ISSN 0352-9738

MATICA SRPSKA JOURNAL OF STAGE ARTS

AND MUSIC

49

Editorial board

Zoran T. Jovanovi, PhD, Editor-in-Chief (Museum of Theatrical Arts of Serbia, Belgrade)

Mirjana veselinovi Hofman, PhD (University of Arts in Belgrade, Faculty of Music Arts)

Katalin Kai, PhD (University of Novi Sad, Faculty of Philosophy)

Ivana PerKovi, PhD (University of Arts in Belgrade, Faculty of Music Arts)

Ira PRODANOv, PhD (University of Novi Sad, Academy of Arts)

Duan RNJAK, PhD (University of Novi Sad, Academy of Arts)

Katarina Tomaevi, PhD, Deputy Editor-in-Chief (Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade)

Marija BERGAMO, PhD (Croatia) (University of Ljubljana, Slovenia, Faculty of Philosophy)

Jadwiga SOBCZAK, PhD (Poland) (University of Lodz, Department of Slavic Languages)

NOvI SAD 2013

ISSN 0352-9738

49

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2013

MATICA SRPSKA DEPARTMENT OF STAGE ARTS AND MUSIC

5 CONTENTS

, , STUDIES, ARTICLES, TREATISES

, . . . . . . . . . . . . . . . . . . . . . 9Dr mirJana ZaKi and dr Jelena JovanoviSources in Medieval Paintings, Ethnographic and Literary Sources about the Instrument Kaval in Serbia and Macedonia . . . . . . . . . . . . . . 22

XiX . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Dr mariJana KoKanovi marKoviProduction of Salon Music in Serbia in the 19th Century in the Wake of Music Publishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

: . 43Dr ivana PerKovistanislav Binikis Contribution to the Genre of sacred music . . . . . . 60

: / 19281941. . . 63Dr aleKsanDar vasiforeign music in Belgrade Between the World Wars: reception in the He rald of Music Society Stankovi / Music Herald 19281941. . . . . 75

, M.A. . . . . . . . . . . . 77MARIJA DUMNI, M.A.Musical Performances and Musicians in Belgrade Taverns from the Begin-ning of Radio Belgrade Broadcasting until World War Two . . . . . . . . 90

. (i). . . . . . . . . . . . . . . . . . . . . . . . . 91Dr sofiJa m. KoniarFemale Theater Artists on Their Profession Through the Pen of Milo Crn-janski Context and Interviews (I). . . . . . . . . . . . . . . . . . . . . 103

6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105NEvENA vARNICAErudite Comedy and Melodrama Two Drama Genres as Seen by Dra-goljub Pavlovi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

. . 115Dr maJa risTiOur Belgrade Drama Theater Theater of Domestic Drama . . . . . . . 130

: , , . 133Dr ivana meDi and mr Jelena JanKovi BeGUmusicals in serbia in the new millennium: strategies, achievements, Challenges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

. : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153vesna D. CrePUlJareviThe fifth act: Terrace . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

. . . . . . . . . . . 169mr neBoJa anTeeviEpistemology of Scenography in Theaters Today . . . . . . . . . . . . . 193

. . . . . . . . 195LAZAR JOvANOvMultilingual Drama Program of Radio Novi Sad a Relevant Factor in the Promotion of Cultural Diversity of the Republic of Serbia . . . . . . . . 207

- . . . . . . . . . . . 209BoKo TUliCrime and Punishment in Woody allens movie Match Point . . . . . . 220

, , MEMOIRS, MATERIALS, CONTRIBUTIONS

1913. . . . . . 221STEvAN BUGARSKIarrest Warrant for nui in the vicinity of Timisoara in 1913. . . . . . . 226

7 : . . . . . . . . . . . . . . . . . . . . . . . . . . 227Dr MELITA MILINfragments of Biography in archives: ljubica maris Correspondence. . 244

REvIEWS

, , , 2012. . . . . . . . . . . . . . . . . . . . . 245 , , , , 2010. 247 , , , soKoJ, 2010. . . . . . . . . . . . . 253

. . . . . . . . . . . . . . . . . . . . . . . . 255

. . . . . . . . . . . . . . . . . . . . . . . 263

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

9, ,

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, o / original scientific paper

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UDC 681.81(497.11)(091) UDC 681.81(497.7)(091)

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10

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, . , : , .1 ( ) , . (aTANASOvSKI 2010; Jovanovi 2012a, 2012b; ZaKi 2012), World Music 2004. (. : ZaKi 2012).2 , - . , - ,

1 , ( 2003; 2004; 2006).

