University of Arts in Belgrade
Faculty of Music
Student parliament
Belgrade, December 8th 2008
International Student Symposium
WESTERN BALKAN INTERWAR MUSIC AND ITS EUROPEAN CONTEXT
Official languages of the symposium: BCS (Bosnian-Croatian-Serbian) and English
PROGRAMME
Faculty of Music, Kralja Milana 50, Great Hall
9:00
Registration of the participants
9:45
Opening addresses:
Dragana Stojanović-Novičić, Ph.D., chairman of the Musicology Studies Council
Damjana Njegić, student vice-dean
Composer's Society of Serbia, 12-14 Mišarska
11:00
I session - chairman Tjaša Ribzel
Nina Čalopek: Neoklasicizam as modernist tendencies in the context of inter-war Croatian music. J. W neoclassical score. Slavic and B. Papandopula
Srdjan Atanasovski: Yugoslav Primordial Modernism and Ideology in the Discourse on Music and Music of the Interwar Period
Primus Trdan: Slavko Osterc's Writing and Its Ideas
12:30 Lunch break 14:30
II session - Chairman Jelena Gudović
Stefan Cvetkovic: Reception Mokranjca articles in Serbian musicians and music writers between the wars
Marina Kovac: Country Music and identity: examples from western Herzegovina
15:30 Coffee break 16:00
Session III - Chairman Biljana Srećković
Maja Vasiljevic: "Degenerate Music" Exhibition in Düsseldorf (An Intriguing Musical Episode from the Life of Nazi Germany)
Valeriy Ismagilov: Music and free life in occupied Greece during Second World War
Milan Milojković: The influence of policies of occupation and the collaborationist government of musical life in Belgrade. The case of the concept of concert programs in Kolarac period since 1941. to 1944. The
17:30 Coffee break 18:00
Panel Discussion: The social context of symphonic music in the Kingdom of SHS / Yugoslavia
Moderator: Vesna Rozic
Participants: Srdjan Atanasovski, Stefan Cvetkovic, Damian Njegić, Maja Vasiljevic
Dinner Club Academy, Faculty of Fine Arts, Rajićeva 10
22:00
Lili Marleen Party
ABSTRACTS
Srdjan Atanasovski (Belgrade)
Yugoslav ideology and primordial modernism in music and discourse about music interwar period
In my work I try to show how the primordial concept of modernity, the way it determines Aleksandar Ignjatovic can be explained by coupling existed between the Yugoslav ideology, discourse of music criticism, and compositional practice in the Kingdom of SHS / Yugoslavia. Primordialism in the social sciences is designated as one of the platforms on which construction was done by the national communities; primordialism nation as a natural, ancient, organic, and not socio-historical construct. As such, primordialism was the only satisfactory for defining the concept of a single Yugoslav nation, which was to include 'tribes' individual history, religion and even language. Propagation of primordial understanding of the nation was a primary feature of the cultural policy of integrated Yugoslav. Artistic production that is embodied Yugoslav primordijlalizam dates back to the first decade of the twentieth century, and is especially characteristic of the creative work of sculptors and architects Ivana Mestrovic. End of the third and fourth decades of decades will be in the field of artistic production spawn a specific variant of primordialism, which on the one hand, characterized by the penetration of modernism, and on the other, the use of national elements, not that common in the first period primordialistic art, recognized primarily for his monumental. However, in line with the ideology of primordialism, use naionalnih elements had to be conducted in such a way to point to a deeper, more 'psychological' primitive, prehistoric layers of folk heritage. Will show that the primordial paradigm of modernity, and there was current in the discourse on music, with examples of music writers like Miloje Milojevic and Anthony Dobronic, as well as compositional practice, where they encouraged a certain composition solutions, especially in terms of treatment of folk material.
Stefan Cvetkovic (Belgrade)
Reception Mokranjca articles in Serbian musicians and music writers between the wars
Mokranjac creative and professional activities from the late nineteenth and early twentieth century, significantly influenced the trends of the Serbian Serbian music culture after World War II. On the one hand, composing Mokranjčeva activity based on setting up national musical idioms in the highest forms of art, understood by the inter-war composers of the Romantic style prosaic as a milestone in the further development of national music, on the other hand, Mokranjčeva organizational activities facing the construction of music and musical educational institutions constitute a basis for institutional expansion that will happen during this period. Therefore Mokranjčeva positions and importance between the two wars recognized and treated as central to the Serbian music culture. Among the writings of that time as a paradigmatic and most important, set aside the "Memorial of St.. St. Mokranjac "Kosta Manojlovic, segments will serve as material for the first mongrafiju Mokranjac by Peter Konjovic. essays Miloje Milojevic, then articles Vojislav Vukovic who consider Mokranjac creativity being implemented through a new ideological prism, and the writings of other authors. Contextualizing Mokranjac creativity within the new political and cultural climate resulting from the creation of a common state of Serbs, Croats and Slovenes, was also represented in the written words of some authors. Consideration of the reception Mokranjca articles Serbian musicians and music writers between the two world wars, the answers to the questions which aspects Mokranjac total activity occupying the most remarkable artists of this period, as is valued Mokranjceva art production, but also in finkciji presentation of the diversity of approaches and form part of the composer.
