Research Article
BibTex RIS Cite
Year 2017, , 141 - 163, 30.12.2017
https://doi.org/10.33906/musicologist.373187

Abstract

References

  • BEMUS - Belgrade Music Festival archive. (2017). Retrieved from https://www.bemus.rs/sr/arhiva.html (last access 14 December 2017).
  • Bergamo, Marija. (1980). Elementi ekspresionističke orijentacije u srpskoj muzici do 1945. godine. [Elements of Expressionist Orientation in Serbian Music until 1945] Belgrade: SANU.
  • Cvetković, Stefan. (2013). “Aleksandar Obradović – Pro Libertate Concerto for Piano and Orchestra No. 3” (Kapetanović, Goran, Trans.) New Sound. 41(I): 99–109.
  • Denegri, Ješa. (2003). “Inside or Outside Socialist Modernism? Radical Views on the Yugoslav Art Scene, 1950–1970.” Impossible Histories – Historical Avant-gardes, Neo-Avant-Gardes, and Post-avant-gardes in Yugoslavia, 1918–1991, Eds. Miško Šuvaković, Dubravka Đurić: pp. 170–209. Cambridge MA: The MIT Press.
  • Despić, Dejan. (2001). Bemus 1969–1998. Thirty Years of the Belgrade Music Festival (Brown, Gawin; Paunović, Zoran, Trans.) Belgrade: Jugokoncert.
  • Hristović-Samardžiski, Gordana. (20 October 1974). “Бемус – прозор у свет.” [Bemus – A Window to the World] Експрес недељна ревија[Ekspres nedeljna revija] p. 6.
  • Janković, Jelena. (2006). “Place of the Classical Music Festivals in a Transitional Society.” Master dissertation, University of Arts in Belgrade: Serbia. Retrieved from http://www.culturalmanagement.ac.rs/en/research/ma-theses/jankovic-jelena-place-of-the-classical-music-festivals-in-a-transitional-society-university-of-arts-in-belgrade-2006 (last access 14 December 2017).
  • Jevtić, Miloš. (2011). Лепота звука. Разговори са музичарима. [The Beauty of Sound. Conversations with Musicians]. Belgrade: Službeni glasnik.
  • Josif, Enriko. (30 May 1972). “Концерт којим се осваја нова публика.” [The concert to win over new audience] Политика [Politika] p. 14.
  • Logar, Mihovil; Obradović, Aleksandar. (1957). “Posleratno muzičko stvaralaštvo u Jugoslaviji: Srbija.” [Music Creation in Yugoslavia after WWII: Serbia]. Zvuk. 11–12: 13–14.
  • Logar, Mihovil. (1968). “Paradoks kratkog spoja između publike i savremenog kompozitora,” [Paradoxe of the Short Circuit between the Audience and a Contemporary Composer]. Delo. 83: 157–158.
  • Lukić, Sveta. (28 April 1963). “Социјалистички естетизам.” [Socialist Aesthetism]. Политика [Politika недеља], p. 17.
  • Marinković, Sonja. (1997). “To understand the beginning and the end. The interview with composer Aleksandar Obradović” (Korić, Vesna, Trans.) New Sound, International Magazine for Music. 10: 5–17.
  • Medić, Ivana. (2004). Klavirska muzika Vasilija Mokranjca. [Piano Music of Vasilije Mokranjac]. Belgrade: Studentski kulturni centar.
  • Medić, Ivana. (2007). “The Ideology of Moderated Modernism in Serbian Music and Musicology.” Музикологија/Musicology. 7: 279–294.
  • Medić, Ivana. (2015). “The Impossible Avant-garde: The Curious Case of Vladan Radovanović.” Paper presented at the International Conference Nationalism in Music in the Totalitarian State. Budapest, Hungary, 13 February 2015. Video recording of the conference presentation available at: http://videotorium.hu/hu/recordings/9765/ivana-medi-the-impossible-avant-garde-the-curious-case-of-vladan-radovanovi (last access 14 December 2017).
  • Mikić, Vesna. (2007). “Неокласичне тенденције.” (Neoclassical Tendencies). Историја српске музике. Српска музика и европско музичко наслеђе, [The History of Serbian Music. Serbian Music and European Musical Heritage] pp. 193–213. Belgrade: Zavod za udžbenike.
  • Mikić, Vesna. (2009). Lica srpske muzike: neoklasicizam. [Faces of Serbian Music: Neoclassicism]. Belgrade: Fakultet muzičke umetnosti, Katedra za muzikologiju
  • Milin, Melita. (1998). Tradicionalno i novo u srpskoj muzici posle Drugog svetskog rata (1945–1965). [The Traditional and the New in Serbian Art Music after WWII (1945–1965)]. Belgrade: Muzikološki institut Srpske akademije nauka i umetnosti
