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> “Well… if the Professor Told You so… Who am I to Disagree?”. The Impact of Academia on Community Knowledge and a Strategy from the Archive https://muzikologija-musicology.com/index.php/MM/article/view/55 <p>The impact of academia on cultural heritage is yet to be scrutinised. The intangible cultural heritage (ICH) constitutes a particularly fragile domain because it is so open to the influence of researchers and bodies of reputation, such as the experts hired for the production of a diplomatic file such as the UNESCO candidacy. In the beginning of the article I offer the institutional overview of ICH and its Portuguese subsidiary. In the second part of the article I detail the European project HeritaMus and its underlying conceptual framework, which was designed to document ICH and tangible cultural assets, creating a simple tool for cooperative curation involving members of the fado community.</p> Pedro Félix Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 21 38 Sound Recordings and Karel Štrekelj: The Initiator of a New Approach to Folk Song Research in Slovenia https://muzikologija-musicology.com/index.php/MM/article/view/56 <p>The Slovenian philologist and folk song researcher Karel Štrekelj (1859–1812) was one of the first researchers in Slovenia to recognise the importance and usefulness of a new sound recording method. Based on a detailed study of archival documents and relevant literature, in this article I examine Štrekelj’s contribution to folk music research using a new technical device and introducing a new method of sound documentation to field research. By placing his plans and efforts in a broader context of folk song research, one concludes that Štrekelj was more ambitious and forward-thinking than many other researchers at the time.</p> Drago Kunej Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 39 52 Managing Karadeniz Music Archive (KARMA): Foundations, Improvements, and Current Applications https://muzikologija-musicology.com/index.php/MM/article/view/57 <p>KARMA, founded in Trabzon (Türkiye) in 2011, brings together audio-visual archival materials from the Black Sea hinterland. The goal of this article is to promote the epistemological and institutional background and actions of KARMA with its short history, objectives, and current applications for digital preservation. In this context, we will present how KARMA adapts Latour’s actor-network theory, Deleuze and Guattari’s rhizome, and Akat's focus strategy model. We will also stress the importance of both micro and macro perspectives in order to understand the music cultures of the region through historical collections and new connections.</p> Abdullah Akat Özgün Arda Nural Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 53 71 Preserving and Dissemination of Digitised Sound Heritage in Contemporary Times: The Potential of Blockchain Technology https://muzikologija-musicology.com/index.php/MM/article/view/58 <p>Following recent technological changes, the archival profession will reach the moment of surpassing previously dominant mediaspheres, in which sounds and images were stored in traditionally located archives. This is not to say that traditional archives are not needed anymore – on the contrary. In this article, I will try to bring out the possibilities of upgrading traditional archives with the help of blockchain technology and to analyse the complex navigation between online market and commodification in the world of contemporary ethnomusicological contribution to sound heritage archiving.</p> Dragana Stojanović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 73 86 Applied Musicology: A “manifesto”, and a case study of a lost cultural hub https://muzikologija-musicology.com/index.php/MM/article/view/59 <p>In this article I present a “manifesto” of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.</p> Ivana Medić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 87 102 Audiovisual Media in Public Ethnomusicology and Education: A Sardinian Experience https://muzikologija-musicology.com/index.php/MM/article/view/60 <p>In recent decades, audiovisual media has been increasingly used in ethnomusicological research. If we consider how scholars use them, four main areas of application can be identified: 1) data analysis, 2) documentary films, 3) public ethnomusicology, 4) educational use.<br>This article presents some audiovisual products on traditional instrumental and vocal music as well as improvised sung poetry in Sardinia (Italy) on which I have worked over the last few years - including the visual representation of musical and poetic forms, and also audiovisual products for exhibitions, museums and multimedia encyclopaedias. My aim is to discuss the role played by ethnomusicologist in conceiving new strategies for the visual representation of the music of oral tradition in different productive contexts and audiovisual outputs.</p> Marco Lutzu Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 103 117 Under Political and Market Pressures: The Staging of Operetta in Interwar Belgrade https://muzikologija-musicology.com/index.php/MM/article/view/61 <p>In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.