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MУЗИКОЛОГИЈА Часопис Музиколошког института САНУ MUSICOLOGY Journal of the Institute of Musicology SASA 19 2015 Музиколошки институт Institute of Musicology Српске академије наука и уметности Serbian Academy of Sciences and Arts UDK 78(05) ISSN 1450-9814 MUSICOLOGY Journal of the Institute of Musicology SASA 19 Еditorial council Dejan Despić, Jim Samson (London), Albert van der Schoot (Amsterdam), Jarmila Gabrielová (Prague) Editorial board Aleksandar Vasić, Rastko Jakovljević, Danka Lajić Mihajlović, Ivana Medić, Biljana Milanović, Melita Milin, Vesna Peno, Katarina Tomašević Editor-in-chief Jelena Jovanović Еditorial assistant Jelena Janković-Beguš Belgrade 2015 UDK 78(05) ISSN 1450-9814 МУЗИКОЛОГИЈА Часопис Музиколошког института САНУ 19 Уређивачки савет Дејан Деспић, Џим Семсон (Лондон), Алберт ван дер Схоут (Амстердам), Јармила Габријелова (Праг) Редакција Александар Васић, Растко Јаковљевић, Данка Лајић Михајловић, Ивана Медић, Биљана Милановић, Мелита Милин, Весна Пено, Катарина Томашевић Главни и одговорни уредник Јелена Јовановић Секретар редакције Јелена Јанковић-Бегуш Београд 2015. Часопис Музикологија је рецензирани научни часопис који издаје Музиколошки ин- ститут САНУ (Београд) од 2001. године. Посвећен је истраживању музике као есте- тичког, културног, историјског и друштвеног феномена. Поред примарне оријенти- саности на музиколошка и етномузиколошка разматрања, часопис је отворен према различитим сродним или мање сродним дисциплинама (историја, историја уметности и књижевности, етнологија, антропологија, социологија, комуникологија, семиотика, психологија музике итд.) као и према интердисциплинарним подухватима. Излази два пута годишње. Oбавештења о позивима за радове као и упутства за израду прилога налазе се на адреси: http://www.music.sanu.ac.rs/Srpski/MuzikologijaR.htm. The journal Musicology is a peer-reviewed scientific journal published by the Institute of Musicology SASA (Belgrade) since 2001. It is dedicated to the research of music as an aesthetical, cultural, historical and social phenomenon. It is primarily focused on musicological and ethnomusicological research, but it also favours approaches from diverse scientific disciplines (history, history of art and literature, ethnology, anthropology, sociology, comunicology, semiotics, music pshychology etc.) as well as interdisciplinary projects. It is published semianually. Call for papers and instructions for authors can be found on the following address: http://www.music.sanu.ac.rs/English/MuzikologijaR.htm. Издавач / Publisher Музиколошки институт САНУ / Institute of Musicology SASA Кнез Михаилова 36/IV, Београд / Belgrade http://www.music.sanu.ac.rs/ и-мејл / e-mail: [email protected]; [email protected] Лектори и преводиоци / Proofreaders and translators Александра Антић, Александар Васић (српски језик / Serbian), Esther Helajzen (ен- глески језик / English), Горан Трутин (руски језик / Russian). Дизајн / Design Јован Глигоријевић Графичка обрада / Layout Борјан Милијић Штампа / Printed by Colorgrafx, Београд / Belgrade Тираж / Circulation 300 Часопис је у целини индексиран у http://www.doiserbia.nb.rs/, http://www.komunikacija. org.rs/komunikacija/ као и у међународној бази података ProQuest. The journal is indexed in http://www.doiserbia.nb.rs/, http://www.komunikacija.org.rs/ komunikacija/ and in the international database ProQuest. Oбјављивање часописа помогли су Министарство просвете, науке и технолошког ра- звоја Републике Србије и Министарство културе и информисања Републике Србије. The publication of the journal is financially subsidized by the Ministry of Education, Science and Technological Development of the Republic of Serbia, and Ministry of Culture and Information of the Republic of Serbia. Садржај / Contents Тема броја: (Етно)музикологија на преласку из XX у XXI век (II) Тhe Main Theme: (Ethno)musicology at the Turn of Millennium (II) KATY ROMANOU, Globalisation and Western Music Historiography . 9 Кети Роману, Глобализација и западна музичка историографија . 20 IRYNA KLYMENKO, Ukrainian-Bielorussian-Polish Early-traditional Melo-massif: Interethnic Wedding Macroareals . 23 иРина КлименКо, Украјинско-белоруско-пољски мело-масив старе традиције: мултиетнички свадбени макроареали . 48 Селена РаКочевић, Mузика, плес и памћење: ка преиспитивању метода теренског истраживања плеса . 