Nina Čalopek (Zagreb)
Neoklasicizam as modernist tendencies in the context of inter-war Croatian music. J. W neoclassical score. Slavic and B. Papandopula
new, highly legitimate estimates of interwar Croatian music, and writing about it, was inspired by the text Laszlo Somfaia "Classicism any Bartók was conceived in its classicist period 1926.-1937. Analytical approach to the first paragraphs of the Second called. "Lyrical" String Quartet (1928). Štolcer Joseph Slavic (1896th-1955th) and the Quintet for Clarinet and String Quartet (1940). Papandopula Boris (1906.-1991.), works based on no covert folk idiom, an attempt was made to set up a thesis on the redefinition of established criteria and changing the angle of observation on these two authors in the direction of neo-classical category. Croatian musicological term neoclassicism, critic, music interpretatorska air time or not at all recognize or apply for describing the domestic production of composing. Outlines are only three main currents within which the Croatian inter-war music usually classified: national, which belongs to all the folk music idiom, romantically epigone; radical, close to the Second Viennese School. This izlaganju cilj je pokušati predstaviti i onu četvrtu – neoklasicističku.
Valeriy Ismagilov (Athens)
Music life in free and occupied Greece during Second World War
The years of the Second World War were not creative for the most of composers and musicians in the Europe. However, it is noteworthy, in many areas of the Europe (Greece, Serbia, Bulgaria and others) occupied by Nazi Troops an intensive development got genre of the Song of Resistance (or partisan song). These songs were sung by resistance fighters and in public concers in the free areas controlled by Resistance Movement. The authors ot these songs were often unknown or anonymous. The music of some songs was borrowed from songs of different peoples of the Europe.
Marina Smith (London)
Folk Music and identity: examples from western Herzegovina
notion of identity emerges as one of the key concepts and issues in the study of the modern world. Identity formation has its own logic and design so that the identification processes depend not only on the temporal and spatial coordinates but also on social, economic, political and even psychological. It is for their interactions emerges a complete identity. More recent theories, inspired by the settings of Frederick Barth, ethnic and national identity as a subjective category displayed as a function of social interaction, while the latest trends associated with this social phenomenon of global relations power. In these ethnic and national identities are considered property of cultural diversity and cultural unity, which on the one hand direct forms of political and economic power, and who, on the other hand, because of its layering, constant conflict elections and the resistance and power centers. Theorists of social development question people, and then the nation, building on the tradition of theoretical developments, primarily because they believe that people and nations have become those social forces which were "discovered" the identity of all communities. The aim of this paper is a review of national musical tradition that has largely influenced the formation and preservation of the identity of the Croatian population in western Herzegovina. Numerous examples of both vocal and instrumental folk music contribute to the structuring and transforming communities, their language and symbolic representation. In the period between the wars comes to significant deviation, ie deviation from the planned policy, which this region suffers greatly, which resulted in a number of emigration to overseas countries, America and Australia. In such circumstances it was hard to make any cultural and literary work. Then the most prominent folk art, which is most strongly manifested through folk song. For centuries, the epic, heroic songs echoed with the sounds of the fiddle in this region. In these people presents its centuries of experience. It is through folklore man becomes aware of a sense of belonging to a society and folklore here to become an important mediator in the cultural identity of the community.
Milan Milojković (Belgrade)
influence the policy of occupation and the collaborationist government of musical life in Belgrade. The case of the concept of concert programs in Kolarac period since 1941. to 1944. The
Despite popular belief, culture, and therefore the music, life in occupied Belgrade was filled with events. Occupation and the collaborationist government, through its propaganda institutions manage musical life of Belgrade, representing citizens of cultural aspects of the Nazi doctrine. Since the audio and video from the concerts that were held in the period since 1941. to 1944. rare iili difficult to access, in this paper we tried to get on the concert program and wrote the musical life of Belgrade during the occupation of an insight into the ways of realization of Nazi cultural policy through the institution of the concert. Also, the dominance of certain social groups (in this case, the occupying forces and local collaborators) in framing iili meaning to everyday life, ie, resemantizacija musical acts and symbolic representation of personality composers in a given social context and the use of music and discourse about music for the purpose of acculturation, is presented with reference to the concept of symbolic violence of Pierre Bourdieu.