</p> Ivana Vesić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 121 152 Arti Musices Pannoniarum – The Compositional Practice in Vojvodina in the Social-Historical and Musico-Historical Context https://muzikologija-musicology.com/index.php/MM/article/view/62 <p>In this paper, the territorial frameworks are set with the aim of forming a regional historical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the “local type” musical modernism. In the second half of the 20th century, they were involved in determining the place of “new music” within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War.</p> Nemanja Sovtić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 153 171 The Presence of Computers in Yugoslav Popular Music of the Second Half of the 1980s https://muzikologija-musicology.com/index.php/MM/article/view/63 <p>This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production – as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices.</p> Milan Milojković Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 173 191 On the Meaning of the Chordophone Musical Instruments in the Scenes of the Mocking of Christ in Serbian Medieval Art https://muzikologija-musicology.com/index.php/MM/article/view/64 <p>This article examines the sacral meaning of the chordophone musical instruments in the scenes of the Mocking of Christ in Serbian medieval art (1166–1459), preserved only in two monumental ensembles – in the church of Christ Pantokrator in Dečani Monastery (1338–1339) and in the church of the Holy Archangels Gabriel and Michael in Lesnovo (1346–1347). The instruments in question are one cithara (Byzantine lyre) and one psaltery. Selected examples of the comparative material, as well as the written sources, prove that these musical instruments symbolically point to Christ’s suffering.</p> Anđela Gavrilović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 193 208 The Process of Shaping Stage Folk Music through the Prism of the Development of Folk Dance Choreography https://muzikologija-musicology.com/index.php/MM/article/view/65 <p>Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was created by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinović, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble “Kolo”. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.</p> Vesna Bajić Stojiljković Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 209 229 (Re)examining the Relationship between Music and Dance from the Perspective of Learning and Memorizing Folk Dance Choreography https://muzikologija-musicology.com/index.php/MM/article/view/66 <p>This article contributes to the study of the relationship between music and dance through the elaboration of questions such as: how music and dance coexist in the perception of the performer; whether dance is always inseparable from music or it becomes independent from it in formal learning conditions; whether music influences learning and memorising the choreography of the folk dance. Incorporating aspects of cognitive research into the study fields of ethnomusicology and ethnochoreology creates fertile ground for (re)examining previous opinions about the relationship between music and dance, as well as the need for future interdisciplinary research of the process of learning and remembering choreography as an art form.</p> Maja Krasin Matić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 231 252 Selena Rakočević (1971–2022) https://muzikologija-musicology.com/index.php/MM/article/view/72 <p>In Memoriam</p> Katarina Nikolić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 281 284 Biljana Milanović, Melita Milin and Danka Lajić Mihajlović (Eds.), Music in Postsocialism: Three Decades in Retrospect. https://muzikologija-musicology.com/index.php/MM/article/view/67 <p>Book review</p> Nicolae Gheorghiță Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 255 260 Elodie A. Roy and Eva Moreda Rodríguez (Eds.), Phonographic Encounters: Mapping Transnational Cultures of Sound, 1890–1945 https://muzikologija-musicology.com/index.php/MM/article/view/68 <p>Book review</p> Marija Maglov Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 261 264 Urlich Morgenstern and Ardian Ahmedaja (Eds.), Playing Multipart Music: Solo and Ensemble Traditions in Europe. European Voices IV. https://muzikologija-musicology.com/index.php/MM/article/view/69 <p>Book review</p> Zorana Guja Dražeta Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 265 269 Dóra Pál-Kovács and Vivien Szőnyi (Eds.), Thе Mystery of Movement. Studies in Honor of János Fügedi / A mozgás misztériuma. Tanulmányok Fügedi János tiszteletére https://muzikologija-musicology.com/index.php/MM/article/view/70 <p>Book review</p> Katarina Nikolić Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 271 273 Мирјана Белић Корочкин Давидовић и Радивоје Давидовић, Енрико Јосиф: виђења и сновиђења. https://muzikologija-musicology.com/index.php/MM/article/view/71 <p>Book review</p> Marija Golubović Copyright (c) 2022 MUZIKOLOGIJA-MUSICOLOGY https://creativecommons.org/licenses/by-nc-nd/3.0/rs/ 2022-12-30 2022-12-30 33 275 278