''Music in Society'' The Collection of Papers 2021-05-22T00:51:40+02:00 Uredništvo / Editorial Board Open Journal Systems <p><span class="VIiyi" lang="en"><span class="JLqJ4b" data-language-for-alternatives="en" data-language-to-translate-into="hr" data-phrase-index="0"><span class="tojvnm2t a6sixzi8 abs2jz4q a8s20v7p t1p8iaqh k5wvi7nf q3lfd5jv pk4s997a bipmatt0 cebpdrjk qowsmv63 owwhemhu dp1hu0rb dhp61c6y iyyx5f41">The Collection of Papers "Music in Society" is a publication that publishes peer-reviewed papers written by the participants of the international symposium "Music in Society", which has been held biennially in Sarajevo since 1998. The symposium is co-organised and the Collection of Papers is co-published by the by the Musicological Society of the Federation of Bosnia and Herzegovina and the Academy of Music of the University of Sarajevo.</span></span></span></p> Contributors 2021-05-22T00:51:40+02:00 a aa <p>Contributors</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Introduction 2021-05-22T00:42:29+02:00 Da De <p>Introduction</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Reception of the Contemporary Works in the Journal "Zvuk" - Sarajevo Period (1967-1986) 2021-05-21T13:51:57+02:00 Ivana Nožica <p><em>Zvuk [Sound]</em> was one of the most important music jour­nals in Yugoslavia in the 20<sup>th </sup>century. During its third and longest period, the publishing office was set in Sarajevo. The journal then experienced a high level of transformations regarding design, format, content and quality of the texts. The texts dedicated to contemporary music played a very important role in the journal.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Autopoetički iskazi Josipa Slavenskog sačuvani u njegovoj prepisci 2021-05-21T14:06:46+02:00 Melita Milin <p>Iako uglavnom visoko uvažavan kao kompozitor, Josip Slavenski (1896–1955) je ponekad doživljavao osporavanja, o čemu svedoče i pojedina pisma iz njegove bogate prepiske koja se čuva u Legatu Josipa Slavenskog u Beogradu. U ovom radu, koji je nastao na osnovu proučavanja kompozitorove prepiske s nekoliko korespondenata, posebno s braćom Ludwigom i Willyjem Streckerom, direktorima prestižne muzičke izdavačke kuće <em>Schott </em>iz Mainza, kao i na osnovu istraživanja drugih muzikologa, izdvojeni su i kritički sagledani upravo oni delovi te prepiske koji sadrže reakcije Slavenskog na neke od upućenih primedaba. Kompozitor u svojim odgovorima iznosi autopoetičke stavove i vrednuje svoj opus u širem međunarodnom kontekstu, što čini posebnu dragocenost ove građe.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Croatian Music Historiographies from the Beginning of the 20th Century to 1945: A Short Survey 2021-05-21T15:23:38+02:00 Sanja Majer Bobetko <p>This paper was developed as a result of the research done in the framework of the scholarly project <em>Hrvatska Glazbena</em> <em>Historiografija do 1945. Godine </em>[Croatian Music Historiography Before 1945]. As a result, it has been shown that the Croatian music historiography of the period under consideration is, on its own, an important historical fact. All these works retain the interest of today’s researchers as both testimonies to the achievement of writers on music and to the standard of music-historiographical publications in Croatia, as well as, though less frequently, still relevant sources of information.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers A Contribution to the Knowledge of the Life and Work of Abraham S. Suzin 2021-05-21T13:25:19+02:00 Fatima Hadžić Lana Šehović Paćuka <p>Abraham S. Suzin, a music pedagogue, conductor and composer, is an almost unknown name in the musicology of Bosnia and Herzegovina. Bulgarian by origin, he came to Sarajevo in the Austro-Hungarian period and developed a very lively musical life involving roles as a choirmaster, music pedagogue, and composer. This paper is aimed at expanding our present knowledge of the life and work of Abraham S. Suzin based on relevant archival documents and press from his time.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Franjo Ksaver Kuhač and the Network of His Contacts in the Project „Die Österreichisch-Ungarische Monarchie in Wort und Bild (1886-1902)“ 2021-05-21T15:35:07+02:00 Stanislav Tuksar <p>The Croatian musicologist Franjo Ksaver Kuhač (1834–1911) was engaged to collaborate in the large Austrian state project entitled <em>Die Österreichisch-Ungarische Monarchie in Wort</em> <em>und Bild (1886–1902), </em>where in the volume <em>Dalmatien </em>(1892) he published his text <em>Die Musik</em>, and in the volume <em>Croatien und</em> <em>Slavonien </em>(1902) the text <em>Volksmusik</em>. The preserved correspondence and other documentation dealing with this issue testify to the network of contacts among acting personalities (J. v. Weilen, E. Hanslick, I. Kršnjavi, V. Bukovac etc.) and their mutual interactive relations.