PROGRAMSKA KNJIŽICA / PROGRAMME BOOKLET · TEORIJA MUZIKE / THEORY OF MUSIC / 87 MUZIČKA PEDAGOGIJA / MUSIC PEDAGOGY / 105 PANELI / PANEL SESSIONS / 135 KONCERTI / CONCERTS / 141

Muzikološko društvo Federacije Bosne i Hercegovine / Musicological Society of the Federation

of Bosnia and Herzegovina

Muzička akademija u Sarajevu / Academy of Music in Sarajevo

9. Međunarodni simpozij „Muzika u društvu“ Sarajevo, 23-26. oktobar 2014 /

9th International Symposium „Music in Society“, Sarajevo, 23-26 October, 2014.

PROGRAMSKA KNJIŽICA / PROGRAMME BOOKLET

Organizacija / OrganisationMuzikološko društvo Federacije Bosne i Hercegovine / Musicological Society of Federation of Bosnia and HerzegovinaMuzička akademija u Sarajevu / Academy of Music in Sarajevo

Predsjednica Muzikološkog društva FB&H / President of the Musicological Society of the FB&HDr. Fatima Hadžić

Dekan Muzičke akademije u Sarajevu / Dean of the Academy of Music in SarajevoDr. Ivan Čavlović

Programski odbor / Program CommitteeDr. Ivan Čavlović (Predsjedavajući / Chair), Dr. Svanibor Pettan, Dr. Gerda Lechleitner, Dr. Refik Hodžić, Dr. Senad Kazić, Dr. Jasmina Talam, Dr. Tamara Karača Beljak, Dr. Manfred Heidler, dr. Ivana Perković, Dr. Fatima Hadžić, Dr. Sabina Vidulin

Organizacioni odbor / Organizational CommitteeMr. Valida Akšamija Tvrtković, Mr. Amra Bosnić, dr. Fatima Hadžić Mr. Nerma Hodžić-Mulabegović, Mr. Senka Hodžić, Mr. Naida Hukić, Dr. Lana Paćuka, Mr. Esma Sulejmanagić, Mr. Amra Toska, Ognjen Tvrtković

Radna grupa / Task Group Organizacioni odbor i studenti muzikologije, etnomuzikologije, muzičke teorije i pedagogije Muzičke akademije u Sarajevu / Organizational Committee and students of Musicology, Ethnomusicology, Theory of Music and Music Pedagogy of the Academy of Music in Sarajevo

Urednica / EditorDr. Fatima Hadžić

Mjesto održavanja / Conference venueMuzička akademija u SarajevuJosipa Stadlera 1/2Sarajevo, Bosna i Hercegovina

Kontakt / Contacte-mail: [email protected] / Phone: 00 387 33 44 21 26

SADRŽAJ / CONTENT

RIJEČ DOBRODOŠLICE / WELCOME NOTE / 4

RASPORED / SCHEDULE / 8

PROGRAM SIMPOZIJA / PROGRAM OF THE SYMPOSIUM / 11

SAŽECI / ABSTRACTS / 25

UVODNO PREDAVANJE / INAUGURAL LECTURE / 27

MUZIKOLOGIJA / MUSICOLOGY / 31

ETNOMUZIKOLOGIJA / ETHNOMUSICOLOGY / 67

TEORIJA MUZIKE / THEORY OF MUSIC / 87

MUZIČKA PEDAGOGIJA / MUSIC PEDAGOGY / 105

PANELI / PANEL SESSIONS / 135

KONCERTI / CONCERTS / 141

ORGANIZATORI / ORGANIZERS / 150

4

RIJEČ DOBRODOŠLICE

Muzikološko društvo Federacije Bosne i Hercegovine i Muzička akademija u Sarajevu deveti put organizuju međunarodni muzikološki simpozij simboličnog naziva „Muzika u društvu“. S obzirom da se u ovoj akademskoj godini slavi 60. godina postojanja Muzičke akademije u Sarajevu, najstarije visokoškolske muzičke institucije s kojom Muzikološko društvo, na obostrano zadovoljstvo, uspješno sarađuje, ovogodišnji simpozij predstavlja skromni doprinos Muzikološkog društva jubileju Akademije.

U 2014. godini Sarajevo i Bosna i Hercegovina su u centru pažnje javnosti povodom obilježavanja 100-godišnjice od početka Prvog svjetskog rata, stoga je i jedna od tri tematske oblasti simpozija posvećena Austro-Ugarskom naslijeđu u muzičkim kulturama Balkana i šire. Posebna pažnja posvećena je kulturnim i društvenim kontekstima muzike „malih naroda“ u vrijeme Austro-Ugarske uprave, te muzici danas kao kontinuitet Austro-Ugarskog i svjetskost lokalnog naslijeđa. Uvodničar u glavnu temu simpozija je renomirani bosanskohercegovački muzikolog, jedan od osnivača Muzikološkog društva i pisac prve cjelovite historije muzike u Bosni i Hercegovini, dekan Muzičke akademije u Sarajevu, prof. dr. Ivan Čavlović.

Druga tematska oblast posvećena je novim istraživanjima u oblasti muzikologije, etnomuzikologije, muzičke teorije i muzičke pedagogije, a treća aplikativnoj (etno)muzikologiji. Simpozij „Muzika u društvu“ tradicionalno promoviše nove trendove u raznim disciplina muzičke nauke, stoga se očekuje da radovi iz ovih oblasti nagovijeste nove putokaze u regionalnoj muzikologiji, a nadamo se, i šire.

Ovogodišnji, kao i prethodni simpoziji „Muzika u društvu“, slijedi jednu od važnih misija našeg Muzikološkog društva – pored naučne djelatnosti biti i aktivnim sudionikom u kreiranju kvalitetnije kulturne i društvene klime u cjelini. Stoga su dva koncertna događaja u okviru simpozija značajna dopuna simpozijskim događanjima. Prvi je koncert tradicijske muzike u izvedbi ansambla Etnoakademik koji njegujući tradicijski muzički izražaj već deset godina uspješno djeluje pri Muzičkoj akademiji u Sarajevu. Drugi koncert Kratka muzička biografija Bosne i Hercegovine (1878-1918) jedinstven je

RIJEČ DOBRODOŠLICE / WELCOME NOTE 5

koncertni događaj koji donosi djela iz vremena kada je djelovala generacija gotovo zaboravljenih kompozitora koji su stvarali u Bosni i Hercegovini za vrijeme Austro-Ugarske uprave.

S nadom da ćete, poštovani učesnici, iz Sarajeva ponijeti pozitivne utiske i poneko novo saznanje, srdačno Vas pozdravljam u ime Programskog i Organizacionog odbora 9. Međunarodnog simpozija „Muzika u društvu“ i želim, svima nama, uspješan i plodan rad.

Dr. Fatima HadžićPredsjednica Muzikološkog društva Federacije Bosne i Hercegovine

6

WELCOME NOTE

Musicological society of the Federation of Bosnia and Herzegovina and the Academy of Music in Sarajevo organize 9th edition of international musicological symposium ‘Music in Society’. The strong and successful collaboration and partnership between the two institutions over the years has somewhat extended: this year is the 60th anniversary of the Academy of Music in Sarajevo, the oldest institution of higher music education, and therefore, this year’s symposium is a modest contribution of Musicological society to the celebration of academy’s jubilee.

In 2014 Sarajevo and Bosnia and Herzegovina are in the main focus of public attention due to the commemoration of the beginning of the First World War 100 years ago. Therefore, one of the three thematic areas of symposium will be dedicated to Austro-Hungarian legacy in music cultures of Balkan and Europe. Special attention will be paid to cultural and social contexts of music of ‘small nations’ in the period of Austro-Hungarian rule, as well as to music today as a continuity of Austro-Hungarian legacy and global importance of local heritage. Introduction to the main symposium topic will be given by renowned Bosnian musicologist, one of the founders of Musicological society and the author of the first integral history of music in Bosnia and Herzegovina, dean of the Academy of Music in Sarajevo, professor dr. Ivan Čavlović.

Second thematic area is reserved for new research in the fields of musicology, ethnomusicology, music theory and music pedagogy, while the third is focused on applicative (ethno)musicology. Symposium ‘Music in Society’ traditionally promotes new trends in various disciplines of music science, and therefore we expect that papers presented in these areas will suggest some new paths in the development of regional musicology.

This year’s symposium ‘Music in Society’, as well as previous, follows one important mission of Musicological society – beside carrying out scientific activities, the Society tends to be an important active participant in creating better cultural and social environment. Thus, two concerts within the symposium are important supplement to the

RIJEČ DOBRODOŠLICE / WELCOME NOTE 7

symposium events. First concert will be dedicated to traditional music and marked by the performance of the ensemble Etnoakademik, which has nurtured traditional musical expression for more than 10 years actively participating in the musical life of the Academy of Music. Second concert named Short music biography of Bosnia and Herzegovina (1878-1918) is a unique concert event which will present works of generations of almost forgotten composers who composed in Bosnia and Herzegovina during the Austro-Hungarian period.

Respected participants, with hope that you will carry beautiful impressions and interesting new knowledge from Sarajevo, I would like to greet you on behalf of the Program and Organizational committee of the 9th International symposium ‘Music in Society’ and to wish all of us a successful and fruitful work at this year’s symposium.

Dr. Fatima HadžićThe President of the Musicological Society of the Federation of

Bosnia and Herzegovina

8

9. Međunarodni simpozij „Muzika u društvu“ / 9th International Symposium „Music in Society“

RASPORED / SCHEDULE:

ČETVRTAK / THURSDAY, 23. 10. Satnica / Timetable Događaj / Event Mjesto / Place

od 16,00 / from 16,00 Registracija / Registration Soba br. 6 / Room nr. 6

18,00

Svečano otvaranje / Opening ceremonyUvodno predavanje / Inaugural lecture Prof. dr. Ivan ČavlovićKoncert / ConcertKoktel / Cocktail

Sala Muzičke akademije / Concert hall of the Academy of Music

PETAK / FRIDAY, 24. 10.

Satnica / Timetable

Soba br. 2 / Room nr. 2



10,00-11,30

Muzikologija 1. sjednica / Musicology 1st session

Etnomuzikologija 1. sjednica / Ethnomusicology 1st session

Muzička pedagogija 1. sjednica / Music pedagogy 1st session

12,00-13,30

Muzikologija 2. sjednica / Musicology 2nd session

Etnomuzikologija 2. sjednica / Ethnomusicology 2nd session

12,00-13,00Muzička pedagogija 2. sjednica / Music pedagogy 2st session

15,30-17,00

Muzikologija 3. sjednica / Musicology 3rd session

9RASPORED / SCHEDULE

15,30-16,30

Muzička pedagogija 3. sjednica / Music pedagogy 3rd session

16,00-17,30

Etnomuzikologija 3. sjednica / Ethnomusicology 3rd session

17,30-18,30

Muzikologija 4. sjednica / Musicology 4th session

17,00-18,15

Teorija muzike 1. sjednica / Theory of music 1st session

19,30Koncert / Concert, Sala Muzičke akademije / Concert hall of the Academy of Music in Sarajevo

SUBOTA / SATURDAY, 25. 10.

Satnica / Timetable



10,00-11,30 Teorija muzike 2. sjednica / Theory of music 2nd session

Prvi panel / First panel session

12,00-13,30 Muzička pedagogija 4. sjednica / Music pedagogy 4th session

Drugi panel / Second panel session

14,00 Zajednički ručak učesnika simpozija / Lunch for symposium participants

PROGRAM SIMPOZIJA / PROGRAM OF THE SYMPOSIUM

12 PROGRAM SIMPOZIJA / PROGRAM OF THE SYMPOSIUM

9. Međunarodni simpozij „Muzika u društvu“ / 9th International Symposium „Music in Society“

Muzička akademija u Sarajevu / Academy of Music in Sarajevo

Petak / Friday, 24. 10. 2014.

10-11,30 Muzikologija – prva sjednica / Musicology – first session Moderatori / Chairs: Fatima Hadžić, Lana Paćuka

Lana Paćuka

„PALE NADE“: FRAGMENTI O MUZIČKOM ŽIVOTU RATNOG SARAJEVA (1914–1918) / ‘FALLEN HOPES’: FRAGMENTS FROM THE MUSICAL LIFE OF WARTIME SARAJEVO (1914-1918)

Lada Duraković

GLAZBA U OSVIT VELIKOG RATA: PULA 1914 / MUSIC AT DAYBREAK OF THE BIG WAR: PULA 1914

Marijana Dujović

DELATNOST ORKESTRA MUZIKA KRALJEVE GARDE TOKOM PRVOG SVETSKOG RATA / ACTIVITIES OF ORCHESTRA ‘MUZIKA KRALJEVE GARDE’ DURING THE FIRST WORLD WAR

Manfred Heidler

„POD DVOGLAVIM ORLOM“ – NACIONALNI IDENTITETI U VOJNOJ MUZICI AUSTRO-UGARSKE / ‘UNDER THE DOUBLE-HEADED EAGLE’ – NATIONAL IDENTITIES IN THE MILITARY MUSIC OF AUSTRO-HUNGARY

13PROGRAM SIMPOZIJA / PROGRAM OF THE SYMPOSIUM

10-11,30 Etnomuzikologija – prva sjednica / Ethnomusicology – first session

Moderator / Chair: Timkehet Teffera

Mojca Kovačič

UTJECAJ PRVOG SVJETSKOG RATA NA ZVUČNI PEJZAŽ / IMPACT OF THE FIRST WORLD WAR ON THE SOUNDSCAPE

Jakša Primorac

OSOBITI REPERTOAR JOSIPA ŠIROKOGA IZ 1910-IH / INTRIGUING SONGS OF JOSIP ŠIROKI FROM 1910S

Marko Kölbl

„NE DAJTE ME, MAJKO, NIMCU NITI UGRU“ HRVATSKO NASLIJEĐE U AUSTRO-UGARSKOJ GRANIČNOJ REGIJI / ‘NE DAJTE ME, MAJKO, NIMCU NITI UGRU’ CROATIAN HERITAGE IN THE AUSTRO-HUNGARIAN BORDER REGION

10-11,30 Muzička pedagogija – prva sjednica / Music pedagogy – first session

Moderator / Chair: Nerma Hodžić-Mulabegović

Refik Hodžić

MUZIČKO ŠKOLSTVO U SJEVEROZAPADNOJ BOSNI ZA VRIJEME AUSTRO-UGARSKE UPRAVE / MUSICAL SCHOOL SYSTEM IN NORTHWESTERN BOSNIA DURING THE PERIOD OF AUSTRO-HUNGARIAN RULE


Senad Kazić

UTJECAJ METODIČARA NJEMAČKOG GOVORNOG PODRUČJA POČETKOM 20. STOLJEĆA NA RAZVOJ MUZIČKE TEORIJE I PEDAGOGIJE U BOSNI I HERCEGOVINI (I ŠIRE) / THE INFLUENCE OF METHODISTS OF GERMAN ORIGINS ON THE DEVELOPMENT OF MUSIC THEORY AND PEDAGOGY IN BOSNIA AND HERZEGOVINA (AND WIDER) AT THE BEGINNING OF 20TH CENTURY

Marijo Krnić

PEDAGOŠKE KOMPETENCIJE U VISOKOŠKOLSKIM KURIKULIMA ZA NASTAVNIKE PJEVANJA U KOMPARATIVNOJ PERSPEKTIVI / PEDAGOGICAL COMPETENCES IN HIGHER EDUCATION CURRICULUMS OF VOCAL TEACHERS IN COMPARATIVE PERSPECTIVE

Valida Akšamija – Tvrtković

CJELOŽIVOTNO UČENJE KAO PROCES I OBAVEZA U MUZIČKOM ODGOJU I OBRAZOVANJU / LIFELONG LEARNING AS A PROCESS AND LIABILITIES IN MUSICAL NURTURE AND EDUCATION

12-13,30 Muzikologija – druga sjednica / Musicology - second session

Moderator / Chair: Lada Duraković

Ivana Tomić Ferić / Vito Balić

POLITIČKE REPERKUSIJE AUSTRIJSKE VLADAVINE NA GLAZBENI ŽIVOT SPLITA / THE POLITICAL REPERCUSSIONS OF THE AUSTRIAN GOVERNANCE IN THE MUSICAL LIFE OF SPLIT


Marina Bazina

MUZIČKI AMATERIZAM U MOSTARU – KONAC 19. I POČETAK 20. STOLJEĆA / MUSICAL AMATEURISM IN MOSTAR – END OF 19TH AND THE BEGINNING OF 20TH CENTURY

Biljana Milanović

MAPIRANJE PERIFERIJE „MUZIČKOG ZAPADA“: BEOGRADSKI KONCERTNI ŽIVOT U GODINAMA PRE PRVOG SVETSKOG RATA / MAPPING THE PERIPHERY OF THE WESTERN MUSICAL WORLD: THE BELGRADE CONCERT LIFE AROUND 1914

Srđan Atanasovski

MUZIČKI ALBUMI SRPSKIH PORODICA I KUĆNO MUZICIRANJE U OSVIT PRVOG SVETSKOG RATA I NAKON NJEGA / SERBIAN FAMILIES’ MUSIC ALBUMS AND HOME MUSIC-MAKING ON THE EVE OF THE GREAT WAR AND BEYOND

Jernej Weiss

„NAPREJ ZASTAVA SLAVE!“ DAVORINA JENKA (1835-1914): IZMEĐU CARSKE HIMNE I PANSLAVENSKOG MARŠA / ‘WITH SLAVA’S BANNER, FORWARD!’ BY DAVORIN JENKO (1835-1914): BETWEEN AN IMPERIAL HYMN AND A PAN-SLAVIC MARCH

12-13,30 Etnomuzikologija – druga sjednica / Ethnomusicology – second session

Moderator / Chair: Jasmina Talam

Vesna Ivkov

SEVDALINKA U IZVOĐAČKOJ PRAKSI HARMONIKAŠA U SRBIJI / SEVDALINKA IN THE PERFORMING PRACTICE OF ACCORDIONISTS IN SERBIA


Danka Lajić Mihajlović

INSTITUCIONALIZACIJA PRAKSE EPSKOG PEVANJA UZ GUSLE U 20. VEKU I NJENE KONSEKVENCE PO MUZIČKU DIMENZIJU PERFORMANSA / THE INSTITUTIONALIZATION OF THE PRACTICE OF SINGING WITH THE GUSLE IN THE TWENTIETH CENTURY AND ITS MUSICAL CONSEQUENCES

Nice Fracile

TARGOT KAO DEO RUMUNSKE FOLKLORNE BAŠTINE / TARGOT AS A PART OF ROMANIAN FOLKLORE HERITAGE

12-13,00 Muzička pedagogija – druga sjednica / Music pedagogy – second session

Moderator / Chair: Naida Hukić

Snježana Dobrota

TEORIJSKI MODELI GLAZBENIH PREFERENCIJA: GLAZBENO-PEDAGOŠKE IMPLIKACIJE / THEORETICAL MODELS OF MUSICAL PREFERENCE: IMPLICATIONS FOR MUSIC PEDAGOGY

Jelena Martinović – Bogojević

METODSKI POSTUPCI U IZRADI UDŽBENIKA ZA POČETNU NASTAVU KLAVIRA / METHODOLOGICAL APPROACHES IN WRITING EXERCISES FOR BASIC PIANO TEACHING

Davorka Radica / Jelica Valjalo Kaporelo

KORALI J. S. BACHA KAO SMJERNICE GRADNJE HORIZONTALNOG I VERTIKALNOG GLAZBENOG MIŠLJENJA U NASTAVI HARMONIJE / J. S. BACH’S CHORALES AS A CONSTRUCTION GUIDELINES OF THE HORIZONTAL AND VERTICAL THINKING IN HARMONY LESSONS


15,30-17,00 Muzikologija – treća sjednica / Musicology – third session

Moderator / Chair: Senka Hodžić

Tijana Popović Mlađenović

POLITIČKI MOTIVISANA TEMATIZACIJA NACIONALNOSTI U DEBISIJEVIM KOMPOZICIJAMA NASTALIM U VREME PRVOG SVETSKOG RATA / THE POLITICALLY MOTIVATED THEMATIZATION OF NATIONALITY IN DEBUSSY’S WARTIME COMPOSITIONS

Alberto Nones

MUZIKA I RAT: SLUČAJ TRENTINSKOG KOMPOZITORA RICCARDA ZANDONAIA, 1914-1944 / MUSIC AND WAR: THE CASE OF TRENTINO COMPOSER RICCARDO ZANDONAI, 1914–1944

Nuša Hauser

SLUČAJ SMAREGLIA – IZ PISAMA OSTAVŠTINE ANTONIA SMAREGLIE / THE SMAREGLIA CASE – FROM THE LETTERS OF THE ESTATE OF ANTONIO SMAREGLIA

Alma Zubović

SKLADATELJSKI PROFIL IVE MAČEKA (1914-2002) / IVO MAČEK’S PROFILE AS A COMPOSER (1914-2002)

Katarina Mitić

VOJISLAV KOSTIĆ – KOMPOZITOR/REDITELJ/SCENARISTA/KOREOGRAF? (NA PRIMERU FILMA I BALETA KO TO TAMO PEVA) / VOJISLAV KOSTIĆ – COMPOSER/DIRECTOR/WRITER/CHOREOGRAPHER? (THE EXAMPLE OF FILM AND BALLET WHO IS SINGING OVER THERE?)


16-17,30 Etnomuzikologija – treća sjednica / Ethnomusicology – third session

Moderator / Chair: Tamara Karača Beljak

Ali Fuat Aydın

MELODIJSKE I RITMIČKE KARAKTERISTIKE ZEJBEK MUZIKE U MILASU U TURSKOJ / THE MELODIC AND RHYTHMIC CHARACTERISTICS OF ZEYBEK MUSIC IN MILAS, TURKEY

Timkehet Teffera

RITUALI OPSJEDANJA I MUZIKA: SLUČAJ ZAR KULTA U ETIOPIJI / POSSESSION RITUALS AND MUSIC: THE CASE OF THE ZAR CULT IN ETHIOPIA

Lejla Džambazov

DANAŠNJA MUZIČKA PRAKSA KRALJEVE SUTJESKE KAO DIO NARODNIH OBIČAJA / TRADITIONAL MUSIC OF KRALJEVA SUTJESKA AS PART OF CUSTOMS AND PRACTICES

15,30-16,30 Muzička pedagogija – treća sjednica / Music pedagogy – third session

Moderator / Chair: Amra Bosnić

Goran Sučić / Ivana Balić

ZASTUPLJENOST TRADICIJSKE KULTURE U PREDŠKOLSKIM I OPĆEOBRAZOVNIM USTANOVAMA / REPRESENTATION OF TRADITIONAL CULTURE IN PRESCHOOL AND GENERAL EDUCATIONAL INSTITUTIONS


Vedrana Marković

PRIMJERI IZ CRNOGORSKE MUZIČKE BAŠTINE KAO INSTRUKTIVNI PRIMJERI U NASTAVI SOLFEĐA / EXAMPLES OF MONTENEGRIN MUSICAL HERITAGE AS INSTRUCTIVE EXAMPLES IN TEACHING SOLFEGGIO

Sanja Raljević Jandrić

ULOGA MUZIČKE TRADICIJE ZA UKLJUČIVANJE U DRUŠTVO ROMSKE POPULACIJE / THE ROLE OF MUSIC IN THE SOCIAL INCLUSION OF ROMA POPULATION

17,30-18,30 Muzikologija – četvrta sjednica / Musicology – fourth session

Moderator / Chair: Tijana Popović Mlađenović

Senka Hodžić

OD PARTIZANSKE PROPAGANDE KA SOCREALIZMU: IDEOLOŠKI INSPIRISANA DJELA MIROSLAVA ŠPILERA / FROM PARTISAN PROPAGANDA TO SOCIALIST REALISM: IDEOLOGICALLY INSPIRED WORKS OF MIROSLAV ŠPILER

Ana Petrov

„SRBI UVEK ZABORAVE“: SEĆANJE NA RAT I ODRŽAVANJE KONCERATA U BEOGRADU NAKON RASPADA JUGOSLAVIJE / ‘THE SERBS ALWAYS FORGET’: WAR REMEMBRANCE AND GIVING CONCERTS IN BELGRADE AFTER THE BREAKUP OF YUGOSLAVIA

Esma Sulejmanagić

ISPITIVANJE ULOGE MUZIKOLOGA U RASTUĆOJ FESTIVALSKOJ KULTURI: SARAJEVSKO ISKUSTVO / EXAMINING THE MUSICOLOGIST ROLE IN GROWING FESTIVAL CULTURE: SARAJEVO EXPERIENCE


17-18,15 Teorija muzike – prva sjednica / Theory of music – first session

Moderator / Chair: Refik Hodžić

Naida Hukić

ELEMENTI NEOKLASICISTIČKE HARMONIJE U „OPSESIJI“ MIROSLAVA ŠPILERA / ELEMENTS OF NEOCLASSICAL HARMONY IN MIROSLAV ŠPILER’S ‘OBSESSION’

Gordana Grujić

SPECIFIČNOSTI HRISTIĆEVOG KOMPOZICIONOG STILA U OPELU B-MOL / SPECIFIC CHARACTERISTICS OF HRISTIC’S COMPOSITIONAL STYLE IN ‘OPELO’ B- FLAT MINOR

Amra Bosnić

KONCEPTI OZVUČAVANJA MAKOVIH PJESAMA: „KAMENI SPAVAČ“ I „MODRA RIJEKA“ / CONCEPTS OF MAKING MAK’S SONGS TO SOUND: ‘KAMENI SPAVAČ’ AND ‘MODRA RIJEKA’

Subota / Saturday, 25. 10. 2014.

