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Department of Musicology Faculty of Music International Journal of Music 43 Belgrade, I/2014 YU ISSN 0354–818X UDC 78:781(05) COBISS. SR-ID 80527367 International Journal of Music 43 Belgrade, I/2014 Publisher: Department of Musicology Faculty of Music Kralja Milana 50, 11000 Belgrade Editorial Board: Mirjana Veselinović-Hofman Ph.D. (Editor-in-chief) Vesna Mikić Ph.D. (Deputy editor-in-chief) Academician Dejan Despić Dragoslav Dević, Ph.D. Sonja Marinković, Ph.D. Nenad Ostojić, M.A. Ana Kotevska, M.A. Marcel Cobussen Ph.D. (The Netherlands) Pierre Albert Castanet Ph.D. (France) Chris Walton Ph.D. (South Africa/Switzerland) Eduardo R. Miranda Ph.D. (Brazil/UK) Nico Schüler Ph.D. (Germany/USA) Cover design: Tijana Marinković Secretary of the Editorial Board: Ivana Ognjanović Editorial Board and Office: Faculty of Music Kralja Milana 50, 11000 Belgrade E-mail: [email protected] www.newsound.org.rs The Journal is published semestrally. The Journal is classified in ERIH – European Reference Index for the Humanities CONTENTS Editor’s Note .............................................................................................. 5 MUSICOLOGIST SPEAKS Ivana Perković There Are Few Things that I Started and Left Unfinished – An Interview with Roksanda Pejović .................................... 7 CORE ISSUE – STEVAN ST. MOKRANJAC AND MUSIC ‘AROUND’ FIRST WORLD WAR Ivan Moody Mokranjac, Culture, and Icons .................................................................. 17 Romana Ribić Audio Recordings of Hymns from the Octoechos as Written Down by Stevan Stojanović Mokranjac ....................................... 22 Euđen Činč Melodic Links Between Serbian and Romanian Orthodox Chant: Examples from Works by Stevan St. Mokranjac and Dimitrie Cusma ............................................... 37 Biljana Milanović The Discourse of Travelogues About Stevan Mokranjac and The Belgrade Choral Society in the National-Political Context Before the First World War .......................................................... 52 Milica Gajić Czech Music and Musicians as Mokranjac’s Companions on his Path towards the Professionalization of Serbian Music ............................ 70 Jelena Arnautović Various ‘Faces’ of Stevan Mokranjac at the Mokranjčevi Dani Festival in the 21st Century ......................................... 91 Sanela Nikolić The Opera Question in Belgrade as ‘staged’ by Milan Grol ................... 107 Maja Vasiljević A ‘Quiet African Episode’ for the Serbian Army in the Great War: The Band of the Cavalry Division and Dragutin F. Pokorni in North Africa (1916−1918) ........................... 123 3 New Sound 43, I/2014 NEW WORKS Branka Popović Svetlana Savić: Soneti “La Douce Nuit”, “Looking on Darkness”, “La vita fugge” ................................................ 157 ANALYSES Man-Ching Yu Pitch-class Analysis: Some Aspects of IC5 and IC1 Design in György Ligeti’s Piano Études .......................................... 173 FESTIVALS AND SYMPOSIA Zorica Premate The 22nd International Review of Composers ......................................... 191 Danka Lajić-Mihajlović The Player, the Instrument, and Music in Society: The 19th Symposium of the ICTM Study Group on Folk Musical Instruments ......................................................................195 REVIEWS Tilman Seebass Roksanda Pejović, Musical Instruments in Medieval Serbia .................. 199 Ivana Miladinović Prica The Construction Site Ensemble for New Music: CD “4” ..................... 202 DEFENDED THESES Bogdan Đaković Functional and Stylistic-aesthetic Elements in Serbian Sacred Choral Music of the First Half of the 20th Century ..................... 207 Contributors to this Issue ...................................................................... 211 4 EDITOR’S NOTE In 2014, both issues of the New Sound International Journal of Music (Nos. 43 and 44) are dedicated to problems of music / musical creativity / musical life / musical culture… under the socio-historical, ideological-political, artistic and philosophical-aesthetical conditions in European countries and Serbia during / regarding / ‘around’ the First World War. In that context, we devote special attention to Stevan Stojanović Mokranjac (1856–1914), Serbian composer and author of a genuinely based stylistic and methodological-theoretical system and artistic ‘sound-map’ in approaching folk music. Although both issues contain contributions marking both centenaries, No. 43 is nevertheless mostly focused on Mokranjac’s work and No. 44 on Serbian and European music of / ‘around’ the Great War. Also, the thematic section related to European music in No. 44 is guest-edited by Dario Martinelli, musicologist and professor at Kaunas University of