  • Milin, Melita. (2004). “Socialist Realism as an Enforced Renewal of Musical Nationalism.” Socialist Realism and Music, Colloquium Musicologicum Brunense 36 (2001). Eds. Mikuláš Bek, Geoffrey Chew and Petr Macek: pp. 39–43. Praha: KLP
  • Milin, Melita. (2006). “Етапе модернизма у српској музици” [The Stages of Modernism in Serbian Music]. Музикологија [Musicology]. 6: 93–116.
  • Novak, Jelena. (2012). “Subverzivni socijalistički modernizmi u muzici. Figura kompozitorke.” [Subversive socialist modernisms in music. The figure of a female composer]. Istorija umetnosti u Srbiji XX vek. Drugi tom – Realizmi i modernizmi oko hladnog rata [History of Art in Serbia. Vol. 2 – Realisms and Modernisms around the Cold War]: pp. 781–786. Belgrade: Orion Art.
  • Obradović, Aleksandar. (1978). Elektronska muzika i elektronski instrumenti (dodatak opštem delu knjige “Uvod u orkestraciju”). [Electronic Music and Electronic Instruments (Addendum to the Book An Introduction to Orchestration)]. Belgrade: Univerzitet umetnosti u Beogradu.
  • Radić, Zorana. (1984). “Odnos tradicionalnog i savremenog u simfonijama Aleksandra Obradovića.” [The Relationship of the traditional and contemporary in symphonies by Aleksandar Obradović]. Zvuk: 5–8.
  • Radić, Zorana. (1987). Simfonizam Aleksandra Obradovića. [The Symphonicism of Aleksandar Obradović]. Belgrade: Udruženje kompozitora Srbije
  • Stambolić, Olivera. (2005). “Sonatni oblik u prvim stavovima simfonija Aleksandra Obradovića.” [Sonata Form in the First Movements of Aleksandar Obradović’s Symphonies]. Zbornik katedre za teorijske predmete: Muzička teorija I analiza 2, [Music Theory and Analysis 2]. Eds. Mirjana Živković, Ana Stefanović, Miloš Zatkalik: pp. 178–188. Belgrade: Fakultet muzičke umetnosti / Signature.
  • Stojanović-Novičić, Dragana. (1999). “Српска симфонијска музика између авангарде и постмодерне (1960-1975)." [Serbian Symphonic Music Between the Avant-garde and the Postmodern (1960-1975)]. PhD dissertation. University of Arts in Belgrade, Faculty of Music, Belgrade: SR Yugoslavia.
  • Suter, Louis-Mark. (1989). Quatre oeuvres concertantes de compositeursserbes. Aspects de la musique yougoslave. [The Four concertante pieces by Serbian composers]. Belgrade: Academie serbe des sciences et des arts
  • Šuvaković, Miško. (1999). Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950. [A Glossary of Modern and Postmodern Fine Arts and Theory after 1950]. Beograd i Novi Sad: Srpska akademija Nauka i umetnosti i Prometej.
  • Šuvaković, Miško. (2008). “Umetnost posle socijalističkog realizma. Prilozi kritici istočnoevropskog modernizma na uzorcima socijalističke Jugoslavije, Srbije i – uže – Vojvodine.” [Art after Socialist Realism. Contributions to the Critique of Eastern-European Modernism using the Examples from Socialist Yugoslavia, Serbia and – more specifically–Vojvodina]. Republika. 440–441. Retrieved from http://www.republika.co.rs/440-441/20.html (last access 14 December 2017)
  • Šuvaković, Miško. (2017). “Eстетичка теорија социјалистичког модернизма. Студија случаја: Павле Стефановић.” [Aesthetic Theory of Socialist Modernism. Case Study: Pavle Stefanović]. У О укусима се расправља. Павле Стефановић (1901–1985) уредиле Соња Маринковић [The Tastes Ought to be Disputed. Pavle Stefanović (1901–1985)] Eds. Sonja Marinković, Jelena Janković-Beguš. Belgrade: Serbian Musicological Society, Department of Musicology of the Faculty of Music in Belgrade (forthcoming).
  • Veselinović, Mirjana. (1983). Stvaralačka prisutnost evropske avangarde u nas. [The Creative Presence of the European Avant-Garde in Serbian Music]. Belgrade: Univerzitet umetnosti.
  • Veselinović-Hofman, Mirjana. (1997). Fragmenti o muzičkoj postmoderni. [Fragments on Musical Postmodernity]. Novi Sad: Matica srpska.
  • Veselinović-Hofman, Mirjana. (2002). “Teze za reinterpretaciju jugoslovenske muzičke avangarde.” Muzički talas. 30–31: 18–32.
  • Veselinović-Hofman, Mirjana. (2007). “Музика у другој половини XX века.” [Music in the Second Half of the 20th Century]. Историја српске музике. Српска музика и европско музичко наслеђе [The History of Serbian Music Serbian Music and European Musical Heritage]. pp. 107–137. Belgrade: Zavod za udžbenike.