10-11,30 Teorija muzike – druga sjednica / Theory of music – second session

Moderator / Chair: Senad Kazić

Nerma Hodžić Mulabegović

TRANSFER ANTIČKOG NASLIJEĐA U ZAPADNOEVROPSKU MUZIČKU TEORIJU – FORMIRANJE I POREDAK SREDNJOVJEKOVNIH LJESTVICA / TRANSFER OF THE ANCIENT HERITAGE TO THE WESTERN EUROPEAN MUSICAL THEORY – FORMATION AND ORDER OF MEDIEVAL SCALE


Svetlana Stojanović Kutlača

OD MERSENA DO RAMOA: SOCIJALNA INOVACIJA U FRANCUSKOM DRUŠTVU 17. I 18 VEKA I TRANSFORMACIJA POJMA „HARMONIJE“ / FROM MERSENNE TO RAMEAU: SOCIAL INNOVATION AND TRANSFORMATION OF NOTION ‘HARMONY’ IN FRENCH XVII-XVIII CENTURY SOCIETY

Marko S. Milenković

DVOGLASNA INVENCIJA U B-DURU JOHANA SEBASTIJANA BAHA – PRIPREMA ZA FUGU ILI UMETNIČKI ŽANR? / TWO-VOICE INVENTION IN B MAJOR BY JOHANN SEBASTIAN BACH – PREPARATION FOR THE FUGUE OR AN ARTISTIC GENRE?

Valerija Kanački

SIMFONIZAM – IZMEĐU TEORIJE I PRAKSE / SYMPHONISM – BETWEEN THEORY AND PRACTICE

Ana Perunović Ražnatović

FORMALNA KONCEPCIJA POZNIH KVARTETA LUDWIGA VAN BEETHOVENA / FORMAL CONCEPTION OF THE BEETHOVEN’S LATE QUARTETS

10-11,30 Prvi panel / First panel session

MURKOVA ISTRAŽIVANJA IZ AUSTRIJSKE I BOSANSKOHERCEGOVAČKE PERSPEKTIVE / MURKO’S RESEARCH FROM AN AUSTRIAN AND BOSNIAN-HERZEGOVINIAN PERSPECTIVE

Moderator / Chair: Gerda Lechleitner

Učesnici / Panelists: Gerda Lechleitner, Tamara Karača Beljak, Jasmina Talam


12-13,30 Muzička pedagogija – četvrta sjednica / Music pedagogy – fourth session

Moderator / Chair: Valida Akšamija-Tvrtković

Jasmina Bećirović-Karabegović

ZASTUPLJENOST I ZNAČAJ MUZIČKIH AKTIVNOSTI U INTEGRIRANOM POUČAVANJU DJECE PREDŠKOLSKOG UZRASTA / THE REPRESENTATION AND IMPORTANCE OF MUSIC ACTIVITIES IN THE INTEGRATED TEACHING OF PRESCHOOL CHILDREN

Sabina Vidulin

REFORME ODGOJNO-OBRAZOVNOG SUSTAVA U HRVATSKOJ I ODJECI NA GLAZBENU NASTAVU U OSNOVNOJ ŠKOLI / REFORMS OF THE EDUCATIONAL SYSTEM IN CROATIA AND REFLECTIONS ON MUSIC TEACHING IN PRIMARY SCHOOL

Merima Čaušević / Mirsada Zećo

MUZIČKA RADIONICA U FUNKCIJI ESTETSKOG ODGOJA / “MUSIC WORKSHOP IN THE FUNCTION OF ESTHETICAL UPBRINGING

Ivana Gojmerac

MUZIKA I POKRET U ŽIVOTU OSOBA SA POSEBNIM POTREBAMA / MUSIC AND MOVEMENT IN LIFE OF PERSONS WITH SPECIAL NEEDS


12-13,30 Drugi panel / Second panel session

TRANSFORMACIJA POPULARNE MUZIKE NAKON RASPADA SOCIJALISTIČKE JUGOSLAVIJE – UVID IZ BOSNE I HERCEGOVINE I SLOVENIJE / THE TRANSFORMATION OF POPULAR MUSIC AFTER THE DISSOLUTION OF SOCIALIST YUGOSLAVIA – INSIGHTS FROM BOSNIA AND HERZEGOVINA AND SLOVENIA

Moderator / Chair: Rajko Muršič

Učesnici / Panelists: Ana Hofman, Rajko Muršič, Amra Toska, Fatima Hadžić

SAŽECI / ABSTRACTS

UVODNO PREDAVANJE / INAUGURAL LECTURE

28 SAŽECI / ABSTRACTS

Čavlović, Ivan (Bosna i Hercegovina)

STOTINU GODINA TIŠINE. NACRT ZA SOCIJALNU HISTORIJU MUZIKE U BOSNI I HERCEGOVININaslov ovoga eseja se može učiniti čudnim iz najmanje dva razloga: Historija Bosne i Hercegovine je sve prije nego tišina, naprotiv historija naše zemlje je bučna, ratnička, gromoglasna, s mnogo glasnog dječjeg plača, ženske brige i muške muke, s urlicima unesrećenih i upropaštenih ljudi, porodica, čak naroda. Kako nas historičari upozoravaju u Bosni i Hercegovini nema perioda ili komada historije vremenski i prostorno osmišljenog kao pravo svakoga da živi u miru sa sobom i Drugim. Historija Bosne je historija ratova, osvajanja i pratećih, kako bi danas rekli, kolateralnih šteta, a vrlo malo koristi. Dakle, ne možemo nikako govoriti o tišini, kao mjestu samostalnog i tolerantnog života ili možda samoći (da se malo referiram na Markesa) kao prostoru u kojem razgovaramo sami sa sobom i donosimo odluke važne za nas i za druge.

S druge strane stotinu godina u životu jednog društva je isuviše malo da bi se moglo sa još neprošle distance zaključivati o rezultatima koji civilizacijski donose plodove potvrđivanja društva kao stalne distance od vlastite prošlosti, ali uvažavajući vlastitu prošlost, društva koje ima sigurnu budućnost. Historija Bosne (uvijek i Hercegovine) je komplikovana i puna jednokratno i jednostrano tumačećih istina koje usporavaju ne samo društvo, već i pojedinca i njegovo mišljenje o sebi i drugome, ali i stvarima koje život znače ili koje hoće biti civilizacijska vrijednost u nekih sljedećih stotinu godina.

Čak i broj od stotinu godina je vezan za jedan istiniti događaj, tj. početak prvoga svjetskog rata u čemu se svi slažemo, i njegovog direktnog povoda, tj. atentata Gavrila Principa na prestolonasljednika princa Ferdinanda (i njegovu suprugu) o čijem se karakteru ne slažemo. Dakle, jedan istiniti događaj i barem tri tumačenja i tri istine.

Ipak, zašto stotinu godina, zašto tišine, zašto nacrt i zašto socijalna historija? Sve skupa u Bosni i Hercegovini. I tu mora postojati neko objašnjenje!

Krećem obrnutim redom i s izmješanim pojmovima i objašnjenjima koji su izvođeni više esejističkom nakanom, nego strogo naučnom verzijom napisa i govora o naznačenim aspektima.

29UVODNO PREDAVANJE / INAUGURAL LECTURE

Čavlović, Ivan (Bosnia and Herzegovina)

A HUNDRED YEARS OF SILENCE. DRAFT FOR SOCIAL HISTORY OF MUSIC IN BOSNIA AND HERZEGOVINAThe title of this essay can seem a bit strange because of two reasons: History of Bosnia and Herzegovina is everything but silence; quite the opposite, history of our country is noisy, martial, stentorian, with lot of loud children’s cries, women’s worries and men’s torments, with screams of troubled and doomed people, families, and even nations. According to historians’ monitions there is no period or part of history in Bosnia and Herzegovina which was temporally and spatially designed as the right of every person to live in peace with himself and the Other. History of Bosnia is history of wars, conquests and additional, collateral damage, with very few benefits. Therefore, there is no possible way to talk about silence as a place of independent and tolerant life, or maybe solitude (referring to Marquez) as a space in which we talk to ourselves and make decisions important for us and others.

On the other hand, one hundred years in life of one society is not enough to perceive it from a non-past distance and to draw conclusions about the results which bring civilizational confirmations of a society as a permanent distance from its own past (but with great respect for its past), society which has a certain future. History of Bosnia (always with Herzegovina) is complicated and full of single and unilaterally perceived truths which slow down not only society itself, but also the individual and his/her opinion about him/herself or the other, as well as issues of great importance which tend to be civilizational values in the next hundred years.

Even the number of one hundred years is related to one true event, beginning of the First World War, on which we agree, and assassination of Prince Ferdinand (and his wife) by Gavrilo Princip, on whose character we disagree. Therefore, one true event and at least three different interpretations and truths.

Nevertheless, why hundred years, why silences, why draft and why social history? All together in Bosnia and Herzegovina. There must be some sort of an explanation for it!

I start in reverse order and with mixed phenomena and explanations derived more by essayistic intent, than by strict scientific version of writings and speeches on mentioned aspects.

MUZIKOLOGIJA / MUSICOLOGY


Atanasovski, Srđan (Srbija)

MUZIČKI ALBUMI SRPSKIH PORODICA I KUĆNO MUZICIRANJE U OSVIT PRVOG SVETSKOG RATA I NAKON NJEGAU predavanju ću predstaviti istraživanje koje se zasniva na analizi muzičkih albuma srpskih građanskih porodica – unikatnih artefakata sačinjenih od rukopisnih i štampanih muzikalija, koji su zanatski ukoričeni u jedinstven povez. Uzorak obuhvata dvadeset i sedam ovakvih albuma koji se danas čuvaju u Arhivu Muzikološkog instituta SANU, Biblioteci Fakulteta muzičke umetnosti u Beogradu i Narodnoj biblioteci Srbije, a koji su nastali na prelazu iz XIX u XX vek, u Beogradu ili u gradovima tadašnje Austro-Ugarske. Ovakvi albumi predstavljaju odraz repertoara kućnog muziciranja i reflektuju muzički ukus pojedinih članova porodice. Sadržaj albuma su po pravilu „družbena muzika“ domaćih autora (plesovi, pesme, marševi, i slično), kao i „salonski“ komadi stranih kompozitora. Pozabaviću se načinima na koji se tehnologije nacionalne identifikacije uspostavljaju u ovim albumima. Pored toga, razmotriću pitanja multilingvalnosti koja se pojavljuje u albumima, te odnosa ideologija srpskog i jugoslovenskog nacionalizma. Cilj je preusmeriti razmatranje nacionalizma sa polja istorije ideja i pitanja konstrukcije identiteta na polje proučavanja njegove realizacije kroz svakodnevne društvene i telesne prakse, te pokazati da on funkcioniše kao heterogeni asemblaž, a ne kao stabilna i fiksirana ideologija.

33MUZIKOLOGIJA / MUSICOLOGY

Atanasovski, Srđan (Serbia)

SERBIAN FAMILIES’ MUSIC ALBUMS AND HOME MUSIC-MAKING ON THE EVE OF THE GREAT WAR AND BEYONDIn my paper I will present research based on the analysis of bound sheet music albums of Serbian urban families - custom made, unique artifacts which could incorporate both manuscript materials and printed sheet music editions skillfully gathered in one collection. The sample is based on 27 albums which are kept in the Archive of Musicological Institute of SANU, Library of the Faculty of Music in Belgrade and National library of Serbia, made during the end of 19th and the beginning of 20th century in Belgrade and other towns of Austro-Hungary. These custom-made objects can testify both on the repertoire of house music and reflections of musical taste of some of the family members. Album contents are based on ‘social music’ of local authors (dances, songs, marches, etc), as well as ‘salon’ works of foreign composers. I will deal with the ways of establishing technologies of national identification in these albums. Further, I shall discuss the questions of multilingualism appearing in the albums, as well as ideologies of Serbian and Yugoslav nationalism. The aim of this paper is to redirect discussion on nationalism from the field of history of ideas and issues of identity construction to studying its realization trough everyday social and physical practices, and thus show that it functions as a heterogeneous assemblage, and not as stable and fixed ideology.


Bazina, Marina (Bosna i Hercegovina)

MUZIČKI AMATERIZAM U MOSTARU – KONAC 19. I POČETAK 20. STOLJEĆAAustro-Ugarska okupacija Bosne i Hercegovine 1878. godine predstavljala je prijelomni događaj sa dalekosežnim posljedicama na njen daljni povijesni i kulturni razvitak koji je imao specifično obilježje. To se prije svega ogleda u istovremenom postojanju različitih tedencija vođenja kulturne politike na bosanskohercegovačkom tlu od strane dva glavna čimbenika: Austro-Ugarske uprave i predstavnika domaćeg stanovništva, koji su kreirali svaki svoju politiku, rukovođeni svojim potrebama i željama. Kulturna politika koju je Austro-Ugarska vlast provodila u Bosni i Hercegovini odvijala se u nastojanjima usmjeravanja kulturnog razvitka Bosne i Hercegovine u skladu sa interesima Austro-Ugarske politike. Drugi faktor, koji je odigrao značajnu ulogu u kreiranju kulturnog razvoja Bosne i Hercegovine, dolazio je iz redova domaćeg bosanskohercegovačkog stanovništva: Srba, Muslimana i Hrvata. Oni su u svom djelovanju polazili od suprotnih stajališta koja su bila karakteristična za Austro-Ugarsku upravu i metoda njene kulturne politike u Bosni i Hercegovini. Orijentacija njihovog djelovanja bila je uslovljena potrebama narodnog prosvjećivanja, formiranja domaće inteligencije i drugog stručnog kadra. U prvoj fazi, krajem 19. stoljeća, čitaonice i pjevačka društva bili su glavne forme kulturne aktivnosti i žarišta kulturnog života, dok će njihovu ulogu kasnije preuzeti kulturno-prosvjetna društva. Naglašena vjersko-nacionalna raznolikost stanovništva u Bosni i Hercegovini izražavala se i kroz zasebno osnivanje i paralelno djelovanje kulturno-prosvjetnih društava pojedinih nacionalnih zajednica. Amaterizam je bio početna stepenica u razvoju glazbene kulture kako grada Mostara tako i čitave Bosne i Hercegovine. Takav način učenja glazbe pojavio se u kulturno-umjetničkim društvima krajem 19. i početkom 20. stoljeća diljem Bosne i Hercegovine. Pokušala sam obuhvatiti sve važnije događaje i ljude pri ovim društvima, kao što su „Gusle“, „Hrvoje“ i „Gajret“, koji su zaslužni za razvoj glazbene kulture, a time i općenito kulture grada Mostara.


Bazina, Marina (Bosnia and Herzegovina)

MUSICAL AMATEURISM IN MOSTAR – END OF 19TH AND THE BEGINNING OF 20TH CENTURYThe Austro-Hungarian occupation of Bosnia and Herzegovina in the year 1878 represented a ground-breaking event with far-reaching consequences on its further historical and cultural development, which had a specific characteristic. It can be seen in simultaneous existence of different tendencies of governing the cultural politics on Bosnian-Herzegovinian ground by two major factors: Austro-Hungarian government and representatives of domestic population, each of whom created their own politics, guided by their own needs and wishes. Cultural politics that has been conducted by Austro-Hungarian rule in Bosnia and Herzegovina was carried out in attempts to direct the cultural development of Bosnia and Herzegovina to the interests of Austro-Hungarian politics. The other factor that had a major role in cultural development of Bosnia and Herzegovina, originated from domestic Bosnian – Herzegovinian population: Serbs, Muslims and Croats. They had opposing viewpoints, characteristic of Austro-Hungarian government and a method of its cultural politics in Bosnia and Herzegovina. Orientation of their activity was conditioned by the needs of national enlightenment, development of domestic intelligence and other professional staff. In the first phase, end of 19th Century, reading rooms and choral societies were the main forms of cultural activities and focus of cultural life, while later their role has been taken by cultural and educational societies. Emphasized religious- national diversity of population in Bosnia and Herzegovina was expressed through separate establishment and parallel activity of cultural and educational societies of some of the national communities. Amateurism was the first step to development of musical culture, both in Mostar and in the entire Bosnia and Herzegovina. Such way of musical education appeared in cultural and artistic societies at the end of 19th and at the beginning of 20th centuries throughout Bosnia and Herzegovina. I was particularly interested in societies of Mostar, so I would base this work on these societies – ‘Gusle’, ‘Hrvoje’ i ‘Gajret’.


Dujović, Marijana (Srbija)

DELATNOST ORKESTRA MUZIKA KRALJEVE GARDE TOKOM PRVOG SVETSKOG RATAPočetak Prvog svetskog rata uticao je na prekid kulturnog života u Beogradu, ali za orkestar Muzika kraljeve garde i njihovog dirigenta Stanislava Biničkog, rat je predstavljao samo novu etapu u radu. U drugoj polovini 1915. godine protivničke snage su kontraofanzivom prinudile srpski narod na povlačenje ka jugu. Uz veliki broj civila na put preko snežnih planina Albanije, krenuo je i orkestar Muzika kraljeve garde sa oko pedeset muzičara, na čelu sa Biničkim. U izuzetno teškim uslovima, u izbeglištvu, Binički je uspeo da organizuje sa Muzikom kraljeve garde niz humanitarnih koncerata na teritorijama savezničkih republika − Grčke i Francuske. U radu će biti predstavljeni ostvareni dometi i dat pregled ovih aktivnosti kroz pronađene koncertne programe i plakate sa koncerata Muzike kraljeve garde, uz ukazivanje na recepciju u štampi.


Dujović, Marijana (Serbia)

ACTIVITIES OF ORCHESTRA ‘MUZIKA KRALJEVE GARDE’ DURING THE FIRST WORLD WARThe beginning of World War I influenced the end of the cultural life of the capital, but for the the Orchestra ‘Muzika kraljeve garde’ and their conductor, Stanislav Binički, the War represented just a new working phase. In the second half of 1915, the opposing army had forced Serbian people to move to the south. Lots of civilians were banished to the road through the snowy mountains of Albania to the allied republics. With them came the musicians of ‘Muzika kraljeve garde’ and their conductor Binički. In extreme conditions, Binički with ‘Muzika kraljeve garde’ managed a lot of charity concerts at the territory of allied republics, Greece and France. This paper will represent the achieved ranges with an overview of those activities by means of concert programs and concert’s posters of ‘Muzika kraljeve garde’, with a reception about it from newspaper articles.


Duraković, Lada (Hrvatska)

GLAZBA U OSVIT VELIKOG RATA: PULA 1914Pula – grad s brojnim antičkim spomenicima, muzejima, lijepo uređenim parkovima, šetnicama, kazalištem, hotelima, kinima, finim restoranima pružala je u osvit rata idiličnu sliku. Banketi i vrtne zabave, proslave vjerskih blagdana, obljetnice važnih bitaka, rođendana uglednika, operne i operetne sezone i koncerti bili su dio svakodnevice, a obližnje turističko odmaralište i lječilište na Brijunima pružalo je utočište brojnim europskim i svjetskim književnicima, piscima, filozofima, slikarima, glazbenicima.

Ovo srednjoeuropsko vojno-pomorsko središte bilo je heterogeno po svim svojim karakteristikama, kako etničkim, tako i kulturnim, jezičnim, civilizacijskim. Svaka od triju nacija imala je, ili je težila imati, vlastita središta glazbenog života: za Austro-Ugarsku vojsku to je bio Marine Casino, za Talijane kazalište „Ciscutti“ a za Hrvate „Narodni dom“. U 1914. godini Mornarički orkestar, muzicirao je u Marine Casino-u te na gradskoj Rivi i na Forumu, u gradu su djelovala talijanska i hrvatska glazbena društva, radile su dvije glazbene škole, od kojih jedna konzervatorijskog karaktera. Pulsko je kazalište organiziralo opernu i dvije operetne sezone na kojima su nastupali ugledni solisti iz većih europskih glazbenih središta.

Atentat u Sarajevu i ratne prilike koje su mu uslijedile nisu značile potpuno jenjavanje kulturno umjetničkog života. Pula je, kao velika ratna operativna baza s mnogobrojnim vojnim ljudstvom, morala osigurati kontinuitet kulturnih zbivanja pa je glazbenih događanja u Puli u 1914. godini bilo jako mnogo. Rad, kojeg bih željela predstaviti na simpoziju, bit će temeljen na arhivskoj građi i novinskim člancima svih triju pulskih dnevnih listova. Namjera mi je istražiti djelatnost domicilnih glazbenika, gostovanja inozemnih umjetnika, glazbeno obrazovanje, glazbeno-scensku djelatnost, te glazbeno-zabavna događanja u 1914. godini u Puli.


Duraković, Lada (Croatia)

MUSIC AT DAYBREAK OF THE BIG WAR: PULA 1914Pula – a town with numerous ancient monuments, museums, beautifully arranged parks, walks, a theatre, hotels, cinemas, nice restaurants – offered at daybreak of the war an idyllic picture. Banquets and garden parties, celebrations of religious holidays, important battles’ anniversaries, distinguished people’s birthdays, opera and operetta seasons and concerts were all parts of its everyday life, while the nearby touristic and health resort on the Brijuni islands served as a shelter to numerous European and world’s authors, writers, philosophers, painters and musicians.

This central European military and navy centre was heterogeneous in all its characteristics, ethnic and cultural, linguistic and civilizational. Each of the three nations had, or had a tendency to have, their own centres of music life: for the Austro-Hungarian army it was the Marine Casino, for the Italians the theatre ‘Ciscutti’ and for the Croatians the ‘National Hall’. In 1914 the Navy orchestra played music in the Marine Casino, at the town’s waterfront and the Forum, Italian and Croatian music societies were functioning and there were two music schools, one of theme being of a conservatory character. The Pula theatre organized an opera and two operetta seasons where many prominent soloists from larger European music centres performed.

The Sarajevo assassination and the war circumstances following it did not mean a complete cessation of the cultural-artistic life. Pula, as a big war operational base with numerous military personnel, had to ensure a continuity of cultural events, so there were many music events in the 1914 Pula. The work I would like to present at the symposium is based on the archival materials and newspaper articles belonging to three Pula’s daily newspapers. My intention was to study the 1914 domicile musicians’ activities, foreign artists’ visits, musical education, musical and stage activities and musical and entertaining events in Pula.


Hauser, Nuša (Hrvatska)

SLUČAJ SMAREGLIA – IZ PISAMA OSTAVŠTINE ANTONIA SMAREGLIE Ostavština skladatelja Antonija Smareglie darovana je Gradu Puli, a na skrb Sveučilišne knjižnice, 1990. godine. Nakon višegodišnjih pregovora smještena je u Spomen-sobu koja je otvorena 5. svibnja 2004. godine, na 150. obljetnicu skladateljevog rođenja, u prizemlju njegove rodne kuće u Puli. Ostavštinu čine: pisma, fotografije, partiture, publikacije, tiskovine, slike, umjetnička djela posvećena skladatelju, zvučni zapisi i videozapisi njegovih skladbi. Dokumentarne izloške su darovali skladateljevi nasljednici.

Od sveukupnog broja od 938 jedinica iz korespondencije (izvornika, fotokopija, prijepisa) Antonija Smareglije, gotovo 700 je sistematizirano, inventarizirano i sadržajno opisano. Glavninu informacija prenose pisma, a godine njihova nastanka sežu od 1900. do konca osamdesetih godina prošlog stoljeća. Sadržaj potpisuju članovi obitelji skladatelja Antonija Smareglije i sam skladatelj, a korespondencija je namijenjena različitim primateljima i primana je s različitih adresa.

Pojam Il Caso Smareglia (Slučaj Smareglia) provlači se kroz znakovit broj jedinica koje se posvećuju afirmaciji, popularizaciji i valorizaciji imena i djela Antonija Smareglie. I sama oporuka skladatelja iz 18. siječnja 1923. godine upozorava na „slučaj“ uz objašnjenje da njegova umjetnička ostavština za njegovog života nije doživjela onakvu sreću kakvu joj je poželio i za koju smatra da joj pripada zbog njene vrijednosti. Kao razlog tomu navodi „borbe i proganjanja od moćnika i njihovih interesa kojima je, a posebice u Italiji i Trstu, spriječen komercijalan razvoj njegove umjetničke aktivnosti, i to na najokrutniji način“.

I nakon njegova života i njegovih upozoravanja na „slučaj“, obitelj i bliski suradnici snažno su i sustavnim intenzitetom ukazivali na „nepravde, progone i osude“ koje je njegovom stvaralaštvu, pa i njegovoj obitelji, nametnula „mafijaška, korumpirana i izmistificirana“ talijanska glazbena scena. Navodi se „nesretna sudbina Antonija Smareglie i životni put prožet opresijom, camorrom, oportunizmom, klijentelizmom, korupcijom i izdavačkim monopolom“. Zašto je „Slučaj Smareglia“ postao slučaj i da li je danas živ tek u retcima pisama iz ostavštine skladatelja?


Hauser, Nuša (Croatia)

THE SMAREGLIA CASE - FROM THE LETTERS OF THE ESTATE OF ANTONIO SMAREGLIA The estate of the composer, Antonio Smareglia, was donated to the city of Pula (birth place of the composer) and given in the care of the University library in 1990. After years of negotiations, the estate was placed in a Memorial room which was inaugurated on May 5th, 2004, at the occasion of the 150 birthday anniversary of the composer, on the ground floor of the house, where he was born. The estate comprises letters, photos, score sheets, publications, press material, pictures, artwork dedicated to the composer, as well as audio-visual materials of his compositions donated by the composer’s inheritors.

Almost 700 of the whole 938 units from the correspondence of Antonio Smareglia (originals, photocopies, transcripts) are systematized, inventoried and its contents are described. The majority of information is in the letters spanning from 1900 until the late 1980’s. The content is signed by Antonio Smareglia and members of his family. The correspondences involved various friends and hence, they were sent from several addresses.

The term Il Caso Smareglia (The Smareglia case) is interwoven in a significant number of items dedicated to the affirmation, popularization and valorisation of the name and the work of Antonio Smareglia. Even the composer’s last will and testament, dated January 18th,1923, points out the ‘case’ explaining that the composer’s estate during his lifetime didn’t achieve the fortune he wished for it and which he thinks it deserves due to its value. From his viewpoint, the reason lies in the „…fights and persecutions by moguls and their interests by which, and especially in Italy and Trieste, the commercial growth of his artistic activity was obstructed in the most cruel manner“.

Even after his death and the admonitions of the ‘case’, family members and close collaborators indicated with force and systematic intensity the injustices, persecutions and condemnation“, which was imposed on the composer’s artistic creation and his family by the „corrupted, moblike and mystifying“ Italian music scene. „Antonio Smareglia’s unsuccessful destiny and life path that is interwoven with oppression, opportunism, clientelism, corruption, the camorra, and the publishing monopoly“ is also mentioned. Why did the ‘Smareglia case’ become such a case, and is it still alive today in the letters of the composer’s estate?


