MUZIKOLOGIJA-MUSICOLOGY https://muzikologija-musicology.com/index.php/MM <p>Journal <em>Muzikologija-Musicology</em> (ISSN 1450-9814, eISSN 2406-0976) is a peer-reviewed academic journal established in 2001 that promotes contemporary Serbian musicological and ethnomusicological research in international circles; at the same time, by including contributions of eminent foreign scholars, it has become an important and reliable source on contemporary musicological ethnomusicological scientific tendencies and knowledge around the world. It is dedicated to the research of music as an aesthetical, cultural, historical and social phenomenon, with a primary focus on musicological and ethnomusicological research. The Journal also welcomes approaches from diverse scientific disciplines (history, history of art and literature, ethnology, anthropology, sociology, comunicology, semiotics, music pshychology etc.) as well as interdisciplinary projects.<br />Three sections make up the backbone of the magazine. The <em>Main Theme</em> contains original articles related to a specific musicological or ethnomusicological topic. The <em>Varia</em> section contains scientific studies from a wider circle of thematic areas relevant to the artistic, vernacular, and ecclesiastical music traditions. The third section – <em>Scientific Reviews and Polemics</em> – comprises reviews of various musicological and ethnomusicological publications and reports on scientific meetings.<br />Until 2011 the journal was published annually. Due to an increasing interest among local and international contributors, the Editorial Board decided to start publishing two issues per year (June and December), both in print and in open access digital format.<br />The Journal is indexed in the <a href="https://mjl.clarivate.com/search-results">Web of Science</a> , SCOPUS, <a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info.action?id=490848">ERIH PLUS</a>, <a href="https://doaj.org/toc/2406-0976?source=%7B%22query%22%3A%7B%22bool%22%3A%7B%22must%22%3A%5B%7B%22terms%22%3A%7B%22index.issn.exact%22%3A%5B%221450-9814%22%2C%222406-0976%22%5D%7D%7D%5D%7D%7D%2C%22size%22%3A100%2C%22sort%22%3A%5B%7B%22created_date%22%3A%7B%22order%22%3A%22desc%22%7D%7D%5D%2C%22_source%22%3A%7B%7D%2C%22track_total_hits%22%3Atrue%7D">DOAJ</a> , <a href="https://www.proquest.com/docview/196756045/EE3768572904494PQ/2">ProQuest</a> , <a href="http://www.doiserbia.nb.rs/journal.aspx?issn=1450-9814">DoiSerbia</a>, RILM, and in the <a href="https://mpn.gov.rs/nauka/nauka-i-istrazivanje-u-srbiji/kategorizacija-naucnih-casopisa/">List of Scientific Journals Categorization of Ministry of Education, Science and Technological Development of the Republic of Serbia</a> (M24). </p> <p><br />Publisher: Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade, Serbia</p> <p>Address: Knez Mihailova 36/IV, 11000 Beograd, Republika Srbija</p> <p>Contact: journal.musicology@gmail.com</p> Institute of Musicology of the Serbian Academy of Sciences and Arts en-US MUZIKOLOGIJA-MUSICOLOGY 1450-9814 <div id="deed-rights" class="row" dir="ltr"> <div class="col-sm-offset-2 col-sm-8"> <h3> You are free to:</h3> <ul class="license-properties"> <li class="license share"><strong>Share</strong> — copy and redistribute the material in any medium or format.<br />The licensor cannot revoke these freedoms as long as you follow the license terms.</li> </ul> </div> </div> <div class="row"> </div> <div id="deed-conditions" class="row"> <h3> Under the following terms:</h3> <ul class="license-properties col-md-offset-2 col-md-8" dir="ltr"> <li class="license by"> <p><strong>Ауторство</strong> — You must give <a id="appropriate_credit_popup" class="helpLink" tabindex="0" title="" href="https://creativecommons.org/licenses/by-nc-nd/3.0/rs/" data-original-title="">appropriate credit</a>, provide a link to the license, and <a id="indicate_changes_popup" class="helpLink" tabindex="0" title="" href="https://creativecommons.org/licenses/by-nc-nd/3.0/rs/" data-original-title="">indicate if changes were made</a>. <br />You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.<span id="by-more-container"></span></p> </li> <li class="license nc"> <p><strong>Некомерцијално</strong> — You may not use the material for <a id="commercial_purposes_popup" class="helpLink" tabindex="0" title="" href="https://creativecommons.org/licenses/by-nc-nd/3.0/rs/" data-original-title="">commercial purposes</a>.<span id="nc-more-container"></span></p> </li> <li class="license nd"> <p><strong>NoDerivatives</strong> — If you <a id="some_kinds_of_mods_popup" class="helpLink" tabindex="0" title="" href="https://creativecommons.org/licenses/by-nc-nd/3.0/rs/" data-original-title="">remix, transform, or build upon</a> the material, you may not distribute the modified material.<span id="nd-more-container"></span></p> </li> </ul> </div> <div class="row"> <ul id="deed-conditions-no-icons" class="col-md-offset-2 col-md-8"> <li class="license"><strong>No additional restrictions</strong> — You may not apply legal terms or <a id="technological_measures_popup" class="helpLink" tabindex="0" title="" href="https://creativecommons.org/licenses/by-nc-nd/3.0/rs/" data-original-title="">technological measures</a> that legally restrict others from doing anything the license permits.