51 Selena Rakočević, Music, Dance and Memory. Towards Deliberation of Field Research of Dance . 64 Varia JOACHIM LUCCHESI, „Doch wie’s da drin aussieht, geht niemand was an.” Musikausübung und Politikverständnis bei Hermann Scherchen . 67 ЈоаКим луКези, „Hа то како нешто изнутра изгледа нико не обраћа пажњу.” Mузичко деловање Xермана Шерхена и његово разумевање политичких прилика . 81 Јелена ЈанКовић-Бегуш, Певање унутрашњег простора. О симфо- нијској и концертантној музици Милорада Маринковића . 83 Jelena Janković-Beguš, Chanting of the Inner Space: On Symphonic and Concertante Works by Milorad Marinković . .117 алеКСандаР ваСић, Ревија музике, заборављени музички часопис међуратног Београда. .119 alekSandaR vaSić, Review of Music, Forgotten Musical Magazine of the Interwar Belgrade . .133 iva nenić, “We are not a female band, we are a BAND!”: Female performance as a model of gender transgression in Serbian popular music . .135 ива ненић, „Ми нисмо женски бенд, ми смо БЕНД”: женско извођаштво као модел трансгресије родних улога у српској популарној музици . .156 Miloš Zatkalik and alekSandaR kontić, Primary-Process Transformations in Music оr Discourse About the Ineffable . .157 милош затКалиК и алеКСандаР Контић, Tрансформације по примарном процесу у музици или Дискурс о неизговоривом .176 Прикази Reviews дРагана СтоЈановић-новичић, Стеван Стојановић Мокрањац (1856 – 1914). Иностране концертне турнеје са Београдским певачким друштвом (ур. Биљана Милановић). .179 михал БРиСтигеР, Gordan M. Dragović, Inscenacija opere, Beograd: CICERO, ATF, 2015. .185 Сања РанКовић, Јелена Јовановић, Вокална традиција Јасенице у светлости етногенетских процеса, Београд: Музиколошки институт САНУ, 2014. .188 MaRiJa duMnić, 12th Congress of the International Society for Ethnology and Folklore, Zagreb, 21–25 June 2015. .193 In memoriam Селена РаКочевић и здРавКо РаниСављевић, Оливера Васић Цока . .199 (Етно)музикологија на преласку из XX у XXI век (II) (Ethno)musicology at the Turn of the Millennium (II) Katy Romanou Globalisation and Western music historiography DOI: 10.2298/MUZ1519009R UDK: 78.072(4:100) 78.01:78.03 Globalisation and Western music historiography Katy Romanou1 European University of Cyprus, Nicosia Abstract Globalisation of musicology and music history aims to fuse the divisions created during Western music’s acme, and is referred to as “post-European historical thinking”. Therefore, “post” and “pre” European historical thinking have much in common. One aspect of this process of fragmentation was that music history was separated from theory and that Western Music Histories succeeded General Music Histories (a development described in some detail in the article). Connecting global music history with “post-European” historical thinking is one among numerous indications of Western awareness that European culture has reached some sort of a terminal phase. Concurrently, countries that have been developing by following Western Europe as a prototype, are leading today some past phase of Western development, which, with the ideas of cultural relativism prevailing, are not considered inferior. Keywords Globalisation, musicology, music history, ethnography, “post-European”, fragmentation Globalisation of musicology and music history is a much- discussed subject nowadays. In order not to get disorientated by numerous interpretations, I give below points from two important texts concerning the objectives of globalised musicology. They are from Federico Celestini’s and Philip V. Bohlman’s “Editorial: Musicology and the Discourses of Global Exchange”, in Acta Musicologica, the periodical of the International Musicological Society (Celestini and Bohlman), and from the site of the Balzan Research Project “Towards a global history of music”, directed by Oxford professor Reinhard Strohm, awarded a prize by the International Balzan Foundation in 2012, conducted in 2013–2016 (http://www. balzan). Both texts have kind of an apologetic stance for the central and leading position of the West in world musicology. Reading the Acta editorial, one realises that the attribute “international” in the society’s title gets a new meaning that conforms to Western musicologists’ appeased superiority awareness, and to Western qualms about colonialism. Essential features of global musicology are connoted in the brilliantly