Heidler, Manfred (Njemačka)

„POD DVOGLAVIM ORLOM“ – NACIONALNI IDENTITETI U VOJNOJ MUZICI AUSTRO-UGARSKEOvaj rad tiče se Austro-Ugarske (vojne) muzike prije i tokom Prvog svjetskog rata. Vojna muzika bila je značajan segment života širom Austro-Ugarskog carstva pod habsburškom upravom. Od početka rata 1914. do potpisivanja mira 1918. godine njene trupe (kao i trupe Sila osovine) marširale su uz odjekujući puls vojnih orkestara.

Međutim, Austro-Ugarska vojna muzika, muzika koju su izvodili orkestri carske i kraljevske armije, oduvijek je bila refleksija nacionalnih identiteta koji su činili ovu multietničku zemlju „pod dvoglavim orlom“, ali istovremeno sve više težili nacionalnoj autonomiji.

Ovaj rad je pokušaj da se prikažu neka od očitih, te većina ne tako uočljivih nacionalnih obilježja vojne muzike u Austro-Ugarskoj dvostrukoj monarhiji pod habsburškom upravom kroz identificiranje veza između vođa i članova orkestara, repertoara koji su izvodili, te publike.


Heidler, Manfred (Germany)

‘UNDER THE DOUBLE-HEADED EAGLE’ – NATIONAL IDENTITIES IN THE MILITARY MUSIC OF AUSTRO-HUNGARYThis piece of work is on the Austro-Hungarian (military) music before and during World War I. Military music was a feature of life throughout the Austro-Hungarian Empire under the Habsburg rule and its troops (as well as the troops of the axis powers) marched to the resounding beats of their military bands from the outbreak of the war in 1914 until Armistice Day in 1918.

The Austro-Hungarian military music, the music performed by the bands of the Imperial and Royal Army, however, always reflected those national identities which were part of the multi-ethnic state ‘under the double-headed eagle’, but increasingly strove for national autonomy.

This piece of work is an attempt to show the national hallmarks of the military music of the Austro-Hungarian dual monarchy under the Habsburg rule, some of which were apparent, whereas many others were not directly discernible, by identifying interrelations among the bandmasters, the members of the bands, the repertoire they performed and the audiences.


Hodžić, Senka (Bosna i Hercegovina)

OD PARTIZANSKE PROPAGANDE KA SOCREALIZMU: IDEOLOŠKI INSPIRISANA DJELA MIROSLAVA ŠPILERAMiroslav Špiler (1906-1982), jedan od najznačajnijih kompozitora u Bosni i Hercegovini nakon Drugog svjetskog rata, usvojio je naslijeđe rada u partizanskoj propagandi tokom ratnih godina na teritoriji hrvatske Like. Tokom boravka u nekoliko kulturnih i odjela za agitaciju i propagandu između 1943. i 1945. godine, obavljao je različite zadatke koji su uključivali sakupljanje partizanskih narodnih pjesama, komponovanje harmonizacija tih pjesama za horove, komponovanje originalnih djela na tekstove drugova iz jedinice, rad sa muzičkim ansamblima u propagandnom odjelu, kao i obezbjeđivanje notnih papira. Originalna djela komponovana tokom ratnog razdoblja većinom su služila za partizansku i komunističku propagandu, pritom koristeći jednostavnost strukture i harmonije kako bi se na taj način lakše infiltrirala među vojnike i civilno stanovništvo. Djela kao što su Drug Tito, Majka pravoslavna, Mitraljeza i Pjesma Krntijaša, komponovane su za različite vokalne sastave, dok su instrumentalna djela većinom bazirana ili na plesnom ritamskom obrascu ili pak kao vojni marš. S druge strane, sam kompozitor se duboko povezao sa krilaticom „bratstva i jedinstva“ što mu je pomoglo da definira svoju estetiku i dobije nove kreativne ideje.

U godinama vladavine socijalizma u Jugoslaviji, koja je uslijedila nakon završetka Drugog svjetskog rata, a u skladu sa rastućim trendom socrealizma u umjetnosti, književnosti i muzici, Špiler je komponovao djela sa primjetnim tragovima glorifikovanja aktuelnog političkog sistema i njegovih najznačajnijih simbola. Tokom godina aktivnog bavljenja kompozicijom, pored komponovanja na tekstove inspirisane tada društveno relevantnim temama, Špiler je obogatio svoj opus sa nekoliko orkestarskih i kamernih djela koja sadrže djelimične ili potpune citate partizanskih pjesama.


Hodžić, Senka (Bosnia and Herzegovina)

FROM PARTISAN PROPAGANDA TO SOCIALIST REALISM: IDEOLOGICALLY INSPIRED WORKS OF MIROSLAV ŠPILERMiroslav Špiler (1906-1982), one of the most prominent post-Second World War composers in Bosnia and Herzegovina, carried with him the legacy of working for partisan propaganda during the war years on the territory of the Croatian region, Lika. During his time in several cultural and agitation and propaganda departments between 1943 and 1945, he was employed in different tasks which included collecting traditional partisan songs, making harmonizations of such songs for choirs, composing original works on texts by fellow comrades, working with music ensembles within the propaganda department, as well as providing music sheets. The original works composed during the wartime mostly served for partisan and communist propaganda, employing simplicity of structure and harmony, and thus aiming to easily infiltrate soldier units and civilian communities. Works such as Drug Tito (Comrade Tito), Majka pravoslavna (Orthodox Mother), Mitraljeza (Machine Gun Song) and Pjesma Krntijaša (The Song of Krntijaš) are made for different vocal arrangements, while instrumental works are mostly based on either dance rhythm pattern or a military march. On the other hand, the composer himself intimately connected to the motto of „brotherhood and unity“ which helped him define his aesthetics and provided him with creative ideas.

In the following years of socialist rule in Yugoslavia which occurred immediately after the end of World War II, and in accordance with the rising trend of Socialist realism in art, literature and music, Špiler composed works with notable traces of glorification of the actual political system and its most prominent symbols. Throughout his years as an active composer, besides composing original works on texts inspired by then socially relevant topics, Špiler enriched his opus with some orchestral and chamber works containing partial or entire citations of partisan songs.


Milanović, Biljana (Srbija)

MAPIRANJE PERIFERIJE „MUZIČKOG ZAPADA“: BEOGRADSKI KONCERTNI ŽIVOT U GODINAMA PRE PRVOG SVETSKOG RATAIzrastanje muzičke kulture evropskog tipa u Srbiji započelo je tridesetih godina XIX veka, a odvijalo se u složenim socijalno-ekonomskim uslovima, koji su opterećivali sve sfere kulturnog života. Sama muzika bila je, neizbežno, na začelju kulturne politike, što se najlakše može uočiti iz veoma kasnih datuma osnivanja muzičkih institucija. Decenijama se posezalo za alternativnim linijama razvoja. Pojedine prakse, koje su u većini evropskih zemalja činile značajnu, ali marginalizovanu oblast u odnosu na visokoumentičku muziku, u Srbiji su predstavljale okosnicu muzičkog stvaralaštva i izvođaštva. Zahvaljujući naporima pojedinaca, takve prakse funkcionisale su kao glavni izvori profesionalizacije i raslojavanja muzičkog života, uključujući i utemeljenje same visoke umetnosti. U tom kontekstu, mnogi elementi koncertnog života na prelomu iz XIX u XX vek mogu se tumačiti kao uobličavanje fizionomije modernog koncertnog sveta.

U ovom radu predstaviću osnovne programske koncepte fomalnih muzičkih događaja, kao i polje različitih promenadnih koncerata, da bih označila određene procese transformacije muzičkog života. Imajući u vidu da je koncipiranje koncertnih programa funkcionisalo kao instrument politike, čineći kompromis između muzičara i muzičkog ukusa različitih društvenih grupa, predložiću tipologiju koja može da ukaže na muzičko i socijalno značenje svakog koncertnog formata u kontekstu modernizacije srpske prestonice. Istovremeno, rad će problematizovati i pojedine teorijske aspekte vezane za konstrukciju evropske periferije.


Milanović, Biljana (Serbia)

MAPPING THE PERIPHERY OF THE WESTERN MUSICAL WORLD: THE BELGRADE CONCERT LIFE AROUND 1914The rising of a European-type musical culture in Serbia that started in the 1830s, has been shaped under the complex political and socio-economic circumstances that burdened all spheres of cultural life. The music itself was inevitably at the tail of cultural policy, a fact easily observed in the very late dates of the establishment of its institutions. For decades, the solution sought for alternative lines of development. Certain practices – which in most European countries constituted a substantial but marginalized area with respect to professional and highbrow music – represented in Serbia for a long time the pivotal force of musical creation and performance. Owing to arduous works of individuals, such practices became the main source of the professionalization and stratification of musical life, including the mastering of high art music itself. In that context, many different elements of the Belgrade concert life could be interpreted as the mastering of modern concert world at the turn of the 19th to the 20th century.

In this paper, I will observe the main program concepts of formal musical events as well as the field of various kinds of promenade concerts in order to single out some processes of transformation of musical life. Bearing in mind that concert programming served as a political tool that was a set of compromises among musicians, taste groups, social forces and its circumstances, I will sketch out the typology that could show much about what any format in concert design meant musically and socially in the broader context of modernization of the Serbian capital. Through this case study I will also take a closer look to some theoretical aspects that are related to the construction of European peripheries.


Mitić, Katarina (Srbija)

VOJISLAV KOSTIĆ – KOMPOZITOR/REDITELJ/SCENARISTA/KOREOGRAF? (NA PRIMERU FILMA I BALETA KO TO TAMO PEVA)Razvojem filmske industrije, udeo muzike u filmu je poprimao sve veći značaj. U današnje vreme, vrlo je važno da kompozitor „deli“ istu zamisao o ukupnom „rezultatu“ sa scenaristom i rediteljem, jer je skoro nezamislivo da film „doživimo“ bez odgovarajuće muzičke podloge. Vremenom, „interakcija“ između gledaoca i muzike je postala izuzetno značajna za razumevanje određenih scena i kadrova, te je na taj način reditelj postao „zavistan“ od kompozitora koji, svojom muzikom, jednim delom učestvuje u ”režiji” čitavog filma. Pravi primer za to je muzika Vojislava Kostića, jednog od najpoznatijih kompozitora primenjene muzike u drugoj polovini 20. i u prvoj polovini 21. veka na prostorima bivše Jugoslavije. Kostićeva muzika u filmu Ko to tamo peva (1980) postala je neodvojivi deo celine, odnosno, muzika preuzima ulogu naratora, tumača i predskazivača radnje. Tim postupkom, kompozitorova uobičajena uloga je promenjena – on svojom muzikom gotovo „režira“ film i na taj način postaje kompozitor/reditelj. Pored muzike za film, Kostić je napisao i muziku za balet Ko to tamo peva (2004). Muzika u ovom slučaju, pored pokreta (koreografije), ima najbitniju ulogu u doživljaju i razumevanju simboličkih vrednosti u predstavi. Ona nije ista kao u filmu – izmenjena je tako da ne predstavlja njenu verziju, već „stoji“ autonomno, kao muzika za baletsku predstavu koja je ujedno i „tumač“ radnje. Ciljevi u ovom radu su da ispitamo na koje je sve načine Kostić učestvovao u izgradnji scenarija i režiji ovog kultnog filmskog ostvarenja – kako je postao „više“ od kompozitora muzike za film, ali i da analiziramo i uočimo razlike između filmske i baletske muzike Ko to tamo peva, kao i da ispitamo vezu koreografa i kompozitora u stvaranju celine.


Mitić, Katarina (Serbia)

VOJISLAV KOSTIĆ – COMPOSER/DIRECTOR/WRITER/CHOREOGRAPHER? (THE EXAMPLE OF FILM AND BALLET WHO IS SINGING OVER THERE?)In the development of film industry, the share of music in films has taken increasing importance. Nowadays, it is very important that the composer ‘shares’ the same idea about the total ‘score’ with writer and director, because it is almost inconceivable to have the film ‘experience’ without the proper musical background. Over time, the interaction between the audience and the music has become extremely important for the understanding of certain scenes and frames, and thus the director became ‘dependent’ of composer who, with his music, partly participates in the ‘directing’ of the entire film. A real example of this is the music of Vojislav Kostić, one of the most famous composers of the applied music in the second half of the twentieth and the first half of the twenty-first century in the former Yugoslavia. Kostić’s music in the film Who is Singing Over There? (1980) became an inseparable part of the whole, that is to say, the music takes the role of the narrator, interpreters and predictors of actions. With this procedure, composer’s usual role has changed – with his music he is almost ‘directing’ film and thus becomes a composer/director. Apart from music for film, Kostić wrote the music for the ballet Who is Singing Over There? (2004). In addition to movement (choreography), the music here has the most important role in the perception and understanding of the symbolic value of the show. It is not the same as the film – it has been changed so it does not represent its version, but “is” autonomous, in form of of ballet, music which is the ‘interpreter’ of the action. The objectives of this study were to examine the ways of Kostić’s participation in scenario building and directing the cult film works - how he became more than the composer of music for film, but also to analyse and discern the difference between film and ballet music of Who is Singing Over There?, and to examine the relationship between choreographer and composer in the creation of a piece.


Nones, Alberto (Italija)

MUZIKA I RAT: SLUČAJ TRENTINSKOG KOMPOZITORA RICCARDA ZANDONAIA, 1914-1944Na libreto Gabriela D’Annunzia, 1914. godine Riccardo Zandonai (1883-1944) komponuje svoje remek-djelo, Francesca da Rimini, koje je ostvarilo veliki uspjeh. Ovaj rad tiče se analize geneze ove opere i jednog njenog krucijalnog muzičkog pasaža, razmatrajući Zandonaijevu ulogu u pro-ratnim pokretima protiv Austro-Ugarskog carstva kao umjetnika iz „terra irredenta“ (iredentističke zemlje sa italijanskim življem koje je težilo pripajanju Italiji) Trentina (Južnog Tirola), u to vrijeme još pod austrijskom okupacijom, te načina na koji je rat predstavljan netom prije početka borbi. Teza je da se inicijelni entuzijazam prisutan u Francesci, već tu preispituje kroz kritičnije promišljanje o tome šta je najvažnije u životu. No, Zandonaijeva biografija i estetski stavovi svjedoče da se svijet nakon Prvog svjetskog rata, koji se smatra prekretnicom u kulturnoj historiji Evrope, promijenio drugačije od onog što je Zandonai želio. Uz referiranje na elemente njegovih opera Giulietta e Romeo, I cavalieri di Ekebù, te simfonijskih i instrumentalnih djela kasnije kompozitorske faze, rad na kraju razmatra pitanje da li je Zandonaijev pad i još uvijek prisutno zanemarivanje proizvod stava koji je kompozitor formirao primarno na osnovu iskustava iz perioda 1914-1918 prema politici i društvu narednog razdoblja, stava koji je bio u suprotnosti sa tada rastućom fašističkom ideologijom proizašlom iz pobjede Italije u Prvom svjetskom ratu.


Nones, Alberto (Italy)

MUSIC AND WAR: THE CASE OF TRENTINO COMPOSER RICCARDO ZANDONAI, 1914-1944In 1914 on a libretto by Gabriele D’Annunzio, Riccardo Zandonai (1883-1944) composed his masterpiece, Francesca da Rimini, which received great acclamation. The paper analyzes the genesis of the opera and one of its crucial musical passages, discussing Zandonai’s role in the pro-war movements against the Austro-Hungarian Empire as an artist coming from a ‘terra irredenta’ (unredeemed land), Trentino, at the time still under Austrian occupation, and the way in which war was portrayed right before the actual fighting began. The thesis is that some initial enthusiasm, which surfaces in Francesca, is already there put under the scrutiny of a more critical understanding of what is most important in life. But Zandonai’s biography and aesthetic appreciation shows that the world had changed after the First World War, which is taken to be aturning point in the cultural history of Europe, in a way different from how he had wished. With reference to elements of his operas Giulietta e Romeo, I cavalieri di Ekebù and symphonic and instrumental pieces of his later production, the paper finally addresses the question of whether Zandonai’s decline and still on-going neglect may also derive from the approach he adopted – drawing from the lesson learnt primarily in the years 1914-18 – towards politics and society in the following years, an approach which was not in line with the prevailing Fascist view that originated from Italy’s victory in WWI.


Paćuka, Lana (Bosna i Hercegovina)

„PALE NADE“: FRAGMENTI O MUZIČKOM ŽIVOTU RATNOG SARAJEVA (1914–1918)Ratna zbivanja započeta 1914. donijela su ruiniranje i transformiranje svih do tada ustaljenih normi i principa karakterističnih za tokove društveno-političkog života Sarajeva i Bosne i Hercegovine. Pod direktnim utjecajima Prvog svjetskog rata našle su se i prilike muzičkog života koje naglo mijenjaju svoju putanju. Razvoj muzičkog života biva osujećen u mnogim segmentima, što je dovelo do iznalaženja alternativnih puteva djelovanja neophodnih za njegov opstanak, čemu je rezultat izmjenjena kvalitativna i kvantitativna slika muzičkih zbivanja.

Posljedice Rata bile su svakako najpogubnije za mlade bosanskohercegovačke umjetnike, čije nade o stvaranju domaće muzičke scene u skladu s zapadnoevropskim standardima bivaju naprasno zaustavljene. Takav je bio slučaj i s jednim od prvih stvaraoca sa ovih prostora, Ljubomirom Bajcom, čije ostvarenje za klavir Pale nade na simboličan način ocrtava srušene snove prve generacije bosanskohercegovačkih muzičara.


Paćuka, Lana (Bosnia and Herzegovina)

‘FALLEN HOPES’: FRAGMENTS FROM THE MUSICAL LIFE OF WARTIME SARAJEVO (1914-1918)War events that began in 1914, have brought ruin and transformation of previously established norms and principles that are characteristics of the flows of socio-political life in Sarajevo and Bosnia and Herzegovina. Under the direct influence of the World War I, the opportunities of the musical life suddenly change their path as well. The development of musical life is thwarted in many of its segments, which led to finding alternative ways of action necessary for its survival, resulting in changing of its qualitative and quantitative pictures.

Consequences of the war were certainly destructive for young Bosnian artists, whose hopes of creating a national music scene in accordance with western European standards were abruptly stopped. Such was the case with one of the first creators from this area, Ljubomir Bajac, whose composition for piano ‘Fallen hopes’ symbolically outlines the ruined dreams of the first generation of Bosnian musicians.


Petrov, Ana (Srbija)

„SRBI UVEK ZABORAVE”: SEĆANJE NA RAT I ODRŽAVANJE KONCERATA U BEOGRADU NAKON RASPADA JUGOSLAVIJEPočev od kraja devedesetih godina 20. veka, izvesni muzičari sa teritorije nekadašnje Jugoslavije postepeno su počeli da održavaju koncerte u Beogradu, prestonici bivše zemlje. Drugi su uporno odbijali da nastupaju u Srbiji nakon rata, od kojih su najpoznatiji bili Oliver Dragojević, Tereza Kesovija i Dino Merlin. Njihove izjave o tome da nikada više neće držati koncerte u Beogradu redovno su bile komentarisane u srpskoj štampi, što je vodilo do stvaranja latentnog negativnog stava prema ovim izvođačima. Međutim, Tereza Kesovija i Dino Merlin rešili su da održe koncerte u Beogradu 2011. godine, čime su izazvali nove reakcije. Uzimajući kao primer koncerte Dina Merlina, ovde ću se baviti recepcijom navedenih koncerata, ukazujući na načine na koje su oni postali svojevrsna afektivna mesta sećanja. Analiziraću atmosferu pre i u toku koncerata diskutujući o tome kako sadašnje muzičke prakse učestvuju u konstrukciji diskursa o istorijskoj prošlosti i kako ovi diskursi omogućavaju stvaranje različitih (istorijskih, muzičkih, emotivnih) sećanja prošlosti. Fokusiraću se na dva problema: atmosferu koju su proizvele protestne grupe i atmosferu koja je napravljena na samim koncertima od strane izvođača i posetilaca. Tvrdim da ove dve atmosfere proizvode dva opozitna sveta koja se odnose na načine sećanja prošlosti. Prema prvoj od njih, Beograd je potrebno „spaliti do pepela” ako bi to sprečilo „Srbomrzsce” da dođu i „osvoje” grad omogućavajući Srbima da zaborave prošlost, dok, prema drugoj atmosferi, promovišu se novi, navodno neutralni, postjugoslovenski kolektivi.


Petrov, Ana (Serbia)

‘THE SERBS ALWAYS FORGET’: WAR REMEMBRANCE AND GIVING CONCERTS IN BELGRADE AFTER THE BREAKUP OF YUGOSLAVIA Starting from the late 1990s, some of the musicians from the territory of former Yugoslavia gradually embarked on the project of giving concerts in Belgrade, the capital of the former country. Others adamantly refused to perform in Serbia after the wars, most well-known of them being Oliver Dragojević, Tereza Kesovija and Dino Merlin. Their statements in the press about refusing to perform in Belgrade ever again were regularly commented in Serbian press, which led to creating a latent negative attitude towards them. However, Tereza Kesovija and Dino Merlin decided to give concerts in Belgrade in 2011, thus provoking new reactions. Having Dino Merlin’s concerts in Belgrade Arena as a case study, in this discussion I will deal with the reception of the concerts, pointing out to the ways they have become specific affective sites of memories. I will analyse the mentioned atmosphere before and in the concerts, by discussing how present musical practices engage in the construction of the discourses on the historical past and how these discourses help shaping divergent (historical, musical, emotional) memories of the past. I focus on two issues: the atmosphere produced by the protest groups and the one that is produced in the concerts by the very performers and visitors. I will argue that the two atmospheres produce two opposite worlds referring to the ways of remembering the past. According to the first one, Belgrade ‘needs to be burned to ashes’ if that would stop ‘Serb-haters’ from coming to ‘conquer’ the city and make the Serbs to forget the past, while the second one promulgates a creation of a new, supposedly neutral, post-Yugoslav collectives.


Popović Mlađenović, Tijana (Srbija)

POLITIČKI MOTIVISANA TEMATIZACIJA NACIONALNOSTI U DEBISIJEVIM KOMPOZICIJAMA NASTALIM U VREME PRVOG SVETSKOG RATAS obzirom da je muzičko delo uvek žarište sabranih duhovnih i materijalnih odrednica jednog života, te je subjektivno po svom tekstu, a objektivno po kontekstu, u njemu je moguće iščitavati i sve ono oko muzike, ukoliko je to „vanmuzičko” (ideja nacionalnog, politički proglas, narodna pesma, biografija autora itd., kao nosilac-amblem vanmuzičke funkcije) okrenuto prema muzici, u njenom smislu mišljeno i njome zahvaćeno, to jest, postalo muzičko. Jer, tada se ono obavezno pojavljuje, iskazuje u njenoj građi i u procesu oblikovanja, strukturiranja. U ovom kontekstu, Debisijeve kompozicije, nastale između 1914. i 1917. godine, kao autonomne estetske činjenice, predstavljaju muzički diskurs u kome se (pro)nalaze i „vanmuzičke” odrednice muzike koje su postale muzika. Naime, reč je o onim odrednicama muzike koje tokom ovog perioda amblematizuju Debisijevo specifično političko ulaganje koje se u pomenutim, dakle, autonomnim i umetnički relevantnim ostvarenjima, manifestuje u smislu tematizacije nacionalnog identiteta (i/ili identiteta nacionalne kulture), odnosno intenziviranja i širenja repertoara muzičkih strategija nacionalnog samopredstavljanja, samopercepcije, samouzdizanja i samopotvrđivanja. U ovom smislu interesantno je videti na koji način to „vanmuzičko” postaje muzičko, a još više kako to „vanmuzičko”, koje se iskazuje kako u domenu muzičkog materijala, tako i u formalnom i duhovno-značenjskom muzičkom sloju, upliviše, modifikuje ili transformiše (auto)poetičku ravan Debisijevog poznog stvaranja.


Popović Mlađenović, Tijana (Serbia)

THE POLITICALLY MOTIVATED THEMATIZATION OF NATIONALITY IN DEBUSSY’S WARTIME COMPOSITIONSSince a musical work is always the focal point of all spiritual and material determinants of one life, so that it is subjective according to its text and objective according to its context, it is possible to read everything around music in it, if that ‘extra-musical’ (the idea of the national, political manifesto, folk song, author’s biography etc., as the holder-emblem of the non-musical function) is turned towards music, conceived in its sense and seized by it or, in other words, has become musical. Then, it regularly emerges, expresses itself in its material and in the process of shaping and structuring. In that context, Debussy’s wartime compositions (the works created between 1914 and 1917), like autonomous aesthetic facts, represent a musical discourse which also contains the ‘extra-musical’ determinants of music that have become music. Namely, it is the question of those musical determinants which, in that period, emblemize Debussy’s specific political investment that manifests itself in the mentioned, that is, in the autonomous and artistically relevant works in the sense of the thematization of national identity (and/or the identity of national culture) or, in other words, the intensification and enlargement of the repertoire of musical strategies of national self-presentation, self-perception, self-elevation and self-confirmation. In this context, it is interesting to observe the way in which that ‘extra-musical’ becomes musical and even more so how that ‘extra-musical’, which is expressed in the domain of musical material, as well as in the formal and spiritual-semantic musical stratum, influences, modifies or transforms the (auto)poetic plane of Debussy’s later works.


