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Година 15 Број 38/2009 432 Динара Година 15 Број 38/2009 432 динара - Izdavako preduzee CLIO, Gospodar Jovanova 44, 11000 Beograd tel. 011 3035 696, 2626 858, fax: 011 2635 013, [email protected], www.clio.rs SADR@AJ SADR@AJ God. 15. br. 38/2009. UDK 78:781(05) Izdava~ko preduze}e Contents Beograd, Gospodar Jovanova 44 tel. 3035-6696 tel/faks 2635-8813 `. r. 340-222091-005 [email protected] ) Qubica Mari}: SE]AWE SAM SVOJE 1 Za izdava~a Ljubica K. Mari}: I AM MY OWN MEMORY Zoran Hamovi} * ) RADIOFONIJA Glavni urednik Hristina Medi}: RECEPCIJA STVARALA[TVA Hristina Medi} QUBICE MARI] NA TRE]EM PROGRAMU 2 * Redakcija ) RADIOPHONY Branka Radovi}, Katarina Markovi}, Hristina Medi}: THE RECEPTION OF LJUBICA MARI]’S OEUVRE Mirjana Vuki~evi}-ZZaki}, ON RADIO BELGRADE THIRD PROGRAMME 26 Ana Stefanovi}, (Abstract) Danijela Kulezi}-VVilson, Jelena Novak, Ivana Medi}, Ivana Miladinovi}, Biqana Sre}kovi} ) Qubica K. Mari}: U^ESNICI ME\UNARODNOG KONGRESA U PRAGU 27 * Ljubica K. Mari}: THE PARTICIPAINTS OF THE INTERNATIONAL Umetni~ki savet CONGRESS IN PRAGUE Zdravko Bla`ekovi}, Filip Filipovi}, Tijana Popovi}-MMla|enovi}, Marija Masnikosa, ) NA TRAGU ETNOZVUKA Milena Pe{i}, Mi{a Savi} Iva Neni}: TRADICIJA POST-MMOMENTUM 28 * Etno i world music tuma~ewa pesme Duni mi, duni, la|ane Dizajn korica Svetlana Volic ) TRACING THE ETHNO-SOUND 32 * Iva Neni}: THE TRADITION POST-MOMENTUM Ethno and world music interpretations Lektura i korektura Sawa Blagojevi}-BBo{kovi} of the song Duni mi, duni, la|ane (Abstract) * Tehni~ki urednik Dejan Tasi} Qubica K. Mari}: TONU]EM QUBIMO 33 * ) Ljubica K. Mari}: AS WE SINK, WE LOVE [tampa ApolloGP Beograd ) COURSES IN DEVELOPMENT ^asopis izlazi jedanput godi{we OF SLOVENIAN MUSIC CULTURE Jernej Weiss: CZECH MUSICIANS IN SLOVENIA 34 Slike na koricama BETWEEN 1861 AND 1914 Qubica Mari}: Bez naslova Qubica Mari}: Gnezdo ) PUTEVI RAZVOJA SLOVENA^KE MUZI^KE KULTURE Jernej Vajs: ^E[KI MUZI^ARI U SLOVENIJI Broj u registru: 632-1120494-003 OD 1861. DO 1914. GODINE 40 ISSN 0354–9313 (Sa`etak) www.clio.rs SADR@AJ SADR@AJ Vol. 15. No. 38/2009. UDC 78:781(05) Publisher Contents Belgrade, Gospodar Jovanova 44 Yugoslavia phone +381 11 3035-6696 phone/fax +381 11 2635-8813 [email protected] ) Qubica K. Mari}: MOJA MAJKA I JA I JA 41 Ljubica K. Mari}: MY MOTHER AND ME AND ME Executive Zoran Hamovi} * ) MUZIKA I DRUGE UMETNOSTI Slobodan Lazarevi}: [KOQKA I EHO 42 Editor in Chief Tri modusa postojawa muzike Hristina Medi} Vreme i prostor fuge * Editorial Board ) MUSIC AND OTHER ARTS Branka Radovi}, Katarina Markovi}, Slobodan Lazarevi}: A SHELL AND AN ECHO 50 Mirjana Vuki~evi}-Zaki}, Ana Stefanovi}, Three modalites of the existence of music Danijela Kulezi}-Wilson, Jelena Novak, The time and space of fugue Ivana Medi}, Ivana Miladinovi}, Biljana (Summary) Sre}kovi} * Art Council ) Qubica K. Mari}: POSLEDWI CRTE@ MOJE MAJKE 51 Zdravko Bla`ekovi}, Filip Filipovi}, Ljubica K. Mari}: THE LAST DRAWING OF MY MOTHER Tijana Popovi}-Mla|enovi}, Marija Masnikosa, Milena Pe{i}, Mi{a Savi} ) MUSICAL POETIC OF GUSTAV MAHLER * Katarina Markovi}: MAHLER’S DURCHBRUCH (1) 52 Overcoming the wheel of Ixion Cover Design Svetlana Volic ) MUZI^KA POETIKA