2 ( , , 90 XX , ; . Jovanovi 2012a). 2001. , (. , 34), . , -, .

11

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- . , . , ( ) (), -, ( 1980: 80, 193195; 1980: 47; 1889: 131132, 138)8 ( 1980: 88, 95). ( ), - ( 1994: 118, 304), , ( 1910: 293).

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21

ANOYANAKIS, Fivos. Greek Folk Musical Instruments. athens: national Bank of Greece, 1979.

ATANASOvSKI, sran. The sound of Kaval: reimagining the soundscape of serbia. Paper presented at the conference The Ottoman Past in the Balkan Present: Music and Mediation. Athens, 30 September 2 October 2010.

BRMSE, Peter. Flten, Schalmein und Sackpfeifen Sudslawiens. BrnnPraglepcigWien: verlag Rudolf M. Rohrer, 1937.

CZEKANOWSKA, Anna. Kultury muzyczne Azji. Krakw: Polskie Wydawnictwo muzyczne, 1981.

Devi, Dragoslav. Etnomuzikologija III deo. Beograd: Univerzitet u Beogradu, 1977.AKOvAC, Dejan. Narodna muzika pirotskog kraja (diplomski rad). Beograd: fmU, 1993.GoJKovi, andrijana. narodni muziki instrumenti u vukovim delima. Etnoloki pregled

89 (1969): 5164.GoJKovi, andrijana. Terminoloke slinosti muzikih instrumenata. Zvuk 2 (1982):

1623.GoJKovi, Andrijana. Narodni muziki instrumenti. Beograd: vuk Karadi, 1989.GoJKovi, Andrijana. Prouavanja narodnih muzikih instrumenata u Srbiji. Beograd, 1990.JENKINS, Jean and Poul Rovsing Olsen. Music and Musical Instruments in the World of Islam.

london: World of islam festival Publishing Company ltd, 1976.Jovanovi, Jelena. Identities expressed through practice of kaval playing and building in

serbia in 1990s. : Musical Practices in the Balkans: ethnomusicological perspectives. academic conferences, vol. CXlii, Department of fine arts and music, Book 8. Belgrade: sasa, institute of musicology, 2012: 183202.

Jovanovi, Jelena. Renewed kaval in Serbia in 1990s and kaval and ney in sufi traditions in the middle east: the aspects of music and meanings. The 6th International Symposium on Traditional Polyphony, 2428 september, Book of abstracts. Tbilisi: Center for traditional polyphony, 2012: 21.

KUHa, franjo. Prilog za poviest glasbe junoslovenske. Kulturnohistorijska studija. Rad Jugoslavenske akademije znanosti i umjetnosti. Knj. Xli, br. 41 (1877): 148.

MUfTi, Teufik. Arapsko-bosanski rjenik. ElKalem, Sarajevo, 1997.NiKoli, Tijana. otvoreno cilindrino telo kao aerofoni instrument iz roda labijalnih svirala.

seminarski rad Beograd: fmU, odsek za etnomuzikologiju, 2003 (rukopis).PeJovi, Roksanda. Musical instruments in medieval Serbia. Belgrade: faculty of music,

University of arts, 2013.RJENIK HRVATSKOGA ILI SRSKOGA JEZIKA. Knj. iv. Zagreb: JaZU, 18921897.SaCHs, Curt. Reallexikon der Musikinstrumente. Hildesheim: Georg olms verlagsbuchhandlung,

1962. SIMONOvSKI, metodi. muzika terminologija u makedonskim narodnim umotvorinama. Zvuk

51 (1961): 2842.SOKOLI, R. Folklori muzikor Shqiptar (organografia pr shkolln e mesme muzikore). Tiran,

1975: 3840.KalJi, Abdulah. Turcizmi u srpskohrvatskom jeziku. sarajevo: svjetlost, 1979.TAMMER, Anthony. Kavals and Dzamares: End-blown flutes of Greece and Macedonia, 2003.

23.10.2000.TRADICIJSKA NARODNA GLAZBALA JUGOSLAVIJE. Prir.: Jerko Bezi, milovan Gavazzi, mirjana Jakeli,

Petar mihanovi). Zagreb: kolska knjiga, 1975.vlaHovi, mitar s. o najstarijim muzikim instrumentima u Crnoj Gori. Rad VI KFJ (Bled

1959), ljubljana, 1960: 313324.