Sulejmanagić, Esma (Bosna i Hercegovina)

ISPITIVANJE ULOGE MUZIKOLOGA U RASTUĆOJ FESTIVALSKOJ KULTURI: SARAJEVSKO ISKUSTVOMuzički festivali današnjice postali su jedan od najpopularnijih načina predstavljanja različitih muzičkih žanrova široj svjetskoj publici. Organizuju ih uglavnom grupe entuzijasta, usmjereni su ka određenim ciljnim skupinama, te se najčešće održavaju ciklično, kao serije specifičnih događaja održanih u kratkom vremenskom periodu. Termin „muzički festival“ danas korespondira savremenim trendovima, od privremenih zaposlenja u radu na projektima, preko vrlo kratkih i konciznih načina prezentacije sadržaja radi konstantnog nedostatka vremena, stalne promjene i sposobnosti što bržeg prilagođavanja novim, neočekivanim situacijama, do kreiranja i organizacije događaja visokog kvaliteta pristupačnih širim masama. U posljednjih nekoliko godina festivali klasične muzike u Bosni i Hercegovini, a naročito u Sarajevu, postali su jedan od popularnijih oblika javnog predstavljanja ovog umjetničkog žanra kroz okupljanje značajnih svjetskih umjetnika, javno predstavljanje njihovog rada, te, konsekventno, postepeno povećanje broja publike na koncertima klasične muzike. Ovi festivali su također postali i idealno mjesto za primjenu muzikologije i muzikoloških znanja. U kontekstu festivalske organizacije, muzikolozi postepeno postaju krucijelnim segmentom festivalske infrastrukture. U procesima kreiranja i organizacije festivalskih dešavanja, muzikolozi se javljaju u više različitih uloga, povezujući nekoliko različitih područja interesovanja. Kao stručnjaci u oblasti, muzikolozi su obično selektori programa ili važni savjetnici u procesu odabira istog. Kao pisci, angažovani su na izradi sadržaja promotivnih materijala, te su u doticaju sa oblastima novinarstva, tj. područjem muzike i medija. Kao govornici vrlo često se javljaju u ulogama festivalskih glasnogovornika, predstavljajući cjelokupan projekat široj publici kroz medijski prostor (koji obično zavisi od medijskog interesa za događaj). Pored tri glavne uloge, muzikolozi se javljaju i u više sporednih uloga zavisno od ličnih osobina i afiniteta u pogledu fleksibilnosti, snalažljivosti, brzini reagovanja, kreativnosti, itd. Ovaj rad baziran je na autoričinim ličnim iskustvima u ovoj oblasti kroz učešće u organizaciji nekoliko festivala: Sarajevo Chamber Music Festival, Sarajevske večeri muzike (SVEM), Sarajevo Sonic Studio, Sarajevo International Guitar Festval i Majske muzičke svečanosti.


Sulejmanagić, Esma (Bosna i Hercegovina)

EXAMINING THE MUSICOLOGIST ROLE IN GROWING FESTIVAL CULTURE: SARAJEVO EXPERIENCEMusic festivals have today become one of the most popular ways of presenting different music genres to wider global audiences. They are mostly organized by the group of enthusiasts, aimed to certain interest groups, and are held cyclically, presented as series of specific events taking place within a short period of time. Term ‘music festival’ nowadays corresponds to global trends of temporary employments based on project engagements, on a very short and concise manner of presenting, due to constant lack of time, on constant change and ability to adjust to new, unexpected situations, and on making high quality events approachable and affordable. In the last few years classical music festivals in Bosnia and Herzegovina, especially in Sarajevo, became the most popular way of public presentation in this artistic field, gathering many important world artists, publically presenting their work, and, through that, educating the gradually growing classical music audience. These festivals have also become an ideal place for applying musicology and musicological knowledge. In terms of festival organisation, musicologists gradually establish themselves as crucial segments of the festival’s infrastructure. They play several important roles through the entire festival creation and production processes, bringing together different fields of interest. Being the experts in the field, they are usually program selectors or important advisors during this process. As writers, they are engaged in creating the contents of promotional material, expanding their role into the fields of musical journalism, area of music and media. As speakers, they usually gain a role of festival’s spokesman, presenting the entire project to a wider audience through provided media space, mostly depending on media’s interest in a certain event. Beside three main roles, musicologists receive several supporting roles based on their personal characteristics in terms of flexibility, adroitness, rapid response, creativity, etc. The paper focuses on the author’s personal experience in this field gained through participating on Sarajevo Chamber Music Festival, Sarajevo music evenings (SVEM), Sarajevo Sonic Studio, Sarajevo International Guitar Festival and Music Festivities in May.


Tomić Ferić, Ivana / Balić, Vito (Hrvatska)

POLITIČKE REPERKUSIJE AUSTRIJSKE VLADAVINE NA GLAZBENI ŽIVOT SPLITA Studijom nastojimo rekonstruirati osobitosti splitske glazbene kulture u vrijeme austrijske vladavine, njezine vrste, ishodišta i značenje u kontinuitetu, s težištem na institucionalno organiziranoj glazbenoj praksi i njezinoj povezanosti sa širim društvenim kontekstom. Pristup što ga nameće tako postavljeni istraživački cilj obuhvaća predstavljanje glazbene stvaranosti u sklopu kulturne ali i političke povijesti izabrana vremena. U polju autonomnog, glazba do sredine 20. stoljeća gotovo da i nije postojala, jer se funkcionalno povezivala s oblicima svijesti i načinima življenja sredine čiju su zbilju obilježile mijene režima, stranačka trvenja vlasti i vladara, gospodarske, političke i kulturološke razlike ostavivši zamjetne tragove u njezinu povijesnome hodu.

Razvijajući se na razmeđi tradicija glazbene prakse mediteranske i srednjeeuropske orijentacije, u spletu političkih i društvenih suprotnosti, sklopljenih primirja i otvorenih sukoba, splitski glazbeni život u vrijeme austrijske vladavine odražava raznoliku i bogato nijansiranu strukturu. Političke reperkusije austrijske vladavine na glazbeni život Splita pratimo u najrazličitijim njegovim aspektima: od razine kvalitete i opsega stvaralaštva preko repertoarne zastupljenosti pojedinih glazbenih vrsta i opusa do reproduktivne i recepcijske razine. Politički svjetonazor, procesi i ideje odražavaju se i u promjenama estetičkih tendencija kojima su u različitim vremenima bila oblikovana ishodišta glazbenog života grada: od talijanskog opernog utjecaja 18. stoljeća, preko bečkog glazbenog duha posredovanog Bajamontijevim vezama s dubrovačkom obitelji Sorkočević, zatim glazbeno-estetičkih tendencija što su dopirale iz drugih gradova Monarhije i iz sjevernotalijanskih gradova u kojima su skladatelji stjecali glazbeno obrazovanje, pa sve do utjecaja cecilijanstva i glazbene moderne.

U svojoj ukupnosti, glazbeni život Splita odvijao se u skladu s društveno-političkim i gospodarskim prilikama, ponekad i usprkos njima, no uvijek u višestrukoj međusobnoj povezanosti i zavisnosti. Bilo da je poticao zbivanja, pratio ih ili se oblikovao kao njihov specifičan rezultat, on je trajao u različitim oblicima očitujući stalni porast intenziteta i sadržaja kao i sveprisutnu težnju za profesionalizacijom.


Tomić Ferić, Ivana / Balić, Vito (Croatia)

THE POLITICAL REPERCUSSIONS OF THE AUSTRIAN GOVERNANCE IN THE MUSICAL LIFE OF SPLIT This article was intended to reconstruct the peculiarities of the Split’s musical culture during the Austrian governance, its species, starting points and meaning in the continuity, emphasizing the institutional organized musical practice and its connection with larger social context. The approach that was imposed by purpose of research includes the presentation of the musical reality within the cultural and political history of the determinated period. In the field of the autonomous, music until the middle of the 20th century almost didn’t exist, because it has been functionally connected with the kinds of conscience and living of the environment whose reality was determined by the regime changes, political party conflicts, economic, political and cultural differences leaving the significant tracks in its historical continuity.

The political repercussions of the Austrian governance in the musical life of Split follow in its various aspects: from the level of quality and range of creativity through repertory representation of certain types of musical oeuvre to the reproductive and reception levels. Political philosophy, processes, and ideas are reflected in changes in the aesthetic tendencies which have at various times been designed origins of musical life of the city: from the influence of the Italian opera of 18th century, through the Viennese musical spirit mediated through the Bajamonti connections with Sorkočević family, then musical-aesthetic tendencies that kept coming in from other cities of the Monarchy and from the northern Italian cities in which composers gained musical education, to the influence of Caecilianism and musical Modern style.

In its entirety, the musical life of Split was carried out in accordance with the socio-political and economic conditions, sometimes in spite of them, but always in a multiple interconnectedness and interdependence. Whether it is encouraging developments, followed by, or formed as a result of their specific, he lasted in various forms manifesting a steady increase in intensity and content as well as the ever-present quest for professionalization.


Weiss, Jernej (Slovenija)

„NAPREJ ZASTAVA SLAVE!“ DAVORINA JENKA (1835-1914): IZMEĐU CARSKE HIMNE I PANSLAVENSKOG MARŠAZa samo nekoliko mjeseci obilježit ćemo stotu godišnjicu od smrti kompozitora Davorina Jenka, te stogodišnjicu smrtonosnih pucnjeva u Sarajevu kojima je najavljen početak Prvog svjetskog rata. Ovaj rat nije samo iznova iscrtao granice Slovenije, već je višestruko izmijenio okvire promišljanja slovenske populacije tog doba. Nakon kraja prvog velikog svjetskog masakra, Slovenci prekidaju sve građanske veze sa Bečom. Lanci koji su zagorčavali živote su skinuti, dok su veze koje su povremeno podsjećale na pola stoljeća dugu zajedničku historiju ipak ostale.

Ovaj prilog tiče se značaja horskih pjesama za slovensku nacionalnu svijest, od nastanka „Naprej zastava slave!“ Davorina Jenka 1860. godine. Jenkov marš odigrao je izuzetno značajnu ulogu kao društvena budnica, te se duboko urezao u svijest Slovenaca, pa je nakon formiranje Kraljevstva Srba, Hrvata i Slovenaca proglašen i slovenskom nacionalnom himnom. S druge strane, njegova univerzalnost evidentna je u različitim verzijama pjesme, među kojima je i verzija izvedena prilikom posjete cara Franje Josipa Ljubljani 1869. godine.


Weiss, Jernej (Slovenia)

‘WITH SLAVA’S BANNER, FORWARD!’ BY DAVORIN JENKO (1835-1914): BETWEEN AN IMPERIAL HYMN AND A PAN-SLAVIC MARCHIn a few months we will commemorate the hundredth anniversary of the death of the composer, Davorin Jenko, and a hundred years since the fatal shots in Sarajevo announced the beginning of the World War I. This war not only newly delineated all of Slovenia’s borders, but in many ways also the frame of thinking of the Slovenian population of that time. After the end of the first great world massacre, the Slovenes broke off civic ties with Vienna. The chains that had embittered the lives of some had thus fallen off, while the ties that occasionally bring to mind almost half a millennium of common history, have still remained.

The contribution presents the significance of choral songs for the Slovenian national consciousness from the creation of ‘With Slava’s Banner, Forward!’ by Davorin Jenko in 1860 onward. Jenko’s march played a highly important role as social awakener and became strongly anchored in the consciousness of Slovenes that it was proclaimed the Slovenian national anthem after the formation of the Kingdom of Serbs, Croats and Slovenes. On the other hand, its universality is evident in the various versions of the song, among others, also the version played for Emperor Franz Joseph on the occasion of his visit to Ljubljana in 1869.


Zubović, Alma (Hrvatska)

SKLADATELJSKI PROFIL IVE MAČEKA (1914-2002)Jedan od predstavnika tzv. zagrebačke pijanističke škole, osobito za vrijeme i nakon Drugog svjetskog rata, Ivo Maček (1914-2002), bio je pijanist, skladatelj, pedagog i redaktor. Cilj ovog rada je prepoznavanja i osvjetljavanja njegovoga skladateljskog profila.

Na formiranje Mačekove skladateljske ličnosti presudno su utjecala tri skladatelja. Kod Franje Dugana st. Maček je studirao kompoziciju na Muzičkoj akademiji u Zagrebu, a usavršavao se kod Jeana Julesa Aimablea Roger-Ducassea (Paris, 1939-1940) i Josepha Marxa (Salzburg, 1942). Skladateljski opus Ive Mačeka obuhvaća šesnaest skladba, od kojih su dvije zborske, šest glasovirskih skladba, sedam skladba za različite komorne sastave i jedna skladba za glasovir i komorni orkestar. Uočljivo je da pretežni dio skladateljskog opusa Ive Mačeka čine komorne skladbe koje odražavaju skladatelja pijanista, koji je kroz komorno muziciranje upoznao različite instrumente, njihove mogućnosti i tehničke probleme. Zahvaljujući tome, u svojim je skladbama postigao ravnopravnost dionica i njihovu zaokruženost, prožetu izrazitom ekspresivnošću.

Analizom Mačekova stvaralaštva uočen je sinkretizam stilskih obilježja koji je prisutan i u njegovoj reproduktivnoj djelatnosti. Ovaj rad će dokazati da Maček u svom stvaralaštvu nije težio korjenitim promjenama, nego se oprezno odnosio prema suvremenim glazbenim stremljenima i nije pokazivao eksperimentalnu smjelost u stvaralaštvu. Analitički pogled svjedoči i o sustavnom radu na pronalaženju skladateljskih rješenja koja su odgovarala njegovim predodžbama.


Zubović, Alma (Croatia)

IVO MAČEK’S PROFILE AS A COMPOSER (1914-2002)One of the representatives of the so-called Zagreb School of Piano, especially during and after the Second World War, Ivo Maček (1914-2002), was a piano player, composer, teacher, and editor. The aim of this paper is recognizing and highlighting his profile as a composer.

The forming of Maček’s composing personality was deeply affected by three composers. With Franjo Dugan Sr. Maček studied composition at the Music Academy in Zagreb and furthered his education with Jean Jules Aimable Roger-Ducasse (Paris, 1939-1940) and Joseph Marx (Salzburg, 1942). The composing opus of Ivo Maček encompasses sixteen compositions, of which two are for choir, six for piano, seven for various chamber ensembles and one for the piano and chamber orchestra. It is obvious that the largest part of Ivo Maček’s opus is made up of chamber compositions reflecting a composer-pianist, who got acquainted to different music instruments, their abilities and technical problems through music playing. Thanks to this fact, he achieved equality of sections and their roundedness, permeated by pronounced expressiveness in his compositions.

Analysis of Maček’s creative opus showed a syncretism of stylistic characteristics, also present in his reproductive activity. This paper will prove that Maček, in his creative opus, did not aspire to radical change, but was deliberate regarding contemporary musical pursuits and did not show experimental boldness. An analytical view uncovers the systematic methods of his work on finding composition solutions that corresponded to his ideas.

ETNOMUZIKOLOGIJA / ETHNOMUSICOLOGY


Ali Fuat, Aydın (Turska)

MELODIJSKE I RITMIČKE KARAKTERISTIKE ZEJBEK MUZIKE U MILASU U TURSKOJZejbeci su skupina ljudi zanimljivog i misterioznog identiteta, o čijem su porijeklu, etimologiji imena, te porijeklu kulture naučnici ponudili više različitih mišljenja. Poznato je da su se Zejbeci u historiji pojavili u zapadnoj Anadoliji u periodu kada je Osmansko carstvo tokom 16. stoljeća već počelo posrtati u administrativnom, političkom, ekonomskom i društvenom smislu, a njihova uloga postaje primjetnija daljim raspadom carstva u 18. i 19. stoljeću.

Zejbeci su imali značajan utjecaj na društvo zapadne Anadolije naročito u 19. stoljeću, kada već postaju prepoznatljivi po muzici, plesu, te nošnji. Nakon uspostavljanja Republike Turske 1923. godine, Zejbeci kao ratnički klan izumiru, no, aspekti njihove kulture i dalje ostaju prisutni, naročito kroz izvođenje pjesama i plesova u egejskoj regiji vrlo često u tradicionalnim nošnjama.

Melodije Zejbeka, koje dolaze iz zapadnog dijela Turske, značajan su segment turskog tradicionalnog repertoara ove regije. Ove se melodije uglavnom izvode u kombinaciji dvaju instrumenata, davula i kaba zurne, te ih najčešće izvode muzičari iz područja Germencika i Milasa. U urbanim sredinama, izvođači Zejbek muzike izvode idealiziran regionalni repertoar koji se prije, a ponegdje i sada, usmeno prenosio sa učitelja na učenika ili sa oca na sina. No, današnji načini prenošenja mogu se znatno razlikovati.

Ovim radom nastojat će se istražiti melodijske karakteristike Zejbek muzike u Milasu, gradu u zapadnoj regiji Turske, i to: tonski sistemi, odstupanja u tonskim visinama, te ritmičke karakteristike prema posljednjim otkrićima, te uporediti iste sa drugim primjerima iz Turske.

69ETNOMUZIKOLOGIJA / ETHNOMUSICOLOGY

Ali Fuat, Aydın (Turkey)

THE MELODIC AND RHYTHMIC CHARACTERISTICS OF ZEYBEK MUSIC IN MILAS, TURKEYThe Zeybeks are a group of people with interesting and mysterious identity, such that academics have offered many different opinions concerning their origins, the etymology of their name, and the origin of their culture. We know that the Zeybeks appeared in history in western Anatolia at a time when the Ottoman Empire was beginning to falter in administrative, political, economic and social terms in the 16th century, and they became more noticeable in the 18th and 19th centuries as the fabric of the Ottoman Empire crumbled yet further.

The Zeybeks had a considerable effect on the society of west Anatolia especially in the 19th century by which time specialized music, dance and costumes were associated with them. After the Republic of Turkey was founded in 1923, the Zeybeks, as a warrior clan, became obsolete, but aspects of Zeybek culture still prevail and the songs and dances are performed all the time throughout the Aegean region, often in full costume.

Zeybek melodies, which come from the western part of Turkey, are significant elements in the Turkish folk music repertoire of that region. These melodies are mainly played on a combination of davul (drum) and kaba zurna (shawm) instruments, particularly by musicians in Germencik and Milas areas in that region. In an urban environment, performers of Zeybek music recreate an idealisation of a regional repertoire that was, and still may be, transmitted orally from master to student or from father to son. But today the medium for transmission can vary.

In this paper, the melodic characteristics of Zeybek music in Milas, a city in the western region of Turkey; i.e. tonal systems, pitch deviations and the rhythmic characteristics will be investigated within the recent developments and comparisons will be made with the other examples from Turkey.


Džambazov, Lejla (Bosna i Hercegovina)

DANAŠNJA MUZIČKA PRAKSA KRALJEVE SUTJESKE KAO DIO NARODNIH OBIČAJAGeografski položaj, konfiguracija terena i različita historijska zbivanja uvjetovali su da se u regionu Kraljeve Sutjeske održi veliki broj tradicionalnih običaja koji se i danas intenzivno prakticiraju. Možemo primjetiti da se tradicionalni izraz u ovom kraju zadržao u velikoj mjeri i do danas, iako su određene promjene vidljive kada je u pitanju tradicijska muzika u okviru određene prakse. Neki od ovih običaja su povezani sa svakodnevnim obredima, pojedini su vezani za rad na poljima, drugi slave religiozne ili paganske praznike. Posmatrajući prošlost, ovaj kraj također vežemo za poznate svatovske običaje i obrede koje prate brojne svatovske pjesme.

Etnomuzikološka perspektiva iz koje je posmatran ovaj rad omogućava uvid u tradicijsku muziku Kraljeve Sutjeske, istovremeno vokalnu i instrumentalnu praksu koja je usko uvezana za kolektivni obredni čin. Ovaj poseban način istraživanja otkriva prošlost ovog naroda i njihove tradicije što olakšava komparaciju, te uvid u promjene nastale kada je u pitanju muzičko nasljeđe i praksa, uključujući pjesme, ples i instrumentalnu svirku.

Godina dana iscrpnog terenskog istraživanja, te analiza i usporedba digitalnih zapisa dozvolili su da se dobije detaljniji uvid u muzičke forme i elemente. Njihova uloga otkriva način na koji se tradicija Kraljeve Sutjeske i tradicijska muzika koja je prati održala do danas. Uzimajući u obzir položaj muškarca i žene, te njihove jasno podjeljene uloge u društvu, studija nudi i antroplošku strukturu kao paradigmu društvenog i kulturalnog konteksta o kojem se govori.


Džambazov, Lejla (Bosnia and Herzegovina)

TRADITIONAL MUSIC OF KRALJEVA SUTJESKA AS PART OF CUSTOMS AND PRACTICESGeographical position of Kraljeva Sutjeska has influenced the population of this area by many historical means that determined strong custom sense amongst the locals. It could be observed that a considerable number of customs have remained today. Some of these traditional means are related to everyday habits and rituals; others are agricultural or celebrate religious holidays; sometimes pagan celebrations, or the most famous-wedding ceremonies.

What gives the etnomusicological perspective a way to approach this topic is that the traditional music of Kraljeva Sutjeska, both vocal and instrumental, is an inseparable part of the mentioned practices. It plays a crucial role in ritual behavior. This particular way of research gives an insight into the very old past of these people and their customs, making it possible to compare and track the transmission and transformation of their music capital and practice, including songs, dances and instrumental music.

One year of comprehensive fieldwork research and recording made it possible to undertake in-depth analysis of the musical forms and elements. Their role discovers in which way particular customs and music that followed survived until today. However, considering the importance of gender in this case, the study follows an anthropological perspective as a paradigm that is important to describe the social and cultural contexts of the phenomena.


Fracile, Nice (Srbija)

TARGOT KAO DEO RUMUNSKE FOLKLORNE BAŠTINE Među tradicionalnim duvačkim instrumentima koji su proslavili mađarski i rumunski folklor, ne samo u Evropi već i na drugim kontinentima, posebno mesto pripada taragotu. Poznato je da je današnji taragot nastao iz starog instrumenta pod nazivom táragaó, tipa zurle. Na predlog kompozitora i muzikologa Đula Kaldija (Gyula Káldy), mađarski graditelj Jožef Šunda (Jószef V. Schunda) je modifikovao i usavršio stari vojnički instrument na kraljevskim dvorovima, te je novu verziju prvi put prikazao u okviru Svetske izložbe u Parizu 1900. godine. Čuveni rumunski svirač Luca Jovica (Luţă Ioviţă), poreklom iz rumunskog Banata, regija Karansebeš, zavoleo je taragot i ubrzo savladao tehniku sviranja kod čuvenih instrumentalista u Segedinu i Budimpešti u prvoj deceniji 20. veka (1906-1909). Povratkom Jovice u zavičaj, taragot je za kratko vreme postao veoma popularan i omiljen među sviračima i ljubiteljima tradicionalne muzike u Banatu današnje Rumunije, a kasnije i među vojvođanskim Rumunima.

Ovaj rad će biti fokusiran na prikazivanje i izučavanje ovog instrumenta u folkloru rumunskog življa. Posebna pažnja posvetiće se njegovoj istorijskoj prošlosti, funkciji, ulozi, distribuciji, ergologiji, repertoaru, tehničkim i izvođačkim mogućnostima taragotista.


Fracile, Nice (Serbia)

TARGOT AS A PART OF ROMANIAN FOLKLORE HERITAGEAmong the traditional wind instruments that brought fame to the Hungarian and Romanian folklores, not only in Europe but also in other continents worldwide, special place has been earned by the taragot. It is a well-known fact that the today’s taragot has descended from an old zurna-type instrument named tárogató. Following the proposition by the composer and musicologist Gyula Káldy, the Hungarian instrument maker, Jószef V. Schunda, modified and perfected the old military-band instrument used at royal courts; the new version was first presented to the public at the 1900 Paris Exposition Universelle. The renowned Romanian musician, Luţă Ioviţă, hailing from Caransebeş in Romania’s Banat region, became extremely fond of the taragot and mastered the performing technique within a short time thereon with the famed instrumentalists at Szeged and Budapest, in the first decade of the 20th century. Soon after Ioviţă’s return to his homeland, the taragot became very popular and favoured among the musicians and traditional music lovers in Romania’s Banat, and, later, among the Romanians in Vojvodina/Serbia.

This paper shall focus on the presentation and study of the taragot within the folklore of the Romanian population. The aspects that are given particular attention include the instrument’s history, function, role, distribution, ergology, repertory and technical/performing potentials of the taragotists.


Ivkov, Vesna (Srbija)

SEVDALINKA U IZVOĐAČKOJ PRAKSI HARMONIKAŠA U SRBIJIGradska ljubavna pesma iz Bosne oduvek je zadobijala pažnju i simpatije izvođača na harmonici na prostoru Srbije. Putem terenskog istraživanja u kojem su ispitanici renomirani radijski i televizijski izvođači na harmonici, autor ovog saopštenja nastoji da ukaže na preduslove egzistiranja bosanske sevdalinke u srpskoj muzičkoj praksi, kao i same muzičke osobenosti ovog vokalnog žanra u izvođenju na harmonici. Od posebnog značaja su analize na mikro-planu, u smislu primene određenih ornamenata, harmonskih rešenja, dinamičkih nijansiranja koji utiču na formiranje odgovarajućeg stila izvođenja. Sa antropološkog stanovišta, autor razmatra odnos samih svirača prema sevdalinci, kao i društvene okolnosti koje pogoduju njenom prihvatanju i razumevanju u široj zajednici.


Ivkov, Vesna (Serbia)

SEVDALINKA IN THE PERFORMING PRACTICE OF ACCORDIONISTS IN SERBIAThe urban love song from Bosnia has always been popular with and a favourite of accordionists in Serbia. Through field research, which focused on interviews with renowned accordionists who perform for radio and television, the author of this text attempts to point to the preconditions for the presence of Bosnian sevdalinka in the Serbian musical practice, as well as the very musical features of this vocal genre performed on the accordion. Of a particular importance are the analyses in the microsphere, in the sense of the application of certain ornamentations, harmonic solutions, dynamic nuances, which have an effect on the formation of an appropriate style of performance. From anthropological point of view, the author discusses the personal attitude of performers towards sevdalinka, as well as social circumstances favourable for its adoption and understanding within the general public.


Kölbl, Marko (Austrija)

„NE DAJTE ME, MAJKO, NIMCU NITI UGRU“ HRVATSKO NASLIJEĐE U AUSTRO-UGARSKOJ GRANIČNOJ REGIJIProvincija Gradišće (Burgenland), bivša zapadna Ugarska, a od 1921. godine dio Austrije, regija je izraženog etničkog i kulturnog diverziteta. Pored njemačkog u ovoj pokrajini govore se još i tri manjinska jezika: gradišćanski hrvatski, mađarski i romski. Sve ove etničke skupine nisu pokazatelji Austro-Ugarskog multinacionalizma, jer su na ovom prostoru zajedno živjeli i prije Austro-Ugarske uprave. No, ipak, prisustvo multietničnosti i multinacionalnosti u Austro-Ugarskom carstvu utjecalo je, te je donekle i omogućilo konsolidaciju pomenutih diverziteta. Perspektive za nastanak i razvoj nacija-država baziranih na jednoetničnosti javljaju se tokom 20. stoljeća, te se mogu posmatrati kao faktor represije kulturne stabilnosti manjina.

