrangement and production principles of the British art rock band Procol Harum. This composition in its structural components: musical metric, melody, versification of lines, rhythms, text treatment, accent schedules, musical form and way of interpretation, contains certain particularities that justify the connection of this musical structure and its poetics with semantics and poetics of textual inscriptions on stećci. The analysis of the musical-structural components of the composition justifies the listening impression and experience, related to the experience when observing and reading the inscriptions on these stone monuments

Hybrid Vocal Forms - Mixture of Old and More Recent Vocal Styles and of Traditional Music Dialects in Jasenica Region in Central Serbia

The so-called hybrid forms, as a segment of the Serbian two-part rural vocal tradition combining the features of older and more recent two-part singing, have already been discussed in a number of papers (Dević, 1979, 1997; Jovanović, 1999; Ranković, 2007)1. Serbian ethnomusicologists have determined that songs with such features can be found in areas where confrontation may be observed between the features of older and more recent village tradition, as well as between different cultural areas. Such regions are central Serbia, where influences of the vocal traditions of Dinara, Kosovo-Metohija, Љop, Morava-Vardar2 and the indigenous ones (Dević, 1997; Jovanović, 1999: 32) converge, and Lijevča Polje, in northern Bosnia, where influences from the cultural zones of Dinara and Pannonia are present (Ranković, 2007: 39-40). The recognizable physiognomy of hybrid forms gives a significant mark to the vocal heritage in these areas. The aim of discussing this interesting and complex subject in this paper is to contribute to this topic and point to new possibilities in establishing criteria for their differentiation

Identities expressed through practice of kaval playing and building in Serbia in 1990s

This paper discusses the circumstances under which the building and playing of the kaval became topical in Serbia (Belgrade) at the end of twentieth century: the work of the Byzantine choir “Saint John of Damascus” and expressions of personal and group identities participating in the process, through indication of the elements of music structure related to the principles in eastern music cultures.Zbornik je štampan i na srpskom jezik

Rekindled kaval in Serbia in 1990s and kaval and ney in Sufi traditions in the Middle East: the aspects of music and meanings

In this paper, the emphasis is placed on the parallel in the understanding and perception of playing of long ductless half-transverse flutes in Orthodox Christians and Sufis. The paper was based on observing and studying of living musical practice of the kaval in Belgrade, Serbia, in a specific context enabling specific perception of playing it. Speaking of Serbia, it is about the area of the central Balkans, where there is a plentitude of indigenous traditions which have been preserved till the present date and where different influences have been crossing over. Here also the cultural identities of the Mediterranean, of the East, and of the Central Europe have been negotiated over a long period of time.The Sixth International Symposium on Traditional Polyphony, 24–28 September 201

Rural musical culture of migrants from Dinaric regions settled in central Serbia

Specific culture of the inhabitants of the Dinaric mountains region in the Western Balkans has already been observed primarily by ethnographers, antropogeographers and historians, and in recent times also by ethnomusicologists. This paper is dedicated to intriguing subject of the elements of Dinaric traditional rural musical idiom in the regions where these people settled in central Serbia mainly through their intensive and large migrations during the 19th century. The prominent elements of their rural musical traditions – interrelations of the folklore genres and melodic models, different structure and stylistic elements – have been kept as recognizable and compact in hilly and mountain regions on the West, but were changed and evolved in new musical forms (mixtures with the elements of other musical traditions/sensibilities) in the East, lowlands of the central Serbia.Selection of peer reviewed papers presented within the 5th International Conference Music and Human Mobility - ICMHM’16, Redefining Community in Intercultural Context, Lisbon, 7-9 June, 201

Questioning the Possibility of Revitalising Traditional Rural Songs in Topola, Serbia

This chapter will explore the possibility of reviving the Serbian musical tradition in the city of Topola in Šumadija, Serbia’s central region. I will draw upon a singing workshop that I gave to, and that informed a field study that I conducted on, a small vocal group from the Oplenac Cultural-Artistic Association (in Serbian: Kulturno-umetničko društvo or KUD). The research focused on three themes: 1) the societal milieu of the community and its positive attitude towards traditional music; 2) the ability of young singers not only to imitate, but also to interpret traditional songs from their native region (Kisliuk and Gross 2004, 253); and 3) the family context, which provides a link with previous heirs to the musical tradition. As will be shown in this article, during my research in Topola, emic and etic approaches partly were brought together in addressing these themes

LES VALEURS SÉMANTIQUES ET PRAGMATIQUES DES TEMPS VERBAUX DANS LES PROVERBES ZOONIQUES FRANÇAIS ET SERBES

L’objet de cet article est de déterminer la fréquence et les spécificités des valeurs sémantiques et pragmatiques des temps verbaux dans un corpus des proverbes français et serbes. Le corpus est tiré des dictionnaires de référence parémiologique français et serbes (Montreynaud et al. 2006 ; Maloux 2006 ; Vigerie 2004 ; Karadžić 1985 ; Jovanović 2006) et vise les proverbes zooniques. Vu le fait que dans un corpus des proverbes le présent de l’indicatif et la valeur gnomique sont les plus fréquents, on s’attache à explorer les valeurs des temps passés. L’analyse sera menée dans le cadre des grammaires sémantiques (Charaudeau 1992 ; Piper 2005).