22

ZaKi, Mirjana. The Traditional Instruments of Serbia in The Scope of Permeating with the eastern and Western Balkan musical Practices. Research of Dance and Music on the Balkans (International Symposium, Brko 0609. 2007). Brko, 2007: 3770.

ZaKi, mirjana. intercultural communication and multicultural context: the place of the kaval in serbian musical practice. Berovo: ICTM Study Group on Music And Dance in Southeastern Europe: 2012 Symposium ( ).

Mirjana Zaki and Jelena Jovanovi

soUrCes in meDieval PainTinGs, eTHnoGraPHiC anD liTerarY soUrCes aBoUT THe insTrUmenT KAVAL IN SERBIA AND MACEDONIA

Summary

The paper focuses on kaval, a halftransverse flute about 800 mm long, without a fipple and with eight holes for playing, which is an instrument in many ways specific for the Balkans and the South Slavic rural instrumentarium because of its build, function and performing possibilities. The authors made a certain methodological innovation with regard to the former usual approach to the instruments from the group of labial flutes. This was motivated by several factors: the popularity of the kaval achieved by the media promotion in Serbia at the beginning of the 21st century; its fixed position in macedonian and albanian instrumental tradition; insufficiency of data about its application and its bearers on the territory of serbia; and finally, the fact that different data about the kaval have not been synthesized until today. The research results include the available data from historiographic and ethnomusicological sources from the regions of serbia and macedonia and are presented in two sections: the first one refers to the sources in medieval paintings, to ethnographic and literary sources, and the second, which is in the course of preparation, will be based on ethnomusicological sources about this instrument.

Key words: kaval, medieval paintings, literary sources, ethnographic sources, Serbia, Macedonia.

23

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41

ANTONICEK, Theophil. Pietro mechetti. : ML. Bd. 6, 179.

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Marijana Kokanovi Markovi

ProDUCTion of salon mUsiC in serBia in THe 19TH

CenTUrY in THe WaKe of mUsiC PUBlisHinG

Summary

Until mid 19th century in Serbia only some musical pieces were occasionally published with foreign publishers. The first collections of serbian folk songs and dances were published in mid 19th century in vienna by alojz Kalauz and then by Kornelije stankovi. The widow of the vienna music publisher Heinrich friedrich mller printed salon dances for the piano, while the piano compositions of Kornelije stankovi were published with renowned vienna publishers Pietro mechetti and Gustav albrecht. Until the 1870s composers mainly published their own works, either by paying for it or by finding patrons. The appearance of publishing bookshops brought about a change in placing books on the market. Brothers Kamenko and Pavle Jovanovi from Panevo, as well as brothers ore and Kirilo Popovi from novi sad and mita staji, who developed his business in Belgrade, greatly contributed to the development of Serbian bookshops and publishing, as well as to printing music sheets.

The offer of Serbian publishers of music sheets publicized salon musicprominently, which was a consequence of increased demand for note editions intended for home performances. salon music was published in various forms: single editions, albums, or as musical additions to journals.

The influence of the Paris salon style arrived among serbs via vienna and it included the visual aspect of music sheets. With some editions special care was taken that the front page wasvisually attractive. Besides the front page, buyers were strongly influenced by the title of the composition, which was often in French. Foreign lithographers (e.g. J. Eberle from vienna and Engelmann and Mhlberg from Leipzig) were mostly hired for reproducing and printing front pages of musical editions.

Key words: salon music, publishers of music sheets, Jovanovi brothers bookshop Panevo, Popovi brothers bookshop novi sad, mita stajis bookshop Belgrade, forms of editions of salon music, technical equipment of music editions, lithography, music market.

43

, ,

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: , , , , , , .

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UDC 78.071.1:929 Biniki s.

* - (. 177019) .

44

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, .3 , ( 1924) . , : . , , , ( 1924: 303). : , , ( 1991: 37; 1973).

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a c

* ( 1995: 3132)

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53

( 1969: 63). , : (18921978) 1938. , , , , ( ).

- , , , (. ). . - , . , - ,5 - . , , . . , , . - , , , , , ( )6 ( ).

. . , - . a cappella -, ,

5 ; ( ), , .