Technology, Lithuania, who has collaborated over the past few years with the Department of Musicology under the auspices of the Tempus Programme. The thematic areas of Nos. 43 and 44 were preceded, as a sort of theoretical prequel, by the core issue of the New Sound No. 42, “Music – Politics – Language”. Interpretation of this topic from different angles – musicological and philosophical-aesthetical – was designed to establish a broader context for analysing the aforementioned range of issues, related directly or indirectly to the artistic and political ‘vibrations’ of a historically complex, creatively rather restless, innovative, artistically densely ‘punctuated’, and richly layered period in the development of art music during the first few decades of the 20th century. Therefore today, a century later, the year 1914, which in many ways symbolizes that period, is a strong incentive for scholarly ‘recollections’, reassessments, and new research, the kind of which will also be recognized on the pages of this year’s issues of the New Sound. M. V. H. 5 New Sound 43, I/2014 6 Perković, I.: There Are Few Things that I Started and Left Unfinished (7–16) MUSICOLOGIST SPEAKS Article received on 14th Jun 2014 Article accepted on 25th Jun 2014 UDC: 78.072:929 Пејовић Р.(047.53) Ivana Perković* University of Arts in Belgrade Faculty of Music Department of Musicology THERE ARE FEW THINGS THAT I STARTED AND LEFT UNFINISHED An Interview with Roksanda Pejović A legendary figure not only in Ser- bian musicology but on a much broader scale, Roksanda Pejović celebrates her 85th birthday this year. Now, after almost six decades of a dedicated pursuit of musicology, we are talking to her about her perceptions of her education, key figures in her professional life, her career, scholarly work, as well as some personal ques- tions. Her tirelessness in studying the musical past and publishing her research re- sults is perhaps best illustrated by the fact that over the last ten years alone, Pejović published as many as ten books. The topics of her research range from the general history of music, via the iconography of musical instruments from medieval Serbia (both in Serbian and English), Serbian music performance in the interwar period, to writing on Serbian music, 7 New Sound 43, I/2014 mainly from the second half of the 20th century.1 Incidentally, the musicological oeuvre of Roksanda Pejović – which (thus far, given that two more editions are being prepared for printing!) includes 34 books, hundreds of articles, an abundance of encyclopaedic entries in Die Musik in Geschichte und Gegenwart (MGG), The New Grove Dictionary of Music and Musicians, Muzička encik- lopedija Jugoslavenskog leksikografskog zavoda [The Music Encyclopaedia of the Yugoslav Institute of Lexicography], Leksikon Jugoslavenske muzike [Lexi- con of Yugoslav Music], and many other texts – is one of the richest personal bibliographies in Serbian music studies. Impressive even on an international scale, it vividly and graphically attests to her persistent and dedicated efforts at perceiving Serbian music historiography from various angles, constantly sup- plementing the available knowledge base with new or, at least, broader entries, all for the purpose of presenting the problems as thoroughly as possible. By reading ‘between the lines’, we find out a lot about the author as well: she is a music writer prone to broad historical strokes, with ample knowledge in various fields and a propensity to present large quantities of studiously collected information, a scholar who gladly presents her own conclusions, polemicizes and de- bates, but is also not reluctant to review her own viewpoints; in the voluminous appendices of her books, in the form of various summaries, tables and chrono- logical tables, the reader will easily find copious amounts of information, while her simple and popular language, often condensed to the utmost, attests to her desire to be communicative. Several subjects have continually crossed paths in Roksanda Pejović’s musicological work: music iconography, especially concerning Serbian medieval heritage and, in a broader sense, that of the Byzantine area as a whole, is a ‘natural’ field of interest for someone who was educated not only as a histo- rian of music, but also of art (she received her degree in art history in 1954, with the thesis “Problemi istorije umetnosti 18. veka” [“Problems in the History of 18th-century Art”]). This conjunction resulted in her doctoral thesis, “Pred- stave muzičkih instrumenata u srednjovekovnoj Srbiji” [“Depictions of Musi- cal Instruments in Medieval Serbia”], defended in 1984 at the Faculty of Arts in Ljubljana, Slovenia. Next, she has written extensively on topics related to music criticism and writing

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