</li> </ul> </div> Сања Ранковић и Мирјана Закић, Српско певачко наслеђе централног дела Косова и Метохије. https://muzikologija-musicology.com/index.php/MM/article/view/22 <p>Book review</p> Jelena Jovanović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 271 274 Stanislav Tuksar i Monika Jurić Janjik (ur.), Prvi svjetski rat (1914.–1918.) i glazba: skladateljske strategije, izvedbene prakse i društveni utjecaji. https://muzikologija-musicology.com/index.php/MM/article/view/21 <p>Book review</p> Aleksandar Vasić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 275 281 Милан Милојковић, Дигитална технологија у српској уметничкој музици. https://muzikologija-musicology.com/index.php/MM/article/view/20 <p>Book review</p> Ivana Medić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 283 288 Ivana Medić and Ivan Moody (Eds.), The Life and Work of Rudolf Bruči: The Composer in the Rift between Aesthetics and Ideologies https://muzikologija-musicology.com/index.php/MM/article/view/19 <p>Book review</p> Bojana Radovanović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 289 293 Following the Black Spiral: Old Voices, New Life (Towards the History of the Early Commercial Gramophone Records in Bulgaria) https://muzikologija-musicology.com/index.php/MM/article/view/23 <p>The earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting information – texts and advertising images from newspapers, memoirs and memoir literature as primary and secondary sources. The sought ethnomusicological approach is achieved through a combination of different research methods: ethnographic, historical, discographic, cultural, anthropological. The results of the research present the role of commercial recordings in musical and popular culture in Bulgaria in the years leading up to the First World War, cultural life, musical history, musicing, intercultural interactions, the cultural choices of Western and local, Slavic and Balkan, traditional music in non-traditional modern contexts, art music in popular contexts, and the role of professional musicians.</p> Ventsislav Dimov Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 19 40 Gramophone Records of the Singer Mijat Mijatović: From (Re)construction of Discography to the Study of Recorded Music https://muzikologija-musicology.com/index.php/MM/article/view/24 <p>The study of gramophone records is important when acquainting oneself with Mijat Mijatović (1887–1937), who strongly impacted so-called folk music in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia, considering the importance of the records he released during his career. His opus of commercial recordings is the largest of the interwar period in the area and, therefore, it is highly indicative when considering the correlation between the early music industry and ‘local’ culture as a glocal topic. In this study we present numerous sources and a complex critical analysis that resulted in Mijatović’s discography. Special attention has been paid to record companies, the chronology of recordings, the repertoire and collaborating musicians, thus mapping the potential of discography for the study of recorded music and cultural history.</p> Danka Lajić Mihajlović David Pokrajac Saša Spasojević Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 41 81 Aspects of Interaction between Radio and Recording Industry: Example of the His Master’s Voice concerts on Radio Belgrade Programme https://muzikologija-musicology.com/index.php/MM/article/view/26 <p>A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani časopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master’s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local music industry and the continual broadcasted of His Master’s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master’s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes.</p> Marija Maglov Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 The Introduction of Copyright in the Early Record Industry and Implications of Authorship for Popular Music in Croatia from 1929–1960s https://muzikologija-musicology.com/index.php/MM/article/view/27 <p>The article investigates the connection between the early record industry and the development of copyright legislation in Croatia and the former Yugoslavia between 1929 and the 1960s. Special attention is given to the topic of the implementation of copyright and the related rights within domestic record production in the selected period. The concept of the author, partly constructed through the implementation of copyright, is then reconsidered in the example of early Yugoslavian popular music.</p> Jelka Vukobratović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 109 123 When The Curtain Falls: The Sustainability of Incidental Music https://muzikologija-musicology.com/index.php/MM/article/view/28 <p>Starting with the idea that sustainability as a concept can (and should) be applied in the field of incidental music, thus, ensuring the continuation of its life after the curtain falls, we argue that discography is one of the main ways in which incidental music (like any other type of music) can be preserved and later studied. We argue that discography (as a sustainability tool) equals the survival (survivability) of incidental music and test this hypothesis on four case studies – compact discs and releases of incidental music of four composers: Vojislav Voki Kostić, Zoran Erić, Zoran Simjanović and Isidora Žebeljan.