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Franjo Ksaver Kuhač u ogledalu svoje korespondencije 2021-05-21T15:26:11+02:00 Sara Ries <p>Opsežna korespondencija Franje Ksavera Kuhača, nastala u razdoblju od 1860. do 1911. godine, predstavlja dragocjen materijal za historiografsko istraživanje Kuhača, ali i za rasvjetljavanje tadašnjih kulturnih, političkih i socijalnih prilika, odnosno svjedoči o važnim političkim i kulturnim promjenama na hrvatskom području.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Musical Classicism in Dalmatia: The Mirror of Correspondence and Mutual Relationship of Giulio Bajamonti and Giuseppe Raffaelli 2021-05-21T15:41:44+02:00 Ivana Tomić Ferić Maja Milošević Carić <p>This article illuminates previously unknown data about the relationship between two composers from the Croatian coast in the late <em>Settecento </em>– Giulio Bajamonti (1744–1800) and Giuseppe Raffaelli (1767–1843). The preserved correspondence of G. Bajamonti in the archives of the Archaeological Museum in Split offers data that will contribute to the revelation of their relationship, and direct a broader light on the role of these two Dalmatian composers in the penetration of the Enlightenment from the west coast of the Adriatic to the Croatian region.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Aspirations and Obstacles in the Institutionalization of the National Opera in Zagreb in the 1860s 2021-05-21T16:07:56+02:00 Vjera Katalinić <p>Between 1840 and 1860, the Zagreb theatre was a place for guest performances of the German theatre and Italian opera. Since 1861, when the National Theatre was established by a Parliamentary decision, Italian companies had been engaged simultaneously in the attempt to organize musical and stage performances on a national basis. Financial and personnel obstacles made these efforts difficult.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Nobile Teatro - Remembering "The Golden Age" of Zadar's Musical Past 2021-05-21T14:01:30+02:00 Katica Burić Ćenan <p>The city of Zadar received its first opera house, Nobile Teatro, in 1783. Even then, the theatre staged several premiere opera performances a year, and its domestic management staff indicates the existence of “strong” individuals who could embark on such a demanding and risky business. The construction of another theatre (Teatro Nuovo, later Teatro Verdi) in 1865 directly testifies to the lively and rich cultural and social environment in Zadar. This paper aims to present the activities of the first theatre in Zadar (Nobile Teatro) as well as answer the following questions: how to revive the cultural memory of the city, how to pay tribute to “the golden age” of Zadar’s past, and ways to use the heritage potential to promote local and national culture.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers The (Ir)Relevance of Music in the Work "Della Ragion di Stato" of an Italian Thinker Giovanni Botero 2021-05-21T14:23:43+02:00 Monika Jurić Janjik <p>The work <em>Della Ragion di Stato </em>[<em>The Reason of State</em>, 1589], written by Giovanni Botero (c. 1544–1617), is considered to be one of the most prominent works in the field of political philosophy from the late Renaissance. The first part of this article will present the fragments in which Botero mentions music and which show that apparently he did not have a particularly high opinion about the artform. The second part of this article will present the comparison between Giovanni Botero and Nicolo Vito di Gozze (Nikola Vitov Gučetić, 1549–1610), the philosopher and politician from Dubrovnik, who dealt with music in his work <em>Dello Stato delle</em> <em>Republiche </em>[<em>On the State of the Republics</em>, 1591], presenting it in a different, highly positive light.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers The Presence of Traditional Slavonian Music in the Opera „Ero s onoga svijeta“ by the Composer Jakov Gotovac 2021-05-21T16:11:04+02:00 Zdravko Drenjančević <p>Within the rich music opus that is inspired by traditional music, a part of it was created under the influence of Slavonian folk music. This work shows the usage of Slavonian folk music in artistic music using the most famous and most performed Croatian opera <em>Ero s Onoga Svijeta </em>[Ero the Joker] by the composer Jakov Gotovac (1895–1982) as an example. The presence of traditional Slavonian music inside the work is revealed through the recognizable tune named <em>bećarac</em>.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Pedagoška delatnost maestra Mladena Jagušta na Akademiji umetnosti Univerziteta u Novom Sadu 2021-05-21T13:38:21+02:00 Ira Prodanov Krajišnik <p>“Ja ovde imam Berlinsku filharmoniju”, izjavio je maestro Mladen Jagušt (1924) u intervjuu povodom 35 godina postojanja Akademije umetnosti Univerziteta u Novom Sadu. Time je jedan od najeminentnijih dirigenata sa prostora bivše Jugoslavije iskazao svoje zadovoljstvo radom na instituciji čiji je osnovni zadatak obrazovanje stručnih muzičkih kadrova. U radu će biti predstavljeni pedagoški stavovi Mladena Jagušta, repertoar koji je studentski orkestar Akademije umetnosti realizovao pod njegovim umetničkim rukovodstvom, te način njegovog pristupa delu i interpretaciji. Dokumentacija koja će pri tome biti korišćena pripada arhivi projekta <em>Kulturološki identiteti u umetničkoj produkciji</em> <em>Akademije umetnosti Univerziteta u Novom Sadu – arhiviranje i</em> <em>analitičko predstavljanje građe i tradicije </em>(2016–2019).