Abstracts / Povzetki ESEM 2012 - Music and Cultural Memory in post - 1998 Europe

1 National Past in Music / National Musical Past: Music and Cultural Memory in post-1989 Europe. XVIII European Seminar in Ethnomusicology, 19. – 23. 9. 2012, Ljubljana Nacionalna preteklost v glasbi / nacionalna glasbena preteklost: Glasba in kulturni spomin v Evropi po letu 1989. XVIII Evropski etnomuzikološki seminar, 19 – 23. 9. 2012, Ljubljana.

Edited by / Uredili: Ana Hofman, Mojca Kovačič Design / Oblikovanje: Natalija Stanivuk Publisher / Založnik: Sekcija za interdisciplinarno raziskovanje in Glasbenonarodopisni institute ZRC SAZU Print / Tisk: DEMAT d.o.o.

Organizers / Organizatorji: Center for Interdisciplinary Research and Institute of Ethnomusicology ZRC SAZU/ Sekcija za interdisciplinarno raziskovanje in Glasbenonarodopisni intšitut ZRC SAZU

Programme committee / Programski odbor: Ana Hofman (chair), Slawomira Kominek, Ardian Ahmedaja, Mojca Kovačič

Organizational committee / Organizacijski odbor: Anja Serec Hodžar, Ana Hofman, Teja Komel, Mojca Kovačič

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

781.7(082) 001.8:781.7(082)

INTERNATIONAL Council for Traditional Music. Study Group for Applied Ethnomusicology. Meeting (1 ; 2008 ; Ljubljana) Historical and emerging approaches to applied ethnomusicology : program and abstracts = Zgodovinski in novi pristopi k aplikativni etnomuzikologiji : program in povzetki / First meeting of the Study Group for Applied Ethnomusicology, Ljubljana, Slovenia, 9-13 July 2008 = prvo srečanje študijske skupine za aplikativno etnomuzikologijo, Ljubljana, Slovenija, 9.-13. julij 2008 ; [edited by, uredila Svanibor Pettan & Katarina Juvančič ; organizers Slovene National Committee at the ICTM ... et al.]. - Ljubljana : Glasbena matica, 2008 ISBN 978-961-91539-3-2 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Pettan, Svanibor 4. International Council for Traditional Music. Slovene National Committee 239682816 Contents / Kazalo

Programme / Program 4 Abstracts / Povzetki 8-35 List of Participants / Seznam udeležencev 36 Notes / Beležke 38 Program / Program Tina K. Ramnarine Musical traditions and the politics of integration in the Baltic Sea region: re#ections on ethnography, memory and oral history WEDNESDAY - 19th of Septmber 2012 Ana Hofman Music, a$ect and memory politics in postsocialist societies 8:00 - 9:00 REGISTRATION 19:00 RECEPTION BY THE CITY MAYOR AND DINNER 9:00 - 10:00 OPENING AND WELCOME SPEECH Oto Luthar, Director of the Scienti!c Research Center of SAZU, THURSDAY - 20th of September 2012 Svanibor Pettan, ICTM, Secretary General John Blacking Memorial Lecture 9:00-10:30 SOUNDING NATIONAL PAST Naila Ceribašić Chair: Britta Sweers Tenacious and malleable pasts in post-Yugoslav, post-war, post-socialist music cultures Gerda Lechleitner 10:30 - 12:00 SOUNDING NATIONAL HISTORY I Soldier songs of the Austro-Hungarian Army - »real« memory or »imagined« myth? Chair: Svanibor Pettan Diler Özer Efe Agnieszka Topolska History, cultural identity and diversity: from »Turkish music« to »musics of Turkey« Restoration the past: "e international Stanislaw Moniuszko vocal competition in Warsaw Zuzana Jurková Iren Kertes Wilkinson Sonic Probes into the Czech past Looking forward by enacting the past: a happening in Budapest 2002 11:00-12:30 SOUNDING CONTESTED PAST Shai Burstyn Chair: Ursula Hemetek A. Z. Idelsohn and the Manipulation of Israeli musical collective memory Kjell Muller Skyllstad 12:00-13:00 LUNCH 200 years of white music 100 years - reconstructing the nationalist past in 21th century 13:00-14:30 SOUNDING NATIONAL HISTORY II multicultural Europe Chair: Kjell Muller Skyllstad Britta Sweers Ardian Ahmedaja Germanic mythology and cultural memory in music: some con#ict points within a globa- Experiences in southeastern Albania and northwestern Greece lized context Diane Roy Ingrid Bertle$ Traditional Slovak music and dance in 2007: picture or performance? Songs of the Germans from Russia - Reconstructing histories a%er the fall of the iron Srđan Atanasovski curtain Soundscape of ‘Serbian’ Kosovo: pilgrimage and geographical ‘reality’ experienced through 12:30-13:30 LUNCH music 13:30 - 15:00 POST%YUGOSLAV MUSIC AND MEMORY POLITICS 15:00-16:30 SOUNDING NATIONAL HISTORY III Chair: Ana Hofman Chair: Ardian Ahmedaja Ana Petrov Ewa Dahlig-Turek Between two worlds: concert - giving and rioting in Belgrade a%er the wars in the We- "e Polish national anthem as a reservoire of historical contents? stern Balkans Miroslav Stojisavljević Nevena Daković Gusle repertoire during the civil war in former Yugoslavia during 1990s "e musical locus of cultural memory and nostalgia: Montevideo God Bless You! Ilwoo Park In and out of tune with history: musical performance as the embodiment of Irish historical experience Tatjana Marković Transforming torment into happiness: ironical national self-portrait in the rap-opera 17:00-18:30 MUSIC AND MEMORY POLITICS: Postsocialist experiences »Zemlja sreće« (Belgrade, 2007) Chair: Ewa Dahlig-Turek Dave Wilson Shaping the past and creating the future: music at Macedonia’s celebration of twenty years of independence 4 Tina K. Ramnarine Musical traditions and the politics of integration in the Baltic Sea region: re#ections on ethnography, memory and oral history WEDNESDAY - 19th of Septmber 2012 Ana Hofman Music, a$ect and memory politics in postsocialist societies 8:00 - 9:00 REGISTRATION 19:00 RECEPTION BY THE CITY MAYOR AND DINNER 9:00 - 10:00 OPENING AND WELCOME SPEECH Oto Luthar, Director of the Scienti!c Research Center of SAZU, THURSDAY - 20th of September 2012 Svanibor Pettan, ICTM, Secretary General John Blacking Memorial Lecture 9:00-10:30 SOUNDING NATIONAL PAST Naila Ceribašić Chair: Britta Sweers Tenacious and malleable pasts in post-Yugoslav, post-war, post-socialist music cultures Gerda Lechleitner 10:30 - 12:00 SOUNDING NATIONAL HISTORY I Soldier songs of the Austro-Hungarian Army - »real« memory or »imagined« myth? Chair: Svanibor Pettan Diler Özer Efe Agnieszka Topolska History, cultural identity and diversity: from »Turkish music« to »musics of Turkey« Restoration the past: "e international Stanislaw Moniuszko vocal competition in Warsaw Zuzana Jurková Iren Kertes Wilkinson Sonic Probes into the Czech past Looking forward by enacting the past: a happening in Budapest 2002 11:00-12:30 SOUNDING CONTESTED PAST Shai Burstyn Chair: Ursula Hemetek A. Z. Idelsohn and the Manipulation of Israeli musical collective memory Kjell Muller Skyllstad 12:00-13:00 LUNCH 200 years of white music 100 years - reconstructing the nationalist past in 21th century 13:00-14:30 SOUNDING NATIONAL HISTORY II multicultural Europe Chair: Kjell Muller Skyllstad Britta Sweers Ardian Ahmedaja Germanic mythology and cultural memory in music: some con#ict points within a globa- Experiences in southeastern Albania and northwestern Greece lized context Diane Roy Ingrid Bertle$ Traditional Slovak music and dance in 2007: picture or performance? Songs of the Germans from Russia - Reconstructing histories a%er the fall of the iron Srđan Atanasovski curtain Soundscape of ‘Serbian’ Kosovo: pilgrimage and geographical ‘reality’ experienced through 12:30-13:30 LUNCH music 13:30 - 15:00 POST%YUGOSLAV MUSIC AND MEMORY POLITICS 15:00-16:30 SOUNDING NATIONAL HISTORY III Chair: Ana Hofman Chair: Ardian Ahmedaja Ana Petrov Ewa Dahlig-Turek Between two worlds: concert - giving and rioting in Belgrade a%er the wars in the We- "e Polish national anthem as a reservoire of historical contents? stern Balkans Miroslav Stojisavljević Nevena Daković Gusle repertoire during the civil war in former Yugoslavia during 1990s "e musical locus of cultural memory and nostalgia: Montevideo God Bless You! Ilwoo Park In and out of tune with history: musical performance as the embodiment of Irish historical experience Tatjana Marković Transforming torment into happiness: ironical national self-portrait in the rap-opera 17:00-18:30 MUSIC AND MEMORY POLITICS: Postsocialist experiences »Zemlja sreće« (Belgrade, 2007) Chair: Ewa Dahlig-Turek Dave Wilson Shaping the past and creating the future: music at Macedonia’s celebration of twenty years of independence 5 15:30 -17:00 MUSIC AND INDIVIDUAL MEMORY 15:00-16:30 FESTIVALIZATION OF PAST Chair: Dimitris Papanikolau Chair: Tina Ramnarinne Anna Czekanowska Henry Bainbridge Music and its context. "e processes success of the recent past vs. the situation a%er 1989 Melodies and memories at the Guča Trumpet Festival Teja Klobčar Kaja Maćko-Gieszcz Singer - songwriters and the formation of cultural memory International Folk Festival »Bukovinian Meetings« as a space of negotiating the past and Andreas Hemming collective memory. "e case of Bukovinian Highlanders Everyone is watching... traditional Albanian music and the creation of an idealized past Jelena Gligorijevic in the new media Negotiating Serbian national past, heritage and identity in times of political change: A 18:30 DINNER case study of the Exit and Guca Trumpet festivals 20:00 EVENING PROGRAM 17:00-18:00 GENERAL ASSEMBLY OF ESEM 18:30 DINNER FRIDAY - 21st of September 2012 20:00 EVENING PROGRAM

8:30 - 10:00 SOUNDING MINORITIES’ MEMORIES SATURDAY - 22nd of September 2012 Chair: Marjeta Pisk 'omas Hilder EXCURSION TO THE COASTAL REGION Sami musical performance, indigently and politics of time FAREWELL DINNER Ursula Hemetek Collective/individual memory in songs of minorities in Austria Daniel Winfree Papuga SUNDAY - 23rd of September 2012 National memory and national minorities: the case of the Kven people 10:30 - 12:00 DIASPORIC MUSICAL MEMORY 8:30 - 10:00 FILMING MUSICAL MEMORIES Chair: Shai Burstyn Chair: Rajko Muršič Liudmila Sokolova, Galina Sychenko Dimitris Papanikolaou Musical repertoire of “the small Poland in Siberia”: the past in the present "e function of music in relation to history and cultural memory in Angelopoulos’ “Ulys- Maša Marty ses Gaze” Expressed loyalty with homeland through music, too Stefan Schmidl Jill Ann Johnson Between pathos and entimentality: Yugoslavia’s past in !lm music Performing a diasporic reconstruction of the historical past Ivana Kronja 12:00-13:00 LUNCH Music as an expression of cultural identity (and its crisis) in Yugoslav and Serbian cine- 13:00-14:30 MUSIC AND COMMEMORATIONS ma Chair: Mojca Kovačič 10:30 - 12:00 MEMORY PRACTICES IN POPULAR MUSIC Leon Stefanija Chair: Tatjana Marković Music and state ceremonies - comments on identity construction through music in Slove- Marko Stojanovska Rupčić nia National rock in Hungary: the case of Karpatia Rajko Muršič Fulvia Caruso Grassroots youth venues in Slovenia: a network for the promotion of local creativity and The “We are history” concert of May 1, 2011. the celebration of 150 years of Italian unification global exchange Marjeta Pisk Marija Grujić "e Statehood’s Day celebrations and the construction of Slovenianess From homeland towards the nation: is turbo-folk the sound of (trans)nationalists? 12:00 - 13:00 LUNCH 6 15:30 -17:00 MUSIC AND INDIVIDUAL MEMORY 15:00-16:30 FESTIVALIZATION OF PAST Chair: Dimitris Papanikolau Chair: Tina Ramnarinne Anna Czekanowska Henry Bainbridge Music and its context. "e processes success of the recent past vs. the situation a%er 1989 Melodies and memories at the Guča Trumpet Festival Teja Klobčar Kaja Maćko-Gieszcz Singer - songwriters and the formation of cultural memory International Folk Festival »Bukovinian Meetings« as a space of negotiating the past and Andreas Hemming collective memory. "e case of Bukovinian Highlanders Everyone is watching... traditional Albanian music and the creation of an idealized past Jelena Gligorijevic in the new media Negotiating Serbian national past, heritage and identity in times of political change: A 18:30 DINNER case study of the Exit and Guca Trumpet festivals 20:00 EVENING PROGRAM 17:00-18:00 GENERAL ASSEMBLY OF ESEM 18:30 DINNER FRIDAY - 21st of September 2012 20:00 EVENING PROGRAM