6 .

54

(mOROSAN 1986: 153154). .7 , , - (18561926) , , . , - ( 3).

. , - , , . , ( 4). , - .

7 e (. . 7, 8), e (. . 14), a1 (. . 17, 29) 1 (. . 23).

3

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, Andante maestoso, . 15

55

, , . :

,8 - ( ) ( );

8 - , .

4

,

, Moderato, . 15

56

;9

( 9. 10. ) (. Diii iviii ) ;10

(. : e e );

, , - .11

, , - . , , ( ) , , - , .12 , . , : , - .

, , - . : , . ,

9 , ; , 10, 11. .

10 , , - . . . PerKovi 2003, 160168.

11 : (18. ), ( 4. ), ( ).

12 .: 1998: 7374.

57

. , , , , , , .

. , . . , / , , . , . ,13 , .

-. , , , . (. , ), . ( ): , . -, .

, , . . , -, .14 , -. ,

13 . 1923, 1995. 14 (

, ), - .

58

, , . , . ( ) , , ; . , , - , . , . , - ( 5).

5

,

( , ), Andante religioso, . 715

59

, -. , .15

. , , -, . , , , (), , , a due .

. - , - , - . , - , , , raison dtre . , - , .

, . ( 1923), . , , , : , , , 1995.

, . . : , 1972.

, . 19. 20. . , , , . , . -: , 2012.

15 , , ( ).

60

, . - . , . : , 2012.

, . . : , 1950.

, . 1914. . : , 1962.

, . - . , . : , 2002.

, . . . . . Xi/1 (1. 1924): 303306.

, , . Comoedia 5 (4. 1924): 132.

, . - . : , (.). - , . : , 1998: 6978.

, . . . -: , 1973.

, . . : , 1999.

MOROSAN, vladimir. Choral Performance in Pre-Revolutionary Russia. michigan: Umi research Press, 1986.

PeJovi, roksanda. stanislav Biniki kao dirigent i organizator muzikog ivota u Beogradu. : Perii, vlastimir (.). Stanislav Biniki. Beograd: fakultet muzike umetnosti, 1991: 554.

Perii, vlastimir. Muziki stvaraoci u Srbiji. Beograd: Prosveta, 1969. PerKovi, Ivana. Liturgievertonungen in der serbischen Musik der Romantik. Ein Betrag zur

erforschung der musiksprache. : mETZ, franz (.). Die Kirchenmusik in Sdosteuropa, Historische und typologische Studien zur Musikgeschichte sdosteuropischer Regionen. mnich: Hans schneider, 2003: 160168.

Ivana Perkovi

sTanislav BiniKis ConTriBUTion To THe Genre of saCreD mUsiC

Summary

stanislav Binikis (18721942) relationship to sacred music was determined by two coordinates: his permanent contact with this type of music within the performative context, and his creative contribution. as a composer, Biniki had at his disposal not only the musical vocabulary of Serbian and Russian church music of the 19th century, but also the achievements of Western music.

Unlike stevan stojanovi mokranjac, the most extensive part of Binikis sacred works was not basedon traditional melodies. This refers to the following extensive cycles: Liturgy

61

and Funeral service, while Litany for the thanks giving, wedding and patron Saints day, as well as the troparion to st. Prince lazar include traditional melodies. There were significant differencesin his approach to these two groups of works and they are discussed separately in this study. Binikis creative contribution is analyzed from the perspective of musical form, cycle, harmony, texture, and musical expressivity driven by liturgical texts and other aspects of sacred music.

Key words: liturgy, service, cycle integration, musical expressivity, style, harmony, facture.

63

,

o / original scientific paper

:

/ 19281941.*

: , (19281934, 19381941; 1931. ), , . . , , , , , . XiX , .

: / , , , , , .

; . , -. . , , , .

UDC 050(497.11) muziki glasnik "1928/1941" UDC 78(497.11) "18"

* : , , (. 177004). , , .

64

1883. - , . , , . - . 1928, 1934. ( 1931. ); , 1938. 1941. . . , , , , , .

. . , (, ), . , 1929. . () , - , 1929. . .

, 1938. , , -, , , . ( 2011: 144145) (19321936). , , , .

. , . 19311934. : . , -, , , , . . , 1938. , : , . , : , , , , , , , , , - , , , ,

65

, , , , .

- . , ( 2011). .