GUSTAVA MALERA * Katarina Markovi}: MALEROVA IDEJA PROBOJA (1) 68 Savladavawe Iksionovog to~ka Copy Editor Sanja Blagojevi}-Bo{kovi} (Sa`etak) * Prepress Dejan Tasi} ) Qubica K. Mari}: ONI SVETOVI 69 * Ljubica K. Mari}: THOSE WORLDS Printed by ApolloGP ) DISKOGRAFIJA 70 Belgrade DISCOGRAPHY The Musical Wave is published yearly Cover Pages Qubica K. Mari}: MOJA SOBA 75 Ljubica Mari}: Untitled ) Ljubica Mari}: The Nest Ljubica K. Mari}: MY ROOM No. in registry: 632-120494-03 INDEKS IMENA 76 ISSN 0354–9313 ) INDEX OF NAMES www.clio.rs ) Qubica K. Mari}: ZBIRKA KAMEWA 80 Ljubica K. Mari}: THE COLLECTION OF STONES Hristina Medi}* RECEPCIJA STVARALA[TVA QUBICE MARI] NA TRE]EM PROGRAMU RADIO BEOGRADA (1965–2009) UDK: 78.071.1:929 Mari} Q. ada je 1965. godine na talasima Radio Beograda po- ID: 176889100 ~eo da se emituje Tre}i program, celokupna pro- BIBLID: 0354-9313, 15(2009) pp. 2–26 K Primqeno: 29. oktobra 2009. gramska koncepcija pretrpela je znatne izmene. One Odobreno: 21. novembra 2009. su bile u strukturnom, umetni~kom i kulturolo{kom pogle- A J du mnogo dubqe u odnosu na sve dotada{we programske ino- Sa`etak: Ova pregledna studija ima dva para- vacije i faze u razvoju ove institucije. Bio je to ~etvrti I lelna i komplementarna toka – jedan je analiza po redu od tzv. tre}ih radijskih programa u Evropi (i prvi N muzi~ke koncepcije Tre}eg programa Radio Beo- na Balkanu), i mada su mu uzor bili tre}i programi Bi-Bi- O grada, a drugi, u wenom kontekstu, vrednovawe Sija i Kelnskog radija, uspeo je, zahvaquju}i prvom glavnom plasmana muzike Qubice Mari} u wegovim emi- F sijama. Tako|e se razmatra koliko je stvarala- uredniku Aleksandru Ackovi}u, da ponudi jednu osobenu i nesumwivo zanimqivu programsku koncepciju. O {tvo ove autorke uticalo na osmi{qavawe i tematizaciju muzi~kih emisija ovog programa, Godina 1965. mo`e se ozna~iti kao po~etak perioda u ko- I kao i javnih koncerata ansambala Radio Beogra- jem je iz svojih (...) razvojnih tendencija kompletirana 1 D da, i kakav je bio pristup wenoj umetnosti u osnova programskog sistema Radio Beograda. I ne samo to, tekstovima muzi~kih pisaca i muzikologa emi- Radio Beograd se ovim planskim i osmi{qenim pro{iriva- A tovanih na ovom programu. Poseban akcenat sta- R wem, tj. prerastawem u slo`en programski sistem, ukqu~io vqen je na {ezdesete i sedamdesete godine pro- {log veka, dakle na same po~etke emitovawa u proces koji je u svetu nazvan „renesansom radija“, i koji Tre}eg programa, kada se nakon vi{egodi{weg je identi~an s periodom kada se uspostavqa realni odnos }utawa o srpskoj crkvenoj muzici i wenom uti- izme|u dva najmasovnija medija, radija i televizije, a wiho- caju na savremeno muzi~ko stvarala{tvo, kona~- va prividna konkurentnost biva prevazi|ena svojstvenim no pojavquju zanimqive, sveobuhvatne i anali- orijentisawem2. Radio Beograd je time postao uistinu mode- ti~ke studije iz ove oblasti. Tada i muzi~ka ran evropski radio u kojem su pojedina~ne programske kon- poetika ove autorke postaje predmet prou~ava- wa na{ih muzi~kih nau~nika, u ~emu su sudelo- cepcije bile sadr`ajno jasno uobli~ene, ali i komplemen- vali i muzi~ki urednici i saradnici Tre}eg tarne, omogu}avaju}i slu{aocima najrazli~itijih profila 2 programa. Studija je