8:30 - 10:00 SOUNDING MINORITIES’ MEMORIES SATURDAY - 22nd of September 2012 Chair: Marjeta Pisk 'omas Hilder EXCURSION TO THE COASTAL REGION Sami musical performance, indigently and politics of time FAREWELL DINNER Ursula Hemetek Collective/individual memory in songs of minorities in Austria Daniel Winfree Papuga SUNDAY - 23rd of September 2012 National memory and national minorities: the case of the Kven people 10:30 - 12:00 DIASPORIC MUSICAL MEMORY 8:30 - 10:00 FILMING MUSICAL MEMORIES Chair: Shai Burstyn Chair: Rajko Muršič Liudmila Sokolova, Galina Sychenko Dimitris Papanikolaou Musical repertoire of “the small Poland in Siberia”: the past in the present "e function of music in relation to history and cultural memory in Angelopoulos’ “Ulys- Maša Marty ses Gaze” Expressed loyalty with homeland through music, too Stefan Schmidl Jill Ann Johnson Between pathos and entimentality: Yugoslavia’s past in !lm music Performing a diasporic reconstruction of the historical past Ivana Kronja 12:00-13:00 LUNCH Music as an expression of cultural identity (and its crisis) in Yugoslav and Serbian cine- 13:00-14:30 MUSIC AND COMMEMORATIONS ma Chair: Mojca Kovačič 10:30 - 12:00 MEMORY PRACTICES IN POPULAR MUSIC Leon Stefanija Chair: Tatjana Marković Music and state ceremonies - comments on identity construction through music in Slove- Marko Stojanovska Rupčić nia National rock in Hungary: the case of Karpatia Rajko Muršič Fulvia Caruso Grassroots youth venues in Slovenia: a network for the promotion of local creativity and The “We are history” concert of May 1, 2011. the celebration of 150 years of Italian unification global exchange Marjeta Pisk Marija Grujić "e Statehood’s Day celebrations and the construction of Slovenianess From homeland towards the nation: is turbo-folk the sound of (trans)nationalists? 12:00 - 13:00 LUNCH 7 Abstracts / Povzetki

Ahmedaja Ardian (Institute for Folk Music Research and Ethnomusicology, Wien, Austria) Local musical practices and the national musical past in border regions. Ex-

Abstracts / Povzetki Abstracts periences in southeastern Albania and northwestern Greece

One of the recognisable similarities among local musical practices in southeastern Albania and northwestern Greece is a basic instrumental ensemble. It consists of a violin, a clarinet, a lute and DVPDOOGUXP7KHGLIIHUHQWGHVLJQDWLRQVJLYHQWRLW LQ$OEDQLDQLWLVVD]HLQ*UHHNțȠȝʌĮȞİȚĮ LQ0DFHGRQLDQþDOJLLɱɚɥɝɢɢ DVZHOODVWKRVHRIWKHPXVLFDOLQVWUXPHQWVKDYHQRWSUHYHQWHG musicians of diverse cultural and confessional communities from making music together. In Al- EDQLDPHPEHUVRIWKHVDPHHQVHPEOHPLJKWEH0RVOHPDQGRU&KULVWLDQ$OEDQLDQV$URPDQLDQV *UHHNV0DFHGRQLDQVDQGRU5RPD7KLVZDVDOVRWKHFDVHGXULQJFRPPXQLVPDOWKRXJKLQWKDW period the origin of performers from minorities was, as a rule, left undisclosed in public presenta- tions of music and dance. In Greece too, musicians from the majority and minorities have consist- ently performed together, regardless of restrictive policies towards minorities. In spite of the political border that has existed since the dissolution of the Ottoman Empire at the EHJLQQLQJRIWKHWKFHQWXU\DQGWKDWZDVUHLQIRUFHGGXULQJWKHWLPHRIWKH,URQ&XUWDLQWKH similarities in local repertoires on both sides of the border are obvious. This can be heard in sound Europe recordings from the 1920s onwards, as well as in the ease with which folk musicians from both countries perform local repertoires of and with the “others” even today. Songs performed with the same music in spite of the substantial linguistic differences are especially worthy of emphasis. What is more, some of them are multipart songs, with dense musical structures and a distinctive use of lyrics. In this case, the view of the national musical past, of no matter which country, depends on the community status and the dynamics of the relationships in the musical practices. The interacting of these will be the special focus of the presentation.

–ƒƒ•‘˜•‹”¯ƒ (Institute of Musicology SASA, Belgrade, Serbia) Soundscape of “Serbian” Kosovo: pilgrimage and geographical “reality” expe- rienced through music

In this paper I want to show how musical practices that form part of contemporary Serbian pilgrimages to Kosovo engage in producing Serbian national territory as an empowered space. A certain nationalistic discourse always refers to a particular space as the homeland, ultimately striving to function as a mechanism of governing. Producing the national territory is bound up with constructing typical landscape and soundscape representations, but also with experiencing them

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music in everyday practice. Focusing on the role of music in a participative event such as a pilgrimage makes it possible to demonstrate the dialectical, twofold nature of this process that is shaped by 8 Abstracts / Povzetki social discourses but is also dependant on phenomenal, bodily experience of the space regarded as one’s homeland. Serbian pilgrimages to Kosovo are a contemporary phenomenon that started after WKHWHUULWRU\RI.RVRYRZDVH[FOXGHGIURPWKHDGPLQLVWUDWLRQDQGVRYHUHLJQW\RIWKH5HSXEOLFRI Serbia in 1999. In recent years, such pilgrimages have been organized exclusively by an obscure, VHPLSULYDWH³VWXGHQWRUJDQL]DWLRQ´ZLWKWKHEOHVVLQJRIWKH6HUELDQ2UWKRGR[&KXUFK7KLVLQ- YHVWLJDWLRQLVEDVHGRQ¿HOGZRUNFRQGXFWHGLQ$XJXVW,ZLOOUHIHUWRPXVLFHYHQWVWKDW pilgrims yearned to visit, music that followed them on their route and their personal choices RIPXVLFWROLVWHQWR DQGSHUIRUP ,ZLOOVKRZWKDWPXVLFKDGDQLPSRUWDQWUROHLQWKHH[SHUL- HQFHRIWKHSLOJULPDJHFUHDWLQJDVRUWRI³¿OWHU´DQLQWHUSUHWDWLYHDSSDUDWXVWKURXJKZKLFK pilgrims experienced the space and “reality” around them. Examining the music as a part of WKHSLOJULPDJH,ZLVKWRIRFXVRQLWVDIIHFWLYHTXDOLWLHVDIIHFWVRIOLVWHQLQJ DQGSHUIRUPLQJ  music and simultaneously bodily engaging within the landscape - and to discuss their conse- quent political importance.

Bainbridge Henry (University of Roehampton, London, UK) ‡Ž‘†‹‡•ƒ†‡‘”‹‡•ƒ––Š‡ —«ƒ”—’‡–ˆ‡•–‹˜ƒŽ

³>*XþDKDVEHFRPH@DQDWLRQDOEUDQGRXUYDOXDEOHDVVHWWKDWZHFDQWDNHWRWKHZRUOG´³,ZLOOUHPLQG ESEM 2012 - Music and Cultural Memory in post - 1998 Europe \RXRI SURPLQHQW6HUESRHW 0DWLMD%HüNRYLü¶VZRUGVµ,IZHHQWHUHGWKH(8ZLWKRXWRXUPHORGLHVDQG FRORUVRXUQDPHDQGPHPRU\WKH\ZRXOGQRWNQRZZKRZHDUHQRUZKDWZHEULQJZLWKXV¶*XþDLV RQHRIWKHVLJQVRIRXULGHQWLW\DQGVWUHQJWKDVLJQRIRXUFRQ¿GHQFH´3ULPH0LQLVWHURI6HUELD9RMLVODY .RãWXQLFDDGGUHVVLQJWKHPHGLDDWWKHFRQFOXVLRQRIWKH*XþD7UXPSHW)HVWLYDO6HSWHPEHUUG *XþDIHVWLYDOLVDQDQQXDOGD\HYHQWKHOGLQ:HVWHUQ6HUELDDVWKHFXOPLQDWLRQRIDVHDVRQRIQDWLRQ ZLGHFRPSHWLWLRQVWR¿QGWKHFRXQWU\¶VEHVWWUDGLWLRQDOEUDVVRUNHVWDUVDQGLVDWWHQGHGE\ORFDO and international visitors yearly. 7KLVSDSHUZLOOGLVFXVVWKHSROLWLFDO UH SRVLWLRQLQJRIWKLVHYHQWDVDQDWLRQDOEUDQGIRUSRVWVRFLDOLVW Serbia and examine the ways in which this traditional music festival has been groomed as a site for col- lective memory shaping and renarrating. %\H[SORULQJWKHQDWXUHRIWKLVSROLWLFDOµEUDQG¶RI*XþDDQGH[DPLQLQJKRZLWGLIIHUVIURPWKHDFWXDO OLYHGH[SHULHQFHRIIHVWLYDOSDUWLFLSDWRUVZHZLOOGLVFXVVWKHLPSDFWRIWKLVµEUDQG¶XSRQWKHGHYHORSPHQW of the traditional music and observe whether the mechanisms of development are an organic process hijacked by politics or a deliberate political manipulation of cultural meanings. Whilst the complex political implications and exploitations surrounding this festival have been dis- FXVVHGSUHYLRXVO\E\/XNLü.UVWDQRYLü  DQGWKHMRXUQDOLVW$QGUHZ*UD\  WKH\KDYHSHUKDSV UHFHQWO\JDLQHGDQHZVLJQL¿FDQFHDQGQHHGIRUUHDVVHVVPHQWZLWKWKHDFFHSWDQFHRI6HUELDDVDQ(8 candidate nation on March 1st 2012.This paper will seek to expand upon this work by offering an Ethno- musicological lens through which to view this phenomenon.

9 ‡”–Ž‡ơ ‰”‹† (Modern and Eastern European History, Freiburg University, Germany) Songs of the Germans from Russia - reconstructing histories after the ˆƒŽŽ‘ˆ–Š‡ ”‘—”–ƒ‹

8QGHU&]DULQD&DWKHULQH,,*HUPDQSHDVDQWVDQGFUDIWVPHQZHUHLQYLWHGWRVHWWOHRQWKH Abstracts / Povzetki Abstracts IULQJHVRIWKH5XVVLDQ(PSLUH$PRQJRWKHUWKLQJVWKH\DOVREURXJKWWKHLUVRQJVZLWK WKHPDQGLQWKHLUQHZHQYLURQPHQWWKH\FUHDWHGQHZVRQJV¿WWLQJQHZFRQWH[WVHYHQWV DQGLGHDV,QWKHVWKH6W3HWHUVEXUJEDVHGOLQJXLVW9LFWRU6FKLUPXQVNLDVVHPEOHGD small team of scholars. Together, they started to collect and study these songs. Soon there- DIWHUWKHUHSUHVVLRQVLQ6WDOLQLVW5XVVLDEURXJKWDQDEUXSWHQGWR6FKLUPXQVNL¶VDFWLYLWLHV 6WDOLQLVPDOWHUHGDOVRTXLWHGUDVWLFDOO\WKHOLYHVRI5XVVLDQ*HUPDQVHWWOHUV0RVWRIWKHP were deported and had to endure many hardships. The 2nd World War brought about even more turmoil. ,WZDVQRWXQWLOWKHIDOORIWKH,URQ&XUWDLQWKDWLWZDVSRVVLEOHWRJDLQDFFHVVWRWKHFRO- OHFWLRQVRI5XVVLDQ*HUPDQVRQJVVWRUHGLQ5XVVLDQDUFKLYHV$ERXWWHQ\HDUVDJRZKDW turned out to be a series of projects on the reconstruction of Schirmunski’s and others’ FROOHFWLRQVDQGRQWKHUHFHSWLRQKLVWRU\RI5XVVLDQ*HUPDQVRQJVZDVLQLWLDWHG$OORIWKRVH projects were collaborations between specialists in St. Petersburg and Freiburg. And none RIWKHPZRXOGKDYHEHHQSRVVLEOHZLWKRXWWKHSROLWLFDOFKDQJHVLQ Europe In my presentation, I will give an account of these projects: the reconstruction and catalogu- LQJRIWKH6FKLUPXQVNLFROOHFWLRQWKHSXEOLFDWLRQRIVRPHVRQJELRJUDSKLHVZLWKLQ WKH+LVWRULFDO&ULWLFDO(QF\FORSHGLDRI6RQJ KWWSZZZOLHGHUOH[LNRQGHUHJLVWHUNROR- QLVWLVFKHBOLHGHU! DQGRXUFXUUHQWWDVNWKHSUHSDUDWLRQRIDFRPSHQGLXPRIWKHVRQJVRI *HUPDQVIURP5XVVLD

Burstyn Shai (Tel Aviv University, Israel ) ǤǤ †‡Ž•‘Šƒ†–Š‡ƒ‹’—Žƒ–‹‘‘ˆ •”ƒ‡Ž‹—•‹ ƒŽ ‘ŽŽ‡ –‹˜‡‡‘”›

7KHEXONRIWKHUHSHUWRLUHFRQVLGHUHG³IRONVRQJ´LQ,VUDHOLVLQIDFW\RXQJRQO\\HDUV KDYHSDVVHGVLQFHLWEHJDQWREHFUHDWHGGLVVHPLQDWHGDQGSHUIRUPHG&ORVHH[DPLQDWLRQ reveals its intimate ties to the intensive manipulations of the Jewish collective memory that took place during the same period. Indeed, the stylistic musical features characterizing this folksong repertoire were selected by its composers precisely because they were perceived as enhancing those aspects of the collective memory favoured and advanced by the cultural leadership of the time. In this context, I propose to examine the activity of the noted Jewish ethnomusicologist $=,GHOVRKQ  IURPDKLWKHUWRXQH[SORUHGDQJOHQDPHO\KLVSRVLWLRQDVWKH

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music VHPLQDOPXVLFDO¿JXUHLQWKHRQJRLQJHIIRUWVWRPRXOGDQHZQDWLRQDOFROOHFWLYHPHPRU\ Idelsohn’s main scholarly effort aimed at proving that central elements of ancient Hebrew 10 Abstracts / Povzetki PXVLFKDYHVXUYLYHGLQWKHFDQWLOODWLRQRIWKH%LEOH+LVSDWKEUHDNLQJ¿HOGUHFRUGLQJVDQG analyses of the cantillation of various Jewish communities - especially those of Oriental RULJLQVHUYHGDVWKHVFLHQWL¿FSURRIRIKLVFODLP-HZLVKFRPPXQLWLHVERWKLQ,VUDHODQG in the diaspora enthusiastically endorsed his conclusions because they provided invaluable musical ammunition to the battle for a new collective memory. In addition, in his activity as a music teacher, Idelsohn edited and published several song- ERRNVLQZKLFKKHLQFOXGHGIRUWKH¿UVWWLPHVRPHRIWKH

ƒ”—•‘ —Ž˜‹ƒ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe (University of Pavia, Cremona, Italy) Š‡Dz‡ƒ”‡ ‹•–‘”›dz ‘ ‡”–‘ˆƒ›͡ǡ͢͠͡͡ǣ–Š‡ ‡Ž‡„”ƒ–‹‘‘ˆͥ͡͠›‡ƒ”• ‘ˆ –ƒŽ‹ƒ—‹Ƥ ƒ–‹‘

7KLVSDSHUWULHVWRDQDO\VHWKHUROHRIWKH³%LJ&RQFHUW´WKDWFRPPHPRUDWHV/DERXU'D\ in the Italian sense of belonging. The concert organized since 1990 by the three main ,WDOLDQWUDGHXQLRQV &*,/&,6/DQG8,/ RQWKHRFFDVLRQRI0D\LQ5RPHLVRQHRI WKHVHHYHQWV&RQFHLYHGE\0DXUL]LR,OOXPLQDWRHDFK\HDUWKHFRQFHUWDWWUDFWVWKRXVDQGV of young people from all over Italy and beyond. It offers performances by a large number of Italian and foreign artists and musical groups. The performance is held in the afternoon IURPSPWRSP DQGWKHHQWLUHFRQFHUWLVEURDGFDVWE\,WDOLDQWHOHYLVLRQ ,Q,WDO\FHOHEUDWHGWKHWKDQQLYHUVDU\RILWVXQL¿FDWLRQDQGWKH³%LJ&RQFHUW´ZDV dedicated to it. I will try to provide a framework of the sense of memory and belonging felt by young Italians thanks to this event.