Ovo naročito postaje uočljivo u muzičkoj praksi gradišćanskih Hrvata koji su se selili iz različitih dijelova današnje Hrvatske u dijelove Gradišća i okolne krajeve još u 16. stoljeću. Promjene u muzičkoj praksi višestruko reflektiraju geopolitički razvoj, te su često vezane za pitanja identiteta i etniciteta.

Nadalje, muzički život gradišćanskih Hrvata odraz je transkulturalnih procesa koji se ne javljaju samo u regionalnom, već i u širem geografskom kontekstu. To će biti prikazano kroz različite muzičke primjere koji predstavljaju multietničku realnost manjina, transkulturne utjecaje u muzičkoj praksi, te inkorporiranje i etnifikaciju elemenata “drugog”.

Ovaj rad baziran je na (terenskom) istraživanju sa fokusom na etnomuzikološkom proučavanju manjina.


Kölbl, Marko (Austria)

‘NE DAJTE ME, MAJKO, NIMCU NITI UGRU’ CROATIAN HERITAGE IN THE AUSTRO-HUNGARIAN BORDER REGIONThe province of Burgenland, former Western Hungary, since 1921 a part of Austria, is a region with pronounced ethnic and cultural diversity. Amongst German, three official minority languages are spoken: Burgenland Croatian, Hungarian and Romanes. All these ethnic groups are not a manifestation of the Austro-Hungarian multi-nationalism, as they have lived in the area long before the period of the Austro-Hungarian reign. Nevertheless the Austro-Hungarian Empire in its multi-ethnic and multi-national disposition affected and somehow enabled a consolidation of the diversity mentioned. Whereas the perspectives of rather mono-ethnically based nation-states that emerged in the course of the 20th century, can be observed as a considerable repressing factor in account of cultural stability of minorities.

This also becomes apparent in the musical practice of the Burgenland Croats, who migrated from various parts of present Croatia to parts of present Burgenland and surrounding areas back in the 16th century. Changes in musical practice in many ways reflect the geopolitical development, and are often tied to questions of identities and ethnicity.

Further the musical life of the Burgenland Croats reflects transcultural processes that do not only arise in regional, but also in a broader geographical context. This is to be shown on various musical examples that demonstrate the minority’s multi-ethnic reality, transcultural influences in the musical practice, as well as the incorporation and ethnification of elements from the “other”.

This paper is based on research (fieldwork) focussing on ethnomusicological minority studies.

• Translation of the first line: ‘Don´t give me (marry me off), mother, to a German, nor to a Hungarian’


Kovačič, Mojca (Slovenija)

UTJECAJ PRVOG SVJETSKOG RATA NA ZVUČNI PEJZAŽReligije koje se manifestiraju kroz (javni) zvuk vrlo često izazivaju snažne reakcije u zvučnom okruženju, te u kontekstu društva, religije i politike rezoniraju na različite načine. Religijski zvučni pejzaži obuhvataju veliku zajednicu ljudi, jer su gotovi svi svakodnevno u kontaktu sa ovim zvucima (npr. crkvena zvona). Odnos ljudi prema religijskim zvucima je najevidentniji u situacijama koje pobuđuju burne reakcije pojedinaca i šire zajednice. Ovaj rad pokazat će kako je ukidanje zvona tokom Prvog svjetskog rata utjecalo na zvučni pejzaž, te uznemirilo ljude. Time će se otkriti odnos ljudi prema zvučnoj sredini i simbolično značenje zvona.


Kovačič, Mojca (Slovenia)

IMPACT OF THE FIRST WORLD WAR ON THE SOUNDSCAPEReligions, manifested through (public) sound often arouse strong responses in sonic environments and in the context of society, religion and politics, resonate in a variety of assemblages. The religious soundscapes concern a large community of people as nearly everyone is in contact with these sounds on daily basis (e.g. church bells). The relation of people towards religious sounds is most evident in situations that have triggered heated public responses of individuals and the wider community. The paper will show how the withdrawal of bells during the First World War affected the sound environment and upset the people. Through this, the relation of people to the sonic environment and the symbolic meaning of bells will be revealed.


Lajić Mihajlović, Danka (Srbija)

INSTITUCIONALIZACIJA PRAKSE EPSKOG PEVANJA UZ GUSLE U 20. VEKU I NJENE KONSEKVENCE PO MUZIČKU DIMENZIJU PERFORMANSAO vezi epike i ideologije mahom se govori na osnovu poetskog sadržaja i konteksta performansa, dok su razmatranja uticaja na muziku marginalizovana. U novijoj etapi tradicije pevanja epskih pesama uz gusle dva su oblika institucionalizacije imala poseban uticaj: takmičenja guslara i guslarska društva. Upravo je Sarajevo lokus od primarnog značaja u vezi sa tim: nedaleko, u Alipašinom mostu, 1925. održano je prvo takmičenje („utakmica“) guslara, 1971. je u ovom gradu organizovan prvi takmičarski festival guslara, a iste godine je osnovano prvo guslarsko društvo „Filip Višnjić“. Takmičenja su, s jedne strane, potencirala kontakte guslara iz različitih kulturnih zona, ali i kontakte sa multikulturnom publikom grada, dok su, s druge strane, kao posebna prilika javnog izvođenja, eksplicitno prezentovala mehanizam menjanja tradicije pod uticajem autoriteta – organizatora i žirija, kao predstavnika društvenih struktura moći. Guslarska društva su derivat jedne od najpoznatijih kulturnih institucija socijalističkog perioda Jugoslavije – „kulturnoumetničkih društva“, razvijajući se iz njihovih guslarskih sekcija. Iako, kao solistička praksa, izvođenje pesama uz gusle nije direktno uslovljavalo unifikaciju idiolekata članova društva, poput grupnog pevanja ili igranja, do njega je dolazilo i u sinhronijskim razmenama, a posebno u oblikovanju izraza generacija guslara koji su stasavali u gradskoj sredini. Tako, savremena guslarska praksa, kao izvođenje već postojećih, fiksiranih poetskih tekstova, nosi duboke tragove ne samo ideologija vremena u kome su nastali poetski predlošci, već i institucionalizacija važnih procesa kao što su proces usvajanja veština i znanja i izbor uzornih stilova.


Lajić Mihajlović, Danka (Serbia)

THE INSTITUTIONALIZATION OF THE PRACTICE OF SINGING WITH THE GUSLE IN THE TWENTIETH CENTURY AND ITS MUSICAL CONSEQUENCES The relation between epic tradition and ideology is usually discussed with respect to poetic content and the context of performance, while its influence on music is neglected. In the newer history of singing epic poems accompanied by the gusle, two types of institutionalization have been of primary interest: organization of competitions and foundation of associations of the gusle players (guslars), within the city of Sarajevo playing a particularly important role. Not far from here, at the Alipasha Bridge (Alipašin most), the first competition of gusle players was organized in 1925; Sarajevo was also the place, where the first competitive festival of the guslars was organized and the first guild society ‘Filip Višnjić’ was founded (both in 1971). On the one hand, the competitions mediated the encounters of gusle players coming from different cultural zones and the multicultural Sarajevo audiences, while, on the other hand, they explicitly revealed the mechanisms by which the tradition was undergoing changes due to authorial influence – the authority being the organizers and the jury, as representatives of the social power structures. The societies of the gusle players evolved from the related sections of the so-called ‘cultural-artistic societies’ (kulturno-umetnička društva), which had ranked among the most remarkable cultural institutions of the socialist Yugoslavia. Although singing with the gusle was a soloist practice and therefore, unlike group singing and dancing, it could not directly influence the unification of the members of society, the unification was nevertheless achieved in synchronic exchanges, but in particular with respect to formation of the expressive styles of guslars who grew up in urban contexts. Hence, the contemporary practice of singing with the gusle, with its repertoire mainly consisting of the pre-existing, fixed poetic texts, bears deep imprints not only of the ideologies prevalent at the times when the texts were written, but also of the institutionalization of the processes which played a significant role in re-shaping tradition, such as the processes of acquiring skills and knowledge and the choice of role models.


Primorac, Jakša (Hrvatska)

OSOBITI REPERTOAR JOSIPA ŠIROKOGA IZ 1910-IHHrvatskog znanstvenika i umjetnika Josipa Širokog (1882-1963) nesumnjivo bismo mogli nazvati renesansnim čovjekom. Među mnogim znanstvenim i umjetničkim disciplinama kojima se bavio, etnomuzikologija vjerojatno zauzima najznačajnije mjesto u kontekstu njegova doprinosa nacionalnoj znanosti i kulturi. Međutim, Širokijevo bogato muzikološko i glazbeničko obrazovanje duboko se ispreplitalo s njegovim boemskim životnim stilom koga je strastveno ispoljavao od mladih dana sve do smrti. U tom svjetlu treba promatrati i njegovu veliku ljubav prema popularnoj i folklornoj glazbi svojih dana. Širokijeva unikatna zvučna kolekcija pohranjena u Phonogrammarchivu u Beču, nastala od 1913. do 1920., svojom ekscentričnom prirodom pomiče granice mnogih dosadašnjih etnomuzikoloških postavki i pretpostavki. Repertoar njegovih pjesama reflektira neke slabo istraživane, premda vrlo važne, pojave i procese u popularnoj i folklornoj, osobito urbanoj i nacionalnoj, glazbi na širokom južnoslavenskom prostoru, i to od pojave romantičnoga nacionalizma u prvoj polovici 19. stoljeća sve do danas. Širokijeva glazba, zabilježena u specifičnom kontekstu predratnih i ratnih 1910-ih, intenzivno živi kroz tri posljednja stoljeća pa i danas te ukazuje na specifične inter- i multi-kulturne dimenzije popularne i folklorne glazbe u slavenskim sredinama jugoistočne Europe.


Primorac, Jakša (Croatia)

INTRIGUING SONGS OF JOSIP ŠIROKI FROM 1910SThe Croatian scholar and artist, Josip Široki (1882-1963), could undoubtedly be considered as a Renaissance man. Though he was interested in various arts as well as in science, his work in ethnomusicology represents the most important personal contribution to Croatian national scholarship. Apart from this, Široki’s extensive musicological and art music education was deeply interspersed with his Bohemian lifestyle from his early years until his death. In this context, we should regard his passion for popular and folk music of his time. Široki’s unique sound collection, which is kept in the Phonogrammarchiv in Vienna, created between 1913 and 1920, by its eccentric nature expands limits of many ethnomusicological postulates and hypotheses. His repertoire reflects some under-researched, although very important, phenomena and processes in popular and folk music, particularly urban and national, in the wide areas populated by South Slavs, back from the beginnings of the Romantic nationalism in the first half of the 19th century until present. Široki’s music, recorded in the specific pre-War and War context of 1910s, has been living intensively for almost two centuries and it reveals specific inter- and multi-cultural dimensions of popular and folk music in large parts of Southeastern Europe.


Teffera, Timkehet (Njemačka)

RITUALI OPSJEDANJA I MUZIKA: SLUČAJ ZAR KULTA U ETIOPIJIJedan od značajnih segmenata tradicionalne muzike u različitim regijama Etiopije je svakako muzika pri ritualima opsjedanja. Ovi rituali su šire poznati pod nazivom zar. Moje izlaganje donijet će opširan pregled ovih muzičkih i kulturoloških fenomena, kroz detaljnije razmatranje funkcije, značenja i uloge zar kulta/ceremonije/rituala, njegovog utjcaja na društvo, te uloge muzike tokom ovakvih ceremonija. Izvori korišteni za studiju bazirani su na terenskim istraživanjima obavljenim u Etiopiji 1997. i 2000. godine. Kao dopunski podaci za istraživanje koristit će se osvrti na literaturu, te drugi materijali fokusirani na zar kult. Tokom izlaganja bit će predstavljeni odabrani zvučni i video primjeri koji će dati uvid u ovo još uvijek netaknuto područje tradicionalne muzike i kulture Etiopije.


Teffera, Timkehet (Germany)

POSSESSION RITUALS AND MUSIC: THE CASE OF THE ZAR CULT IN ETHIOPIAOne of the traditional music features observed in various Ethiopian regions refers to music performed on possession ceremonies. Such rituals are widely known as zar. My presentation will provide an in-depth overview on this musical and cultural phenomenon, while taking a closer look at the function, meaning and role of the zar cult/ceremony/ritual, its influence and impact on society along with the role of music during such ceremonies. The source materials applied for the study are based on outcomes from field researches carried out in Ethiopia in 1997 and 2000. Literature reviews focusing on the zar cult and related matters will be used as supplementary data for the investigation. Selected audio and video examples to be offered during the presentation will give insight to this still untouched traditional music and culture of Ethiopia.

TEORIJA MUZIKE / THEORY OF MUSIC


Bosnić, Amra (Bosna i Hercegovina)

KONCEPTI OZVUČAVANJA MAKOVIH PJESAMA: „KAMENI SPAVAČ“ I „MODRA RIJEKA“Bezvremenskim filozofskim porukama pjesama Maka Dizdara je, između ostalog, označeno najplodnije stvaralačko razdoblje stoljeća bosanskohercegovačkog kompozitorstva. Dva djela, osim što su inspirirana posljednjim i, prema mišljenju stručne javnosti, najboljim Dizdarevim ciklusima „Kameni spavač“ (1966) i „Modra rijeka“ (1972) ujedno predstavljaju kulminativne tačke individualnih opusa kompozitora Vlade Miloševića i Vojina Komadine. Originalni formalni koncepti kojima se vrhunska poezija ozvučava prepoznaju se i danas kao najsvjetliji primjeri bosanskohercegovačkog kompozitorstva.

89TEORIJA MUZIKE / THEORY OF MUSIC

Bosnić, Amra (Bosnia and Herzegovina)

CONCEPTS OF MAKING MAK’S SONGS TO SOUND: ‘KAMENI SPAVAČ’ AND ‘MODRA RIJEKA’ The most prolific Bosnia and Herzegovina century’s creative period of compositional practise had been marked by timeless philosophical songs’ messages by Mak Dizdar. The two works, apart from that were inspired by the latest and, according to the expert public, the best Dizdar cycles ‘Kameni spavač’ (1966) and ‘Modra rijeka’ (1972) also represent the culminating points of individual composers’ opuses of Vlado Milosevic and Vojin Komadina. Original formal concepts, which tune this high quality poetry, are recognized today as the brightest examples of Bosnia and Herzegovina’s compositional practise.


Grujić, Gordana (Bosna i Hercegovina)

SPECIFIČNOSTI HRISTIĆEVOG KOMPOZICIONOG STILA U OPELU B-MOLHristićevo Opelo b-mol (1915) za mješoviti hor, posvećeno poginulim i umrlim u ratovima za narodno oslobođenje i ujedinjenje (1912-1918), je najuspjelije djelo duhovnog žanra između dva svjetska rata. U njemu se ogledaju elementi ruskog nasljeđa u pogledu horske fakture i harmonije, ali svakako i specifični elementi Hristićevog kompozicionog stila. Osvrćući se na djela istog žanra u ruskom nasljeđu kod brojnih kompozitora (Ipolitov-Ivanov, Bortnjanski, Arhangeljski, Rimski-Korsakov, Čajkovski, Grečanjinov, Rahmanjinov...) u daljem radu će se istaći pojedini reprezentativni kompozicioni postupci Hristića pod uticajem ruske duhovne muzike. To će svakako pomoći da se mnogo jasnije izdvoje elementi njegovog individualnog stila koji ovom djelu daju posebnu ekspresivnu ljepotu.


Grujić, Gordana (Bosnia and Herzegovina )

SPECIFIC CHARACTERISTICS OF HRISTIC’S COMPOSITIONAL STYLE IN ‘OPELO’ B- FLAT MINORHristic’s ‘Opelo’ B-flat minor (1915) for mixed choir, dedicated to the fallen and dead during the wars of national liberation and unification(1912-1918), is the most successful example of the spiritual genre between the two world wars. The elements of Russian heritage in terms of choral compositional style and harmony are reflected in it, as well as the specific elements of Hristic’s compositional style. Regarding the works of many composers of the same genre in Russian heritage (Ippolitov Ivanov, Bortniansky, Arhangelsky, Rimsky Korsakov, Tchaikovsky, Gretchaninov, Rachmaninoff…) and under the influence of Russian spiritual music, certain representative and compositional procedures by Hristic, shall be emphasized in future work. This will certainly help to isolate the elements of his individual style more clearly, which will lend a special expressive beauty to this piece of work.


Hodžić Mulabegović, Nerma (Bosna i Hercegovina)

TRANSFER ANTIČKOG NASLIJEĐA U ZAPADNOEVROPSKU MUZIČKU TEORIJU – FORMIRANJE I POREDAK SREDNJOVJEKOVNIH LJESTVICAUtjecaj antike na područje muzičke teorije i prakse evidentan je u zapadnoevropskim muzičko-teorijskim promišljanjima. Izvjestan broj antičkih filozofa bavio se istraživanjima muzičkih fenomena: fizičkim, matematičkim i estetičkim karakteristikama tona, odnosima i distancama među tonovima, notacijom, estetikom muzike, kosmičkim analogijama, opštim predstavama o utjecaju muzike na čovjeka i društvo. Raspravljajući o muzičkim fenomenima izdvajale su se dvije značajnije tradicije: Pitagorejska i Aristoksenska. Obje tradicije su imale svoje sljedbenike. Stavovi tradicija se međusobno prepliću, nadopunjuju, potvrđuju, ali i demantuju. Dobra polazna tačka za razumijevanje potrebe da se tonski prostor organizira u jedan disciplinovan, sistematičan, funkcionalan i praktičan sistem – ljestvicu, jeste da je konačni poredak antičkih muzičkih ljestvica kod savremenih istraživača isti.

Bitnu ulogu u tumačenju i utjecaju antičkog naslijeđa na konačni poredak srednjovjekovnih ljestvica – modusa, imaju djela autora koji se na jedinstven način bave organiziranjem tonskog sistema, njegovim strukturalnim elementima i ljestvicama, npr: Boetije, Hucbald iz Saint-Amanda, pseudo Odo, Guido iz Arezza, Bernon iz Reichenaua, Hermannus Contractus, Glareanus, Zarlino, kao i djela čije autorstvo nije poznato, npr: Musica enchiriadis, Scolica enchiriadis, Dialogus de musica, Alia musica. Potrebno je ukazati na moguće uzročno-posljedične veze među stavovima u navedenim djelima (tumačenje tonskog sistema, kombiniranje tetrakorada, položaj polustepena, upotreba heksakorda, kombiniranje konsonantne vrste kvarte i kvinte, utjecaj zvučnosti karakterističnih intervala) uz prezentiranje grafičkih i notnih prikaza. Tako će se ostvariti jasniji prikaz toka razvoja srednjovjekovnih ljestvica, u muzičkoj teoriji i praksi prepoznatljivi kao jonski, dorski, frigijski, lidijski, miksolidijski i eolski modus.


Hodžić Mulabegović, Nerma (Bosnia and Herzegovina)

TRANSFER OF THE ANCIENT HERITAGE TO THE WESTERN EUROPEAN MUSICAL THEORY – FORMATION AND ORDER OF MEDIEVAL SCALEThe influence of the antique period in the field of music theory and practice is evident in the western musical-theoretical considerations. A certain number of ancient philosophers was engaged in the research of musical phenomena: physical, mathematical and aesthetic characteristics of tones, relationships and distances between tones, notation, aesthetics in music, cosmic analogies, and general concepts about the impact of music on humans and society. Two major traditions had been isolated when discussing musical phenomena, Pythagorean and Aristoxenus. Both traditions have had their followers. Traditional stands have intertwined, complemented, reaffirmed as well as refuted. A good starting point for understanding the needs of organizing tonal space into a single disciplined, systematic, functional and practical system – scale, is that the final order of the ancient musical scale has remained the same with contemporary researchers.

The works of authors who dealt in a unique way with the organization of the tonal system, the structural elements and scales, play a significant role in the interpretation and the impact of the ancient heritage if the final order of medieval scales - modes, e.g: Boethius, Hucbald of Saint-Amand, pseudo-Odo, Guido of Arezzo, Berno of Reichenau, Hermannus Contractus, Glareanus, Zarlino, as well as the works of unknown authorships, e.g: Musica enchiriadis, Scolica enchiriadis, Dialogus de musica, Alia musica. It is necessary to draw attention to the possible causal relationship between attitude in the works along with the presentation of graphics and music display (interpretation of the tonal system, combining tetrachords, semitone position, use of hexachords, combining consonant types of fourths and fifths, the effect of resonance of characteristic intervals). This will provide a vivid overview of development of medieval scale, in music theory and practice recognized as the Ionian, Dorian, Phrygian, Lydian, Mixolydian and Aeolian modes.


Hukić, Naida (Bosna i Hercegovina)

ELEMENTI NEOKLASICISTIČKE HARMONIJE U „OPSESIJI“ MIROSLAVA ŠPILERA „Opsesija“ (1965), jedno od najznačajnijih orkestarskih djela Miroslava Špilera, plijeni svojom bogatom orkestracijom i logičnom melodijsko-harmonijskom strukturom proizašlom iz razrade jednog signalnog motiva. Rad ispituje polje stilske identifikacije „Opsesije“ u neoklasicističkom idiomu na kojeg naročito upućuje disciplina komponovanja, formalna konstrukcija djela i preovladavajuća tonalitetnost, ali i ukazuje na sličnost kompoziciono- tehničkih i orkestarskih postupaka koje ovo djelo ima sa simfonijskim skercom „Čarobnjakov učenik“ Paula Dukasa. Cilj rada je detektovanje elemenata neoklasicističke harmonije (vještački konstruisana ljestvica lidijskog durmola, simetrični akordi, sekundni trozvuci i slično) i ukazivanje na specifičnosti njihove primjene.


Hukić, Naida (Bosnia and Herzegovina)

ELEMENTS OF NEOCLASSICAL HARMONY IN MIROSLAV ŠPILER’S ‘OBSESSION’‘Obsession’ (1965), one of the most important orchestral works by Miroslav Špiler, captivates with its rich orchestration and logical melodic and harmonic structure that emerged from the development of one signalling motif. This paper examines the field of stylistic identification of ‘Obsession’ in the neo-classical idiom which in particular refers to disciplines of composing, the formal structure of the composition and predominant tonality, but it also points out the similarity of compositional and orchestral procedures this work possess in comparison to symphonic scherzo ‘Sorcerer’s apprentice’ by Paul Dukas. The aim is to detect elements of neoclassical harmony (synthetic scale-Hungarian minor, compound chords, chords by seconds, etc.) and to point out the specifics of their application.


Kanački, Valerija (Srbija)

SIMFONIZAM – IZMEĐU TEORIJE I PRAKSEZapodnoevropska misao o prirodi muzike i njenoj socijalnoj funkciji koja se značajno razvila tokom XIX veka u delima nemačkih i francuskih mislilaca, a uporište ima u Betovenom shvatanju i percepciji muzike, svoj dalji razvoj ima u teorijskim razmatranjima Borisa Asafjeva. Betoven udara temelj pitanjima sadržajnosti muzike, s jedne strane i njenoj komunikativnosti, s druge. Ovo predstavlja glavni stimulans u rađanju simfonizma, kao metoda muzičkog mišljenja u okviru sveobuhvatne intonacione teorije Asafjeva. On uporište vidi i u Geteovim i Herderovim promišljanjima o celovitosti umetničkog dela, „unutrašnjem kretanju“, o narušavanju i uspostavljanju ravnoteže u muzici, kao i o odnosu muzike sa plesom, gestom, rečju. Krugovo zapažanje o stvaranju „veza“ pri percepciji muzike, ističe u prvi red psihološki momenat muzike. Psihološka a ne akustična priroda muzike osnova je i Asafjevljevog poimanja „simfoničnosti“ muzičkog dela. Veza sa romantičarskim estetskim promišljanjima o prirodi muzike, a ne nekim potonjim, važna je i zbog toga što upravo u bogatoj muzičkoj baštini romantičara (Šuman, Brams, a počev od Betovena) Asafjev uočava simfonizaciju muzičkog tkiva koja ne mora biti nužno vezana za simfonijski žanr. Ili kako Asafjev kaže: „Nije svaka simfonija simfonična“. On simfonizam prepoznaje kao muzički pokret na relaciji ravnoteža – njeno narušavanje – uspostavljanje ponovne ravnoteže. Dinamičnost simfonizma ogleda se i u neprestanom naslojavanju kvalitativno novog u muzičkom toku, u prorastanju energije zvučnog materijala. Ovo neminovno uspostavlja vezu simfonizma i tematskog razvoja. Tematski razvoj po Asafjevu i određuje formu kao (ne)simfoničnu. Otuda je energetski sukob tema u sonatnom obliku pokretač simfonizacije muzičkog tkiva. Pomeranjem centara gravitacije (o kojima je uzgred govorio i Šuman), iscrtavanjem muzičkog toka od jednog do drugog centra gravitacije koji se formiraju u ovoj dijalektičkoj razmeni energije, stvara se neprekidnost koju Asafjev prepoznaje kao simfonizam. Od posebnog je značaja da ovaj princip autor uočava i u delima koja su u svojoj osnovi monotematska, kao što je to slučaj sa varijacijama. Usložnjavanje muzičkog pokreta u varijacijama koje se formalno određuju kao karakterne, slobodne, fantastične i slično, Asafjev vidi kao „varijacije dinamičnog tipa sa simfonijskim razvojem tematskog materijala“. Simfonizam se, dakle, izdiže na opšti nivo i u najširem smislu predstavlja ne samo metod muzičkog mišljenja, već i njenu filozofsku kategoriju.