Primoz Trdan (Ljubljana)
Slavko Osterc's Writing and Its Ideas
Apart from being a successful composer, composition teacher and active delegates in ISCM, Slavko Osterc (1895-1941) is also known as a prolific journalist. The beginning of his journalism activity in 1922 coincides with his first public exposures as a composer. His firm already aesthetical views, oriented against tradition, embodied in musical legacy of 19th century, only gained strength during his intensive studies with Alois Hába in Prague (1925-1927). In his articles, Polemics and critiques in various publications Osterc deals with questions of “new” in music, aesthetical progress as well as with (insufficient) presence of contemporary European compositional streams in Slovenian musical life of the time and with their existential justification. His concise and lucid texts serve as an attractive informative reading but at times disregard wider consequent argumentation. For this and other reasons his writing should be, rather than faithful reflection of his own musical poetics, understood as part of his lifelong effort to promote modern musical streams and raise consciousness of aesthetical and stylistic progress. The aim of proposed paper is to analyse Osterc’s publicistic output, extract fundamental ideas of his writing and partly rethink significance of his discourse on music in context of his creativity. Findings are also confronted with some examples of scholars’ perception of Osterc’s personality and his views.
Maja Vasiljević (Belgrade)
„Degenerate Music“ Exhibition in Düsseldorf (An Intriguing Episode from the Musical Life of Nazi Germany)
When dealing with the music under the totalitarian regime, even with concrete evidences of censorship, it is often hard to define the final relations and consequences of the particular politics on music. The author of this text has chosen one intriguing episode from the National Socialist Germany era. The main focus of this text is the exhibition of the so-called „degenerate music“, the term which Nazi government used to define musical compositions made by Jewish authors, as well as the music inspired by or with reference to African or Jewish culture. The group of „degenerate“ composers include: Ernst Křenek, Arnold Schoenberg, Paul Hindemith, Kurt Weill and others. Also, music suitable in the period of Nazi Germany was presented at the exhibition of „degenerate music“ in Düsseldorf 1938. by compositions of Anton Bruckner, Richard Wagner and Richard Strauss. In the system of the exhibition contemporary reconstructions which often bring very different material compared to the original, the author of this paper has chosen to focus on the historical point of this manifestation, the first opening 24th May 1938. The center of the author `s attention is the aspect which has often been neglected in the discourse of music during the Third Reich period, while giving place to more 'attractive' and in a new way ideologically complex exhibitions or new editions of the aforementioned music.
panel discussion
The social context of symphonic music in the Kingdom of SHS / Yugoslavia (in the BCS)
Moderator: Vesna Rozic (London)
Themes and Participants: Damian
Njegić (Belgrade): Reception Konjovic Simofnije in C minor and status of symphonic music in the interwar period
Srdjan Atanasovski (Belgrade): The competition of the Association of Friends of Art Flower Zuzoric the symphonic work in 1935. The
Maja Vasiljevic (Belgrade): The coexistence of the Yugoslav and Western music, orchestral music on the example of Joseph Slavic - Reception dodecaphony in Serbia in the interwar period as a cross-section consideration of the composition, reception and performance
Stefan Cvetkovic (Belgrade): Vojislav Vuckovic and Belgrade Philharmonic
Lili Marleen PARTY
After the occupation of Belgrade in 1941, Radio Belgrade became the German forces' radio station under the name of Soldatensender Belgrad (Soldiers Radio Belgrade). It could be received throughout Europe and the Mediterranean. A lieutenant working at the station who was taking leave in Vienna was asked to collect some records to broadcast. Amongst a pile he obtained from a second hand shop was the little known 2 year old song Lili Marleen sung by Lale Andersen, which up to then had sold only around 700 copies. For lack of other recordings, For lack of other recordings, Radio Belgrade played the song quite frequently popularizing the song. After the Nazi government then ordered it to stop broadcasting the song, Radio Belgrade received many letters from Axis soldiers all over Europe asking them to play Lili Marleen again. In response, Radio Belgrade returned the song to its programming. From then on, the station played Andersen's recording every evening at 9:55 PM and its popularity continued to grow. Soldiers stationed around the Mediterranean, including both German Afrika Korps and British Eighth Army troops, regularly tuned in to hear it and thus the song became popular on both sides during the Second World War. (Source: Wikipedia)
Celebrating the spirit of the popular music of the 30’s, our party will be dedicated to the performances of Marlene Dietrich, Zarah Leander and Lale Andersen.
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