‡”‹„ƒæ‹©ƒ‹ŽƒǦ ‘ŠŽƒ ‹‰‡‘”‹ƒŽŽ‡ –—”‡ (Institute for Ethnology and Folklore, Zagreb, Croatia) ‡ƒ ‹‘—•ƒ†ƒŽŽ‡ƒ„Ž‡’ƒ•–•‹’‘•–Ǧ—‰‘•Žƒ˜ǡ’‘•–Ǧ™ƒ”ǡ’‘•–Ǧ•‘ ‹ƒŽ‹•– music cultures The intention of this presentation is to review the notions of the past, memory, history, WUDGLWLRQKHULWDJHDQGQRVWDOJLDLQSRVW

Abstracts / Povzetki Abstracts RQWKH

œ‡ƒ‘™•ƒƒ (Poland) —•‹ ƒ†‹–• ‘–‡š–ǤŠ‡•— ‡••‘ˆ–Š‡”‡ ‡–’ƒ•–˜•Ǥ–Š‡•‹–—ƒ–‹‘ ƒˆ–‡”ͩͨͩ͡

It is really an opportunity and art to adjust successfully and responsibly to the condi- tions of our times. The crucial point lies in keeping a balance between loyalty to cul- tural memory and the acceptance of the new reality. In the Polish case, we hope to meet this challenge successfully thanks to the achieve- PHQWVRIRXUUHFHQWSDVW WKHVDQGV ¿QGLQJLQWKLVWUHDVXUHWKHFUHDWLYH impulses of former success, while not forgetting the power of new conditions, i.e. that of the open world. The author will consider particularly the achievements of great personalities, taking as her basic source the experience of personal contacts and discussions in the past and with contemporary

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music FRPSRVHUVDQGVSHFL¿FDOO\ZLWK.U]\V]WRI0H\HU7KHDLPLVWRGHPRQVWUDWHDVIDUDVSRVVLEOH the independence of art without losing sight of countervailing processes. 12 Abstracts / Povzetki ƒŠŽ‹‰Ǧ—”‡™ƒ (Institute of Arts, Polish Academy of Sciences, Poland) Š‡‘Ž‹•Šƒ–‹‘ƒŽƒ–Š‡ƒ•ƒ”‡•‡”˜‘‹”‘ˆŠ‹•–‘”‹ ƒŽ ‘–‡–•

7KH3ROLVKQDWLRQDODQWKHPNQRZQDV³'ąEURZVNL¶V0D]XUND´LVDQHPERGLPHQWRI V\PEROVDVVRFLDWHGZLWK3ROLVKPXVLFIRUFHQWXULHV,QWKHVRQJFHOHEUDWHVLWVWK DQQLYHUVDU\LQWKLVRI¿FLDOUROHDOWKRXJKLWVZLGHSRSXODULW\DQGVLJQL¿FDQFHIRU3ROLVK culture started immediately after its creation in 1797. The meaning of this song is double: direct, verbalised in lyrics, and indirect, hidden in the PXVLFLWVHOI3ROLVKVRFLHW\LVIXOO\DZDUHRIWKH¿UVWDVSHFWEXWPXFKOHVVRIWKHVHFRQG Musically, the tune meets all the conditions of “THE” mazurka, that is, its rhythm morphol- RJ\UHYHDOVWKHFOHDUHVWVWUXFWXUHRIWKLVJHQUHDVHYROYHGLQWKHPLGWKFHQWXU\'XULQJ WKHWKFHQWXU\VXFKUK\WKPVZKLFKFDQEHWUDFHGEDFNWRWKHWKFHQWXU\EHFDPHDV- VRFLDWHGZLWK³3ROLVKQHVV´LQPXVLF HVSLQ*HUPDQDQG6FDQGLQDYLDQVRXUFHV DQGSHDNHG in popularity in the nineteenth century. 7KHV\PEROLFUROHRI³'ąEURZVNL¶V0D]XUND´ DQGRIWKHPD]XUNDLQJHQHUDO LQ3ROLVK culture strictly coincides with the political history of the state, namely its partition between WKUHHSRZHUV 5XVVLD3UXVVLD$XVWULD DQGLWVORVVRISROLWLFDOLQGHSHQGHQFHDWWKHHQGRI

WKHWKFHQWXU\$GGLWLRQDOO\DFFRUGLQJWRVRPHWKHRULHVWKHVSHHFKDFFHQWLQ3ROLVKKDV ESEM 2012 - Music and Cultural Memory in post - 1998 Europe a tendency toward mazurka rhythms, which explains why even double-metre popular songs have been frequently performed in triple-metre. After a short introduction to the history and importance of mazurka rhythms in Polish mu- sic, the paper will discuss how - in the new political and cultural reality, when the mazurka as such does not play any particular role in popular music - the musical symbolism of ³'ąEURZVNL¶V0D]XUND´LVVWLOOPDLQWDLQHGDQGKRZWKHVRFLHW\UHDFWVWR³GHYLDWLRQV´

ƒ‘˜‹©‡˜‡ƒ (Department of Theory and History, Faculty of Dramatic Arts, Belgrade, Serbia) Š‡—•‹ ƒŽŽ‘ —•‘ˆ —Ž–—”ƒŽ‡‘”›ƒ†‘•–ƒŽ‰‹ƒǣ‘–‡˜‹†‡‘ǡ ‘† Ž‡••‘—Ǩ

This paper analyses the ways musical scores participate in the narration of the past in the FRQWHPSRUDU\6HUELDQ¿OPDQG79VHULHV0RQWHYLGHR*RG%OHVV

Abstracts / Povzetki Abstracts cultural memory - the musical score marks the point of transcendence where communica- tive memory ends and cultural memory begins. Furthermore, music plays the role of the narrative memory that structures scenic memory, fostering the emergence and sharpening of the images shaped into concrete cultural memory text.

Ž‹‰‘”‹Œ‡˜‹  ‡Ž‡ƒ (Musicology Department, University of Turku, Finland) ‡‰‘–‹ƒ–‹‰–Š‡‡”„‹ƒƒ–‹‘ƒŽ’ƒ•–ǡŠ‡”‹–ƒ‰‡ƒ†‹†‡–‹–›‹–‹‡•‘ˆ ’‘Ž‹–‹ ƒŽ Šƒ‰‡ǣ ƒ•‡•–—†›‘ˆ–Š‡š‹–ƒ† — ƒ”—’‡–ˆ‡•–‹˜ƒŽ•

This paper looks into two major and conceptually very different Serbian music festivals - one is orientated toward Western popular music, whereas the other promotes “authentic” Serbian brass music tradition as the sites or rituals taking part in the production of cultural PHPRU\GH¿QHGDVWKHFROOHFWLYHXQGHUVWDQGLQJVRIWKHQDWLRQDOSDVWKHULWDJHDQGLGHQ-

Europe WLW\LQDJLYHQFXOWXUDOFRQWH[WRIWKHSUHVHQW )ULHGPDQ 1RWRQO\GRWKHVHIHVWLYDOV UHÀHFWWRDFHUWDLQGHJUHHWKHFRXQWU\¶VGLYLVLRQLQWRWZRPXWXDOO\RSSRVHGSROLWLFDOVRFLDO and cultural tendencies in post-communist Serbia (i.e. “progressive”, “urban”, “pro-Europe- DQ´YHUVXV³FRQVHUYDWLYH´³UXUDO´DQG³QDWLRQDOLVWLF´ EXWWKH\DOVRVHUYHDVDJRRGVWDUW- ing point for examining a number of perspectives on the relationship between the local and WKHJOREDOZKLFKSOD\VDVLJQL¿FDQWUROHLQWKHSURFHVVHVRIHVWDEOLVKLQJDQGQHJRWLDWLQJ 6HUELDQ QDWLRQDOLGHQWLW\,QGHHGGLVSXWHVDERXWWKHLQWHUSUHWDWLRQDQGUHSUHVHQWDWLRQRI WKHQDWLRQDOSDVWKHULWDJHLGHQWLW\KDYHORQJEHHQVSDUNHGLQSXEOLFE\WKHXQVHWWOHGSROLWL- cal situation in the country and by the growing globalization processes, as a result of which the festival is gradually being integrated into the global music industry and the cultural tourism market. In consequence, the festivals’ relationship to issues of “authenticity”, tradi- tion preservation, globalization impact and representation politics continues to be viewed DQGGLVFXVVHGLQWHUPVRIWKHIDPLOLDU³WUDGLWLRQDOPRGHUQ´³ORFDOJOREDO´DQG³KRPRJHQL- ]DWLRQK\EULGL]DWLRQ´GLFKRWRPLHV,QIRUPHGE\WKHLQWHUUHODWHGWKHRUHWLFDOFRQFHSWVIURP World Music, popular music, globalization and cultural tourism studies, and carried out through discourse analysis of various media texts and online forums on the festivals, this paper seeks to shed light on the ways the Exit and Guca festivals participate in the on-going public debate on the meaning of the Serbian national past, heritage and identity. ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music

14 Abstracts / Povzetki ”—Œ‹©ƒ”‹Œƒ (Institute for Literature and Art, Belgrade, Serbia) ”‘–Š‡Š‘‡Žƒ†–‘™ƒ”†•–Š‡ƒ–‹‘ǣ‹•–—”„‘Ǧˆ‘Ž–Š‡•‘—†‘ˆ (trans)nationalists?

This paper theorizes the interrelations between popular culture and nationalism by revisit- LQJWKHH[DPSOHRIWXUERIRONDVDSUHGRPLQDQWPXVLFDOFXOWXUHRISRVW

Hemetek Ursula (Institute of Folk Music Research and Ethnomusicology, Wien, Austria) ‘ŽŽ‡ –‹˜‡Ȁ‹†‹˜‹†—ƒŽ‡‘”›‹•‘‰•‘ˆ‹‘”‹–‹‡•‹—•–”‹ƒ

“Music has the strong capacity to evoke, embody and narrate the past.” In the collective or individual history of minorities there are often traumatic events, as these groups have VXIIHUHGYDULRXVIRUPVRIGLVFULPLQDWLRQ1DUUDWLRQLVDZD\WRJHWVRPHGLVWDQFHIURPWKH WUDXPDWLFSDVWZLWKRXWKDYLQJWRIRUJHWLW1DUUDWLRQLQPXVLFFDQKDYHDVLPLODUIXQFWLRQ I would like to use songs of two different minority groups in Austria to shed light on dif- IHUHQWPHFKDQLVPVRIUHPHPEUDQFH2QHJURXSLVWKH%RVQLDQUHIXJHHVRIDQGWKHLU use of the genre Sevdalinka. Singing or hearing Sevdalinka seemed a way to survive in the new surroundings and at the same time to remember the homeland in an idealized way. The trauma of the war was not addressed explicitly, but the feeling of loss was implied when singing these songs. The songs served as a metaphor for having lost one’s homeland. 5RPDQLVRQJVRQWKHFRQWUDU\GRDGGUHVVWUDXPDWLFHYHQWVHVSHFLDOO\RQHJHQUHWKH VRFDOOHGVORZVRQJVRIWKH/RYDULJURXS$V5RPDQLFXOWXUHKDVEHHQWUDQVPLWWHGRUDOO\ WKHVHVRQJVKDGDQGKDYHWKHIXQFWLRQRIQDUUDWLQJWKHSDVWDQGWRWKLVGD\VRQJVDUHXVHG WRGRFXPHQWWUDXPDWLFHYHQWV5RPDKDYHEHHQH[SRVHGWRVHYHUHGLVFULPLQDWLRQWKURXJK- RXWKLVWRU\DQGWKHODVWERPEDWWDFNDJDLQVW5RPDLQ$XVWULDKDSSHQHGLQ6RPHRI 15 this history is documented in songs. 1HLWKHUJHQUHLVDSDUWRI$XVWULDQRI¿FLDOPXVLFKLVWRU\RURI$XVWULDQFROOHFWLYHPHPRU\ Therefore, this will not be a paper about the “national” past, but about groups within a nation whose collective memory is a priori unnoticed by the state power. Still, both genres have found their way into public representation to a certain extent, using differ- ent strategies. Abstracts / Povzetki Abstracts Hemming Andreas (Germany) Everyone is watching... traditional Albanian music and the creation of ƒ‹†‡ƒŽ‹œ‡†’ƒ•–‹–Š‡‡™‡†‹ƒ