/ . , , , , . XiX .

: ; ; ; ; ; ; . . , , , .

. - (franz liszt), (frdricfranois Chopin) ( ). , - . , , . (niccol Paganini) , . , , .1

1 Dok je Paganini bio jednostrani virtuoz i donekle arlatan, koji je iao za tim da zaslepi masu i deluje na nju sretstvima koja uvek nisu bila dostojna umetnika, ouvao je lisztov stvaralaki talent mladog

66

(ludwig van Beethoven) , , (D 1932). , , . (, .), - (miloevi 1938).

- ( 1930). . .

. - , ( 1927), , , . - .2 Xvii , , . , . , , (Hyppolite Taine). , (?) . - (. [richard Wagner] [Giuseppe verdi]), , . , ,

umetnika od tehnikih nastranosti i blefovanja neukog sveta. ako uporedimo Paganinija sa lisztom moraemo svakako priznati da je lisztova umetnost plemenitija i vrednija . vARC 1932: 20.

2 . : 2005, 2006, 2007. 2008.

67

, . , . . - . . , , , .

, .

, , - . 1930. (Charlesfranois Gounod), ( 1932). - . - , -. , , . , , . , (Daniel auber) (Giacomo meyerbeer) . , : , ( 1932: 71).

, , .3

3 : (. 1930: 30). 1932. , (vincenzo Bellini) (Gaetano Donizetti) , ; . 1932: 69.

68

, () XiX . , , .

120. , - ( 1933). , , , - . , . . , , . , -. , - . , : , , [] ( ?!) (1933: 249). . , : . :

. , , , ; , . , , . ?! (1933: 301).

/

69

. , .4

(eugen dalbert), (achilleClaude Debussy), (richard strauss) (Christoph Willibald von Gluck). (1932: 83). , . XiX , (1933).

. , - . , , . (1934). - (1939). , , , . , , . . : . , , , - , ( 1939: 142).

. (Wolfgang amadeus mozart) . (1931). (

4 / . (19011914, 19201941) ( 2004). , .

70

1931).5 , (vEDRAL 1941).

(vincent dindy), . , - , (Csare franck), , , ( 1932).6

- .

, - .7 , (1931). , XiX XX (1933; 1933). . ( ) , , - , . : . , , (1939).8

5 1931. .

6 Reviji muzike, Beograd, mart 1940, br. 3, str. 8.7 ( 1929, . 2) .

: (edward Joseph Dent), ; , , (Charles Dyke), . .

8 , 1933. 1942. 1944. . Kovaevi 1984: 1920.

71

(1930). - . : ; , . 1915. , . , , , , , , . , , : , (1930: 111).

, .

(Johann Wolfgang von Goethe) (1932). , . , (alfred einstein) ( 1939). (Thomas mann), (ren schickele), (franz Werfel) (stefan Zweig). . . (Johann sebastian Bach), . . (Georg friedrich Hndel), . . , . . (franz Joseph Haydn), . . , . , . . (Carl maria von Weber), . (franz schubert), . (felix mendelssohnBartholdy), . (robert schumann), . . (Johannes Brahms). , , -, curiosa. . . ! (samlai 1939).

- .9

9 . ( 2009).

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XiX : ? , : , (1934: 141). , . (eduard Hanslick), , 30. (1934). , - . , (1934: 172).

:

. -, . (1934: 170171).

. - . , 1928, (Giacomo Puccini) : . , -, , : Berliner Zeitung am Mittag [ ] (a 1928).

, , , . , . . (andrea Gabrieli) . ( 1930). - .

( 1999).

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* * * ,

, . , , . . - . , .

[]. . . 6 ( 1928): 91.

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, . . . 2 ( 1930): 2932.

, . 19011941. 2004. - ; . .

, . (19011941). . 34/2 (2005): 213224.

, . . : , (.). 110 . . : , 2006.

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, . []. . . 1 2 ( 1931): 1417.

, . []. . . 3 4 ( 1931): 8789.

74

, . XiX . . 8 ( 1934): 129142.

, . . . . 9/10 (/ 1934): 167173.

, . . . . 9/10 (/ 1934): 165167.

, . . . 7 ( 1930): 128130.

, . . . 3 4 ( 1932): 7175.

, . . . 3 4 ( 1932): 8184.

, . . . 1 ( 1933): 29.[, ]. . . . [ ].