‘Between East and West’: Socialist Modernism as the Official Paradigm of Serbian Art Music in the Socialist Federal Republic of Yugoslavia

Year 2017, , 141 - 163, 30.12.2017
https://doi.org/10.33906/musicologist.373187

Abstract

In this paper I discuss the notion of
‘socialist modernism’ and argue for its introduction into Serbian music history
and musicology as an appropriate label for a vast number of works composed in
the seventh and eighth decades of the 20th Century. The term is borrowed from
Serbian art theory, where it was introduced by Ješa Denegri, who defined
‘socialist modernism’ as a further development of the notion of ‘socialist
aestheticism’, which was the first sign of distancing from the ‘socialist
realism’ as the dominant aesthetic position in the years immediately after the
end of the WWII. While both terms have been widely used to discuss the visual
arts and architecture (e. g. Miško Šuvaković), they have not been applied to
the study of Serbian and Yugoslav music history. It is my goal to analyse the
main facets of ‘socialist modernism’ and to compare this notion to other
prominent terms, which are commonly used to describe the art music production
of the majority of Serbian composers in the given period, notably to ‘moderated
modernism’ and ‘neoclassicism.’

Denegri used the notion of ‘socialist
modernism’ to point to the specific position of the Socialist Federal Republic
of Yugoslavia ‘between East and West’ during the Cold War. He defined it as a
“unique formation that emerged at the crossroads of the features of Eastern and
Western cultural models.” Similar tendencies can also be observed in Serbian
art music since the late 1950s, with an increasing desire to ‘catch up’ with
the dominant currents of European musical (high) modernism.





As a paradigmatic example of this stylistic
approach in art music of the 1960s and 1970s, I discuss the poetics of
Aleksandar Obradović (1927–2001), one of the most prominent Yugoslav (Serbian)
composers of the period, whose artistic profile vividly illustrates the
currents of political developments and changes in Yugoslav art in the second
half of the 20th Century.