Someone is always watching. Especially in the Mirdita in northern Albania. This region radiates a strange attraction, for both Albanians and foreigners, among them adventurers and scholars, including many anthropologists. The region has become an idealized projec- tion of Albanian primordiality, a phenomenon that has been democratized since the advent of the new media. The people of the region greet this recognition, even if this reputation for primordiality is sometimes a double-edged sword. The Internet has become a major forum for the creation of an idealized Albanian national SDVWDQGDFRQVSLFXRXVJHQUHIRUWKLVLVWKDWRIPXVLF7KHSURPLQHQFHLQWXUQRI

‹Ž†‡”Š‘ƒ• (Center for World Music, Universität Hildesheim, Germany) ž‹—•‹ ƒŽ’‡”ˆ‘”ƒ ‡ǡ‹†‹‰‡‡‹–›ƒ†–Š‡’‘Ž‹–‹ •‘ˆ–‹‡

This paper concerns music, indigeneity and the politics of time by focusing on the contem- porary musical performance of the Sámi of northern Scandinavia. Often drawing on the distinct, unaccompanied vocal tradition of joik since the 1970s Sámi political mobilisa- tion, contemporary Sámi music has assisted in reviving language, identity and a “collective PHPRU\´ZKLOVWFRPPHQWLQJRQWKHSURFHVVHVRI&KULVWLDQLVDWLRQ1RUGLFVWDWHDVVLPLOD-

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music tion and land dispossession. Sámi musical performance thus helps to imagine a transnation- DO6iPLFRPPXQLW\6iSPLWUDYHUVLQJWKHDUFWLFUHJLRQVRI1RUZD\6ZHGHQ)LQODQGDQG 16 Abstracts / Povzetki WKH5XVVLDQ.ROD3HQLQVXODZKLOVWDOVRDUWLFXODWLQJ6iPLFRQFHUQVDVDQLQGLJHQRXVSHRSOH 1RWRQO\GRHVWKLV6iPLDUWLFXODWLRQRILQGLJHQHLW\FKDOOHQJHWUDGLWLRQDOQDUUDWLYHVRI1RU- dic national histories. Owing to the ways the Sámi, like other indigenous people, have often EHHQUHSUHVHQWHGDVOLYLQJEH\RQG³XQLYHUVDOWLPH´ )DELDQ WKH6iPLFXOWXUDODQG political revival has moreover brought into question the very notion of linear history. %DVHGRQHWKQRJUDSKLFUHVHDUFKRQ6iPLPXVLFLDQVFXOWXUDODQGSROLWLFDOLQVWLWXWLRQVDQG digital media, my paper explores how contemporary Sámi musical performance asks us to UHFRQVLGHUQRWLRQVRIPHPRU\WKHSDVWDQGFRQFHSWXDOLVDWLRQVRIWLPH,¿UVWO\GLVFXVVKRZ 6iPLPXVLFDOSHUIRUPDQFHRIWHQLQVSLUHVSUREOHPDWLFLPDJHVRI³DQFLHQWQHVV´¿[DWLRQV on musical “origins” and trajectories of musical “evolution”. Through an inspection of the musical revival, I then show how the common categorisation of Sámi music with the terms “traditional” and “modern” can assist in the resistance against cultural loss, whilst also consolidating notions of “universal linear time”. Finally, I demonstrate how contem- porary Sámi musicians attempt to unite “tradition” with “modernity” in line with a global LQGLJHQRXVSKLORVRSK\%\GUDZLQJRQGHEDWHVZLWKLQWKH¿HOGVRIHWKQRPXVLFRORJ\ anthropology and postcolonial studies, I conclude by arguing that Sámi musical perfor- mance can subvert notions of “universal time” and thus help to “provincialize Europe” &KDNUDEDUW\  ESEM 2012 - Music and Cultural Memory in post - 1998 Europe Hofman Ana (Centre for Interdisciplinary Research ZRC SAZU, Slovenia) —•‹ ǡƒơ‡ –ƒ†‡‘”›’‘Ž‹–‹ •‹’‘•–•‘ ‹ƒŽ‹•–•‘ ‹‡–‹‡•

In Western European societies the right to remember is not put into the question, but in the IRUPHUVRFLDOLVWFRXQWULHVUHFROOHFWLRQRIWKH SDUWLFXODUO\UHFHQW SDVWKDVEHFRPHDVXEMHFW RIRQJRLQJFRQWHVWDWLRQVUHÀHFWHGLQWKHSKUDVH³PHPRU\ZDUV´3RVWUHYLVLRQLVP and the following “transition” aimed at radically changing the memorial landscape and problematizing the sentimental attachment to the past in postsocialist countries. However, WKHSRVWFKDQJHVKDYHLQÀXHQFHGWUDQVIRUPDWLRQVRIWKHPHPRU\FXOWXUHVQRWRQO\RI the East but also of the West. This paper brings to light the theoretical considerations of the role of sound in these pro- cesses. It attempts to provide a more nuanced view of the complex relationship between music and memory as mediated through emotions and to offer theoretical approaches capable of accounting for a variety of its contested paradoxical political employments. In this respect, attention will be given to the expression, shape and constraint of emotions as- sociated with the “sounds of the past” and their social, cultural and political consequences within the post-socialist societies.

17 ‘Š•‘ ‹ŽŽ (Sweden) ‡”ˆ‘”‹‰ƒ†‹ƒ•’‘”‹ ”‡ ‘•–”— –‹‘‘ˆ–Š‡Š‹•–‘”‹ ƒŽ’ƒ•–

&XOWXUHLVWUDQVPLWWHGWKURXJKSHUIRUPDQFH:KHWKHUWKHFRQWH[WVDUHULWXDOVRUVWDJHGSHUIRU- mances, the performed action is the medium through which a community communicates its Abstracts / Povzetki Abstracts KLVWRU\VSLULWXDOLW\YDOXHVDQGLGHQWLW\ .DSFKDQ  In ritual contexts, the performance is intended for the participants and perhaps a small group of onlookers. In a staged context, the performance is intended for a larger public, often not tied to local knowledge and unconnected to the content of the performance. Thus the medium of the staged performance allows a changed set of meanings. Some meanings found in the ritual contexts lose potency, while other meanings are brought to the forefront. :RUNLQJZLWKDGLDVSRULFFRPPXQLW\RI&URDWLDQVLQWKH1RUWK$PHULFDQWRZQRI $QDFRUWHV:DVKLQJWRQ,DQDO\VHKRZWKH\YLHZWKHLUSHUIRUPDQFHRI&URDWLDQPXVLF and dance as a means of expressing and preserving their culture and identity. For this group, the most poignant communication mediated through staged performance appears to be one of identity. The values most focused on are artistry and providing entertaining stage performances. This diasporic group’s stage performances may appear as a shallower imitation of the “real” VRFLDOFRQWH[WVEXWDV*HHUW]  GHVFULEHVWKHSKHQRPHQRQWKHSHUIRUPDQFHVGRQRWVLPSO\ Europe mirror another place and another time, “they are the thing itself”, and the use of staged folk fantasies does not exclude reality but is used to construct and communicate current reality. 2WKHULVVXHVDGGUHVVHGLQFOXGHWKHHIIHFWVWKDWWKHZDULQ

—”‘˜ž—œƒƒ (Institute for Ethnomusicology, Faculty of Humanities, Charles University Prague, Czech Republic) ‘‹ ’”‘„‡•‹–‘–Š‡œ‡ Š’ƒ•–

In today’s Prague, one can’t escape history: buildings, starting with the rotunda from the 11th century, materialize all of the following periods, including their mutual relations and WKHZD\VWKHLUUHFRQVWUXFWLRQVXVHVUHÀHFWWKHUHQDUUDWLRQRIRXURZQSDVW6XUSULVLQJO\ (because in the 19th and 20th centuries, music was considered one of constitutive elements RI&]HFKLGHQWLW\ VRQLFUHSUHVHQWDWLRQVRIRXUKLVWRU\DUHPXFKUDUHU+RZHYHUWKH\FDQ also be read as reconstruction of history, adding to it another layer.

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music 7KUHHRIWKHPFRQQHFWHGWRFRQFUHWHGLIIHUHQWSHULRGVRIWKH&]HFKSDVWZLOOEHGLVFXVVHG a Gypsy cimbalom band (playing a repertoire of Austro-Hungarian coffeehouses of the 2nd 18 Abstracts / Povzetki half of the 19th century, and thus representing a vague “romantic history” of the Austro- +XQJDULDQPRQDUFK\ HQVHPEOHVSHUIRUPLQJLQWHUZDUXUEDQ³IRONOLNH´DQGSRSXODU VRQJVDQGDIRUPHUXQGHUJURXQGURFN¶Q¶UROOJURXS7KH3ODVWLF3HRSOHRIWKH8QLYHUVH which especially active during the communist period and is still perceived today as a strik- ing anti-communist symbol. :KLOHWKH¿UVWHQVHPEOHLVFRQQHFWHGPDLQO\ZLWKWKHHQYLURQPHQWRIUHVWDXUDQWVDLPHG at foreign tourists, the context of performances of urban songs from the beginning of the 20th century and inter-war period is broader (from amateur groups, singing and playing in SXEOLFWRDWRXULVWLFFHQWUHRIWKHFLW\ DQGKDVEHHQFKDQJLQJLQWKHODVW\HDUV 7KHJURXS338PXVLFDOO\UDWKHUXQDWWUDFWLYHWRWKH\RXQJJHQHUDWLRQLVRQWKHRQHKDQGDQ RI¿FLDOSDUWRIWKHPRVWUHFHQW&]HFKKLVWRU\DQGLVDOVRSUHVHQWHGLQWKLVIUDPHZRUN2Q the other hand, it more or less resists formal occasions by maintaining some of the under- ground values. This determines its ambivalent acceptance by the general public. 7KH¿QGLQJV:+2IRU:+20DQGLQ:+,&+:$<PXVLFLVSHUIRUPHGVKRZWKHDWWLWXGHV RIFRQWHPSRUDU\&]HFKVWRZDUGWKHLURZQKLVWRU\DQGWKXVLWVFRQVFLRXVDQGVXEFRQVFLRXV UHÀHFWLRQDQGUHQDUUDWLRQ

‡”–‡•œ‹Ž‹•‘ ”‡ (UK) ESEM 2012 - Music and Cultural Memory in post - 1998 Europe ‘‘‹‰ˆ‘”™ƒ”†„›‡ƒ –‹‰–Š‡’ƒ•–ǣ ƒ’’‡‹‰‹—†ƒ’‡•–͢͢͠͠

,QD+DSSHQLQJWRRNSODFHLQ%XGDSHVWLQZKLFKYDULRXVIRUPVRIPXVLFIURP7UDQV\OYDQLD were performed to keep still-living traditions from dying out, whilst bring back those that have become nearly or fully extinct. In the early 1970s, Transylvanian Hungarian traditions gained a very important role amongst the \RXWKRIVRFLDOLVW+XQJDU\DVDFXOWXUDOUHVLVWDQFHDJDLQVW5XVVLDQGLFWDWHGLQWHUQDWLRQDOLVPDQG WKHSROLWLFVRI5RPDQLDZKLFKLQFUHDVLQJO\WXUQHGDJDLQVWLWVPLQRULWLHVHVSHFLDOO\+XQJDU- LDQDQG+XQJDULDQIRONPXVLFSHUIRUPLQJ5RPD%\WKHVWKHVHWUDGLWLRQVKDGJDLQHG VXFKSRSXODULW\WKDWWKH7UDQV\OYDQLDQEDVHG'DQFH+RXVH0RYHPHQWEHJXLOHGDODUJHSDUWRI :HVWHUQ(XURSHDQGPDQ\WRZQVLQWKH8QLWHG6WDWHV&DQDGDDQGHYHQ-DSDQZLWKDQHYHU increasing number of groups gaining recognition as an important cultural expression within the ZLGHUFXOWXUDOVFHQH5HO\LQJRQWKHSRSXODULW\RIWKH'DQFH+RXVH0RYHPHQWWKH+DSSHQLQJ EURXJKWLQDORQJVLGH+XQJDULDQIRONWUDGLWLRQVWKH0ROGDYLDQ5RPDQLDQV¶IRUPVRIPXVLFZKLOH paying homage to the extinct Jewish and Saxon traditions. A celebration of the musical sound- VFDSHWKDWH[LVWHGXQWLO::,,%XWZDVLWRQO\DQRVWDOJLFFHOHEUDWLRQRIWKHSDVW" In this paper I wish to examine and show how during this event the boundaries between here and there, the past and present and future and between various ethnic and social groups were transformed because of the forms of music and dance, the interaction between partici- pants and “audience” and the choice of venue. The “past as a foreign country” transformed into a celebration of multi-ethnic present and future. At the same time, it may also have offered some healing to the wounds caused by the turbulent and terrible events of 20th- and early 21st-century Europe. 19 Ž‘„«ƒ”‡Œƒ (Department of Musicology, Faculty of Arts, University of Ljubljana, Slovenia) Singer - songwriters and the formation of cultural memory

This article discusses singer-songwriters and their music and how they shape cultural mem- ory. The singer-songwriters’ creation coexists in the frame of public and private spheres, Abstracts / Povzetki Abstracts professionalism and amateurism. It embraces a wide spectrum of musical praxis, providing the framework and the possibility to address the most heterogeneous audiences. In contrast to creators of exclusively popular or artistic genres, the question arises to what extent this “folk style” of creation enables singer-songwriters to actively contribute to preserving and creating cultural memory. Illustrated with examples, the article will show whether the singer-songwriters’ lyrics usually address an average man (although exceptions to this case are also present, espe- FLDOO\ZLWKWKHVLQJHUVRQJZULWHUVRQDKLJKHUDUWLVWLFOHYHO /\ULFVGHPRQVWUDWHWKHLP- agination of the past and illustrate the present. In addition, authors’ personal opinions are expressed together with their commentary on given situations, which gives them the XQLTXHUROHRIUHÀHFWLQJWKHVRFLHW\2QWKHOHYHORIFRQWHQWWKHDXGLHQFHLVLQYLWHGWR identify with either the narrator himself or with the depicted character. Another question is whether the singer-songwriters’ “folk style” of creation provides LGHQWL¿FDWLRQRQDOLQJXLVWLFDQGPXVLFDOOHYHO%RWKWKHO\ULFVLQWKHQDWLYHODQJXDJH Europe and the simplicity of the musical arrangement often represent the condition and the evidence for the authenticity of their music. Therefore, the singer-songwriters’ music approaches Slovenian traditional music in both of these ways, offering a contemporary framework for creating and preserving cultural memory for the audience.