Kanački, Valerija (Serbia)

SYMPHONISM – BETWEEN THEORY AND PRACTICEWestern European thoughts alluding to the nature of music and its social function underwent significant developments during the 19th century in the works of German and French philosophers. It is grounded in Beethoven’s perceptions and ideas about music, and was further advanced in the Boris Asaf’ev’s theoretical considerations. Beethoven laid the foundation to the issues of the content of music on the one hand, and its communicative nature on the other. This has been a major stimulus in the birth of symphonism as a method of musical thinking within Asaf’ev’s comprehensive intonation theory. He finds a foothold for his ideas in Goethe’s and Herder’s reflections on the integrity of the art work; of ‘the intrinsic movement’ of establishing equilibrium and dis-equilibrium in music, as well as the relationship of music to dance, gesture, word. Krug’s observation about the establishing of ‘links’ in the process of music perception foregrounds the psychological aspect of music. It is of a psychological, rather than of an acoustic nature of music that forms the basis of Asaf’ev’s understanding of a musical work as ‘symphonic’. The link with romantic, rather than latter-day contemplations about the nature of music is important precisely because it was in the rich heritage of Romanticism (Schumann, Brahms, starting with Beethoven) that he observed symphonization that was not necessarily related to the symphonic genre. In Asaf’ev’s own words ‘not every symphony is symphonic’. He recognized symphonism as a triad of musical motion: equilibrium – dis-equilibrium – restoring the equilibrium. The dynamic nature of symphonism reflects in the constant layering of the qualitatively new in the flow of music, in the accruement of the energy of sound material. This inevitably establishes a connection between symphonism and the thematic development. Furthermore, Asaf’ev believes that the thematic development determines the form as (non)symphonic. Consequently, the conflict of the thematic energies in sonata form is the prime mover of the symphonization of the musical fabric. The continuity that Asaf’ev recognizes as symphonism is achieved by shifting gravity centers (as mentioned by Schumann in passing), and delineating the course of music between the centers of gravity formed in this process of dialectical exchange of energy. Of particular importance is the fact that the same principle Asaf’ev observes in monothematic works, such as variations. The increasing complexity of musical motion in pieces which are formally defined as character, free or fantasy variations is seen by Asaf’ev as ‘variations of a dynamic type with the symphonic development of the thematic material.’ Symphonism is, therefore, elevated to a more general level, and in the broadest sense, it represents not only a method of musical thinking, but also its philosophical category.


Milenković S., Marko (Srbija)

DVOGLASNA INVENCIJA U B-DURU JOHANA SEBASTIJANA BAHA – PRIPREMA ZA FUGU ILI UMETNIČKI ŽANR?Muzička supstanca Invencije u B-duru J. S. Baha u retoričkom krešendu širokih melodijskih lukova stvara jak emocionalni izraz koji uz princip monotematskog načina izgradnje forme i polifonog metoda rada snažno sugeriše barokni muzički identitet i stilski ambijent. Elokventna tema i razigrana barokna mašta tonskog izlaganja vode do dijalektike, dok estetska progresija i kinetika u skladu sa filozofijom baroka, i savršenstvo odnosa segmenata celine i njihovo sklapanje u čvrstu organsku celinu, donosi nesumnjivu estetsko-kvalitativnu vrednost dela kao umetničke forme, vodeći u individualnom stilu direktno do majstora barokne polifonije J.S. Baha. On je barokni formalni obrazac od svega dvadeset taktova, sa nesumnjivom nastavnom i didaktičkom vrednošću, vinuo u sferu umetnosti kroz svo bogatstvo kompozicionih postupaka, tretman muzičko-izražajnih komponenata, te kompaktnost i maksimalnu koncentraciju i snagu dejstva. Očigledno da je velikom kompozitoru bilo dovoljno dvadeset taktova da stvori dobro, logično muzičko delo koje ne traži dalji razvoj, a koje opet može biti osnova za nastanak dela većeg obima i koje bez obzira na svoj vrlo skroman obim i primarno nastavnu svrhu – formalno, sadržajno i kvalitativno, - reprezentativno stoji na putu ka neponovljivim vrhuncima Bahove umetnosti.


Milenković S., Marko (Serbia)

TWO-VOICE INVENTION IN B MAJOR BY JOHANN SEBASTIAN BACH PREPARATION FOR THE FUGUE OR AN ARTISTIC GENRE?The musical substance of invention in the rhetorical crescendo of broad melodic arches creates a strong emotional expression, which, along with the monothematic principle of creating forms and a polyphonic work method - stretto and sequence with a two-part model -, vigorously suggests a Baroque musical identity and stylistic environment, and an animated Baroque imagination of tone exposure which leads to dialectics, whereas aesthetic progression and kinetics in accordance with the philosophy of Baroque and the perfection of the relation between the segments and the whole, and their assembly in a strong organic whole, bring about an unquestionable aesthetic-qualitative value of a piece as an artistic form, leading, in individual style, directly to the master of baroque polyphony, J. S. Bach. He catapulted a formal model consisting of twenty bars, with unquestionable teaching and didactic value, in the sphere of art through all the wealth of compositional procedures, treatment of the musical and expressive components, compactness and maximal concentration and power of the effect. It is obvious that for this great composer only twenty bars were enough to create a good, logical piece of music which did not need to be developed further, and which could again serve as the basis for the formation of the piece with a greater scope and which, despite its modest scope and primarily teaching goal - formally, meaningfully and qualitatively/representatively found its place in the path towards the unique culmination of Bach’s arts.


Perunović Ražnatović, Ana (Crna Gora)

FORMALNA KONCEPCIJA POZNIH KVARTETA LUDWIGA VAN BEETHOVENAKompleksna ličnost i bogato stvaralaštvo Ludwiga van Beethovena predstavljaju izazov za analizu i pružaju širok spektar mogućnosti proučavanja. Njegov značaj povezan je sa činjenicom da je živio i stvarao skoro podjednako dugo u klasici i romantizmu. Izražavao je sebe koristeći muzička sredstva svog vremena, odnosno oba stilska pravca ali i onih koji su prethodili, na specifičan način. Sintetizovao je različita nastojanja, znanja i iskustva svojih prethodnika, unaprijeđujući ih i dajući im obilježja svoje individualnosti, pogotovo u poznom periodu.

Ovaj rad se bavi proučavanjem djela koja je čuveni kompozitor stvorio u poslednje tri godine života, odnosno ciklusa od šest gudačkih kvarteta koji u to vrijeme nastaju. Obilježeni su neospornom subjektivnošću, jer živeći skoro u izolaciji zbog nedostatka sluha, Beethoven se poslednjih godina okrenuo svojoj suštini i njenom izrazu kroz gudačke kvartete, što rezultira brojnim inovacijama na polju formalnih rješenja, polifone i harmonske koncepcije.

Analitička pažnja će biti fokusirana na specifičnosti koje se javljaju u vidu formalnih rješenja Beethovenovih poznih gudačkih kvarteta, u njegovom načinu kreiranja (preoblikovanja) sonatnog ciklusa i stavova u okviru njega, onih čiji je oblik specifičan upravo u Poznim kvartetima. Takođe, ovaj rad istražuje promjenu statusa pojedinih stavova sonatnog ciklusa, u odnosu na ustaljene norme.


Perunović Ražnatović, Ana (Montenegro)

FORMAL CONCEPTION OF THE BEETHOVEN’S LATE QUARTETSComplex personality and great compositions of Ludwig van Beethoven represent a challenge for analysis and offer many possibilities for research. His importance is related to the fact that he lived and worked nearly the same number of years in Classic and Romantic period. He expressed himself using the musical elements of his time, of both stylistic periods and those that preceded, but in a specific way. He synthesized the various efforts, knowledge and experiences of his predecessors, improving them and giving them characteristics of his individuality, especially in the last period of his life.

This work examines the compositions which the famous artist created during the last three years of his life, which is the cycle of six string quartets. They are marked with undeniable subjectivity, because almost living in isolation, due to his deafness, Beethoven in last years turned himself to his essence and its expression through string quartets. That resulted in numerous innovations in the field of formal solutions, polyphonic and harmonic conception.

Analytical attention will be focused on specificities that occur in the form of Beethoven’s late string quartets, his way of designing (re-shaping) cyclic form and some parts within it, of those whose form is characteristic exactly in The late quartets. Also, this work will research whether there is a change in the status of some parts within the cycle, compared to the established norms.


Stojanović Kutlača, Svetlana (Srbija)

OD MERSENA DO RAMOA: SOCIJALNA INOVACIJA U FRANCUSKOM DRUŠTVU 17. I 18 VEKA I TRANSFORMACIJA POJMA „HARMONIJE“Sledeći ideje antičkog doba, francuski barokni kompozitori isticali su važnost muzike u formiranju društvene zajednice. Može se uspostaviti paralela između Mersenovog pojma „univerzalne harmonije“, izloženog 1636. godine, sa platonističkim zamislima Luja XIV o formiranju Idealne države. Mersen utemeljuje francuski ukus u muzici, za njega je muzika „utelovljenje duha“, on prepoznaje „korisnost harmonije“ i razvija koncept „zadovoljstva“ u umetnosti. Kraj XVII veka odlikuje se preispitivanjem ustaljenih socijalnih ideja: filozofski stavovi Paskala, Fontenela, Peroa, Boaloa i Malbranša sukobiće se 1688 godine u tzv. „Dijalogu starih i modernih“. Posledica tog sukoba odraziće se na muzički ukus – prednost će dobiti moderan Italijanski stil (ukus). Ideju „ujedinjenja ukusa“ (francuskog i italijanskog) predlaže Fransoa Kupren početkom XVIII veka. Kupren fomira čembalističke „redove“, niz karakternih komada povezanih istom modalnom bojom. Olivija Bomon uvodi 1995. pretpostavku da se Kuprenova ideja formiranja muzičkih „redova“ može posmatrati kao paralela zamisli Luja XIV o formiranju nacionalnih francuskih redova u arhitekturi (nasuprot tradicionalnim: jonski, dorski...). Može se pretpostaviti takođe, da je Kupren od svog učitelja i zaštitnika Šarpantjea, poklonika italijanskog ukusa, usvojio ideju postojanja „energija modusa“ (različitih karaktera tonaliteta kao posledice nejednake barokne temperacije). Ideološka interpretacija „redova“, „energija modusa“ i simboličko tumačenje enigmatskih naslova Kuprenovih komada, vode ka razotkrivanju idejne celine Kuprenovog čembalističkog opusa (doktorski umetnički projekat S. S. Kutlača). Kuprenova „harmonija redova“ sledi društveni razvoj i podele, kao i razdvajanje različitih disciplina znanja i formiranje nauka u periodu prosvetiteljstva. Prirodne nauke dominiraju sredinom XVIII veka i Ramo, u skladu s tim trendom transformiše pojam harmonije u muzičku teoriju i predlaže dominaciju harmonije u muzici „jer je zasnovana na prirodnim zakonitostima“. Ruso se suprotstavlja Ramou i zahteva prevlast melodije nad harmonijom, oslanjajući se na nove humanističke ideje i relacije između individue i društva.


Stojanović Kutlača, Svetlana (Serbia)

FROM MERSENNE TO RAMEAU: SOCIAL INNOVATION AND TRANSFORMATION OF NOTION ‘HARMONY’ IN FRENCH XVII-XVIII CENTURY SOCIETYFrench baroque masters following antique ideas appreciate music’s important role in forming society. Mersenne’s notion ‘harmonie universelle’ disposed in year 1636 can be observed as parallel to Louis’s XIV platonic ideas of forming an ideal state. Mersenn establishes French musical style, for him music ‘incorporates spirit’, he recognizes ‘utilite de l’harmonie’ and develops the concept of ‘plaisir’. The end of XVII century is marked by questioning social relations: the philosophical ideas of Pascal, Fontenel, Perault, Boalo and Malbranche take part in ‘Dialogue des Ancients et Modernes’ in the year 1688. That dialogue reflects in the change of the musical taste- the modernity of Italian style being favored. François Couperin has proposed ‘unity of tastes’ (French and Italian) at the beginning of 18th century. In harpsichord solo music he is forming musical ‘orders’ as set of character pieces united by the same mode color. Olivier Baumont (1995) presumes that Couperin’s idea of forming musical orders is parallel to Luis’s XIV idea or forming national French architectural orders instead traditional (Ionic, Doric). It may be also supposed that Couperin has accepted idea of ‘energie des modes’ (different characters of tonalities as consequence of unequal baroque temperaments) from his teacher and mentor, Charpentier, who is devoted to Italian style. Ideological interpretation of ‘ordre’, ‘energie des modes’ and symbolic interpretation of Couperin’s pieces enigmatic titles leads to the discovery of his entire solo harpsichord opus regarded as unity (S. S. Kutlaca, Doctoral Art project). Couperin’s ‘harmony of orders’ is thus following development and separation of sciences and knowledge disciplines in the period of Enlightenments as well as the separations in society. Natural sciences are dominating in mid-18th century and Rameau, following their ideology transforms notion ‘harmony’ to musical theory, proposing domination of harmony in music ‘as nature has proved it’. Russeau opposes him asking for predomination melody over harmony, in accordance with new humanistic ideas and individual/social relations.

MUZIČKA PEDAGOGIJA / MUSIC PEDAGOGY


Akšamija-Tvrtković, Valida (Bosna i Hercegovina)

CJELOŽIVOTNO UČENJE KAO PROCES I OBAVEZA U MUZIČKOM ODGOJU I OBRAZOVANJU Cjeloživotno učenje postaje imperativ profesionalnog razvoja i svakodnevnice življenja razvijenih društava, kao i onih koji takvim teže postati. U tijesnoj vezi s utjecajem savremene tehnologije na „permanentno obrazovanje“ je osposobljavanje učenika/studenata za samoobrazovanje kao jednu od formi kroz koju se ostvaruje koncepcija, danas pod nazivom cjeloživotno učenje. Cjeloživotno učenje poznaje tri oblika obrazovanja koja se međusobno nadopunjavaju i to: formalno obrazovanje (formal education), neformalno obrazovanje (nonformal education) i informalno obrazovanje (informal education).

Cilj je ovoga rada ukazati na potrebu i obavezu da se muzičko odgojno-obrazovne ustanove snažnije uključe u proces cjeloživotnog učenja. Muzički odgoj i obrazovanje nije jednokratno učenje i konačan rezultat uspjeha, nego trajna potreba za razvijanjem angažiranosti za cjeloživotnim učenjem u oblasti muzike počev od predškolske do treće životne dobi čije muzičko obrazovanje treba nastaviti. Učenje na daljinu (e-learning, online learning...), gdje se znanje usvaja uz podršku informacijske i komunikacijske tehnologije (različite web aplikacije namijenjene za učenje i upravljanje nastavom sa daljine poput Moodle-a, i sl.) u ovom trenutku predstavlja vrhunac čije bi uvođenje u nastavu muzike imalo značajnu ulogu kako bi se mladi muzičari mogli pripremiti za izazove koji ih čekaju u budućnosti.

107MUZIČKA PEDAGOGIJA / MUSIC PEDAGOGY

Akšamija-Tvrtković, Valida (Bosnia and Herzegovina)

LIFELONG LEARNING AS A PROCESS AND LIABILITIES IN MUSICAL NURTURE AND EDUCATIONLifelong learning has become imperative for professional advancement and everyday life in developed societies as well as those striving to develop. In close connection with the impact of modern technology on the ‘Continuing Education’ is to enable pupils/students for self-education as one of the forms through which it realizes the concept, now called lifelong learning. Lifelong learning recognizes three complementary forms of education: formal, non-formal and informal education.

The aim of this study is to indicate the necessity and the obligation to musical-educational institution to strongly get involved in the process of lifelong learning. Music education is not a one-time learning and a final result of success, but rather a continuing need to develop a commitment to a lifelong learning in the field of music, starting from pre-school to senior whose musical education should continue. Distance learning (e-learning, online learning..), where knowledge is adopted with the support of information and communication technologies (different web applications designed for teaching and classroom management from a distance such as Moodle, etc.) at this moment represents the pinnacle of whose introduction in teaching of music would have a significant role to help young musicians to prepare for the challenges awaiting them in the future.


Bećirović-Karabegović, Jasmina (Bosna i Hercegovina)

ZASTUPLJENOST I ZNAČAJ MUZIČKIH AKTIVNOSTI U INTEGRIRANOM POUČAVANJU DJECE PREDŠKOLSKOG UZRASTASavremena teorijska saznanja, kao i brojna akciona istraživanja u odgojno-obrazovnoj praksi, neosporno su dokazala da integrirano poučavanje čini dječiji boravak u vrtiću smislenijim, njihov razvoj cjelovitijim, a učenje zabavnijim. Pri tom se prednosti ovakvog poučavanja ne očituju samo u holističkom pristupu razvoju djece i individualizaciji, nego i kroz usmjerenost na dječiju aktivnost u procesu saznanja, te podržavanje životnosti i smislenosti onog što dijete uči. Integrirano poučavanje (planiranje) zasniva se na ideji objedinjavanja različitih sadržaja oko jedne teme, ideje ili koncepta, sagledavanje sadržaja stvarnosti sa različitih aspekata i preko njih djelovanje na sva područja dječijeg razvoja. Uzimajući u obzir činjenicu da je muzika važan pokretač dječijih aktivnosti i emocionalna podloga za cjelokupni odgojno-obrazovni rad, zastupljenost raznovrsnih muzičkih aktivnosti pri planiranju predškolskog kurikuluma je neophodna. U ovom radu prikazano je istraživanje koje je provedeno u predškolskim ustanovama Kantona Sarajevo s ciljem utvrđivanja da li se integrirano poučavanje temelji na razvojno primjerenom kurikulumu. Posebno analiziran dio odnosi se na ispitivanje načina kako odgajatelji planiraju razvojne zadatke i aktivnosti, te da li ono potiče holistički razvoj (s naglaskom na razvoj stvaralaštva). Prema dobivenim rezultatima istraživanja, evidentan je primat „kognitivnih“ zadataka i aktivnosti, dok su ostala područja razvoja uglavnom ravnomjerno raspoređena. Izrazito pozitivan rezultat istraživanja jeste veliki broj zadataka i aktivnosti iz područja razvoja dječijeg stvaralaštva, a posebno „prevlast“ muzičkih aktivnosti u odnosu na druge aspekte stvaralaštva (likovno, dramsko i stvaralaštvo pokreta). Najčešće se planiraju zadaci i aktivnosti vezani za pjevanje, potom za razvoj ritma, za slušanje muzike, razvoj sluha, dok je najmanje planiranih zadataka iz područja sviranja. Dobiveni rezultati ukazuju da su odgajatelji svjesni činjenice da muzičke aktivnosti nose sa sobom umjetnički duh prožet emotivnom angažiranošću koja potiče formiranje stvaralačkog mišljenja i razvoj kreativne ličnosti djece predškolskog uzrasta.


Bećirović-Karabegović, Jasmina (Bosnia and Herzegovina)

THE REPRESENTATION AND IMPORTANCE OF MUSIC ACTIVITIES IN THE INTEGRATED TEACHING OF PRESCHOOL CHILDRENContemporary theoretical knowledge, as well as a number of action research studies in the educational practice, indisputably proved that the integrated teaching makes children’s stay in the kindergarten more meaningful, their development more coherent and their learning more fun. At the same time, the advantages of this kind of teaching are not only reflected in the holistic approach to child development and individualization, but also through a focus on children’s activities in the process of learning, and supporting the vitality and meaningfulness of what the child learns. The integrated teaching (planning) is based on the idea of integrating different contents around a theme, an idea or a concept, the perception of the reality content from different aspects and, through their action, affecting all areas of child development. Taking into account the fact that music is an important driving force of children’s activities and the emotional foundation of the entire educational work, the representation of various music activities in the preschool curriculum planning is essential. This paper presents a study conducted in preschool institutions of Sarajevo Canton, aiming to determine whether the integrated teaching is based on the developmentally appropriate curriculum. The specifically analysed part refers to testing the way in which educators plan the developmental tasks and activities and whether it promotes the holistic development (with an emphasis on the development of creativity). According to the research results, there is an evident primacy of ‘cognitive’ tasks and activities, while other areas of development are generally evenly distributed. The extremely positive result of the research is a large numbers of tasks and activities in the field of children’s creative development, in particular the “supremacy” of music activities in relation to the other aspects of creativity (art, drama and creative movement). The most commonly planned tasks and activities are related to singing, then to the rhythm development, listening to music, hearing development, whereas the least planned tasks are in the field of playing an instrument. The obtained results suggest that educators are aware of the fact that music activities carry with them the artistic spirit permeated with the emotional engagement that encourages the formation of creative thinking and creative personality development of preschool children.


Čaušević, Merima / Zećo, Mirsada (Bosna i Hercegovina)

MUZIČKA RADIONICA U FUNKCIJI ESTETSKOG ODGOJASavremena psihološko-pedagoška istraživanja ukazuju na svakodnevnu potrebu čovjeka za estetskim sadržajima kako bi svoj život učinio kvalitetnijim i ugodnijim. Redovnim provođenjem raznih estetskih aktivnosti uspostavlja se ravnoteža između racionalne, emocionalne, stvaralačke komponente ljudskog bića. Estetski odgoj, kao posebno važna komponenta razvoja ličnosti, treba da bude sastavni dio odgoja svakog čovjeka od najranijeg perioda bivstvovanja, kako u obitelji tako i institucionalno.

Poseban značaj za odgoj i obrazovanje svakako ima škola. Cilj opšteg muzičkog obrazovanja može se predočiti i kao potreba za odgojem i obrazovanjem ljubitelja i poznavaoca muzičke umjetnosti, odnosno formiranjem kvalitetnog muzičkog ukusa kod mladih. Osim kroz redovnu nastavu u oblasti muzičke kulture učenici mlađeg školskog uzrasta svoju potrebu za estetskim sadržajima i jednako za izražavanjem, realizacijom te strane svoje ličnosti iskazuju i kroz učešće u vannastavim aktivnostima poput muzičke radionice.

Predstojeći rad obuhvata teorijski pristup značaju i ulozi muzičke radionice za estetski odgoj učenika mlađe školske dobi, te opis praktične realizacije tzv. muzičke igraonice koju dugi niz godina provodi učiteljica razredne nastave sa učenicima uzrasta od šest do deset godina. Interdisciplinarni pristup učiteljice u kvalitetno organiziranoj realizaciji muzičkih sadržaja kroz muzičku radionicu (izvođenje brojalica te pjesama na bosanskom i engleskom jeziku, primjena pojedinih instrumenata iz dječijeg/Orffovog instrumentarija, izrada improvizovanih dječijih instrumenata i slično) svakako potvrđuje elementarne didaktičke i metodičke postulate i u opšteobrazovnoj nastavi muzike.


Čaušević, Merima / Zećo, Mirsada (Bosnia and Herzegovina)

MUSIC WORKSHOP IN THE FUNCTION OF ESTHETICAL UPBRINGINGModern psychological and pedagogical studies emphasize the need of man for esthetical contents on a daily basis which make his life more comfortable. By regularly practicing esthetical contents human beings achieve balance between their rational, emotional and creative components. Esthetical upbringing, as a fundamental component in the development of a personality, should be part of a man’s upbringing from the very early age – both in the family and (educational) institutions.

Schools play a special role in education and upbringing. The goal of music education can be interpreted as a need to educate music lovers but also to help form a good taste in music in youth. Music workshop is a perfect example of extracurricular activity which helps students to fulfil their need for aesthetic contents and to express themselves.

My present study encompasses the theoretical approach on the importance and role of a music workshop for aesthetic upbringing of elementary school students and describes ways of practical realization, the so-called music playrooms organized by a teacher for children, 6-10 years old. Interdisciplinary approach of the teacher in this highly qualitatively organized music workshop (counting songs for children and other children songs in English and Bosnian and playing instruments, Orff’s instruments, making improvised instruments for children) confirms elementary didactic and methodical postulates in general musical education.


Dobrota, Snježana (Hrvatska)

TEORIJSKI MODELI GLAZBENIH PREFERENCIJA: GLAZBENO-PEDAGOŠKE IMPLIKACIJE U radu se problematizira pitanje glazbenih preferencija kao izuzetno složenog fenomena na čije formiranje utječe čitav niz različitih faktora. Prikazana su dva najpoznatija teorijska modela glazbenih preferencija koji integriraju i sistematiziraju nalaze o utjecaju različitih faktora na glazbene preferencije. To su LeBlancova (1982) Interaktivna teorija glazbenih preferencija koja kombinira faktore koji utječu na glazbene preferencije i koji se nalaze u interakciji na različitim nivoima, te Recipročni model glazbenog odgovora (Hargreaves, Miell, MacDonald, 2005) koji opisuje skupinu odgovora na glazbu koji su u interakciji s glazbom, slušateljem i kontekstom slušanja. Polazeći od navedenih modela, prikazane su sljedeće skupine faktora koji utječu na formiranje glazbenih preferencija: glazbene karakteristike, individualne značajke slušatelja, kontekst i upotreba glazbe. Autorica ukazuje na implikacije spoznaja o glazbenim preferencijama za koncipiranje kvalitetne i djeci zanimljive glazbene nastave.


Dobrota, Snježana (Croatia)

THEORETICAL MODELS OF MUSICAL PREFERENCE: IMPLICATIONS FOR MUSIC PEDAGOGYThis article discusses the issue of musical preferences as an extremely complex phenomenon in which the formation is affected by a number of different factors. Two best-known theoretical models of musical preference that integrate and systematize findings on the impact of various factors on musical preferences are presented. These are LeBlanc’s (1982) Interactive theory of music preference that combines factors affecting musical preferences and which are interacting at different levels, and Reciprocal response model (Hargreaves, Miell, MacDonald, 2005), which describes a group of responses to music that interact with music, the listener and the listening context. Starting from the aforementioned models, the following factors that influence the development of musical preferences are emphasized: musical characteristics, characteristics of listener, the context and the use of music. The author points out the implications of knowledge about the musical preferences for the organization of quality and interesting music classes for children.