References

  • BEMUS - Belgrade Music Festival archive. (2017). Retrieved from https://www.bemus.rs/sr/arhiva.html (last access 14 December 2017).
  • Bergamo, Marija. (1980). Elementi ekspresionističke orijentacije u srpskoj muzici do 1945. godine. [Elements of Expressionist Orientation in Serbian Music until 1945] Belgrade: SANU.
  • Cvetković, Stefan. (2013). “Aleksandar Obradović – Pro Libertate Concerto for Piano and Orchestra No. 3” (Kapetanović, Goran, Trans.) New Sound. 41(I): 99–109.
  • Denegri, Ješa. (2003). “Inside or Outside Socialist Modernism? Radical Views on the Yugoslav Art Scene, 1950–1970.” Impossible Histories – Historical Avant-gardes, Neo-Avant-Gardes, and Post-avant-gardes in Yugoslavia, 1918–1991, Eds. Miško Šuvaković, Dubravka Đurić: pp. 170–209. Cambridge MA: The MIT Press.
  • Despić, Dejan. (2001). Bemus 1969–1998. Thirty Years of the Belgrade Music Festival (Brown, Gawin; Paunović, Zoran, Trans.) Belgrade: Jugokoncert.
  • Hristović-Samardžiski, Gordana. (20 October 1974). “Бемус – прозор у свет.” [Bemus – A Window to the World] Експрес недељна ревија[Ekspres nedeljna revija] p. 6.
  • Janković, Jelena. (2006). “Place of the Classical Music Festivals in a Transitional Society.” Master dissertation, University of Arts in Belgrade: Serbia. Retrieved from http://www.culturalmanagement.ac.rs/en/research/ma-theses/jankovic-jelena-place-of-the-classical-music-festivals-in-a-transitional-society-university-of-arts-in-belgrade-2006 (last access 14 December 2017).
  • Jevtić, Miloš. (2011). Лепота звука. Разговори са музичарима. [The Beauty of Sound. Conversations with Musicians]. Belgrade: Službeni glasnik.
  • Josif, Enriko. (30 May 1972). “Концерт којим се осваја нова публика.” [The concert to win over new audience] Политика [Politika] p. 14.
  • Logar, Mihovil; Obradović, Aleksandar. (1957). “Posleratno muzičko stvaralaštvo u Jugoslaviji: Srbija.” [Music Creation in Yugoslavia after WWII: Serbia]. Zvuk. 11–12: 13–14.
  • Logar, Mihovil. (1968). “Paradoks kratkog spoja između publike i savremenog kompozitora,” [Paradoxe of the Short Circuit between the Audience and a Contemporary Composer]. Delo. 83: 157–158.
  • Lukić, Sveta. (28 April 1963). “Социјалистички естетизам.” [Socialist Aesthetism]. Политика [Politika недеља], p. 17.
  • Marinković, Sonja. (1997). “To understand the beginning and the end. The interview with composer Aleksandar Obradović” (Korić, Vesna, Trans.) New Sound, International Magazine for Music. 10: 5–17.
  • Medić, Ivana. (2004). Klavirska muzika Vasilija Mokranjca. [Piano Music of Vasilije Mokranjac]. Belgrade: Studentski kulturni centar.
  • Medić, Ivana. (2007). “The Ideology of Moderated Modernism in Serbian Music and Musicology.” Музикологија/Musicology. 7: 279–294.
  • Medić, Ivana. (2015). “The Impossible Avant-garde: The Curious Case of Vladan Radovanović.” Paper presented at the International Conference Nationalism in Music in the Totalitarian State. Budapest, Hungary, 13 February 2015. Video recording of the conference presentation available at: http://videotorium.hu/hu/recordings/9765/ivana-medi-the-impossible-avant-garde-the-curious-case-of-vladan-radovanovi (last access 14 December 2017).
  • Mikić, Vesna. (2007). “Неокласичне тенденције.” (Neoclassical Tendencies). Историја српске музике. Српска музика и европско музичко наслеђе, [The History of Serbian Music. Serbian Music and European Musical Heritage] pp. 193–213. Belgrade: Zavod za udžbenike.
  • Mikić, Vesna. (2009). Lica srpske muzike: neoklasicizam. [Faces of Serbian Music: Neoclassicism]. Belgrade: Fakultet muzičke umetnosti, Katedra za muzikologiju
  • Milin, Melita. (1998). Tradicionalno i novo u srpskoj muzici posle Drugog svetskog rata (1945–1965). [The Traditional and the New in Serbian Art Music after WWII (1945–1965)]. Belgrade: Muzikološki institut Srpske akademije nauka i umetnosti
  • Milin, Melita. (2004). “Socialist Realism as an Enforced Renewal of Musical Nationalism.” Socialist Realism and Music, Colloquium Musicologicum Brunense 36 (2001). Eds. Mikuláš Bek, Geoffrey Chew and Petr Macek: pp. 39–43. Praha: KLP
  • Milin, Melita. (2006). “Етапе модернизма у српској музици” [The Stages of Modernism in Serbian Music]. Музикологија [Musicology]. 6: 93–116.