”‘Œƒ ˜ƒƒ (College of Applied Science, Belgrade, Serbia) —•‹ ƒ•ƒ‡š’”‡••‹‘‘ˆ —Ž–—”ƒŽ‹†‡–‹–›ȋƒ†‹–• ”‹•‹•Ȍ‹—‰‘•Žƒ˜ and Serbian cinema

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ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music IRONFRPHGLHV 0XVLFDQGLWVVXUURXQGLQJPLOLHXSDUWLFXODUO\SRSXODUDQGIRONPXVLFDV SDUWRIWKHQDWLRQDOLGHQWLW\DQGDVDQH[SUHVVLRQRIVRFLDOUHDOLWLHVDQGWUDQVLWLRQVVLJQL¿- 20 Abstracts / Povzetki cantly marked our domestic cinematography, witnessing the relation between the emotional EHLQJDQGWKHQHZVRFLDOSHUVRQDHRI¿OPFKDUDFWHUVWKDWUHSUHVHQWHG

Lechleitner Gerda (Phonogrammarchiv of the Austrian Academy of Sciences, Austria) Soldiers’ songs of the Austro-Hungarian Army - “real” memory or “imagined” myth?

The Austro-Hungarian Army soldiers’ songs in the Phonogrammarchiv are an outstanding collection RIPXVLFDQGFXOWXUDOPHPRU\,Q1RYHPEHUWKH0LQLVWU\RI:DUWXUQHGWRWKH3KRQRJUDP- marchiv to ask whether there was already a collection of such songs. Since that was not the case, it was decided to start the project of collecting soldiers’ songs. Leo Hajek, the technician at that time, was chosen as project leader and the Ministry arranged his exemption from military service. The Ministry also determined which regiments were appropriate for the recording.

7KHSURMHFWZDVFDUULHGRXWEHWZHHQ-DQXDU\DQG0D\7KHDLPZDVWRFROOHFWVROGLHUV¶ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe VRQJVRIDOOODQJXDJHVRIWKH$XVWUR+XQJDULDQ(PSLUH7KHZKROHFROOHFWLRQFRPSULVHV UHFRUGLQJVLQGLIIHUHQWODQJXDJHV7KLVSURMHFWFDQDOVREHVHHQDVWKH ODVW DWWHPSWWRXQLWH the diverse ethnic groups on the verge of the Empire’s collapse. This collection can be described as a sonic representation of that multinational past concentrated LQRQHJHQUHWKHVROGLHUV¶VRQJ7RGD\ZHKDYHORWVRITXHULHVFRQFHUQLQJWKLVFROOHFWLRQRQH RIWKHPRVWLQWHUHVWLQJFDPHIURPWKH&HQWUHRI&RQWHPSRUDU\&XOWXUHLQ%DUFHORQDZKHUHWKH H[KLELWLRQ³/D7ULHVWHGH0DJULV´ZDVVWDJHG7KHVROGLHUV¶VRQJVKDGWKHSRVLWLRQRIDGpMjYX DQGWKHIXQFWLRQRIHYRNLQJDGLVWLQFWPHPRU\%XWZKDWNLQGRIPHPRU\JRHVEDFN\HDUV" 7KHSDSHUZLOOWU\WR¿JXUHRXWWKHPHDQLQJRIWKLV³FRQVWUXFWHGXQLW\´ DVVHHQIURPWRGD\¶V SHUVSHFWLYH DQGGLVFXVVLQUHODWLRQWRQHZSUHVHQWDWLRQIRUPV LQQHZFRQWH[WVE\QHZPHGLD 

ƒ©‘Ǧ ‹‡•œ œƒŒƒ (Warsaw University, Poland) Š‡ –‡”ƒ–‹‘ƒŽ ‘Ž ‡•–‹˜ƒŽDz—‘˜‹‹ƒ‡‡–‹‰•dzƒ•ƒ•’ƒ ‡‘ˆ ‡‰‘–‹ƒ–‹‰–Š‡’ƒ•–ƒ† ‘ŽŽ‡ –‹˜‡‡‘”›ǤŠ‡ ƒ•‡‘ˆ–Š‡—‘˜‹‹ƒ Highlanders

7KH%XNRYLQDFDOOHG³6ZLW]HUODQGRIWKH(DVW´RU³(XURSHLQPLQLDWXUH´ZDVDPXOWL HWKQLFODQGZKHUH8NUDLQLDQV5RPDQLDQV-HZV*HUPDQV3ROHV+XQJDULDQVDQGRWKHUV lived. Since the 19th century, the region started to be colonized by people of Polish origin, ZKRPUHVHDUFKHUVODWHUFDOOHG³%XNRYLQLDQKLJKODQGHUV´$IWHU:RUOG:DU,,PRVWRIWKHP PRYHGGXULQJWKHUHSDWULDWLRQFDPSDLJQDQGVHWWOHGGRZQLQ:HVWHUQDQG1RUWKHUQ3RODQG 21 The case of the other nations mentioned was similar. ,QWKH¿UVWHGLWLRQRIDIHVWLYDOZDVRUJDQL]HGIURPWKHYHU\EHJLQQLQJLWLQ- volved folk groups from different countries. This happened in the characteristic and VLJQL¿FDQWWUDQVIRUPDWLRQSHULRGLQ3RODQGZKHQQHZLGHQWLWLHVZHUHEHLQJQHJRWLDWHG The festival, due to its international character and annual editions organized in terms RI¿YHFRXQWULHV 3RODQG8NUDLQH5RPDQLD+XQJDU\DQG6ORYDNLD LVDWUDQVQDWLRQDO

Abstracts / Povzetki Abstracts VSDFHWKDWFUHDWHVDNLQGRIQHZLPDJLQHGFRPPXQLW\ VHH$QGHUVRQ RIPDQ\ QDWLRQVWKH%XNRYLQLDQV,WLVWKHV\PEROLFHPERGLPHQWRIWKHLGHDRI%XNRYLQDDV “Europe in miniature”, which is connected with nostalgia and for many people the painful memory of a lost paradise. This new multicultural space seems to be a symbolic QHJDWLRQRIWKHVRFLDOLVWHUD ZKLFKZDVDSHULRGRILVRODWLRQ DQGDFRQ¿UPDWLRQRI opening the boundaries in the post-socialist world. Attending performances of groups from different countries and collectively making music off-scene are the spaces of negotiating collective memory, because “performance … reaf- ¿UPVWKHSDVWDQGNHHSVLWDOLYH´ %LWKHOO ,QWHUJHQHUDWLRQDOWUDQVPLVVLRQRIWKH UHPHPEUDQFHRI%XNRYLQDFRQ¿UPHGGXULQJWKHIHVWLYDOEXLOGVWKHPHPRU\RIWKH\RXQJHVW ZKRNQRZSUHZDU%XNRYLQDRQO\IURPQDUUDWLRQVDQGWUDQVIRUPVLWLQWRSRVWPHPRU\ VHH+LUVFK  %DVHGRQOLWHUDWXUHDQGP\¿HOGZRUNLQ:HVWHUQ3RODQGDQG5RPDQLDQ%XFRYLQD,ZRXOG like to present the festival as a space of negotiating the past and collective memory. Europe ƒ”‘˜‹©ƒ–Œƒƒ (Department of Music, Karl-Franzens-Universität Graz, Austria Department for Musicology, University of Arts, Belgrade, Serbia) ”ƒ•ˆ‘”‹‰–‘”‡–‹–‘Šƒ’’‹‡••ǣ‹”‘‹ ƒŽƒ–‹‘ƒŽ•‡ŽˆǦ’‘”–”ƒ‹–‹ –Š‡”ƒ’‘’‡”ƒDz‡ŽŒƒ•”‡©‡dzȋ‡Ž‰”ƒ†‡ǡͧ͢͠͠Ȍ

7KH¿UVW6HUELDQUDSRSHUD=HPOMDVUHüH /DQGRI+DSSLQHVV E\'XãDQND6WRMDQRYLü OLEUHWWR DQG9ODGLPLU3HMNRYLü FRPSRVHU SUHVHQWVDVKDUSFULWLTXHRI6HUELDQVRFLHW\ during the 1990s. Through the love story of an “ideal couple” - a criminal and an “easy woman”, tending to become the presidential couple - the opera depicts the corrupted 6HUELDQVRFLHW\GHYDVWDWHGE\WKHGLVLQWHJUDWLRQRI

ƒ”–›ƒæƒ (Department of Musicology, Faculty of Arts, University of Ljubljana, Slovenia) š’”‡••‡†Ž‘›ƒŽ–›–‘–Š‡Š‘‡Žƒ†–Š”‘—‰Š—•‹ ǡ–‘‘ ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music ³:HVHZHGWKH¿UVW6ORYHQLDQÀDJKHUHWRRNDQDFFRUGLRQDQGZHQWRXWWRGHPRQVWUDWHDJDLQVW 22 Abstracts / Povzetki WKHDJJUHVVLRQDJDLQVWRXUFRXQWU\´DPXVLFLDQOLYLQJLQ6ZLW]HUODQGIRURYHU\HDUVWROGPH He described his and other Slovenians’ feelings and mood, all living in Switzerland, and how WKH\FRQIURQWHGWKHVLWXDWLRQLQ6ORYHQLDLQVSULQJWKHWLPHRIWKH¿UVW6ORYHQLDQVWHSV WRZDUGLQGHSHQGHQFHWLPHRIWKH³7HQ'D\:DU´RU³6ORYHQLDQLQGHSHQGHQFHZDU´ In these “crucial” moments, immigrants perceived themselves as being in a “battle” for their home country and had to perform a task, also through music and with “national” musical instruments. Music occupies an important role in Slovenian immigrants’ life abroad. The Slovenian community was established and maintained also through music, and the community represents itself and communicates with the host country through music. 7KURXJKWKHV\PEROLFODQJXDJH RIPXVLF WKHFRPPXQLW\DQGLQGLYLGXDOVDOVRGHPRQ- VWUDWHWKHHWKQLFDQGFXOWXUDOEDFNJURXQGRIWKHLU³KRPHODQG´LQDQHZFRXQWU\DQGPXVLF is also used to distinguish the group from other parts of the country to which Slovenia EHORQJHGIRUPRUHWKDQVHYHQW\\HDUVWKHIRUPHU5HSXEOLFRI

—”æ‹«ƒŒ‘

(Department of Ethnology and Cultural Anthropology, Faculty of Arts, University ESEM 2012 - Music and Cultural Memory in post - 1998 Europe of Ljubljana, Slovenia) Grassroots youth venues in Slovenia: a network for the promotion of local creativity and global exchange

The author will present his study of grassroots music venues in Slovenia, initiated and led by en- thusiasts in their youth. They become leaders of local music life and supporters of non-commer- FLDOPXVLF7\SLFDOO\WKH\VHDUFKIRUDSODFHIRUUHKHDUVDOVDQGRUFRQFHUWVDVDQLQIRUPDOJURXS RIHQWKXVLDVWVRUIRUPDQRQSUR¿WQRQJRYHUQPHQWDORUJDQL]DWLRQ0XVLFLVDQHVVHQWLDOSDUWRI their various autonomous activities in cultural and social life. Since the 1990s, these venues and FHQWUHVUHJXODUO\SUHVHQWPXVLFDODFWVIURPWKHDUHDRIWKHIRUPHU

23 Yœ‡”ˆ‡‹Ž‡” (Ethnomusicology Department, Istanbul Technical University, Turkey) ‹•–‘”›ǡ —Ž–—”ƒŽ‹†‡–‹–›ƒ††‹˜‡”•‹–›’‘Ž‹–‹ •ǣˆ”‘Dz—”‹•Š—•‹ dz–‘ Dz–Š‡—•‹ •‘ˆ—”‡›dz

This work focuses on a special period in Turkey, namely the 1990s, and examines the reper- Abstracts / Povzetki Abstracts FXVVLRQVRIWKHPDQ\KLVWRULFDOSROLWLFDOFKDQJHVGXULQJWKHVLQWKHUHDOPRIPXVLF 0\GDWDLVPDLQO\EDVHGRQWKHLQWHUYLHZV,FRQGXFWHGLQZLWKPXVLFLDQVIURP,VWDQ- EXOVLQJLQJLQYDULRXVODQJXDJHVVXFKDV7XUNLVK.XUGLVK$UPHQLDQ*UHHN/D]&LUFDVVLDQ $UDELFHWDOPRVWRIZKLFKEHJDQWRDSSHDULQWKHPXVLFDOVSKHUHE\WKH¶VWKHLQWHUYLHZV with representatives of music companies who adopted the musical category “ethnic musics of $QDWROLD´DVDQHZJHQUH VXFKDV.DODQ DQGDOVRP\SHUVRQDOH[SHULHQFHDVDPHPEHURI .DUGHú7UNOHU0XVLF 'DQFH3URMHFWZKLFKZDVIRXQGHGLQ 7KHLPSRUWDQFHRIWKHSHULRG V LVWKDWSHUKDSVIRUWKH¿UVWWLPHFXOWXUDOLGHQWLWLHVKDG begun to be mentioned and discussed in the public sphere, which expressed belief in relief from the burden of the past and brought the message that the assimilationist policies in practice for years in this country had gone bankrupt. In this period, people began to explore their roots, to discover their hidden histories, to bring what was suppressed out into the light. Hence the musics that accompanied the period took the form of oppositional musics in the 1990s. Throughout my work, I will try to illustrate with examples and discuss how “music evoked Europe the awareness of cultural difference”, “the period witnessed the creation of new musical forms or adapting older ones in different ways”, “the musicians began collecting songs and stories from elders”, “folk songs became political and that it was usually in the political context of the time which made them political”, “focusing on music could illuminate the patterns of inter ethnic contact” and how “music had the power of keeping cultural diversity and plurality on the basis of a common sense of humanity”.