Gojmerac, Ivana (Bosna i Hercegovina)

MUZIKA I POKRET U ŽIVOTU OSOBA SA POSEBNIM POTREBAMAVeoma često u nastavnim programima, školskim programima i programima kulturnih institucija Bosne i Hercegovine, susrećemo stavku inkluzije osoba sa posebnim potrebama. Međutim, stvarnost je drugačija. U bosanskohercegovačkoj javnosti se malo priča o socijalnoj inkluziji osoba sa posebnim potrebama, posebno kada je riječ o kulturno-umjetničkim projektima. Ipak, postoji nekolicina organizacija koje ulažu velike napore kako bi sve osobe, bez obzira na njihove nedostatke, aktivno uključili u kulturno-umjetnički život naše zajednice i pomogli im da ostvare svoje pravo na umjetnost. Jedna od takvih organizacija je i organizacija Tanzelarija, koja od 2006. godine kreira i organizuje inkluzivne umjetničke projekte u Bosni i Hercegovini, ali i surađuje sa brojnim organizacijama u regionu i šire. Ipak, dva muzičko-scenska projekta iz 2013. godine se izdvajaju. Oba projekta su pored savremenih igrača uključivala osobe sa posebnim potrebama (slijepe osobe, osobe sa slušnim problemima i osobe u kolicima), a zasnovani su na savremenom pokretu kao načinu izražaja emotivnog stanja učesnika prouzrokovanog različitim vrstama muzike. Oba projekta su predstavljena javnosti kroz javne prezentacije, kao i kroz mnoge medije.


Gojmerac, Ivana (Bosnia and Herzegovina)

MUSIC AND MOVEMENT IN LIFE OF PERSONS WITH SPECIAL NEEDSIn teacher programs, school curricula and programs of cultural institutions of Bosnia and Herzegovina we can find an item the inclusion of persons with special needs. However, the reality is different. In Bosnia and Herzegovina’s publicity, people don’t talk much about social inclusion of people with special needs, especially when it comes to cultural and artistic projects. However, there are few organizations making great efforts to ensure that every person actively participates in cultural and artistic life of our community and help them to realize their freedom of artistic expression. Such organization is Tanzelaria. From 2006, Tanzelaria is creating and organizing inclusive art projects in Bosnia and Herzegovina, but also collaborates with a number of organizations in the region and beyond. Two music and dance projects from 2013 are very important. Both projects are including contemporary dancers and people with special needs (blind people, people with hearing problems and persons in a wheelchair) and it was based on the contemporary movement as a mode of emotional expression caused by the different types of music. Both projects are presented through public presentations, as well as through many media.


Hodžić, Refik (Bosna i Hercegovina)

MUZIČKO ŠKOLSTVO U SJEVEROZAPADNOJ BOSNI ZA VRIJEME AUSTRO-UGARSKE UPRAVE Prije uspostavljanja Austro-Ugarske uprave neki organiziraniji oblici muzičkog života u Bosni i Hercegovini nisu postojali. Muzika se sporadično učila u konfesionalnim školama, a bila je prisutna i u duhovnim obredima pri manastirima i crkvama. Znajući koliki uticaj imaju obrazovanje i kultura, Austro-Ugarske vlasti su se prvo usmjerile na reformu školskog sistema. Da bi izbjegli nacionalnu podvojenost, osnivaju četverogodišnje državne osnovne škole, kako bi ih mogla pohađati sva djeca, bez obzira na vjeroispovijest. U njima je predmet pjevanje bio zastupljen kroz sva četiri razreda, dva puta po pola sata sedmično. Većinom su se pjevale narodne i duhovne pjesme s ciljem da se utiče na razvoj sluha i glasa te na buđenje estetskih, patriotskih i religioznih osjećanja. Problem je predstavljao nedostatak stručnog nastavnog kadra, tako da u prvo vrijeme rade austrijski podoficiri, ili učitelji konfesionalnih škola skloni režimu. Gimnazije, dva najveća centra Sjeverozapadne Bosne, banjalučka Realna (1895), i bihaćka Niža gimnazija (1911) imale su značajnu ulogu u muzičkom životu svojih sredina. Obje su imale dobre horove i tamburaške orkestre. Banjalučki gimnazijalci su osnovali i uspješan gudački orkestar pa su pored internih priredbi priređivali i koncerte za građanstvo.


Hodžić, Refik (Bosnia and Herzegovina)

MUSICAL SCHOOL SYSTEM IN NORTHWESTERN BOSNIA DURING THE PERIOD OF AUSTRO-HUNGARIAN RULEBefore the establishment of the Austro-Hungarian rule, some organized forms of musical life in Bosnia and Herzegovina did not exist. Music was sporadically taught in denominational schools and was present in spiritual ceremonies in churches and monasteries. Because they knew how much influence education and culture have, the Austrian authorities have first focused on the reform of the school system. To avoid national division, they founded four years long primary schools that could be attended by all children, regardless of religion. In those, the subject ‘Singing’ was represented in all four classes, twice a week for half an hour. Mostly, folk and spiritual songs were sung in order to increase the development of hearing and voice and wake-up aesthetic, patriotic and religious feelings. The problem was lack of teachers, so that first of them were an Austrian non-commissioned officers, or teacher in confessional schools who were leaning towards the regime. Gymnasiums of two largest centers of Northwest Bosnia, Banja Luka’s Real Gymnasium (1895), and Bihac’s Lower gymnasium (1911) had a significant role in the musical life of their communities. They both had good choirs and tambura orchestras. Pupils from the Banja Lukas Gymnasium have founded a successful string orchestra that except internal events, gave receptions and concerts for the public.


Kazić, Senad (Bosna i Hercegovina)

UTJECAJ METODIČARA NJEMAČKOG GOVORNOG PODRUČJA POČETKOM 20. STOLJEĆA NA RAZVOJ MUZIČKE TEORIJE I PEDAGOGIJE U BOSNI I HERCEGOVINI (I ŠIRE)Između Berlinskog kongresa i Prvog svjetskog rata veći dio zemalja Zapadnog Balkana koje će tokom 20. stoljeća sačinjavati zajedničku državu bio je u sastavu Austro-Ugarske monarhije. Ako uzmemo u obzir da iz tog perioda (1878-1914) u Bosni i Hercegovini postoje tragovi o nekoj vrsti organiziranog muzičkog školstva logično je da su prvi učitelji dolazili s tog područja. Ono što je još važnije je da su prvi “domaći” učitelji išli na školovanje u velike centre poput Beča, Budimpešte, Praga i dr. Autor rada smatra da su upravo ovi kontakti značajno utjecali na razvoj muzičke teorije i pedagogije u Bosni i Hercegovini, čak i poslije 1945. godine. U ograničenom prostoru autor rada će prikazati najznačajnija imena muzičke teorije i pedagogije njemačkog govornog područja početkom 20. stoljeća, čije su ideje, stavovi, postupci i metode prihvaćeni kao osnovna načela u muzičkoj teoriji i pedagogiji u Bosni i Hercegovini.


Kazić, Senad (Bosnia and Herzegovina)

THE INFLUENCE OF METHODISTS OF GERMAN ORIGINS ON THE DEVELOPMENT OF MUSIC THEORY AND PEDAGOGY IN BOSNIA AND HERZEGOVINA (AND WIDER) AT THE BEGINNING OF 20TH CENTURYBetween the Berlin Congress and World War I, the Western Balkan countries, which afterwards constituted common former state of Yugoslavia during 20th Century, were part of the Austro-Hungarian Empire. Based on the fact that there is evidence about organized music education during that period (1878-1914) in Bosnia and Herzegovina, it is logical to conclude that the first teachers came from Austro-Hungarian countries. More importantly, the first “local” teachers went to study in the big centres such as Vienna, Budapest, and Prague. This paper argues about these exchanges which significantly influenced the development of music theory and pedagogy in Bosnia and Herzegovina, including post-1945 era. Within the limited scope, the most important names in music theory and pedagogy of German origins will be presented, whose ideas, attitudes, practices and methods were accepted as basic principles in the music theory and pedagogy of Bosnia and Herzegovina.


Krnić, Marijo (Hrvatska)

PEDAGOŠKE KOMPETENCIJE U VISOKOŠKOLSKIM KURIKULIMA ZA NASTAVNIKE PJEVANJA U KOMPARATIVNOJ PERSPEKTIVIDruštvene promjene uzrokovane suvremenim globalizacijskim procesima reflektirale su se na sustav visokog obrazovanja. Reforme sustava događaju se s ciljem stvaranja i implementiranja kurikula temeljenih na kompetencijama i konstruktivističkom pristupu. Sukladno novoj nastavničkoj ulozi u sustavu obrazovanja temeljenom na kompetencijama, (re)definirane su ključne nastavničke kompetencije. U radu su analizirani kurikuli dodiplomskog studija pjevanja prije reforme visokog obrazovanja te preddiplomskog, diplomskog i integriranog studija pjevanja nakon Bolonjske reforme na Umjetničkoj akademiji Sveučilišta u Splitu i Muzičkoj akademiji Sveučilišta u Zagrebu. Rezultati analize ukazuju na razlike u definiranju ishoda učenja i načina stjecanja pedagoških kompetencija u kurikulima za (solo) pjevanje prije i nakon reforme visokog obrazovanja u Hrvatskoj. Rezultati također ukazuju na razliku u studentskom opterećenju pedagoškim kolegijima prije i nakon uvođenja Bolonjskog sustava. Budući da je cilj Bolonjskog procesa stvaranje usporedivog, kompatibilnog i koherentnog sustava europskog prostora visokog obrazovanja, u radu također ukazujemo na razlike u suvremenoj pedagoškoj naobrazbi nastavnika pjevanja na te dvije visokoškolske ustanove. Rezultati analize nisu pokazali očekivani značajan napredak u suvremenim kurikulima u razumijevanju važnosti stjecanja pedagoških kompetencija nastavnika pjevanja.


Krnić, Marijo (Croatia)

PEDAGOGICAL COMPETENCES IN HIGHER EDUCATION CURRICULUMS OF VOCAL TEACHERS IN COMPARATIVE PERSPECTIVEChanges in society caused by globalization processes were reflected in the higher education system. Reforms of system are taking place with the aim of creating and implementing curricula based on the competency and constructivist approach. According to the new teacher’s role within the education system based on competencies, the key competencies for teachers are (re)defined. This paper analyses the curriculums of undergraduate vocal studies before the reform of higher education and curricula of undergraduate, graduate and integrated vocal studies after Bologna reform at the Arts Academy in Split and the Music Academy in Zagreb. Paper shows the differences in defining learning outcomes and methods for acquiring pedagogical competences in vocal studies curriculums before and after the reform of higher education in Croatia. Paper also shows difference in student workload with pedagogical courses before and after the introduction of the Bologna system. Since the Bologna Process aims at creating comparable, compatible and coherent systems of higher education within the European area, the discussion also reflects differences in contemporary pedagogical education of voice teachers on these two higher education institutions. The analysis results did not show expected significant improvement in the contemporary curricula in understanding the importance of acquiring pedagogical competences of voice teachers.


Marković, Vedrana (Crna Gora)

PRIMJERI IZ CRNOGORSKE MUZIČKE BAŠTINE KAO INSTRUKTIVNI PRIMJERI U NASTAVI SOLFEĐAU okviru projekta Identitetski elementi u crnogorskoj muzici kao osnova za razvoj multikulturalnosti i interkulturalnosti, koji je podržan od strane Ministarstva nauke i Ministarstva kulture Crne Gore, bavimo se analizom trenutnog stanja u muzičkoj pedagogiji u Crnoj Gori, sa posebnim osvrtom na nastavu solfeđa u osnovnim i srednjim muzičkim školama. Posebno nas zanima tretman narodnog muzičkog stvaralaštva u nastavi solfeđa na osnovnom i srednjem nivou muzičkog školovanja. Zaključili smo da se u nastavnom procesu vrlo malo ili gotovo uopšte ne koriste primjeri iz crnogorske muzičke baštine. Može se uočiti da nastavnici solfeđa nisu svjesni značaja koji maternji muzički jezik ima u procesu muzičkog opismenjavanja učenika. U radu ćemo pokušati da odgovorimo na pitanje zašto se u muzičkim školama više ne potencira upoznavanje muzičkog folklora naroda koji žive na teritoriji Crne Gore i upotreba primjera iz muzičke baštine kao instruktivnih primjera za savladavanje problema kojima se bavi nastava solfeđa. Takođe ćemo ukazati na neophodnost upotrebe maternjeg muzičkog jezika u crnogorskim muzičkim školama, posebno u početnoj nastavi solfeđa, i objasniti zašto se zalažemo da narodni muzički izraz pronađe adekvatno mjesto u nastavnim programima. Prikazaćemo narodne pjesme iz raznih krajeva Crne Gore koje mogu biti materijal pogodan za obradu određenih melodijskih ili ritmičkih pojava na različitim stupnjevima muzičkog obrazovanja.


Marković, Vedrana (Montenegro)

EXAMPLES OF MONTENEGRIN MUSICAL HERITAGE AS INSTRUCTIVE EXAMPLES IN TEACHING SOLFEGGIOWithin the project Identity elements in Montenegrin music as a basis for development of multiculturalism and interculturalism, which is supported by Ministry of Science and Ministry of Culture, we will analyse the current state of music pedagogy in Montenegro, with a special emphasis on teaching solfeggio at primary and secondary level of music education. We conclude that examples of Montenegrin music heritage in teaching are very little or not at all used. It is worth mentioning that solfeggio teachers are not aware of the importance of the native language of music in the process of students’ musical literacy. Through our work, we will try to answer the question - why don’t music schools potentiate learning musical folklore of the people who live in Montenegro?, as well as using examples from the musical heritage as instructive examples in order to overcome the problems dealt with teaching solfeggio. We will also point out to the necessity of using native language of music in Montenegrin music schools, especially in the initial solfeggio teaching, and we will explain why we advocate for an adequate place of folk musical expression in the curriculum. We will present folk songs from different regions of Montenegro which may be a suitable material for the treatment of certain melodic or rhythmic phenomena at different levels of music education.


Martinović-Bogojević, Jelena (Crna Gora)

METODSKI POSTUPCI U IZRADI UDŽBENIKA ZA POČETNU NASTAVU KLAVIRASavremena klavirska pedagogija počiva kako na tradicionalnim osnovama, utemeljenim na francuskoj, njemačkoj i ruskoj školi, tako i na savremenim tendencijama koje se okreću potrebi djeteta današnjice, njegovoj inventivnosti i aspiracijama. Oslanjajući se na brojne metodske postupke, koji su našli svoju primjenu u pedagoškoj praksi, autorke Jelena Martinović Bogojević i Nina Perović kreirale su sadržaje za metodu koja bi se primjenjivala u crnogorskim muzičkim školama. Korelacija sa nastavom solfeđa, koja nerijetko izostaje kako u programima tako i u samim sadržajima, oslanja se na primjenu funkcionalne metode M. Vasiljević, gdje pjesme-modeli pripadaju crnogorskom muzičkom folkloru. Aplikativnost etnomuzikoloških sadržaja tako je, kroz sviranje pjesama po sluhu u periodu prije muzičkog opismenjavanja, kroz evaluaciju napravljenu među učenicima, pokazala svoju efikasnost u razvijanju sluha i muzičke memorije. Po ugledu na Mikrokosmos Bele Bartoka, elementi folklora su inkorporirani u vježbe kako za sviranje u četiri ruke, tako i za savladavanje različitih oblika artikulacije. Vježbe programskog sadržaja predstavljaju poseban dio, osmišljen za sviranje po crnim dirkama uz klavirsku pratnju nastavnika. Potreba za inovacijama u nastavi klavira za početnike pojavila se shodno izmjenama u sistemu opšteg muzičkog obrazovanja, čija je reforma u toku. U radu će biti predstavljene karakteristike nastavnog programa za početnu godinu učenja klavira (drugi razred osnovne muzičke škole) i sadržaji metode koja je prilagođena pomenutim izmjenama, ali i savremenim tendencijama u klavirskoj pedagogiji.


Martinović-Bogojević, Jelena (Montenegro)

METHODOLOGICAL APPROACHES IN WRITING EXERCISES FOR BASIC PIANO TEACHINGModern piano pedagogy is based on traditional grounds, on French, German and Russian schools, and the contemporary trends that are turning to the child’s needs of today, his/her inventiveness and aspirations. Relying on a number of methodological procedures that find their application in educational practice, the authors Jelena Martinovic Bogojevic and Nina Perovic have created contents for a method that would be used in Montenegrin music schools. Correlation with teaching solfeggio, which is not often present in both programs and content itself, relies on the application of functional methods of M. Vasiljevic, where song-models are folk songs from the musical folklore of Montenegro. Applicability of ethno-musicological content has in this way, by playing songs by ear in the period prior to musical literacy and through evaluation made among students, shown its efficiency in the development of hearing and musical memory. Following the example of Bela Bartok’s Mikrokosmos, folklore elements are incorporated into the exercises for four-hand piano as well as mastering of various forms of articulation. Program content’s exercises are a special part designed for playing black piano keys with teacher’s piano accompaniment. The need for innovation in teaching piano for beginners has appeared according to the changes in the system of general music education, whose reform is in progress. The characteristics of the curriculum for the initial year of learning piano (second grade of elementary music school) and the contents of a method that is adapted to the above changes, as well as contemporary trends in the methodology of teaching piano will be presented in this study.


Radica, Davorka / Valjalo Kaporelo, Jelica (Hrvatska)

KORALI J. S. BACHA KAO SMJERNICE GRADNJE HORIZONTALNOG I VERTIKALNOG GLAZBENOG MIŠLJENJA U NASTAVI HARMONIJETradicionalna nastava harmonije posjeduje određenu logiku učenja ili sistematizaciju gradiva koja je, s jedne strane, povijesno uvjetovana, a s druge strane određena didaktičko-metodičkim principima koji su proizašli iz dugogodišnje prakse podučavanja harmonije u nastavi teorijskih glazbenih predmeta. U tom smislu se može govoriti, ne samo o usvajanju temeljnih glazbenih pojmova vezanih za zakonitosti funkcionalne tonalitetne harmonije, već i o daleko složenijoj kategoriji izgradnje glazbenog mišljenja kod učenika i studenata. Ono se, dakako, odnosi na cjelokupnu povijest evolucije glazbenog materijala, od postanka višeglasja, međutim, sustavan pristup sadržaju ovog predmeta zahtijeva apstrahiranje najuzornijih glazbenih primjera iz umjetničke glazbe koji, prema tome, moraju ispunjavati i „didaktičke“ uvjete tj. mogućnost njihove prilagodbe različitim uzrastima učenika ili različitim razinama poznavanja glazbenog jezika.

Kako pokazuju brojni udžbenici i priručnici za nastavu harmonije, korali J. S. Bacha, već tradicionalno predstavljaju jedan od najvažnijih uzora za teorijsko i praktično učenje harmonije. U radu će se pojedini Bachovi korali analizirati u smislu njihove povezanosti sa sistematizacijom i gradacijom harmonijskog gradiva teorijske i praktične nastave harmonije te harmonije na glasoviru, uzimajući u obzir glavne tematske cjeline kao što su dijatonika, kromatika, modulacije, neakordni tonovi. S obzirom na harmonijsku polifoniju kao glavno obilježje Bachovih korala, u istoj će se sistematizaciji voditi računa o temeljnim pretpostavkama gradnje horizontalnog i vertikalnog glazbenog mišljenja učenika i studenata, odnosno stvaranju svijesti o glavnim odrednicama glazbene dinamike.

Cilj rada je i potencijalan doprinos „deformaliziranju“ ukupne nastave teorijskih predmeta i pretpostavljanje umjetničke glazbe kao cilja i izvorišta učenja.


Radica, Davorka / Valjalo Kaporelo, Jelica (Croatia)

J. S. BACH’S CHORALES AS A CONSTRUCTION GUIDELINES OF THE HORIZONTAL AND VERTICAL THINKING IN HARMONY LESSONSThe traditional teaching harmony in music has a certain logic of learning or systematization of the material that is, on the one hand, historically conditioned, while, on the other, determined by didactic-methodical principles that are the result of many years of teaching harmony in practice within theoretical musical disciplines. In this sense one can speak not only on learning of basic musical terms related to the functional principles of harmony in tonality, but also about more complex category of building of students’ musical thinking. It refers, of course, to the entire history of the evolution of music material, from the beginning of polyphony, however, a systematic approach to the content of this subject requires abstraction of the exemplary musical examples from the art music, which consequently must comply with the didactic requirements, i.e. the possibility of their adaptation to different age groups of students or different levels of knowledge.

As we may observe in the large number of textbooks and manuals for teaching harmony, J. S. Bach’s Chorales traditionally represent one of the most important models for theoretical and practical study of harmony. In this paper, some Bach’s Chorales will be analysed in terms of their relationship with the systematization and gradation of teaching material in theoretical and practical harmony and harmony on the piano. In doing so, special emphasis will be given to main topics such as diatonic, chromatic, modulation, and non-harmonic tones. Considering the harmonic polyphony as the main characteristic of Bach’s Chorales, in the same systematization we shall take into account the underlying assumptions of building horizontal and vertical musical thinking in teaching students, or creating awareness of the major determinants of musical dynamics.

The aim of this paper is the potential contribution to ‘non formalising’ of the entire teaching of theoretical disciplines and positioning of art music as a focus and sources of learning.


Raljević Jandrić, Sanja (Bosna i Hercegovina)

ULOGA MUZIČKE TRADICIJE ZA UKLJUČIVANJE U DRUŠTVO ROMSKE POPULACIJERomska populacija u Bosni i Hercegovini je kontinuirano na društvenoj margini zbog toga što najvažnija pitanja za društveno uključivanje Roma, kao što su zdravstvena zaštita i obrazovanje, veoma sporo ulaze u cjelinu društvenog sistema. Status Roma u velikoj mjeri zavisi od društvenih predrasuda na koje utiču materijalni položaj Roma i način na koji Romi „obezbjeđuju“ novac (prošenje po ulicama, u većini primjera). Međutim, promoviranjem vrijednosti romske kulture, prvenstveno romske muzičke prakse i tradicije, moglo bi promijeniti društvenu sliku o Romima i doprinijeti njihovom društvenom uključivanju. Početna istraživanja na ovu temu u glavnom gradu Bosne i Hercegovine ukazuju na činjenicu da cca 50% Roma koji prose na ulicama, pripada populaciji djece. Zato bi pokušaje poboljšanja društvenog uključivanja Roma promoviranjem romske muzičke prakse i tradicije trebalo započeti upravo sa romskom djecom.

Poznata je činjenica da su Romi veoma talantirani muzičari. U tom smislu evidentirani su neznatni, ali vrlo značajni recentni napori, prema mojim saznanjima, koji se ulažu u muzičko obrazovanje romske djece i omladine u Sarajevu. Centar za djecu koja rade na ulici i nedavno osnovana Fondacija „Gorica“ za muzičko obrazovanje Roma, ulažu napore u pravcu uspostavljanja muzičkog obrazovanja za najmlađu romsku populaciju. Centar za djecu koja rade na ulici nastoji da pruži muzičko obrazovanje djeci i omladini koja posjećuju Centar, držeći ih dalje od ulice. Fondacija „Gorica“ nastoji da motivira romsku djecu i mlade da pohađaju državne muzičke škole i dodjeljuje im stipendije.

Budući da je stopa upisa romske djece u osnovne škole veoma niska, bilo kakav napor u pravcu muzičkog obrazovanja te djece stvoriće interesovanje za kreativnost i učenje, što je primjereno njihovom uzrastu. Uz to, muzičko obrazovanje romske djece je način da se oni upoznaju sa romskom muzičkom praksom i tradicijom. Povećanje interesa za vlastitu muziku, a samim tim i kulturu, omogućiće povećanje samopoštovanja, samouvjerenja i smanjanje traumatskog iskustva koje imaju u djetinjstvu, što će se preko djece odraziti i na njihove roditelje. Samim tom, podstaknuće se promjene percepcije Romske manjine od strane cjelokupnog društva, što će rezultirati povećanjem svijesti o potrebi promptnog djelovanja u smislu poboljšanja socijalne skrbi za romsku populaciju i poboljšanja njihovog društvenog statusa.


Raljević Jandrić, Sanja (Bosnia and Herzegovina)

THE ROLE OF MUSIC IN THE SOCIAL INCLUSION OF ROMA POPULATIONRoma population in Bosnia and Herzegovina is continuously at the margins of the society because the key issues for the Roma social inclusion, such as health protection and education are being incorporated very slowly in the system as a whole. The status of Roma is to the great extant dependent on the social prejudices, formed by low material status of Roma and the way they are ‘earning’ money (begging mostly). However, the promotion of the values of the Roma culture, music at the first place, would change the social picture of Roma and contribute to their social inclusion.

It is a common fact that the Roma population is extremely talented in music. Therefore, there are small but very important efforts, according to my knowledge, which are directed towards musical education of Roma children and youth in the capital of Bosnia and Herzegovina. Those efforts are made by The Center for Children Working on Streets and the recently established Foundation ‘Gorica’ for Roma Music Education. The Center for Children Working on Streets tends to offer music education to the children and youth visiting this Center, keeping them away from the streets and begging. The Foundation for Roma Music Education tends to motivate Roma children and youth to attend state schools for music education, awarding them with scholarships.

Since the rate of Roma children enrolled in elementary schools in Bosnia and Herzegovina is very low, the efforts towards musical education of Roma children is expected to instigate interest of these children towards creativity and learning, what they are supposed to be keen on in their age. Additionally, music education for Roma children will trace a path towards introducing them with their own music practice and music tradition. Growing interest and appreciation of their own music will form a space for higher self-esteem, self-confidence and to decrease traumatic experiences during their childhood. Consequently, it will give a way to change in the perception of the general public (society) about the Roma and eventually to insure increasing interest for prompt actions towards improvement of social care for Roma population and their social status in the society.


Sučić, Goran / Balić, Ivana (Hrvatska)

ZASTUPLJENOST TRADICIJSKE KULTURE U PREDŠKOLSKIM I OPĆEOBRAZOVNIM USTANOVAMABezrazložno zapostavljeni sadržaji i aktivnosti u odgojno obrazovnom sustavu su upravo narodno stvaralaštvo i tradicijska glazba. Dakle, rad inicira potrebu intenzivnijeg približavanja tradicijske kulture djeci predškolske dobi, kao i učenicima u općeobrazovnoj školi pomoću integriranog kurikuluma u umjetničkim područjima.