</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Yugoslav Electroacoustic Music before the 1970s: Production and Promotion at Music Biennale Zagreb and the Yugoslav Music Tribune 2021-05-21T14:13:08+02:00 Miloš Marinković <p>The establishment of the Electronic Studio Third program at Radio Belgrade (1971) represents beginning of a new period, as well as the institutionalization of electroacoustic music in Yugoslavia. This research will focus on the Music Biennale Zagreb (MBZ), founded in 1961, and the Yugoslav Music Tribune (YMT), founded in 1964 – festivals that have directly caused the progress and great expansion of electroacoustic music production in Yugoslavia. Therefore, on the one hand, this paper gives a brief overview of the often neglected period of the development of Yugoslav electroacoustic music. On the other hand, this study has found that the above-mentioned festivals could be interpreted as the main actors for the popularization of electronic media in Yugoslavian music.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Music of „the Others“ in the Practical Teaching of Ethnomusicology at the Academy of Arts in Novi Sad 2021-05-21T16:04:44+02:00 Vesna Ivkov <p>Vocal and/or instrumental performances of traditional melodies, as well as folk dances, are incorporated as vocational practical segments within the Ethnomusicology programme at the Academy of Arts in Novi Sad, i.e. the course of the same name as well as the Ethnochoreology course. The public performances given by the ethnomusicology students of the Academy of Arts in Novi Sad, together with the collected opinions of students on personal gathering, studying, learning and interpreting melodies and dances from the musical tradition of other peoples and regions, create a clear picture of the documentary, educational and intercultural potential of ethnomusicology as a science.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers „The Dervish Sound Dress“ – A Garment using Sensors that emit Sound and Haptic Feedback 2021-05-21T16:35:49+02:00 Hedy Hurban <p><em>The Dervish Sound Dress</em> is a wearable piece of technology, and a garment inspired by the sacred experience of the Whirling Dervishes of Turkey. The dress is a body instrument that emits musical sounds when the wearer moves in it, as well as triggering a haptic vibration response.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Problem repertoara amaterskih horova u Srbiji u poslednje tri decenije - Odnos između duhovnog i svetovnog žanra 2021-05-21T13:15:29+02:00 Bogdan Đaković <p>Rad definiše savremeni trenutak u razvoju srpskog horskog amaterizma koji podrazumeva postojanje obnovljenih ili novoformiranih crkvenih horova, nastavak delatnosti nekadašnjih sastava pri kulturno-umetničkim društvima, te ansambala novih profila, od inkluzivnih do različitih kamernih formacija često posvećenih jednom horskom žanru. Konstatuje se neophodnost modernizacije postojećih festivala, kao i bolja interakcija na različitim nivoima domaćih pevačkih sastava sa internacionalnim horskim asocijacijama i ukupnom programsko-izvođačkom praksom.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Narratives about Music in the Contemporary Urban Culture of Sarajevo and Mostar's Population 2021-05-21T13:19:09+02:00 Bogdan Dražeta <p>This paper will present some of the narratives about music in the contemporary urban culture of Sarajevo and Mostar. The data used was collected during fieldwork conducted in the period from October 2017 to January 2018, and intermittently between March and October 2018. The paper will use the perspective of other disciplines, primarily ethnology and anthropology, to contribute to the field of music research. The induction of a collaboration between specialities which have interest in music can merge differing perspectives and result in a contemporary study of this topic, and a “better” understanding of our cultural and social reality as well.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Music as Ruled by Primary Processes: Fragmentation 2021-05-21T14:19:20+02:00 Miloš Zatkalik <p>According to a number of psychoanalysts, music is the closest of all the arts to the unconscious, preverbal primary modes of mental functions. Condensation, displacement, or becoming opposite are typical transformations performed by the unconscious mind. These transformations include fragmentation, which also features prominently in all aspects of music: thematic material, harmonic progressions, formal constructions, and so on.