ƒ’ƒ‹‘Žƒ—‹‹–”‹• (University of Athens, Greece) Š‡ˆ— –‹‘‘ˆ—•‹ ‹”‡Žƒ–‹‘–‘Š‹•–‘”›ƒ† —Ž–—”ƒŽ‡‘”›‹ ‰‡Ž‘’‘—Ž‘•ǯDzŽ›••‡•ǯ ƒœ‡dz

³8O\VVHV¶*D]H´  D¿OPPDGHE\WKHUHFHQWO\GHFHDVHG*UHHN¿OPPDNHU7KHR$QJHOR- SRXORVKDVZRQPDQ\LQWHUQDWLRQDOSUL]HV,WVVWRU\LVDERXWDQDPHOHVV*UHHN$PHULFDQ¿OP- maker’s return journey to Greece, a journey that soon becomes an odyssey through the war-torn %DONDQVLQWKHHDUO\V)ORRGHGZLWKPHPRULHVWKHKHURWUDYHUVHVWKH%DONDQVWRWUDFN GRZQWKUHHXQGHYHORSHGUHHOVRI¿OPWKHKLVWRULFDOEURWKHUV

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music ³8O\VVHV¶*D]H´LVPDUNHGE\WKHPXVLFRI(OHQL.DUDLQGURX,QKHUZRUGV³,ZDVORRNLQJIRU PXOWLQDWLRQDOPXVLFIURP5XVVLDQUHYROXWLRQDU\VRQJVOLWDQLHVZLWK%\]DQWLQHSVDOPV%XOJDUL- 24 Abstracts / Povzetki an and Serbian folk songs. This search for the lost gaze of innocence and a return to pristine, true IHHOLQJVDQGIDLWKLVZKDWLQVSLUHGPH´2YHUDOOZKDWLVDWVWDNHLQWKH¿OPLVWKHPDWWHURIWLPH WKHFXOWXUDOPHPRU\RI*UHHFHDQGRIWKHJUHDWHU%DONDQV%XWDOWKRXJKPXFKKDVEHHQZULWWHQ about the poignant ways in which Angelopoulos dramatizes the dynamics of cultural memory, KLVWRU\DQGWKHZD\VWKH\FODVKDQGIHHGHDFKRWKHUWKHPXVLFRIWKH¿OPDQGKRZLWFRQWULEXWHV to the mechanisms of memory remains unexamined. The music becomes more important if we consider that much of it was composed before Angelopoulos shot a scene, in order to inspire in him a visual equivalent for the aural material, rather than the other way around.

ƒ” Ž™‘‘ (South Korea) ƒ†‘—–‘ˆ–—‡™‹–ŠŠ‹•–‘”›ǣ—•‹ ƒŽ’‡”ˆ‘”ƒ ‡ƒ•–Š‡‡„‘†‹- ‡–‘ˆ–Š‡ ”‹•ŠŠ‹•–‘”‹ ƒŽ‡š’‡”‹‡ ‡Ǥ

7KLVSDSHUH[SORUHVWKHUHODWLRQVKLSEHWZHHQKLVWRU\DQGPXVLFDOSHUIRUPDQFH%XLOGLQJRQ the life experiences of two Irish performers, two views of music and history are contrasted: L KLVWRU\DVGHWDLOHGFKURQRORJLHVDQG LL KLVWRU\DVHPHUJLQJDQGRIWHQXQFHUWDLQSHUVRQDO experience. History creates music by providing the conditions in which music functions, but conversely, music also creates history because music is an agent in constructing a culture’s sense ESEM 2012 - Music and Cultural Memory in post - 1998 Europe of reality and identity. In this latter formulation, musicians in their practices actively embody the historical events of which they are a part. They make history with their bodies and their music. 7KHKLVWRU\RI,UHODQGLVDFRPSOH[DQGGLI¿FXOWRQHLQYROYLQJRFFXSDWLRQDQGGLYLVLRQ,ULVK musicians have been integral to these events. As history changed, so did their performing experi- ence, and so did audience reception. 8VLQJLGHDVIURPWKHSKHQRPHQRORJLFDODQGFXOWXUDOWKHRU\WUDGLWLRQHVSHFLDOO\LQWKHZRUNRI +HLGHJJHU  0HUOHDX3RQW\  DQG$GRUQR  ,H[SORUHQHZZD\V in which research can become more sensitive to the often fractured and contested relationship between history and music.

‡–”‘˜ƒ (Sociology Department of the Faculty of Philosophy, University of Belgrade, Serbia) Between two worlds: concert-giving and rioting in Belgrade after the ™ƒ”•‹–Š‡‡•–‡”ƒŽƒ•

6WDUWLQJLQWKHODWHVVRPHRIWKHPXVLFLDQVIURPWKHWHUULWRU\RIWKHIRUPHU

Abstracts / Povzetki Abstracts TXHQWO\UHVXOWHGLQWKHRUJDQL]DWLRQRISROLWLFDOSURWHVWVLQ%HOJUDGHDJDLQVWWKHSHUIRUPDQFH RIWKHPXVLFLDQVZKR³KDWH6HUEV´ DQGWKHGLVFRXUVHWKDWLVSURGXFHGLQWKHFRQFHUWVE\WKH performers themselves. I will argue that these two discourses construct two opposite worlds RIZD\VRIUHPHPEHULQJWKHSDVW,QWRWKH¿UVWRQH%HOJUDGH³QHHGVWREHEXUQHGWRDVKHV´LI that would stop “Serb-haters” from coming to “conquer” the city, while the second one prom- ulgates a utopian image of the perfect past that is supposed to be still alive.

‹•ƒ”Œ‡–ƒ (Institute of Ethnomusicology, ZRC SAZU, Slovenia) Š‡–ƒ–‡Š‘‘†ƒ› ‡Ž‡„”ƒ–‹‘•ƒ†–Š‡ ‘•–”— –‹‘‘ˆŽ‘˜‡‹ƒ‡••

&HOHEUDWLRQVRI6ORYHQLDQ6WDWHKRRG'D\ -XQH DUHRIWHQIXOORILFRQRJUDSK\SURGXFLQJ and representing Slovenianness and the Slovenian state. In these strategies, various arrange- ments of folk songs are often included as an integral part of the program or as a background Europe soundscape. The strategies used reveal attempts to shape the collective memory and to con- struct desired images of the Slovenian state and nation. In my paper I therefore focus on the images of the Slovenian state and the identity produced through the use of these selected arrangements of folk songs. I will also try to reveal the selection strategies used at the state- hood celebrations and the functions and roles given to folk songs within them.

ƒƒ”‹‡‹ƒǤ (Department of Music, Royal Holloway University of London, UK) Musical traditions and the politics of integration in the Baltic Sea re- ‰‹‘ǣ”‡ƪ‡ –‹‘•‡–Š‘‰”ƒ’Š›ǡ‡‘”›ƒ†‘”ƒŽŠ‹•–‘”›

FRLQFLGHVH[DFWO\ZLWKWKH\HDULQZKLFK,EHJDQHWKQRJUDSKLFUHVHDUFKLQWKH 1RUGLF%DOWLFUHJLRQ HVSHFLDOO\LQ)LQODQG 7KLVSDSHUZLOOUHÀHFWRQVRPHRIWKH VKLIWLQJPXVLFDOSROLWLFVIURPWRWKHSUHVHQWGD\IRFXVLQJRQWUDQVIRUPDWLRQVLQ political debates from nationalism to European integration. In particular, this paper will examine connected musical traditions in the culturally and economically heterogeneous %DOWLF6HD5HJLRQE\FRQVLGHULQJWZRNLQGVRIPXVLFDOWUDGLWLRQV)LUVWLQVWUXPHQWDO traditions will be discussed with reference to the practices of pelimmanit (folk violin- LVWV DORQJVLGHWKHZRUNVDQGGLVFRXUVHVRIFRQWHPSRUDU\)LQQLVKDUWPXVLFFRPSRVHUV

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music VXFKDV(LQRMXKDQL5DXWDYDDUD3HNND-DONDQHQDQGWKH(VWRQLDQFRPSRVHU$UYR3lUW Secondly, the paper will consider vocal traditions as explored in the recorded repertory 26 Abstracts / Povzetki RIWKHJURXS9lUWWLQl%HJLQQLQJZLWKSXEOLFDVVRFLDWLRQVRIWKHJURXSZLWKDVSHFL¿F UHJLRQ .DUHOLD LQWKHHDUO\VWKLVSDSHUZLOOVKRZKRZSXEOLFSHUFHSWLRQVZHUH interlinked with political processes and with assumptions about the nature of folk practice and traditional modes of transmission, which were incommensurate with the actual formal educational experiences of the group’s members. Theoretically, the paper will be framed by perspectives on the politics of music-making in northern European contexts from the 1990s onwards and by oral history scholarship.

Diane Roy (School of Music, The Australian National University, Australia) ”ƒ†‹–‹‘ƒŽŽ‘˜ƒ—•‹ ƒ††ƒ ‡‹ͧ͢͠͠ǣ’‹ –—”‡‘”’‡”ˆ‘”ƒ ‡ǫ

,QKLVDUWLVWLFPRGL¿FDWLRQRIWUDGLWLRQDO6ORYDNPXVLFDQGGDQFHUHSHUWRLUHVIRU/~þQLFD 6ORYDNLD¶V1DWLRQDO)RONORUH%DOOHW3URIHVVRUâWHIDQ1RViĐDUWLVWLFGLUHFWRUDQGFKRUHRJ- UDSKHURIWKHWURXSHIRU\HDUVKDVEHHQUHZDUGHGZLWKJORZLQJUHYLHZVZKLFKVSHFL¿- cally mention his successful combination of the traditional and the artistic. In this, he has managed to avoid the scorn with which art critics regard rigidly mimetic representations of traditions. And yet, when the troupe performed for an Australian audience, the majority of whom were ethnic Slovaks, evaluations expressed in a survey of the audience revealed ESEM 2012 - Music and Cultural Memory in post - 1998 Europe some interesting anomalies. While overall enjoyment of the performance was very high, DQGWKHPXVLFDQGGDQFLQJZHUHUDWHGXQHTXLYRFDOO\DVH[FHOOHQWDVLJQL¿FDQWQXPEHURI Slovak-Australians equivocated over the authenticity of the costumes. This paper interro- gates these anomalies in the light of Oushakine’s model, which he developed to explain the G\QDPLFVRIQRVWDOJLDLQSRVWVRFLDOLVW5XVVLD+HWDNHVDSUDJPDWLFLQWHUSUHWLYHDSSURDFK WRDFROOHFWLRQRIYLVXDODUWSURMHFWVLQSDUWLFXODUWKHZRUNRI(NDWHULQD5R]KGHVWYHVWNDLD launched in Moscow in October 2002. His interpretation suggests that these works express a longing for the familiar, rather than a longing for the past. This paper draws an analogy between the visual artworks discussed by Oushakine and the per- IRUPDQFHVRI/~þQLFDWRGHPRQVWUDWHZKHWKHUKLVPRGHOLVVXSSRUWHGE\WKH¿QGLQJVIURPFRQ- VLGHULQJDXGLHQFHUHDFWLRQVDQGFRPPHQWVJHQHUDWHGE\/~þQLFD¶VSHUIRUPDQFHLQ0HOERXUQHLQ 2007, and to explain the mentioned anomalous results from the audience survey.

Schmidl Stefan (Commission for Music Research, Austrian Academy of Sciences, Vienna, Austria) ‡–™‡‡’ƒ–Š‘•ƒ†•‡–‹‡–ƒŽ‹–›ǣ—‰‘•Žƒ˜‹ƒƮ•’ƒ•–‹ƤŽ—•‹

0DQ\LQWHUQDWLRQDOO\UHQRZQHG¿OPFRPSRVHUVKDYHZULWWHQPXVLFIRUPRYLHVGHDOLQJwith @DQG0LNLV7KHRGRUDNLVތ6XWMHVND>@DQGWZRGDWLQJDIWHU  +DQV=LPPHUތV7KH3HDFHPDNHU>@DQG*DEULHO@ %DVHGRQDQDO\VLVRIWKHVHVFRUHVDJXLGLQJTXHVWLRQZLOOEHKRZ³H[WHUQDO´FRPSRVHUV 27 KDYHWULHGWRUHSUHVHQWFHQWUDOSUREOHPVRIWKHKLVWRU\RIWKHIRUPHU

Skyllstad Kjell Muller (Department of Musicology, University of Oslo, Norway Faculty of Fine and Applied Arts Chulalongkorn University, Bangkog, Thailand)

Abstracts / Povzetki Abstracts ͢͠͠›‡ƒ”•‘ˆ™Š‹–‡—•‹ Ǧ”‡ ‘•–”— –‹‰–Š‡ƒ–‹‘ƒŽ‹•–’ƒ•–‹͢͡•–Ǧ century multicultural Europe

+DOIDFHQWXU\DJRZKLOHVWXG\LQJDWWKH8QLYHUVLW\RI0XQLFK,MRLQHGFRQFHQWUDWLRQFDPS VXUYLYRUVRQDVWRI0D\H[FXUVLRQWR'DFKDX,QWKHFDPSGRFXPHQWDU\FHQWUH,IRXQGD SDPSKOHW³'LH%ORQGHQDOV0XVLNVFKRHSIHU´SXEOLVKHGLQE\/DQ]YRQ/LHEHQIHOVZKR in 1900 had founded his own Order of Templars. Liebenfels, also called The Enlightened by his IROORZHUEUHWKUHQZDVVHHQDVFRPSOHWLQJWKHZRUNRI5LFKDUG:DJQHUFROOHFWLQJDOOWKHWKUHDGV of his philosophy into a race cult that would involve all areas of human activity. This included DSURJUDPPHIRUUDFLDOK\JLHQHLQFOXGLQJVFLHQWL¿FEUHHGLQJRIWKHZKLWHUDFHDQGVWHULOL]DWLRQ and extermination in labour camps. ,QKLVSDPSKOHW/LHEHQIHOVFRQQHFWVWKHGHYHORSPHQWRIPXVLFWRWKH6RFLDO'DUZLQLVWFRQFHSW RIWKHPDVFXOLQH¿JKWIRUVXUYLYDOGLVWLQJXLVKLQJEHWZHHQWKHKHURLFDQGWKHGHJHQHUDWHDQG between the harmonious and the disharmonious.