  • Novak, Jelena. (2012). “Subverzivni socijalistički modernizmi u muzici. Figura kompozitorke.” [Subversive socialist modernisms in music. The figure of a female composer]. Istorija umetnosti u Srbiji XX vek. Drugi tom – Realizmi i modernizmi oko hladnog rata [History of Art in Serbia. Vol. 2 – Realisms and Modernisms around the Cold War]: pp. 781–786. Belgrade: Orion Art.
  • Obradović, Aleksandar. (1978). Elektronska muzika i elektronski instrumenti (dodatak opštem delu knjige “Uvod u orkestraciju”). [Electronic Music and Electronic Instruments (Addendum to the Book An Introduction to Orchestration)]. Belgrade: Univerzitet umetnosti u Beogradu.
  • Radić, Zorana. (1984). “Odnos tradicionalnog i savremenog u simfonijama Aleksandra Obradovića.” [The Relationship of the traditional and contemporary in symphonies by Aleksandar Obradović]. Zvuk: 5–8.
  • Radić, Zorana. (1987). Simfonizam Aleksandra Obradovića. [The Symphonicism of Aleksandar Obradović]. Belgrade: Udruženje kompozitora Srbije
  • Stambolić, Olivera. (2005). “Sonatni oblik u prvim stavovima simfonija Aleksandra Obradovića.” [Sonata Form in the First Movements of Aleksandar Obradović’s Symphonies]. Zbornik katedre za teorijske predmete: Muzička teorija I analiza 2, [Music Theory and Analysis 2]. Eds. Mirjana Živković, Ana Stefanović, Miloš Zatkalik: pp. 178–188. Belgrade: Fakultet muzičke umetnosti / Signature.
  • Stojanović-Novičić, Dragana. (1999). “Српска симфонијска музика између авангарде и постмодерне (1960-1975)." [Serbian Symphonic Music Between the Avant-garde and the Postmodern (1960-1975)]. PhD dissertation. University of Arts in Belgrade, Faculty of Music, Belgrade: SR Yugoslavia.
  • Suter, Louis-Mark. (1989). Quatre oeuvres concertantes de compositeursserbes. Aspects de la musique yougoslave. [The Four concertante pieces by Serbian composers]. Belgrade: Academie serbe des sciences et des arts
  • Šuvaković, Miško. (1999). Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950. [A Glossary of Modern and Postmodern Fine Arts and Theory after 1950]. Beograd i Novi Sad: Srpska akademija Nauka i umetnosti i Prometej.
  • Šuvaković, Miško. (2008). “Umetnost posle socijalističkog realizma. Prilozi kritici istočnoevropskog modernizma na uzorcima socijalističke Jugoslavije, Srbije i – uže – Vojvodine.” [Art after Socialist Realism. Contributions to the Critique of Eastern-European Modernism using the Examples from Socialist Yugoslavia, Serbia and – more specifically–Vojvodina]. Republika. 440–441. Retrieved from http://www.republika.co.rs/440-441/20.html (last access 14 December 2017)
  • Šuvaković, Miško. (2017). “Eстетичка теорија социјалистичког модернизма. Студија случаја: Павле Стефановић.” [Aesthetic Theory of Socialist Modernism. Case Study: Pavle Stefanović]. У О укусима се расправља. Павле Стефановић (1901–1985) уредиле Соња Маринковић [The Tastes Ought to be Disputed. Pavle Stefanović (1901–1985)] Eds. Sonja Marinković, Jelena Janković-Beguš. Belgrade: Serbian Musicological Society, Department of Musicology of the Faculty of Music in Belgrade (forthcoming).
  • Veselinović, Mirjana. (1983). Stvaralačka prisutnost evropske avangarde u nas. [The Creative Presence of the European Avant-Garde in Serbian Music]. Belgrade: Univerzitet umetnosti.
  • Veselinović-Hofman, Mirjana. (1997). Fragmenti o muzičkoj postmoderni. [Fragments on Musical Postmodernity]. Novi Sad: Matica srpska.
  • Veselinović-Hofman, Mirjana. (2002). “Teze za reinterpretaciju jugoslovenske muzičke avangarde.” Muzički talas. 30–31: 18–32.
  • Veselinović-Hofman, Mirjana. (2007). “Музика у другој половини XX века.” [Music in the Second Half of the 20th Century]. Историја српске музике. Српска музика и европско музичко наслеђе [The History of Serbian Music Serbian Music and European Musical Heritage]. pp. 107–137. Belgrade: Zavod za udžbenike.
There are 35 citations in total.

Details

Primary Language English
Journal Section Articles
Authors

Jelena Jankovıć-beguš This is me 0000-0003-3208-0124

Publication Date December 30, 2017
Published in Issue Year 2017

Cite

APA Jankovıć-beguš, J. (2017). ‘Between East and West’: Socialist Modernism as the Official Paradigm of Serbian Art Music in the Socialist Federal Republic of Yugoslavia. Musicologist, 1(1), 141-163. https://doi.org/10.33906/musicologist.373187