Cilj istraživanja u ovom radu je ispitati zastupljenost elemenata tradicijske kulture u općeobrazovnoj školi. U istraživanju je sudjelovalo 510 ispitanika, od toga 445 učenika i 65 učitelja. Dobiveni rezultati upućuju na zabrinutost zbog nedovoljne zastupljenosti sadržaja i elemenata tradicijske kulture u nastavi i na različitu primjenu u nastavnim predmetima. Nadalje, primjećujemo negativan utjecaj masovnih medija u kojima moderna glazba postaje sve popularnija, te sve više potiskuje vrijednosti tradicijske kulture. Ističemo važnost i prisutnost tradicijske kulture u obrazovno–odgojnom procesu od najmlađe populacije, primarno kroz doživljajnu komponentu kao bitan doprinos u ravnomjernom razvoju estetskih vrijednosti kod mlade osobe.

Ovim istraživanjem pokušat će se, između ostalog, odgovoriti na pitanja poput: „Kolika je razina osviještenosti kod roditelja i odgajatelja?“ i „Kakvo je njihovo mišljenje o važnosti tradicijske kulture?“. Nadalje, spoznat ćemo koliko su elementi tradicijske kulture (plesovi, glazbala i pučki napjevi) prisutni u odgojno-obrazovnom procesu u opće-obrazovnim ustanovama; osobito na podacima temeljenima na istraživačkom dijelu rada s učenicima i učiteljima.


Sučić, Goran / Balić, Ivana (Croatia)

REPRESENTATION OF TRADITIONAL CULTURE IN PRESCHOOL AND GENERAL EDUCATIONAL INSTITUTIONSFolk creation and traditional music represent neglected content and activities in educational system without reason. Hence, this work initiates the need for more intensive convergence of traditional culture to pre-school children as well as elementary school students by using the integrated curriculum in the domain of art.

The aim of this research is to examine the representation of elements of traditional culture in elementary school. 510 examinees participated in this study, out of which 445 were students and 65 teachers. The obtained results are alarming, because of under-representation of contents and elements of traditional culture in education and different implementation in school subjects. Moreover, a negative influence of mass media is noticed where modern music becomes more popular, whereas the values of traditional culture are suppressed. The importance and the presence of traditional culture in educational system is emphasised starting from the youngest population, primarily through experience as an important contribution to normal development of aesthetic values at a young age.

This research will also attempt to provide answers to questions such as: What is the level of awareness among parents and educators? and What is their opinion on the importance of traditional music?. Furthermore, the representation of elements of traditional culture (dance, instruments and folk melodies) in educational system will be recognised; especially those specifically referring to the research deliberately conducted for this work with students and teachers.


Vidulin, Sabina (Hrvatska)

REFORME ODGOJNO-OBRAZOVNOG SUSTAVA U HRVATSKOJ I ODJECI NA GLAZBENU NASTAVU U OSNOVNOJ ŠKOLIU proteklih dvadeset godina u Republici Hrvatskoj osobita pozornost pridala se istraživanju odgojno-obrazovnog sustava i inovativnih nastavnih tehnologija. Brojni prijedlozi, dokumenti, planovi, programi i strategije objavljeni od 1990. godine nadalje imali su za cilj unaprjeđenje učinkovitosti i djelotvornosti škole, u njezinoj pedagoškoj, didaktičkoj i metodičkoj strukturi. Godine 2002. definiran je Okvirni plan i program za osnovnu školu koji je postao dijelom Kurikularnog pristupa promjenama, a 2006. godine uveden je Hrvatski nacionalni obrazovni standard (HNOS) s ciljem osuvremenjivanja škole. Danas, Nacionalni okvirni kurikulum predstavlja polazište i temelj izgradnje kurikulumskog obrazovnog sustava Republike Hrvatske.

Nastava glazbene kulture u posljednjoj je dekadi doživjela značajne promjene. Promišljanja znanstvenika i praktičara u okviru HNOS-a rezultirala su uspostavom novog koncepcijskog modela glazbene nastave čime je glazbeno-pedagoška teorija i praksa uznapredovala. Otvoreni didaktičko-metodički sustav pružio je učiteljima mogućnost izbora sadržaja, metoda, oblika i načina rada čime je omogućen novi input za stjecanje znanja i razvoj umijeća učenika. S obzirom na to da je nastava glazbene kulture doživjela vrhunac svojih promjena između 2002. i 2006. godine, sve navedeno reflektiralo se i ukomponiralo u nastavni plan i program iz 2006. Kurikulum, danas važeći dokument, tek je kasnije usustavljen, nastavivši svoj ciljani reformni prohod i donoseći, bar za glazbu, neznatne promjene koje su djelomično i u suprotnosti sa ustanovljenim određenjima i težištima suvremene nastave glazbene kulture.

Cilj ovoga rada je sagledati prednosti i nedostatke reformnih pokreta u Hrvatskoj te utvrditi ostvarivost cilja glazbene nastave u okviru novih tendencija na području glazbene umjetnosti. Pitanja od praktičnog interesa jesu: što možemo postići glazbenom nastavom u osnovnoj školi; utječe li nastava na oblikovanje glazbenog identiteta učenika; podržava li nastava glazbene kulture razvoj glazbenih sposobnosti učenika.


Vidulin, Sabina (Croatia)

REFORMS OF THE EDUCATIONAL SYSTEM IN CROATIA AND REFLECTIONS ON MUSIC TEACHING IN PRIMARY SCHOOLIn the past twenty years special attention has been attributed to the study of the educational system and innovative teaching technologies in the Republic of Croatia. Numerous proposals, documents, plans, programs and strategies published since 1990 were aimed at improving the efficiency and effectiveness of the school, in its pedagogical, didactic and methodological structure. In 2002 the framework curriculum for primary school was defined, becoming part of the curriculum approach for changes, and in 2006 the Croatian National Educational Standard (CNES) was introduced aimed at modernizing the school. Today, the National Curriculum Framework is the starting point for building the Croatian educational system.

In the last decade, music teaching has undergone significant changes. Reflections of scientists and practitioners within the CNES resulted with the establishment of a new conceptual model of music teaching, which enabled progress for the music-pedagogical theory and practice. Open didactical system provided the teachers a choice to select the contents, methods, forms and ways of making a new input which reflected on the acquiring of knowledge and developing the students’ skills. Given the fact that the teaching of music reached its peak of changes between 2002 and 2006, all of the above was incorporated in the curriculum of 2006. The Curriculum, today a valid document, was later systematized, continuing its reform target and bringing, at least for music, minor changes, and partly in contradiction with established definitions and specializations of contemporary music teaching.

The aim of this paper is to analyse the advantages and disadvantages of the reform movements in Croatia and to determine the aim to music teaching realizable in the context of new tendencies in the field of music. Issues of practical interest are: What can be achieved with music teaching in primary school? How can music teaching influence to shape the students’ identity? Does music teaching support the development of students’ musical abilities?

PANELI / PANEL SESSIONS


Gerda Lechleitner (Austrija), Tamara Karača Beljak (Bosna i Hercegovina), Jasmina Talam (Bosna i Hercegovina)

MURKOVA ISTRAŽIVANJA IZ AUSTRIJSKE I BOSANSKOHERCEGOVAČKE PERSPEKTIVESlovenski istraživač Matija Murko (1861-1952) je posebno poznat u istraživanju epike u Bosni i Hercegovini i drugim južnoslavenskim zemljama. Murkova prva istraživanja u Bosni i Hercegovini, tokom kojih je pravio melografske zapise, odvijala su se 1909. godine na prostoru Bosanske Krajine. Zahvaljujući potpori Balkanske komisije i Fonogram arhiva iz Beča, Murko je i drugi put boravio u Bosni i napravio prve zvučne snimke 1912. godine i to uglavnom na prostoru sjeverozapadne Bosne. Snimio je 46 fonogramskih matrica od kojih je samo 20 do danas sačuvano u Fonogram arhivu u Beču. Tokom 1913. godine, Murko je vršio istraživanja u Sarajevu, Mostaru, Širokom Brijegu i Nevesinju i snimio 36 fonogramskih matrica. Rezultate svojih istraživanja iz 1912. i 1913. godine kao izvještaje Fonogram arhiva objavio je Anzeiger of the Imperial Academy of Sciences. Originalne fonogramske (voštane) matrice su uništene krajem Drugog svjetskog rata (1945), ali su spašeni metalni negativi od kojih su napravljene nove kopije uz pomoć Murkovih zabilješki.

Ovaj panel želi istaknuti značaj Murkovih istraživanja iz austrijske i bosanskohercegovačke perspektive.

137PANELI / PANEL SESSIONS

Gerda Lechleitner (Austria), Tamara Karača Beljak (Bosnia and Herzegovina), Jasmina Talam (Bosnia and Herzegovina)

MURKO’S RESEARCH FROM AN AUSTRIAN AND BOSNIAN-HERZEGOVINIAN PERSPECTIVEThe Slovenian researcher, Matija Murko (1861-1952), is mostly known for his work on oral epic traditions in Bosnia and Herzegovina and other south-Slavenian countries. Murko conducted his first researches in Bosnia and Herzegovina in 1909 in the region of Bosnian Krajina, but he did not make any audio recordings at that time. In 1912, by contacts of the Balkan Commission with the Phonogrammarchiv, both institutes of the former Imperial Academy of Sciences in Vienna, he made his first audio recordings in Bosnia and Herzegovina, particularly in north-western Bosnia. He made 46 recordings, but only 20 of them were preserved in the archive. During the 1913 Murko carried out further fieldwork in Sarajevo, Mostar, Široki Brijeg and Nevesinje and made 36 recordings with the Archive phonograph. He published the outcome of his research in 1912 and 1913 as reports of the Phonogrammarchiv (originally published in the Anzeiger of the Imperial Academy of Sciences). The original wax discs were destroyed in 1945 (in the end of WWII), but the metal negatives of which new copies were made along with Murko’s notes survived.

This panel is an attempt to discuss Murko’s research from an Austrian and Bosnian-Herzegovinian perspective and thus to increase the knowledge.


Ana Hofman (Slovenija), Rajko Muršič (Slovenija), Amra Toska (Bosna i Hercegovina), Fatima Hadžić (Bosna i Hercegovina)

TRANSFORMACIJA POPULARNE MUZIKE NAKON RASPADA SOCIJALISTIČKE JUGOSLAVIJE – UVID IZ BOSNE I HERCEGOVINE I SLOVENIJE Predloženi panel ima za cilj istraživanje društveno- i kulturno-antropološke, etnomuzikološke i historijske transformacije, kao i trenutne kulturne procese na području bivše Jugoslavije, fokusirajući se na popularnu muziku u socijalističkoj Jugoslaviji i post-jugoslovenskim zemljama (prije svega u Bosni i Hercegovini i Sloveniji). Odnos između dominantnog društvenog poretka (i ideologije), a posebno socijalizma i njegove kasnije transformacije u kapitalistički sustav, kao i razvoj popularne muzike iz perspektive sopstvenih margina, uzeti kroz svoje svakodnevne kulturne aspekte estetskih preferencija, ima svoju svakodnevnu upotrebu i sistemski otpor prema dominantnim trendovima.

Popularna muzika, koja se obično smatra trivijalnim fenomenom, uzima se kao polazište u analizi osnova spontane (ne samo kulturalne) kreativnosti, koja se može iskoristiti kao mogućnost alternativnog razmišljanja o pronalaženju izlaza iz sadašnje sveobuhvatne krize cjelokupnog društva.

S obzirom na postojeće pristupe jugoslovenskim popularnim muzičkim žanrovima, ovaj panel je pokušaj da se razgovara o postojanju historijskog kontinuiteta društvenog razvoja u različitim društveno-ekonomskim sistemima i ponudi novo razmatranje odnosa između socijalizma, kapitalizma i svakodnevnog života (u svjetlu trenutne socio-ekonomske krize), koja se može razviti potpuno nezavisno od društvenog sistema.

139PANELI / PANEL SESSIONS

Ana Hofman (Slovenia), Rajko Muršič (Slovenia), Amra Toska (Bosnia and Herzegovina), Fatima Hadžić (Bosnia and Herzegovina)

THE TRANSFORMATION OF POPULAR MUSIC AFTER THE DISSOLUTION OF SOCIALIST YUGOSLAVIA – INSIGHTS FROM BOSNIA AND HERZEGOVINA AND SLOVENIAThe proposed panel aims at researching social- and cultural-anthropological, ethnomusicological and historical transformations and current cultural processes in the area of the former Yugoslavia, focusing on the popular music in socialist Yugoslavia and post-Yugoslav countries (primarily Bosnia and Herzegovina and Slovenia). The relationship between the dominant social order (and ideology), especially socialism and its later transformations into a capitalist system, and the development of popular music from the perspective of its margins, taken through its everyday cultural aspects of aesthetic preferences, has its daily use and systematic resistance to dominant trends.

Popular music, usually considered as a trivial phenomenon, is taken as a starting point in analysing the fundamentals of spontaneous (not only cultural) creativity, which can be used to offer an alternative reflection on finding a way out of the current all-encompassing crisis of the entire society.

With regard to existing approaches to Yugoslav popular music genres, this panel is an attempt to discuss the existence of historical continuity of social development in different socio-economic systems and offer a new consideration of the relationship between socialism, capitalism and everyday life (in light of the current socio-economic crisis), which can develop quite independently from the social system.

KONCERTI / CONCERTS

142 KONCERTI / CONCERTS

Četvrtak, 23. oktobar, 19,30h

Sala Muzičke akademije

Koncert ansambla Etnoakademik

Zvuci i odjeci ženskog pjevanjaVoditeljice ansambla: Tamara Karača Beljak, Branka Vidović

Etnoakademik je vokalni ansambl koji djeluje na Muzičkoj akademiji u Sarajevu. Ansambl je osnovala dr. Ankica Petrović koncem 80-tih godina prošlog stoljeća, a članovi su bili studenti Odsjeka za muzikologiju i etnomuzikologiju. Nakon višegodišnjeg prekida rada, ansambl ponovno nastavlja svoju djelatnost 2003. godine.

Programsko opredjeljenje rada ansambla je njegovanje i prezentiranje vokalne, instrumentalne i vokalno-instrumentalne muzičke tradicije, svjetovnog i duhovnog sadržaja, seoske i gradske prakse sva tri konstitutivna naroda Bosne i Hercegovine, te manjinskih etničkih skupina.

Ansambl Etnoakademik je svoju djelatnost predstavio na nekoliko značajnih manifestacija, od kojih posebno treba izdvojiti nastupe u okviru Simpozija „Muzika u društvu“. Programski sadržaji ovog ansambla prezentirani su i u TV emisijama Federalne radio-televizije. Cjelovečernje koncerte ansambl je održao u Bošnjačkom institutu u okviru festivala „Majske muzičke svečanosti“ Muzičke akademije u Sarajevu. Rad ansambla zabilježen je na dva CD-a u izdanju Muzikološkog društva FBiH.

Članovi ansambla su, osim studenata muzikologije i etnomuzikologije, i studenti drugih odsjeka Muzičke akademije, Odsjeka za muzičku teoriju i pedagogiju i drugih umjetničkih odsjeka.

143KONCERTI / CONCERTS

Program:

Dobro došli muštuluci (seoska tradicija)Cucu, cucu nane (dječja pjesma)Maslidžane, ko ti bere grane (seoska tradicija)Poletila dva goluba (seoska tradicija)Imam momka garava i plava (seoska tradicija)Vila jaše konja Osmanova (gradska tradicija) Izvode: Lejla Čaušević i Dženana AganspahićSitan kamena do kamena (seoska tradicija)Izvode: Zorana Guja i Amra ToskaAli-paša na Hercegovini (gradska tradicija)Izvode: Selma Droce i Zlatan Mušić Mila majko, hoja, hoja (seoska tradicija)Šta je ovo k’o da svadba nije (seoska tradicija)Ja se zakle, ja se prikle (seoska tradicija)Alfama (fado) Izvode: Lejla Čaušević i Bojan NikolićAs Mãos Que Trago (fado) Izvode: Ana Brdar, Selma Droce i Zlatna Mušić


Thursday, October 23, 19,30

Concert Hall of the Academy of Music

Concert of the ensemble EtnoakademikSounds and echoes of the female singingLeaders of the ensemble: Tamara Karača Beljak, Branka Vidović

Etnoakademik is vocal ensemble established within the Academy of Music in Sarajevo. Ensemble was founded by Ph.D Ankica Petrović in the late 80s of the last century, with members who were students of the Department for Musicology and Ethnomusicology. After a several years long break, ensemble continues its activity in 2003.

Program orientation of the ensemble is based on nurturing and presenting vocal, instrumental and vocal-instrumental music tradition, with secular and spiritual content, rural and urban practice of all three constitutive people of Bosnia and Herzegovina.

Ensemble Etnoakademik presented its work on several significant manifestations, among which is the International Scientific Symposium ‘Music in Society’. Programme content of the ensemble was presented in TV shows of the Federal Radio and Television. The evening concerts of the ensemble were held in Bosniak Institute as a part of the ‘May festivities’ of the Academy of Music in Sarajevo. The work of the ensemble was recorded on two CD releases published by Musicological Society of Federation of Bosnia and Herzegovina.

Members of the ensemble, apart from students of the Departments of Musicology and Ethnomusicology, are also students of other departments of the Academy of Music, such as Department for Music theory and Pedagogy, and other art departments.


Program:

Dobro došli muštuluci (rural tradition)Cucu, cucu nane (children’s song)Maslidžane, ko ti bere grane (rural tradition)Poletila dva goluba (rural tradition)Imam momka garava i plava (rural tradition)Vila jaše konja Osmanova (urban tradition) Perfomed by: Lejla Čaušević i Dženana AganspahićSitan kamena do kamena (rural tradition)Perfomed by: Zorana Guja i Amra ToskaAli-paša na Hercegovini (urban tradition)Perfomed by: Selma Droce i Zlatan Mušić Mila majko, hoja, hoja (rural tradition)Šta je ovo k’o da svadba nije (rural tradition)Ja se zakle, ja se prikle (rural tradition)Alfama (fado) Perfomed by: Lejla Čaušević i Bojan NikolićAs Mãos Que Trago (fado) Perfomed by: Ana Brdar, Selma Droce i Zlatna Mušić


Petak, 24. oktobar, 19,30h

Sala Muzičke akademije

Koncert bosanskohercegovačke muzikeKratka muzička biografija Bosne i Hercegovine (1878–1918)

Moderatorica: Lana PaćukaMaja Ačkar-Zlatarević, klavir Selma Droce, glas

Kratka muzička biografija Bosne i Hercegovine (1878–1918) koncertni je događaj čija je nakana oživjeti najprepoznatljivije fragmente muzičkog života jednog od najkompleksnijih perioda iz društvene, socijalne i kulturne historije Bosne i Hercegovine. Vraćajući na koncertni podij djela autora koji su živjeli ili stvarali u Bosni i Hercegovini za vrijeme Austro-Ugarske uprave, koncert će pokušati dati kratki uvid u zapadnoevropske tokove ondašnjeg muzičkog života pružajući slušateljima priliku da barem nakratko osjete dašak nekih prošlih vremena koja su, sasvim sigurno, odigrala stanovitu ulogu u razvoju kulturnih i muzičkih prilika u Bosni i Hercegovini.

Zahvaljujući iscrpnim arhivskim istraživanjima muzička ostvarenja, danas pala u zaborav, biti će praizvedena nakon nešto više od 100 godina. Upuštajući se u putovanje u muzičku prošlost slušatelji će se naći i pred izazovom valjane percepcije djela, odnosno objektivne procjene i odgovarajuće kontekstualizacije istih. Stoga, prepustimo se iskustvu slušanja dopuštajući muzici da nam sama otkrije svoju priču!


Program:

Milena Mrazović-PreindlsbergerWürtemberg Marsch op.10Osmanisch Mazurka Bosnia-Polka Francaise

Aleksandar BosiljevacLa serenade op. 42Izbor gospođa op. 47Iz prijateljstva op. 48Jedna noć na Istoku – Fantastični istočni ples op. 53Album bosansko-hercegovačkih pjesama (izbor)

Julius Fučik Sarajevo Marsch op. 66Hercegovac Marsch op. 235

František MatějovskýPlevna Marche

Julius Gyula MajorBosnische rhapsodie op. 71

Ljubomir BajacPale nade


Friday, October 24, 19,30

Concert Hall of the Academy of Music

Concert of Bosnian art musicShort music biography of Bosnia and Herzegovina (1878–1918)

Moderator: Lana PaćukaMaja Ačkar-Zlatarević, piano Selma Droce, voice

Short music biography of Bosnia and Herzegovina (1878–1918) is a concert event with the aim to revive some of the most recognizable fragments of musical life in one of the most complex periods of social and cultural history of Bosnia and Herzegovina. Through revitalizing musical works of authors who lived or composed in B&H during Austro-Hungarian rule on the concert podium, concert will try to give insight into Western European currents in musical life of that period, offering the unique opportunity to the auditorium to experience the spirit of past times which definitely had significant role in the development of cultural and musical circumstances in Bosnia and Herzegovina.

Thanks to the thorough archive research music works, nowadays completely forgotten, will be performed for the first time after more than a century. Embarking on a journey to musical history, auditorium will face the challenge of proper music perception, or its objective evaluation and appropriate contextualization. Therefore, engage yourself in the unique listening experience letting the music itself reveal its story!


Program:

Milena Mrazović-Preindlsberger Würtemberg Marsch op.10Osmanisch Mazurka Bosnia-Polka Francaise Aleksandar Bosiljevac La serenade op. 42Izbor gospođa op. 47 (Ladies’ choice op. 47)Iz prijateljstva op. 48 (From friendship op. 48)Jedna noć na Istoku – Fantastični istočni ples op. 53 (One night on the East – Fantastic Eastern dance op. 53) Album bosansko-hercegovačkih pjesama (Album of Bosnian songs, selection)

Julius Fučik Sarajevo Marsch op. 66Hercegovac Marsch op. 235 František Matějovský Plevna Marche Julius Gyula Major Bosnische rhapsodie op. 71 Ljubomir BajacPale nade (Fallen hopes)

150

ORGANIZATORI / ORGANIZERS

Muzička akademija u Sarajevu osnovana je 20. maja 1955. godine kao prva muzička visokoobrazovna institucija u Bosni i Hercegovini. Misija Akademije je da educira visoko kvalitetne i međunarodno kompetitivne i kompetentne kadrove u umjetničkim, pedagoškim i naučnim oblastima. Studijski programi Muzičke akademije su kompatibilni sa studijskim programima većine evropskih visokoškolskih muzičkih institucija koje su bazirane na ishodima obrazovanja u polju muzičke umjetnosti. Akademija kontinuirano radi na razvijanju svih odsjeka kao i otvaranju novih smjerova i studijskih grupa. Danas Akademija nudi studijske eprograme na osam odsjeka na sva tri ciklusa studija.

Od osnivanja do danas Akademija ima vrlo plodnu koncertnu djelatnost. Organizator je festivala „Majske muzičke svečanosti“, „Sarajevo Chamber Music Festivala“, „Sarajevo International Guitar Festival“ i „Sarajevo Sonic Studio“. Naučno-istraživački rad se odvija u okviru Instituta za muzikologiju, dok u saradnji s Muzikološkim društvom FBiH Akademija izdaje časopis za muzičku kulturu „Muzika“ (od 1997), organizuje Simpozij „Muzika u društvu“, kao i druge međunarodne naučne skupove.

The Academy of Music in Sarajevo was founded on May 20, 1955. The mission of the Academy has been to educate high-quality and internationally competitive and proficient staff in the educational, artistic and scientific fields. Study programs at the Academy are compatible with study programs of most European musical institutions of higher education in the field of art music. The Academy continually develops its sections and opens new departments and study groups. Today, the Academy offers study programs at eight departments at all three university levels.

The Academy has had very rich concert activities from its inception until today. The Academy organizes May festivites, Sarajevo Chamber Music Festival, Sarajevo International Guitar Festival and Sarajevo Sonic Studio. Scientific research is carried out in the Institute of Musicology. In cooperation with the Musicological Society of FB&H, the Academy publishes a journal for music culture ‘Music’ (1997), organizes Symposium ‘Music in Society’ as well as other international scientific meetings.

151ORGANIZATORI / ORGANIZERS

Muzikološko društvo Federacije Bosni i Hercegovine je osnovano u junu 1997. kao prvo društve ove vrste u Bosni i Hercegovini. Društvo okuplja stručnjake iz muzičke nauke radi istraživanja muzičke prošlosti i sadašnjosti Bosne i Hercegovine, Balkana i svijeta. Aktivnosti društva su integralni dio muzičkog života Bosne i Hercegovine kroz različite aspekte istraživanja u muzičkoj nauci.

Društvo tijesno sarađuje s Muzičkom akademijom u Sarajevu s kojom izdaje časopis za muzičku kulturu „Muzika“, organizuje međunarodni simpozij „Muzika u društvu“, te izdaje zbornik radova simpozija „Muzika u društvu“.

Musicological Society of Federation of Bosnia and Herzegovina was established in June 1997 as the first of this kind in Bosnia and Herzegovina. The society gathers experts in musical science to research musical past and present of Bosnia and Herzegovina, the Balkans and the world. Its activities today are integral part of music life in Bosnia and Herzegovina, especially in different aspects of research in musical science.

The society works closely with the Academy of Music in Sarajevo. In cooperation with the Academy, the Society publishes a journal for music culture ‘Music’, organizes an international symposium ‘Music in Society’ and publishes the Collection of papers of the symposium ‘Music in Society’.

Izdavač / Publisher Muzikološko društvo FBiH, Muzička akademija u Sarajevu

Za izdavača / For the Publisher Dr. Ivan Čavlović

Korektura i prevod na engleski / Proofreader and translation in English Mr. Esma Sulejmanagić

Korekcija engleskog teksta / Proofreading ot the English text Dr. Timkehet Teffera

Dizajn naslovnice / Cover design Mr. Amra Toska

DTPEsad Šuman

Štampa / Print ŠDC

Tiraž / Circulation 80

Publikacija je besplatna / This publication is free of charge

Organizator zadržava pravo izmjene programa / The organizer reserves the right to change the program

Sarajevo, 2014.

Documents

PROGRAMSKA KNJIŽICA / PROGRAMME BOOKLET · TEORIJA MUZIKE / THEORY OF MUSIC / 87 MUZIČKA PEDAGOGIJA / MUSIC PEDAGOGY / 105 PANELI / PANEL SESSIONS / 135 KONCERTI / CONCERTS / 141