propra}ena i dokumentar- (obrazovawa, starosti, nacionalnosti) da u wemu prona|u nim materijalima od kojih se ve}ina objavquje sadr`aje po svom ukusu i izboru. prvi put. Pet priloga na kraju studije predsta- Okrenut stru~noj, obrazovanoj publici, Tre}i program Ra- vqaju prvu sistematizaciju i prezentaciju ar- dio Beograda odmah je dobio epitet elitisti~kog programa, hivskog materijala Radio Beograda, koji se od- {to je istovremeno imalo i pozitivnu i negativnu konota- nosi na snimke muzike i govora Qubice Mari}, na programe koncerata na kojima je sama nastu- ciju. Mali postotak slu{anosti pratio je sve dotada{we pala ili na kojima su wena dela izveli ansam- tre}e programe u Evropi, pa i ovaj na{, beogradski, zbog bli Radio Beograda, kao i na koncerte sa wenim slo`enosti i te`ine izraza ponu|enih sadr`aja. Ali, ako je kompozicijama koje je organizovao Tre}i pro- jedna od tendencija bila i podizawe dru{tva na vi{u civi- gram. Ovi prilozi (koje je uradio autor ovog lizacijsku razinu 3, onda o nekoj pojednostavqenoj prezenta- teksta) bili su polazna osnova za ovu studiju. ciji i nije moglo biti re~i. Svrha ovakvih programa nije Kqu~ne re~i: Tre}i program, radio, arhiv, bila popularisawe nauke ili umetnosti, jer to je bilo utka- programska koncepcija, javni koncerti, Muzi~- ka moderna, Qubica Mari}, srpska muzika, vi- no u koncepcije prvih i drugih programa. Upravo suprotno, zantijski uticaj, pojawe, arhai~nost. vi{i civilazijski nivo, smatralo se, mogao se posti}i pre svega bu|ewem duhovne radoznalosti kod {to {ireg kruga, *Hristina Medi} ro|ena je u Beogradu 1943. podsticawem na rad i duhovni napor4. U skladu s tim, u vo- godine. Diplomirala je 1967. godine sa temom de}im radijskim sistemima Evrope ta nova formula, tre}i Baleti Kre{imira Baranovi}a na Odseku za program, zasnivala se na potrebi da se slu{aocima preko muzikologiju na Muzi~koj akademiji u Zagre- bu (klasa prof. dr Kre{imira Kova~evi}a i novog kanala u izvornom vidu u~ine dostupnim umetni~ka prof. dr Josipa Andreisa). Bila je muzi~ki dela, nau~na i filozofska misao. U okviru te op{te ori- urednik u redakciji Tre}eg programa Radio jentacije novi radijski programi povezuju svoju sudbinu s Beograda, a potom glavni i odgovorni muzi~- modernom umetno{}u, savremenom kriti~kom mi{qu i teo- ki urednik u istom programu. Sara|ivala je rijom.5 To je, naravno, podrazumevalo otvorenost, ali i kri- kao kriti~ar u dnevnim novinama u Beogradu, ti~ki stav prema svim savremenim tokovima umetni~kih, na- Zagrebu i Sarajevu, objavqivala ~lanke i u~nih i kulturalnih strujawa i zbivawa, otvorenost prema studije u ~asopisima Poqa, Pro muzika, Tre- }i program, Isto~nik, Muzi~ki talas, kao i novini ma kako ona bila usamqena i kratkotrajna. Slu{a- u zbornicima Srpska muzi~ka scena, Aspekti lac je morao da ima mogu}nost da se upozna sa svom raznovr- interpretacije i Muzi~ko stvarala{tvo i sno{}u umetni~kih praksi i nau~nih dostignu}a. I ne samo kritika. Sudelovala je na nau~nim skupovima to, trebalo je pronalaziti na~ina da se i u wemu stvori ili u Beogradu, Sremskim Karlovcima, ^akovcu, probudi kriti~ki odnos prema, na taj na~in, predstavqenim kao i na Letwoj duhovnoj akademiji u Stude- sadr`ajima.
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