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Miroslav Stojisavljevic Archival View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository i THE GUSLE - THE SOUND OF SERBIAN EPIC POETRY: AN EXAMINATION OF CONTEMPORARY GUSLE PERFORMANCE PRACTICES AND GUSLE INSTRUMENT-MAKING IN SERBIA AND THE SERBIAN-AUSTRALIAN DIASPORA COMMUNITY Miroslav Stojisavljevi ć M.A. (RMIT University), B.A. (Music Industry) (RMIT University) School of Education College of Design and Social Context RMIT University ii Statement of Declaration This project contains no material which has been accepted for the award of any other degree or diploma in any university or other institution. I affirm that to the best of my knowledge, the project contains no material previously published or written by another person, except where due reference is made in the text of the project. Candidate’s signature…………………………………………………………………. Date………………………………………………………………………… iii Table of Contents Title page………………………………………………..…………………………i Statement of Declaration........................................................................................ii Table of Contents...................................................................................................iii List of tables, diagrams and figures………………………………………...…...v Acknowledgements................................................................................................vi Abstract..................................................................................................................vii Chapter one: Introduction................................................................................. 8 1.1 The project ……………………………………………………….….8 1.2 The exegesis ………………………………………………………..10 1.2 Structure of the exegesis…….………………………………………….11 1.3 The nature of gusle music………………..........................................12 1.4 Rationale.............................................................................................13 1.5 Aims of the research...........................................................................14 1.6 Historical context...............................................................................14 1.7 Gusle in Australia...............................................................................15 Chapter Two: Methodology………………………………………….………...16 2.1 Data collection………………………………………………………17 2.2 Interviewing as phenomenographic process………………………...18 2.3 Primary and secondary research questions…………………………..22 2.4 The interview questions……………………………………………...23 2.5 Additional interview questions for gusle performers ( Guslari )……...24 2.6 Additional interview questions for Serbian-Australians…………......24 2.7 Analysis ……………………………………………………………...25 2.8 (a) Categories of relevance …………………………………………...27 2.8 (b) Interviews categorised by gender and the place of the interviews.28 2.8 (c) The categories of description ………………………………….....30 Chapter Three: Serbian tradition .........................................................................33 3.1 Historical background............................................................................33 3.2 Serbian language and migrations...........................................................33 iv 3.3 Oral tradition...........................................................................................35 3.4 Musical developments............................................................................36 3.5 Themes in epic poetry.............................................................................38 3.6 Early forms..............................................................................................40 3.7 Colonisation.............................................................................................40 3.8 The role of Vuk Stefanovi ć Karadži ć......................................................41 3.9 The hidden meanings of the Serbian epic poetry?...................................44 3.10 Serb Christianity and heroes..................................................................47 3.11 Gusle patriotism.....................................................................................49 3.12 Gusle in politics......................................................................................51 Chapter Four: The Experience of Migration in the Serbian-Australian Diaspora Communities...................................................................................52 4.1 The Serbian Orthodox church in Australia................................................54 4.2 Serbian migration to Australia...................................................................55 Chapter Five: Organology of the gusle......................................................................57 5.1 Traditional Serbian musical instruments.....................................................61 5.2 The gusle instrument...................................................................................62 5.3 Vocal style and the improvised nature of gusle performance......................65 5.4 Performance of the gusle.............................................................................66 5.5 Timbral and performance characteristics.....................................................68 5.6 Social and cultural importance of gusle tradition........................................73 5.7 The gusle performer and the audience........................................................75 Chapter Six: Findings of the research.......................................................................84 6.1 Perception and awareness of Serbian gusle tradition: performers, devotees and audiences............................................................................................89 6.2 The audience............................................................................................................91 6.3 The analysis of recorded and transcribed interviews...............................................94 6.4 The analytical overview of the interview questions.................................................96 Chapter Seven:………………………………………………………………..……..137 7.1 Secondary questions………………………………………………………...…….137 v 7.2 Research findings ……………………………………………………………….140 Chapter Eight:……………………………………………………………………....147 8.1 Conclusions ……………………………………………………...........................147 References …..............................................................................................................151 List of tables, diagrams and figures Figure 1: Key to interviewee age bracket in figure………………………………...…..20 Table 1: Interviewees………………………………………………………..…..……...21 Diagram 1: The number of interviews, place of interviews and the involvement of interviewees with the gusle tradition…………………………...…….28 Diagram 2: Relation between gender and number and place of the interviews…...…..29 Diagram 3: Categories of relevance…………………………………………….……...29 Diagram 4: Pools of meaning…………………………………………………..……...32 Diagram 5: Different and similar categories……………………………………..….…32 Figure 2: Serbian gusle………………………………………………………….……....6 Figure 3: Map source: "Kosovo: History of a Balkan Hot Spot"…………………….103 vi Acknowledgments I would like to acknowledge the gusle performers, gusle traditionalists, scholars, and audience members of gusle tradition in Melbourne and Serbia who have helped, advised and directed me during my field work. I particularly wish to express my gratitude to Professor David Forrest and Dr Kipps Horn my RMIT University supervisors. I am especially thankful to my wife Stanislava, my daughters Tijana and Jana and my son Vuk who have supported me with love and patience during my involvement in this project. I wish to express my thanks to Dr William Miles for his guidance with the editing and the cross-language elements and issues of the dissertation. His contribution as a “sounding board”, adviser, friend and confidante throughout the length of my research and the completion of the dissertation were significant and very greatly appreciated. I wish to make mention of an important supporter of this research, Miroljub Stankovi ć. Although not a gusle performer, Stankovi ć holds a wealth of knowledge regarding the genre. As a member of the earlier Serbian/Yugoslavian Diaspora of the late-1980s, he is very well- connected throughout the Serbian community and knows most of the guslari throughout Australia, especially in Melbourne. His knowledge and connections were often pivotal to the progress and realisation of this research agenda. vii Abstract The project film, The Gusle: The Sound of Serbian Epic Poetry , focuses on the significance of contemporary gusle music performance practices in Serbia and the Serbian-Australian community, especially that part of the community comprising the Serbian Diaspora of the 1990s. The study takes into account the narrative component of gusle performance in the texts of epic poetry which embody Serbian historical events . The complexity and variety of themes in Serbian epic and lyric poetry make the gusle genre a rich source for the examination of issues related to perceptions of Serbian and Serbian-Australian identity. The exegesis includes an historical context, references to related literature, phenomenographic interview analyses, and an organological overview of the gusle tradition as an aspect of Serbian culture in Serbia and Australia . The aim of the research is to contribute to the longer term cultural preservation of gusle performance and to examine different meanings the music, instrument and poetry have for contemporary Serbian musicians and musicians
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