</p> Monika Novaković Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 125 142 Contemporary Lithuanian Musical Folklore Releases: Widening the Experiences https://muzikologija-musicology.com/index.php/MM/article/view/29 <p>The article reviews the tendencies of contemporary musical folklore releases in Lithuania, focusing on the last five years. Based on scientific and journalistic literature, music, and conversations with authors and label owners, the experiential aspect is explored through different ways of creating and releasing music. The period overlaps with the extreme experience of the COVID-19 pandemic, which had impact on some of the tendencies. The article discusses the musical works that best reveal the mentioned aspects and their scope, while using phenomenological-anthropological and musicological approaches.</p> Eglė Gelažiūtė-Pranevičienė Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 143 158 Between Tradition and Subversion. Treatment of Folklorised Musical References in the Early Feature Films of Pedro Almodóvar https://muzikologija-musicology.com/index.php/MM/article/view/30 <p>The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almodóvar: <em>Pepi, Luci, Bom and Other Girls on the Heap</em> (<em>Pepi, Luci, Bom y otras chicas del montón</em>, 1980) and <em>Labyrinth of Passion</em> (<em>Laberinto de pasiones</em>, 1982). These films are representative examples of the director’s experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.</p> Rastko Buljančević Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 161 181 Two Faces of Mystification: The Representation of the Holocaust in Arnold Schoenberg's A Survivor from Warsaw and Steve Reich's Different Trains https://muzikologija-musicology.com/index.php/MM/article/view/31 <p>The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg’s A Survivor From Warsaw (1947) and Steve Reich’s Different Trains (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of “heroism” and “non-representability”.</p> Vera Mevorah Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 183 198 Reactions to the first Music Biennale Zagreb (1961) in Belgradian Daily Newspapers https://muzikologija-musicology.com/index.php/MM/article/view/32 <p>As the first festival of contemporary music in socialist Yugoslavia, the Music Biennale Zagreb (founded in 1961) attracted a lot of domestic and foreign media attention. This study discusses the reception of the first Music Biennale in the Belgradian daily newspapers, Politika [Politics], Borba [Struggle] and Večernje Novosti [Evening News], with reference to the characteristics of the editorial policies of these three newspapers. The timely and active reporting of the daily press in Belgrade indicates that the first Music Biennale Zagreb was promptly recognised as an important modernist musical festival for the then cultural life of the whole of Yugoslavia.</p> Miloš Marinković Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 199 224 Learning Traditional Singing in Serbian Clubs in Vienna – Economic Aspects between Amateurism and Professionalism https://muzikologija-musicology.com/index.php/MM/article/view/34 <p>Serbian clubs in Vienna are cultural, artistic, and sports organisations formed in the 1970s by Yugoslav guest workers, then called Yugoslav clubs. Since the 1990s, due to significant socio-political changes in the home country, the work policies of clubs in Vienna have changed, and they have become Serbian clubs. To learn traditional singing within the folklore sections of the mentioned clubs, the leaders hire pedagogues from Serbia – ethnomusicologists or individuals with completed secondary music schools in the departments of traditional singing. This paper aims to present and analyse several aspects of learning traditional singing in these institutions, focusing on the exchange of different forms of capital - from economic to symbolic and vice versa and reviewing the role of individuals in these systems.</p> Miloš Rašić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 225 244 Applying the Concept of Musical Social Entrainment in Researching Tambura Practice in Serbia https://muzikologija-musicology.com/index.php/MM/article/view/35 <p>Entrainment in music refers to the interaction and synchronization of two or more rhythmic processes. The first part of this paper presents entrainment theory in ethnomusicology as a methodology for interdisciplinary research into musical, social, and cultural phenomena. The second part of the paper concerns the application of the concept of musical social entrainment in the example of tambura practice. Because tambura players display mutual entrainment through various behaviors during playing and social interaction, applying entrainment theory entails an analytical segmentation of the social and musical spheres in a specific musical performance.</p> Julijana Baštić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-06-30 2022-06-30 32 245 268