Europe )RUJRWWHQIRUPDQ\\HDUVWKHPDQDQGKLVZRUNZHUHEURXJKWWROLJKWE\:LOIULHG'DLPZKR SXEOLVKHGDELRJUDSK\³'HU0DQQGHU+LWOHUGLH,GHHQJDE´LQ1HDUO\KDOIDFHQWXU\ would pass before his name again came to the fore. ,QDQHZEDQGDSSHDUHGRQWKHKRUL]RQRIWKHH[WUHPHULJKWLQWKH*HUPDQVWDWHRI0HFN- OHQEXUJ9RUSRPPHUQ'LH/LHEHQIHOV.DSHOOHZLWKWKHLUDOEXP³6HSWHPEHU´ )URQWUHFRUGV  GLVWULEXWHGWKURXJK2GLQ9HUVDQGDQG¿QGLQJLPPHGLDWHIDQUHVSRQVHDPRQJWKH\RXQJ8QGHU the name Skalinger, this band had stood on the front line spreading the message of hate and inciting racial war and terror through concerts and records. This paper attempts to examine the ideological continuity of racism in Europe as promoted through music and its connection to acts of terror in various cultural and political arenas. “I will set my IPod on maximum volume as a tool to suppress fear, if necessary… It pro- GXFHVDSDVVLRQDWHUDJHLQ\RX´0DQLIHVWRRIWKH1RUZHJLDQWHUURULVWDQG7HPSODU%UHLYLN planning his massacre of July 22, 2011.

‘‘Ž‘˜ƒŒ—†‹Žƒǡ› Š‡‘ ƒŽ‹ƒ (Novosibirsk State Conservatoire “M. I. Glinka”, Russia) —•‹ ƒŽ”‡’‡”–‘‹”‡‘ˆDz–Š‡•ƒŽŽ‘Žƒ†‹‹„‡”‹ƒdzǣ–Š‡’ƒ•–‹–Š‡’”‡•‡–

7KHUHDUHDJUHDWQXPEHURI3ROLVK'LDVSRUDVDURXQGWKHZRUOG7KHLUHPHUJHQFHLVWKH UHVXOWRIDFRPSOLFDWHGDQGRIWHQWUDJLFKLVWRULFDOSURFHVV7KH3ROLVK'LDVSRUDRI6LEHULDLO- ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music OXVWUDWHVWKLVJHQHUDODVVHUWLRQDQGDOVRGLVSOD\VDVSHFL¿FFKDUDFWHUFDXVHGE\LWVSDUWLFXODU 28 Abstracts / Povzetki way of formation. 1RZDGD\V³7KH6LEHULDQ3RORQLD´JHQHUDOO\FRQVLVWVRIYDULRXVPXQLFLSDORUJDQL]DWLRQV FXOWXUDOFHQWUHVVRFLHWLHVDXWRQRPRXVXQLWV WKDWGHDOZLWKFXOWXUDODQGHGXFDWLRQDOLVVXHV DQGDOVRGHYHORSUHODWLRQVKLSVZLWK3RODQG6XFKDFWLYLW\ZKLFKZDVLQWHQVL¿HGDWWKHEH- ginning of the 1990s, can be regarded as part of the general European process of liberation from strict ideological dogmas, which led to division among peoples, nations and countries. 8QIRUWXQDWHO\PRGHUQGD\XUEDQ3ROHVWHQGWROLYHDVVLQJOHLQGLYLGXDOVUDWKHUWKDQFRP- munities, which does not contribute to preserving or creating any stable musical traditions. $GLIIHUHQWVLWXDWLRQFDQEHREVHUYHGDPRQJ3ROHVOLYLQJLQWKHFRXQWU\VLGH'HVFHQGDQWV RI3ROLVKPLJUDQWVVWLOOOLYHLQVRPHYLOODJHVRI6LEHULD7KHYLOODJHRI9HUVKLQD %RNKDQ GLVWULFWRIWKH,UNXWVNREODVW IRXQGHGLQDVDUHVXOWRIWKH6WRO\SLQUHIRUPLVZHOO known and unique, being the only one where the population speaks Polish. The authors visited the village in September 2011 and gathered some data - photographs and video and audio recordings. Also available are the published materials of our Polish colleagues Prof. %R]HQD0XV]NDOVNDDQGWKHSRVWJUDGXDWHVWXGHQW/XNDVK6PROXFK On the basis of the available data, the authors will conduct an examination of the musical UHSHUWRLUHRI9HUVKLQDIURPWKHIROORZLQJSRLQWVRIYLHZ

1) What “the past” is for the villagers; ESEM 2012 - Music and Cultural Memory in post - 1998 Europe 2) Its representation in the musical repertoire (genres, styles and so on); 3) The people’s evaluation of “the past” (tragic, hard, neutral etc.); 4) The way the musical heritage brought from Poland has changed over the past century; 5) The people’s estimation of the process of change; 6) The way the past and the present coexist in the modern cultural life of the village.

7KHEHJLQQLQJRIRXU¿HOGUHVHDUFKGRHVQRWOHWXVPDNHDQ\¿QDOFRQFOXVLRQV\HW$WWKH end of the paper, the authors will formulate perspectives for future deeper investigations.

Stefanija Leon (Department of Musicology, Faculty of Arts, University of Ljubljana, Slovenia) Music and state ceremonies - comments on identity construction through music in Slovenia 6LQFHWKHGLVLQWHJUDWLRQRI

29 –‘Œƒ‘˜•ƒ—’«‹©ƒ”‘ (Central European University, Hungary) ƒ–‹‘ƒŽ”‘ ‹ —‰ƒ”›ǣ–Š‡ ƒ•‡‘ˆƒ”’ƒ–‹ƒ

In this paper I will focus on the ways Karpatia selectively uses historical motifs and trans- lates their interpretation of those motifs into a language of popular culture and on what Abstracts / Povzetki Abstracts kinds of responses it prompts. To do that, I will present an analysis of Karpatia’s lyrics, music, live performances and iconography, as well as the main sources of the contestation that revolve around this band. .DUSDWLD KWWSNDUSDWLD]HQHNDUKX LVD+XQJDULDQ³QHP]HWLURFN´>QDWLRQDOURFN@PXVLF JURXSZLWKDODUJHDXGLHQFH .UL]D WKDW³SHUIRUPVW\SLFDOKHDY\PHWDOURFNZLWK O\ULFVWKDWVRPHPD\FRQVLGHUSDWULRWLFRWKHUO\ULFVKRZHYHUDUHXQDEDVKHGO\QDWLRQDO- LVWLFDQG[HQRSKRELF´ .XUWL ,QDQLQWHUYLHZ,FRQGXFWHGZLWK-DQRV3HWUDV the vocalist and bass player of Karpatia, he emphasized how their work predominantly deals with the topics of “God, motherland and family”. Furthermore, he stated that the ³PHVVDJH>V@RIRUWKH7UHDW\RI7ULDQRQ>DQG@+XQJDULDQLGHQWLW\´DOVRLQVSLUHWKHLU VRQJV3HWUDVH[SODLQHGKRZWKH\H[SHULHQFHGGLI¿FXOWLHVZKLOHRUJDQL]LQJVRPHRIWKHLU concerts and how the band became persona non grata in Serbia. He believes that some of these controversies are derived from their support for the revision of the Trianon peace WUHDW\VLJQHGDIWHU:RUOG:DU,,QKLVRZQZRUGV³>«@WKHSUREOHPLVZKHQZHWUDQVJUHVV Europe WKHERUGHUV¿[HGLQOLNHLQ6HUELD5RPDQLDRULQ6ORYDNLDDOOWKRVHSHRSOHWKLQN WKDWZHTXHVWLRQWKHWHUULWRULDOLQWHJULW\RI5RPDQLDRI6HUELDZHTXHVWLRQWKHH[LVWHQFHRI 6ORYDNLD>KHODXJKV@ZKLFKLVNLQGRIWUXHEHFDXVHLQRXUVRQJVWKHUHLVDQLGHDDPHVVDJH of irredentism”. These issues are not the only ones that spark controversies around this band .XUWL $OWKRXJK.DUSDWLDDFFRUGLQJWR/DV]OR.XUWL  EHORQJVWRDVRIWHUVXE- genre of national rock, he argues that they also have songs with an “extreme-right message”  $OODIRUHPHQWLRQHGLVVXHVDUHDGGUHVVHGDQGUHVHDUFKHGLQWKHSDSHUWKDW,ZLOO present at the seminar.

–‘Œ‹•ƒ˜ŽŒ‡˜‹©‹”‘•Žƒ˜ (RMIT University, Melbourne, Australia) —•Ž‡”‡’‡”–‘‹”‡†—”‹‰–Š‡ ‹˜‹Ž™ƒ”‹–Š‡ˆ‘”‡”—‰‘•Žƒ˜‹ƒ†—”‹‰ –Š‡ͩͩ͡͠Ʈ•

This paper deals with the themes and purposes of the contemporary gusle repertoire, ad- GUHVVLQJRQHRIWKHWRSLFVRIWKHWK(6(06HPLQDUPXVLFDOSHUIRUPDQFHLQWKHFRQVWUXF- tion of the historical past in the public realm. A cursory look at the realities of the treatment DQGWKHUROHRIWKHVRFDOOHGQDWLRQDOKHURHVGXULQJWKHFLYLOZDULQWKHIRUPHU

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music FLVPDQGYDULHWLHVRISDWULRWLVP ERWKSRVLWLYHDQGQHJDWLYH WKDWDUHWREHIRXQGDPRQJVW contemporary Serbs. 30 Abstracts / Povzetki $VVRFLDWLQJGLUHFWO\ZLWKWKHSHRSOHWKHJXVOHSHUIRUPHUVSURYLGHGQRWRQO\SDWULRWLFQDWLRQ- alistic “entertainment”, but also delivered news and general information, packaged within the pesme. Within their songs are contained an array of elements necessary for the reawakening of cultural consciousness and patriotic feelings within the population of the time. However, beyond the gusle repertoire and performance, there are beliefs that most of the QHZVRQJVSRHPVVKRXOGQRWEHFRQVLGHUHGDSDUWRIWKHWUDGLWLRQEXWUDWKHUDVDQHZPRYH- PHQWZLWKLQWKHEURDGHUJXVOHJHQUH(VVHQWLDOO\WKHYLHZLVWKDWWKHFRQWHPSRUDU\VRQJV poems do not constitute a part of the Serbian annals of epic and lyric poetry, but neverthe- less part of a new movement within the broader gusle genre. 6RPHJXVOHSHUIRUPHUVFRQ¿UPHGWKDWRULJLQDO WUDGLWLRQDO WH[WVKDYHEHHQPRGL¿HGWRD very great extent over time. Indeed, the original historical shape of many events found in WKHWUDGLWLRQDOZRUNVKDGEHHQPRGL¿HGVRPHWLPHVH[WHQVLYHO\WRVHUYHWKHSXUSRVHVRI rulers, politics, disputes and so forth of the given era.

Sweers Britta (Institute of Musicology, Berne University, Switzerland) ‡”ƒ‹ ›–Š‘Ž‘‰›ƒ† —Ž–—”ƒŽ‡‘”›‹—•‹ ǣ•‘‡ ‘ƪ‹ – ’‘‹–•™‹–Š‹ƒ‰Ž‘„ƒŽ‹œ‡† ‘–‡š– ESEM 2012 - Music and Cultural Memory in post - 1998 Europe The multi-layered enactment of a national past in music has been strongly intertwined with the use of mythological elements. Having often been compiled as a coherent narrative GXULQJWKHHPHUJHQFHRIWKH(XURSHDQQDWLRQVWDWHV OLNHWKH)LQQLVK.DOHYDOD WKHP\WKR- ORJLFDOPDWHULDOZDVRIWHQSHUFHLYHGDVDIRUPRIKLVWRULFDOWUXWKDQGQDWLRQDOMXVWL¿FDWLRQ This focal role is also apparent in various music genres ranging from folk revival to metal LQSRVW(XURSH:LWKLQWKHJOREDOL]HGFRQWH[WKRZHYHUORFDOQDWLRQDOLQWHUSUHWDWLRQV can collide with earlier nationalist appropriations. This complex and sometimes politically FRQÀLFWLQJVLWXDWLRQEHFRPHVSDUWLFXODUO\HYLGHQWZLWKJURXSVIDOOLQJEDFNRQV\PEROVDQG QDUUDWLRQVWKDWKDGSUHYLRXVO\EHHQHPSOR\HGE\1D]L*HUPDQ\ :KLOH1D]L*HUPDQ\KDGDPRQJRWKHUVWULHGWRUHSODFHWKH&KULVWPDVWUDGLWLRQZLWK HOHPHQWVDQGVRQJVIURP*HUPDQLF DQGRWKHU P\WKRORJLFDOVRXUFHVPRGHUQ1HR1D]L PXVLFJURXSVRIWHQHPSOR\FHQWUDOP\WKRORJLFDOQDPHV OLNH2GLQRU7\U DQGLFRQLFHOH- PHQWV OLNH9LNLQJVDQGZDUULRUV LQVRQJO\ULFVDQG&'FRYHUGHVLJQV+RZHYHUZKLOH many covers and lyrics are legally forbidden in Germany, Scandinavian groups (like the )DURHVH9LNLQJPHWDOJURXS7\U HPSOR\VLPLODUHOHPHQWVRI1RUVHP\WKRORJ\ZKLFKDUH often combined with traditional material. This is also apparent with modern Pagan Folk DQG0HWDOJURXSVOLNH6N\IRUJHU /DWYLD DQG.XOJULQGD /LWKXDQLD ZKRRIWHQGLVSOD\WKH 6ZDVWLNDRQWKHLUFRYHUV7KLVKDVOHGWRSROLWLFDOFRQÀLFWV:KLOH6N\IRUJHUFODLPHGWR PHUHO\UHÀHFW%DOWLFP\WKRORJ\WKHJURXSZDVDFFXVHGRISURPRWLQJ1HR1D]LLGHRORJ\ GXULQJDFRQFHUWLQ%HUOLQ)DOOLQJEDFNRQVHOHFWHGFDVHVWXGLHVWKLVSDSHUWULHVWR highlight the central discursive points of these colliding historical-national associations and LQWHUSUHWDWLRQVRIP\WKRORJLFDOV\PEROVLQPXVLFDOFRQWH[WV&DQWKLVPDWHULDOEHGLVDVVRFL- ated from the earlier historical usage or is this impossible within an international context? 31 ‘’‘Ž•ƒ‰‹‡•œƒ (Institute of Musicology, University of Warsaw, Poland) ‡•–‘”ƒ–‹‘–Š‡’ƒ•–ǣ–Š‡‹–‡”ƒ–‹‘ƒŽ–ƒ‹•Žƒ™‘‹—•œ‘˜‘ ƒŽ ‘- ’‡–‹–‹‘‹ƒ”•ƒ™