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Harmony Between Theory and Practice 2021-05-21T14:30:09+02:00 Refik Hodžić <p>Harmony as an area of music education can be viewed from two different perspectives: theoretical and practical. Starting with the pioneer of modern harmony Gioseffo Zarlino and his book <em>Institutioni Harmoniche </em>(1558), to the seminal book by Jean-Phillippe Rameau <em>Traite de l’Harmonie </em>(1722) and onward, harmony is still a living matter, subject to different interpretations and theories. The purpose of studying harmony at the secondary and more advanced academic music levels is to gain a full insight into the meaning and wholeness of this concept. It can be achieved only through a balanced connection between theoretical study and practical work. One should additionally emphasize its correlational and inseparable connection to all other music-theory disciplines. With respect to this issue, this paper highlights the published manual <em>Harmonija u Praksi </em>[Harmony in Practice] (2016) by the same who, guided by longtime pedagogical experience, indicates and methodically finds the most appropriate link between theory and practice when teaching harmony.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Architextuality as a Factor in the Construction of the Musical Fairy Tale Genre in the Composition "Extraordinary Scenes from Homer's Grave in Smyrna - New Additions for Hans Christian Andersen" by Ivana Stefanović 2021-05-21T12:57:15+02:00 Srđan Teparić <p><em>The concert Extraordinary scenes from Homer’s Grave – New Additions to Hans Christian Andersen by Ivana Stefanović possesses qualities which, in terms of intertextual relations, could be reduced to the level of architextuality. This paper will examine the generality of patterns that are, in some way, comparable to the general situations mentioned in the fairy tale. However, the goal of the paper should not suggest the possible comparison of architextual relations between literary and musical work, since differences are quite obvious at even the most fundamental level. Reducing musical characters to fundamental musical patterns would imply that in genre terms it is possible to define this composition as a kind of musical fairy tale.</em></p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Music Pedagogues from the Soviet Union and East European Countries at the Montenegrin Music Academy from Its Foundation to Today 2021-05-21T16:27:04+02:00 Tatjana Krkeljić <p>The Montenegrin cultural scene has historically been strongly conditioned by the surrounding geopolitical events. Upon the completion of the Second World War, music schools were opened. After several decades, the first higher education institution – the Music Academy – was founded in 1980 in Podgorica, former Titograd, as a response to a significant necessity to educate music professionals. Having been faced with a lack of domestic human resources, the Music Academy hired lecturers from Eastern European countries, including the Soviet Union. This paper looks into the engagement of Soviet and Eastern European musicians in the work of the Montenegro Music Academy.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers Didactic Aspects of an Intercultural Approach to Teaching Music 2021-05-21T13:11:02+02:00 Amir Begić Jasna Šulentić Begić <p>Music in general education schools provides great opportunities for intercultural education because music itself is an intercultural art. Given the close link between music and culture, fostering a cultural understanding can be an effective outcome of teaching music, and getting to know different music styles from around the world can develop the intercultural competence of students. This paper presents an research overview in which many experts and scientists deal with the didactic aspects, i.e. the possibilities, strategies, and methods of an intercultural music education in general education schools, while attempting to point out the existing problems that arise in the process of intercultural education when teaching music.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers "Les Fruits de Loisir": Some European Conceptions and Misconceptions of Irish Music 2021-05-21T13:32:00+02:00 Harry White <p>The reception history of Irish traditional music in Europe originates in its status as a mode of refuge from the claims of high seriousness embodied in art music. By examining Beethoven’s arrangements of Irish folksong by comparison with those of Thomas Moore, and by contrasting the present-day popularity of Irish traditional music in Europe (above all, in Germany) with the silent or non-reception of other modes of Irish music, we can argue that the perception of Irish music in Europe is incomplete at best, and at worst misconceived.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers The Non-Russian Face of Russia: Music, Youth and Migration in Post-Soviet State 2021-05-21T14:27:02+02:00 Razia Sultanova <p>According to the most recent official figures, about 2 million Central Asian migrant workers live in Moscow which is becoming “Europe’s largest Muslim city” (Hanrahan, 2015)<em>. </em>The aim of this article is to broaden the cultural definition of present-day Moscow, focusing on its current soundscape as an indicator of social, religious, and cultural change.</p> 2021-05-22T00:00:00+02:00 Copyright (c) 2021 ''Music in Society'' The Collection of Papers