Nove izdaje Zgodovine glasbe na Slovenskem predstavljajo mogočen dosežek slovenskih muzikologov več generacij. Ti so nove edicije marljivo ustvarjali več kot desetletje. Prva knjiga, ki jo je uredil ...Jurij Snoj in zajema obdobje pred koncem šestnajstega stoletja, torej do »nedvoumne preusmeritve slovenskih dežel h katoliškemu jugu« (str. xi), je izšla leta 2012. Leta 2019 ji je z vsebinskim sklopom o glasbi dvajsetega in enaindvajsetega stoletja sledila četrta knjiga, ki jo je uredil Gregor Pompe. Tretja knjiga je izšla leta 2021 pod uredniškim vodstvom Aleša Nagodeta in Nataše Cigoj Krstulović in zajema obdobje od ustanovitve ljubljanske Filharmonične družbe (1794) do razpada avstro-ogrske monarhije. Izdaja je dostopna tako v tiskani kot v elektronski obliki (DOI:/10.4312/9789610605270). Zadnja izdaja, ki obravnava glasbo sedemnajstega in osemnajstega stoletja, od prihoda jezuitov v Ljubljano do ustanovitve Filharmonične družbe, pa bo izšla predvidoma čez leto dni. »Vrzelim« dveh stoletij navkljub menimo, da je še pred dopolnitvijo prihajajoče druge knjige možno pri treh knjižnih izdajah izpostaviti obseg, cilje in predviden vpliv te nove zgodovine.
This article is an extract from my ongoing investigation of the destinies of Serbian composers who have emigrated since the early 1990s, a period that was marked by the dissolution of the Socialist ...Federal Republic of Yugoslavia and the ensuing wars when hundreds of thousands of professionals left the country and settled all over the world. Such a massive 'brain drain' has had a devastating impact on many professional realms in the entire former-Yugoslav region. Thus far, I have located more than seventy Serbian composers who currently live and work abroad, a significant number for such a small country. In this article, I focus on the professional and personal trajectories of several composers who have managed to establish successful careers in various Western European countries. A recent monograph by Elena Dubinets, Russian Composers Abroad: How They Left, Stayed, Returned (Bloomington: Indiana University Press, 2021), serves as my discoursive 'counterpoint'.
This volume is the first collection of essays in English devoted to the work of the outstanding Yugoslavian composer Rudolf Bruči. It approaches Bruči's work from a remarkably broad number of angles, ...and the chapters underline that fact that his work was multivalent. The book emphasizes his wider relevance in the ever-expanding field of musicology dealing with the fascinatingly diverse outputs produced in the Balkans in general, but reminds us of the considerable international reputation that the composer enjoyed far beyond the borders of the former Yugoslavia.Bruči's creative mind was extraordinarily wide-ranging, and this text also explores his engagement with the wider culture around him. In the context of post-war Yugoslavia, an artist was also a cultural worker, expected to carry out many duties, and contribute to the advancement of the country's self-governing socialist society.
This article details the various activities at the Third Program of Radio Belgrade that contributed to the presentation, promotion, and expansion of 'new music' in Serbia (then a constituent republic ...of the SFR Yugoslavia) during the 1960s and 1970s. These activities ranged from the foundation of the first professional Electronic Studio in Serbia in 1972 to the organisation of concerts by soloists and ensembles, mostly from abroad, specialising in performing the most advanced contemporary music at the time. Moreover, the music broadcast on the Third Program inspired the most adventurous Serbian composers to embark on mastering the newest compositional techniques and the latest technologies of that time. My aim is to discuss the numerous ways in which the Third Program contributed to the development and flourishing of the avant-garde music scene in Serbia.
In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, ...however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.
The term nesuđena avangarda (“undestined avant-garde”) was coined by Milorad Belančić to describe Vladan Radovanović’s unique artistic destiny. Although Radovanović was the only truly avant-garde ...Serbian composer in the post-World War II Yugoslavia, his output was overlooked and sidelined. In this article I discuss the circumstances that rendered Radovanović’s avant-garde unrecognised, irrelevant and invisible for many decades.
Ten years ago, tasked with reviewing Marina Frolova-Walker’s first book Russian Music and Nationalism: From Glinka to Stalin (Yale University Press, 2007), I praised the author for dismantling ...long-standing myths and questioning the activities of some of the sacred cows of Russian music history, and for writing about the topics that “annoyed” her in a most enlightening and gripping way. After reading Frolova-Walker’s latest book, Stalin’s Music Prize: Soviet Culture and Politics, I was thrilled to see that the author is still busting myths, charting the hitherto unexplored areas of Soviet music history, and narrating a fascinating and often hilarious story of the rise-and-fall of Stalin’s prize for artistic achievements. Frolova-Walker provides brilliant insight into the inner workings of the Soviet institutional and cultural system, and the power play that affected the process of rewarding artists whose work was meant to stand for the best that Soviet culture had to offer.
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