inclusive phrase “to promote post-European historical 1 [email protected] 9 Музикологија 19 – 2015 Musicology thinking”, used to describe the aims of the Balzan project (http://www. balzan). In conjunction with the consciousness testified to in both texts that a “pre-European” period existed in Western music history (and thinking) marked by “global” characteristics,2 it is logical that the term “post-European” frames “European” between two periods with com- mon characteristics, and shows the awareness that European cultural dominance has come to an end. Interestingly, the two extreme periods’ common features are perceived today as multi-nationalistic and multi- cultural, or else, characterised by the fusion or union of fragments. This perception is indicative of Western music historiography’s firmly, but recently, established “canons”, as this interpretation
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    Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement Ana Hofman and Martin Pogačar They kept trying to smother the songs of resistance, but they did not smother them, ever, nor the spark of resistance, which was constantly smouldering here and there and burst into a flame of rebellion. (Hercigonja and Karakljajić 1962) Any interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs the emergence of and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particu- larly clear when references to particular historical periods or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential con- ceptual framework within which an articulation of alternative politics 21 (visions of the future) is possible. This carries with it certain (political) connotations that in the post-Yugoslav context are powered by the his- torical experience and perpetual reinterpretations of the national lib- eration struggle and antifascist resistance, as well as the entire period of socialist Yugoslavia – these periods have notably defined Yugoslav and contemporary social, (pop) cultural and political milieux, and the responses to it. In this essay, we discuss the shifting meanings and ascribed in- terpretations of the historical experience of the Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we primarily analyse scholarly works and media discourses and combine historical, musicological and cultural studies approaches.
  • Music As a Weapon of Ethnopolitical Violence and Conflict: Processes of Ethnic Separation During and After the Break-Up of Yugoslavia1 Catherine Baker

    Music As a Weapon of Ethnopolitical Violence and Conflict: Processes of Ethnic Separation During and After the Break-Up of Yugoslavia1 Catherine Baker

    Music as a weapon of ethnopolitical violence and conflict: processes of ethnic separation during and after the break-up of Yugoslavia1 Catherine Baker Abstract: Using illustrations from the Yugoslav wars of the 1990s and their aftermath, this paper argues that understanding popular music and public discourses about it can help to understand the dynamics of ethnopolitical conflict. Studies of war and conflict have approached music as political communication, as an object of securitization, as a means of violence, and as a symbol of ethnic difference, while international law in the context of another case of collective violence, Rwanda, has even begun to question whether performing or broadcasting certain music could constitute incitement to genocide. Drawing on post- structuralist perspectives on the media and ethnicization in conflicts, this paper explores and interrogates the discourse of popular music as a weapon of war that was in use during and after the violent break-up of Yugoslavia. Music during the Yugoslav wars was used as a tool of humiliation and violence in prison camps, was used to provoke fear of the ethnic Other in line with a strategy of ethnic cleansing and was conceptualized as a morale asset for the troops of one’s own side. A discourse of music as a weapon of war was also in use and persisted after the war, when its referent was shifted to associate music-as-a-weapon not to the brave and defiant in-group so much as the aggressive Other. This was then turned against a wider range of signifiers than those who had directly supported the Other’s troops and had the effect of perpetuating ethnic separation and obstructing the re-formation of a (post- )Yugoslav cultural space.