7KH,QWHUQDWLRQDO6WDQLVODZ0RQLXV]NR9RFDO&RPSHWLWLRQKDVEHHQRUJDQL]HGVLQFH Abstracts / Povzetki Abstracts LQ:DUVDZ3RODQG,WVIRXQGHU0DULD)RáW\QLVD3ROLVKRSHUDVLQJHUDQGGLUHFWRUZKR GHYRWHGDOOKHUHIIRUWVWRGHYHORSLQJWKHIDPHRI6WDQLVáDZ0RQLXV]NRDIWHU¿QLVKLQJKHU career as a singer. 0DULD)RáW\QZDVDOZD\VDVWURQJDGPLUHURI0RQLXV]NRLQ3RODQGDQGDEURDGDQGDOZD\V ZDQWHGWRXQGHUOLQHWKHQDWLRQDOSUR¿OHRIKLVRXWSXW,QHVWDEOLVKLQJWKHFRPSHWLWLRQKHU idea was to animate the tradition of Polish singing repertoire and, no less important, to restore the national programme of contemporary music culture. The aim of the event is to promote Moniuszko among other nations, so the participants of the competition are allowed to perform songs and arias in their mother tongues. For foreigners, the competition may be perceived as some kind of Polish culture festival. )RU3ROHVLWVKRXOGEHWKDWLV)RáW\Q¶VLGHDDOVRDPDQLIHVWDWLRQRI3ROLVKLGHQWLW\7KH FRQFHSWRIWKH,QWHUQDWLRQDO6WDQLVáDZ0RQLXV]NR9RFDO&RPSHWLWLRQLVPRUHDERXWWKH concept of nationality born in the 19th century among German philosophers (e.g. Herder, 6FKHOOLQJ6FKOHJHO WKDQDERXWWKH)UHQFKRQHZKLFKLVEDVHGRQWKHLGHDRIVRFLHW\FUH- Europe DWHGGXULQJWKH)UHQFK5HYROXWLRQ7KHVHLGHDVDIIHFWWKHUHFHSWLRQRIWKHHYHQW0DULD )RáW\QDQGWKH¿UVWFULWLFVDQGUHVHDUFKHUVRQ0RQLXV]NRUHSUHVHQWWKH*HUPDQRULHQWHG romantic paradigm in which an artist is a prophet who perceives his social duties as being as important as the artistic ones. As we can see, it generates some problems with the exist- ence of the event in Polish musical culture today. The paper presents the changing situation RIWKH&RPSHWLWLRQDORQJZLWKWKHFKDQJLQJFRQFHSWVRIQDWLRQDOLW\3ROLVKQHVVLQFXOWXUH

‹Ž•‘ƒ˜‡ (University of California, Los Angeles, USA) Šƒ’‹‰–Š‡ƒ•–ƒ†”‡ƒ–‹‰–Š‡ —–—”‡ǣ—•‹ ƒ–ƒ ‡†‘‹ƒǯ• ‡Ž- ebration of twenty years of independence

6LQFHGHFODULQJLWVLQGHSHQGHQFHIURP

ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music elaborate celebration in Skopje’s newly redesigned center square. Against the backdrop of numerous brand-new statues of Macedonian heroes dating back to Alexander the Great, the 32 Abstracts / Povzetki celebration highlighted performances by the Macedonian philharmonic, opera, ballet, and national folk ensemble along with stars from turbo-folk, jazz, and various pop music genres. Evoking both real and imagined pasts like the surrounding statues, the government-sponsored performances intertwined musical elements of Macedonian folklore with those of Western classical and modern PXVLFDOWUDGLWLRQVLQDI¿UPDWLRQRI0DFHGRQLD¶VUHOHYDQFHDVDXQLTXHFRVPRSROLWDQQDWLRQZLWKD rich history. %DVHGRQHWKQRJUDSKLFSDUWLFLSDQWREVHUYDWLRQZLWKFRPSRVHUVSURGXFHUVSHUIRUPHUVDQGDXGL- ences both in the recording studio and at the twentieth anniversary celebration, this paper exam- ines the process of “modernist reformism” in which nationalist movements objectify, recontextual- L]HDQGDOWHULQGLJHQRXVPXVLFDOIRUPVIRUHPEOHPDWLFSXUSRVHV 7XULQR )DUIURPVLPSO\ a state-nationalist construction of an ancient yet cosmopolitan identity, this process concerns both the individual agency of musical actors and public reception. At the site of the musical celebration of Macedonia’s independence as a democratic nation-state, we can see how individuals and groups QRWRQO\FKDOOHQJHQDWLRQDOLVWQDUUDWLYHVRIWKHSDVWEXWDOVRLQÀXHQFHPXVLFDOVWUDWHJLHVIRUFRSLQJ with the external contestation to their nation’s legitimacy that has shaped it throughout its twenty years of existence.

‹ˆ”‡‡ƒ’—‰ƒƒ‹‡Ž

(Ringve Museum, Norway) ESEM 2012 - Music and Cultural Memory in post - 1998 Europe ƒ–‹‘ƒŽ‡‘”›ƒ†ƒ–‹‘ƒŽ‹‘”‹–‹‡•ǣŠ‡ ƒ•‡‘ˆ–Š‡˜‡’‡‘’Ž‡

7KH.YHQSHRSOHDUHGHVFHQGDQWVRIIDUPHUVDQG¿VKHUPHQZKRHPLJUDWHGIURP6ZHGHQDQG )LQODQGWRQRUWKHUQ1RUZD\GXULQJWKHWKDQGWKFHQWXULHV,QVRPHZD\VWKH.YHQVDUHD ³IRUJRWWHQ´PLQRULW\ZKRZHUHVXEMHFWHGWRDVWURQJ1RUZHJLDQL]DWLRQSROLF\IURP 7KH.YHQVZHUHQ¶WDFFHSWHGDVDQDWLRQDOPLQRULW\LQ1RUZD\XQWLODQG.YHQLVKZDVQ¶WRI- ¿FLDOO\UHFRJQL]HGDVDVHSDUDWHODQJXDJHXQWLO $QDWLRQDOPLQRULW\LVDJURXSRISHRSOHZLWKHWKQLFOLQJXLVWLFFXOWXUDODQGRUUHOLJLRXVFKDUDF- WHULVWLFVDQGWKDWKDVORQJODVWLQJWLHVWRWKHFRXQWU\RIUHVLGHQFH6LQFHUDWL¿FDWLRQRIWKH&RXQFLO RI(XURSH¶V)UDPHZRUN&RQYHQWLRQIRUWKH3URWHFWLRQRI1DWLRQDO0LQRULWLHVLQ1RUZD\ has obligated itself to secure the preconditions for the preservation and further development of the national minorities’ cultural distinctiveness. 7KLVSDSHUZLOOXVHPDWHULDOIURPWKHH[KLELWLRQ³-DWDNNEHJJHGHOHU0XVLFDQGQDWLRQDOPLQRUL- WLHV´WRGHVFULEHWKHÀRZHULQJRIWKH.YHQPXVLFVFHQHLQUHFHQW\HDUVDQGKRZPDQ\PLQRULW\ artists are reinterpreting both their past and their present as members of a national minority. Part RIWKLVUHLQWHUSUHWDWLRQLVDUHIXVDOWREHSODFHGLQVWDQGDUGFDWHJRULHVVD\LQJ³

33 34 ‹•–‘ˆƒ”–‹ ‹’ƒ–•Ȁ‡œƒ—†‡Ž‡ā‡ ‡˜ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe ‹•–‘ˆƒ”–‹ ‹’ƒ–•Ȁ‡œƒ—†‡Ž‡ā‡ ‡˜ Kovačič Mojca Klobčar Teja Kertesz Wilkinson Iren Jurková Zuzana Johnson Jill Ann Hofman Ana Hilder "omas Hemming Andreas Hemetek Ursula Grujić Marija Gligorjević Jelena Daković Nevena Dahlig-Turek Ewa Czekanowska Anna Ceribašić Naila FulviaCaruso Burstyn Shai Bertle$ Ingrid Bainbridge Henry Atanasovski Srđan Ahmedaja Ardian Lechleitner Gerda Kronja Ivana NAME ‹•–‘ˆ’ƒ”–‹ ‹’ƒ–•Ȁ‡œƒ—†‡Ž‡ā‡ ‡˜ [email protected] [email protected] [email protected] [email protected] [email protected] jelgli@utu.& [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] %@web.de ingrid.bertle [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] E-MAIL ADDRESS SERBIA AUSTRIA COUNTRY AUSTRIA SERBIA SLOVENIA SLOVENIA UK CZECH REPUBLIC SWEDEN SLOVENIA GERMANY GERMANY AUSTRIA SERBIA FINLAND SERBIA POLAND POLAND CROATIA ITALY ISRAEL UK UK Marković Tatjana Maćko-Gieszcz Kaja Winfree Papuga Daniel Wilson Dave Topolska Agnieszka Sychenko Galina Sweers Britta Stojisavljević Miroslav Stojanovska Rupči ć Marko Stefanija Leon Sokolova Liudmila Skyllstad Kjell Muller Schmidl Stefan Roy Diane Ramnarine Tina K. Pisk Marjeta Petrov Ana Park Ilwoo Papanikolau Dimitris EfeÖzer Diler Muršič Rajko Marty Maa š [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] leon.stefanija@%.uni-lj.si [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] rajko.mursic@%.uni-lj.si [email protected] [email protected] [email protected] NORWAY USA POLAND RUSSIA SWITZERLAND AUSTRALIA HUNGARY SLOVENIA RUSSIA NORWAY AUSTRIA AUSTRALIA UNITED KINGDOM SLOVENIA SERBIA SOUTH KOREA GREECE TURKEY SLOVENIA SLOVENIA AUSTRIA POLAND ‹•–‘ˆƒ”–‹ ‹’ƒ–•Ȁ‡œƒ†‡Ž‡ā‡ ‡˜‹•–‘ˆƒ”–‹ ‹’ƒ–•Ȁ‡œƒ—†‡Ž‡ā‡ ‡˜ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe 35 COUNTRY USA NORWAY SLOVENIA SLOVENIA TURKEY GREECE KOREA SOUTH SERBIA SLOVENIA UNITED KINGDOM AUSTRALIA AUSTRIA NORWAY RUSSIA SLOVENIA HUNGARY AUSTRALIA SWITZERLAND RUSSIA POLAND POLAND AUSTRIA

E-MAIL ADDRESS E-MAIL ADDRESS [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] .uni-lj.si % leon.stefanija@ [email protected] [email protected] [email protected] .uni-lj.si % rajko.mursic@ [email protected] [email protected] [email protected]

NAME NAME

Winfree Papuga Daniel Daniel Papuga Winfree Wilson Dave Wilson Topolska Agnieszka Topolska Sychenko Galina Galina Sychenko Sweers Britta Sweers ć Miroslav Stojisavljevi Marko ć či Rup Stojanovska Stefanija Leon Stefanija Sokolova Liudmila Sokolova Schmidl Stefan Schmidl Muller Kjell Skyllstad Roy Diane Roy Ramnarine Tina K. Tina Ramnarine Pisk Marjeta Pisk Petrov Ana Petrov Park Ilwoo Park Papanikolau Dimitris Papanikolau Özer Efe Diler Özer Efe č Rajko i š Mur ć Tatjana Markovi ša Ma Marty ko-Gieszcz Kaja ko-Gieszcz ć Ma UK SLOVENIA SLOVENIA SERBIA AUSTRIA GERMANY SLOVENIA SWEDEN CZECH REPUBLIC SERBIA FINLAND SERBIA AUSTRIA GERMANY ISRAEL ITALY CROATIA POLAND POLAND AUSTRIA AUSTRIA SERBIA UK UK COUNTRY E-MAIL ADDRESS E-MAIL ADDRESS [email protected] [email protected] [email protected] [email protected] [email protected] % [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] & jelgli@utu. [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Kronja Ivana Kronja Gerda Lechleitner NAME NAME č Mojca či Kova Bainbridge Henry Bainbridge Ingrid $ Bertle Shai Burstyn Caruso Fulvia ć Naila i š Ceriba Anna Czekanowska Ewa Dahlig-Turek ć Nevena Dakovi ć Jelena Gligorjevi ć Marija Gruji Ursula Hemetek Andreas Hemming omas " Hilder Ana Hofman Ann Jill Johnson Zuzana Jurková Iren Wilkinson Kertesz Teja ar č Klob Ahmedaja Ardian Ardian Ahmedaja an đ Sr Atanasovski ‘–‡•Ȁ‡Ž‡ā‡ǣ Europe ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music

36 ‘–‡•Ȁ‡Ž‡ā‡ǣ ‘–‡•Ȁ‡Ž‡ā‡ǣ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe

37 ‘–‡•Ȁ‡Ž‡ā‡ǣ Europe ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music

38 ‘–‡•Ȁ‡Ž‡ā‡ǣ ‘–‡•Ȁ‡Ž‡ā‡ǣ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe

39 ‘–‡•Ȁ‡Ž‡ā‡ǣ Europe ESEM 2012 - Music and Cultural Memory in post - 1998 Memory in post - 1998 and Cultural ESEM 2012 - Music

40 ‘–‡•Ȁ‡Ž‡ā‡ǣ ‘–‡•Ȁ‡Ž‡ā‡ǣ ESEM 2012 - Music and Cultural Memory in post - 1998 Europe

41