Archives - Page 3
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(Ethno)Musicology at the Turn of Millennium (II)
No. 19 (2015)In this current time of transition from one millennium to another, humanistic disciplines are still being developed, simultaneously with a turnaround regarding thematic directions and study methods. Conceived trends in thinking and research are being reshaped and receive new guidelines, in parallel with contemporary ideas and significant, sometimes radical, changes in society and culture, with new forms of communication, using different media. Besides this, ideological starting points are also continually being reshaped. At the same time, there are new experiences and achievements in the humanities, and the discourse methods encompassed are increasingly based on experiences of the most varying theoretical approaches. The new fields in which processes are unfolding in the domain of social and cultural trends, as well as their general reception and perception, also condition changes in perspective in the observation of certain processes in musical culture, the context of musical performance, and even the structures of actual musical texts. The lively interest in these phenomena has determined the main theme for works in this and the next edition of Musicology: (Ethno)Musicology at the Turn of the Millennium. This edition encompasses a wide spectrum of current questions in the fields of musical, religious, traditional, and popular music, as well as in the area of multimedia art expression.
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(Ethno)Мusicology at the Turn of the Millennium (I)
No. 18 (2015)In this current time of transition from one millennium to another, humanistic disciplines are still being developed, simultaneously with a turnaround regarding thematic directions and study methods. Conceived trends in thinking and research are being reshaped and receive new guidelines, in parallel with contemporary ideas and significant, sometimes radical, changes in society and culture, with new forms of communication, using different media. Besides this, ideological starting points are also continually being reshaped. At the same time, there are new experiences and achievements in the humanities, and the discourse methods encompassed are increasingly based on experiences of the most varying theoretical approaches. The new fields in which processes are unfolding in the domain of social and cultural trends, as well as their general reception and perception, also condition changes in perspective in the observation of certain processes in musical culture, the context of musical performance, and even the structures of actual musical texts. The lively interest in these phenomena has determined the main theme for works in this and the next edition of Musicology: (Ethno)Musicology at the Turn of the Millennium. This edition encompasses a wide spectrum of current questions in the fields of musical, religious, traditional, and popular music, as well as in the area of multimedia art expression.
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Aspects of Performing in (Ethno)Musicology II
No. 17 (2014)The act of performance alone is extremely inspiring for observation from different aspects, in the fields of both musicology and ethnomusicology, and particularly where these two disciplines converge. Dedication to the Aspect of Performance in (Ethno)Musicology as a topic for the next two numbers of Muzikologija reflects the liveliest interest shown by scholars in various forms of performance in the domain of artistic, church/religious, traditional, world music, popular music from different periods, and in various geographical and cultural environments.
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Aspects of Performance in (Ethno)Musicology I
No. 16 (2014)The act of performance alone is extremely inspiring for observation from different aspects, in the fields of both musicology and ethnomusicology, and particularly where these two disciplines converge. Dedication to the Aspect of Performance in (Ethno)Musicology as a topic for the next two numbers of Muzikologija reflects the liveliest interest shown by scholars in various forms of performance in the domain of artistic, church/religious, traditional, world music, popular music from different periods, and in various geographical and cultural environments. The issue contains works on artistic and church music: from semiotic perspectives in relation to the issues of performance, through an informed performance of Haydn’s sonatas, to Serbian salon music and church singing in the nineteenth century. Musicologists and ethnomusicologists have also devoted several works to the peripheral areas of two disciplines: the questions of ideological and political aspects of the work of the Baltic Youth Philharmonic, as well as a work concerning a world music ensemble in England born with roots in Serbia. Anniversary of the greats of our musical culture – one hundred years from the deaths of Davorin Jenko and Stevan Stojanović Mokranjac – has their own separate section within a thematic unit dedicated to Jenko and Mokranjac.
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The chanted word in the orthodox oikoumene
No. 11 (2011)Byzantine civilization has been relentlessly attracting researchers from various scientific disciplines for many years. Its rich heritage of melodies, especially those written in liturgical chant books now kept on the shelves of all the world's most important libraries, began to be systematically investigated in the early 20th century in the countries of the Orthodox Oikoumene, bothi n the narrower and the wider sense. Certainly, not all aspects of the synergy between words and melody that contribute to making the incarnated Logos miraculously present have been fully exhausted. In recent decades, however, Byzantine musicology has been greatly improved by findings that provide wider and broader perspectives on the function and purpose of the art of chanting and its synergy with hymnography in Orthodox liturgy. Numerous historical and analytical studies have been carried out, palaeographic and codicological studies undertaken, and chanting ensembles from all over the world contribute in a specific manner to both the restoration and the affirmation of the sacred chant of various Orthodox nations.
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Six Decades of the Institute of Musicology SASA
No. 10 (2010)Musicology, the journal of the Institute of Musicology SASA, was started in 2001 by then middle generation of its members. The journal's 10th anniversary is a small jubilee, which the current editor Katarina Tomašević wanted to mark by dedicating this number to the Institute, its work and its history. For that reason, this volume has a guest editor, who has been a member of the Institute over the last four decades. The issue also contains speeches given at the celebration of the Institute's 60th Anniversary (2008) and the programmes of the concerts organized on that occasion at the Gallery of the Serbian Academy of Sciences and Arts.