  • Contemporary Popular Music Studies Proceedings of the International Association for the Study of Popular Music 2017 Systematische Musikwissenschaft

    Contemporary Popular Music Studies Proceedings of the International Association for the Study of Popular Music 2017 Systematische Musikwissenschaft

    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/331236297 Heart of glass: Gender and domination in the early days of punk in Portugal: Proceedings of the International Association for the Study of Popular Music 2017 Chapter · January 2019 DOI: 10.1007/978-3-658-25253-3_12 CITATIONS READS 2 410 2 authors, including: Paula Guerra University of Porto 229 PUBLICATIONS 743 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: KISMIF Conference 2016 View project Transglobal Underground View project All content following this page was uploaded by Paula Guerra on 10 February 2020. The user has requested enhancement of the downloaded file. Systematische Musikwissenschaft Marija Dumnić Vilotijević Ivana Medić Editors Contemporary Popular Music Studies Proceedings of the International Association for the Study of Popular Music 2017 Systematische Musikwissenschaft Reihe herausgegeben von Jan Hemming, Kassel, Deutschland [email protected] Systematische Musikwissenschaft richtet ihr Erkenntnisinteresse häufg auf Zeitpunkte statt auf Zeiträume. Dies ermöglicht es, Prozesse musikalischer Pro- duktion und Rezeption detailliert in den Blick zu nehmen – von akustischen Messungen am Instrument bis zur Hirnforschung am Musikhörer, von einer Prob- lematisierung des Begriffs der „Musikalität“ bis zur Einbeziehung musikbezoge- ner Geschlechter- oder Globalisierungsforschung. Entsprechend vielfältig sind die Anforderungen an methodische, häufg empirische Innovationen sowie an die dazugehörige Theorieentwicklung. Zugleich werden bevorzugt aktuelle oder gesellschaftsrelevante musikkulturelle Phänomene thematisiert. Die Reihe Sys- tematische Musikwissenschaft hat es sich zur Aufgabe gemacht, durch Veröffen- tlichung von Überblickswerken, Monographien und Diskussionsbänden das Spannungsfeld zwischen Theorie und Empirie in der Systematischen Musikwis- senschaft mit neuen Inhalten zu bereichern.
  • New Wave in Yugoslavia: Socio-Political Context  Udc 316.723:78(497.11)

    New Wave in Yugoslavia: Socio-Political Context  Udc 316.723:78(497.11)

    FACTA UNIVERSITATIS Series: Philosophy, Sociology, Psychology and History Vol. 12, No1, 2013, pp. 69 - 83 NEW WAVE IN YUGOSLAVIA: SOCIO-POLITICAL CONTEXT UDC 316.723:78(497.11) Jelena Božilović University of Niš, Faculty of Philosophy, Serbia E-mail: [email protected] Abstract. This paper analyzes the social and political implications of a popular culture music trend known as New Wave in SFRY. This trend was created in Great Britain and USA by the end of the 1970's but it "moved" to our country, as well, due to its opennes to Western culture. The Yugoslav New Wave was not a sheer copy of the Western trend but it managed to create its own original music expression becoming a phenomenon of one generation. The most popular new wave bands (Prljavo kazalište, Azra, Haustor, Film, Lajbah, Šarlo akrobata, Električni orgazam, Idoli) left a significant mark on the society, generation and the whole epoch not only in the sense of the music they created but also in the social, cultural and political sense. The New Wave was an avant-gard music trend whose ideals were reflected in simple musical forms, characteristic ideological engagement, visual presentations (music album covers and posters) and particularly in their lyrics full of irony, allusions and metaphors in relation to the establishment of the time. The paper compares the Western and Yugoslav new wave and punk music with a reference to their achievements and influence which is still present in contemporary culture. Key words: New Wave, Subculture, SFRY, Socialist ideology, Urban culture INTRODUCTION The new music trend, known as New Wave, originated in Great Britain and the Unated States of America in the late 1970s.