. 1 2 ( 1932): 1315.. [ ]. ( 120 ). -

. 8 ( 1933): 247252; . 910 ( 1933): 296301.

, . . : , 2009., . 225 . -

. 78 ( 1939): 139142., . (19191941). :

, 1999., . . . 3 ( 1932): 6571., . . . 56 ( 1933):

104110., . . . 910 (

1933): 290296., . . . 6 ( 1930):

105112.

ARBATSKY, Jury. muzika u albaniji. . 2 ( 1939): 3235.D. [ ]. . . 7 8 (

1932): 193202.Kovaevi, Kreimir (ur.). Leksikon jugoslavenske muzike. Knj. 1. Zagreb: Jugoslavenski

leksikografski zavod miroslav Krlea: 1920.ManoJlovi, Kosta P. istoriski pogled na muziku u engleskoj. . 3 4

( 1931): 5878.Miloevi, Predrag. o klaviru i klavirskoj muzici. Muziki glasnik br. 7 (septembar 1938):

137141.Samlai, erih. Pisma nemakih muziara (Briefe deutscher Musiker, herausgegeben von Alfred

einstein), forum 1939 stockholm, amsterdam). . 9 ( 1939): 167171.

vARC, rikard. Tri majstora klavira: Chopin, liszt, skrjabin. . 12 ( 1932): 1623.

vEDRAL, v. [vaclav]. ivot i rad mladoga mozarta. Povodom 150godinjice smrti. . 12 ( 1941): 46.

75

Aleksandar Vasi

foreiGn mUsiC in BelGaDe BeTWeen THe WorlD Wars: reCePTion in THe HERALD OF MUSIC SOCIETY STANKOVI / MUSIC HERALD 19281941

Summary

Of seven Serbian music journals published between the world wards, the oldest one is the Herald of the music society stankovi (19281934, 19381941; since 1931 renamed music Herald). it published over seven hundred articles of different kinds and scopes studies, essays, reports, discussions, necrologies, news, notes, etc. Many essays were devoted to foreign, i.e. western European and non-European music. The journal wrote about F. Liszt, F. Chopin, a. scriabin, the history of symphony, e. dalbert, C. Debussy, r. strauss, C. W. Gluck, W. a. Mozart. The journal joined one of the main debates of the Serbian criticism between the two world wars operaor musical drama publishingtexts by authors of opposing attitudes.

The Herald published reviews of music cultures unknown to the domestic audience (English, modern Jewish, Albanian, American), which was refreshing for Belgrade, Serbia and Yugoslavia of the time.

The journal wrote about the connections of literature and music, using Goethe as an example, and it significantly contributed to the publication of texts from the field of the history of music aesthetics. Those were pioneering articles in the young Serbian music culture.

in the music Herald one can see traces of musicographic principles from the 19th century. For instance, some writers relied on the biographical genre although that was also connected with the popularizing tendency of the journal. The traces of older musicography are also detectable in the writing of some authors regarding the physical appearance of the musicians.

The music Herald significantly improved the reception of foreign music in our surroundings, both through essays that aspired higher and through essays that were written with a conscious popularizing intent.

Key words: Herald of the music society stankovi / music Herald, milenko ivkovi, rikard varc, erih samlai, Jurij arbatski, Danilo Dani.

77

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o / original scientific paper

*

: . , , , . , . 1929. 1941. , , , . . , ( ), .

: , , , , .

- -. , . , -

UDC 784(497.11 Beograd)"18" UDC 640.43(497.11 Beograd)"18"

* o : , , (. 177004), -, .

78

. , -, , - . , -. , .

, ( : STOKES 1994), . - - . : , , , , , ( 2010). , ( 2008: 265). , . , . () () . (. ). , (DIMOv 2012: 314). , () , -

79

(HOFMAN 2010), () (DIMOv 2012).

, , , - . , , (. 2011; 1987). . , , , , , : , , . , , . , , ( 1987: 50); - : , 1938. ( ). . , : , , , , , . , , ( 2011: 16).

, , - . , , , , . -

80

, - . , : , [ , . . .] , , [] ( 1966: ). , . - , . , , . , , . , .

, ( 1929. ) , - , , (esther Jonsson Garlinghouse) .1

. - ( 2008: 196198), - . (. , .: 1984: 144), ( 2008: 292). - -, (.

1 (indiana University archives of Traditional music), .

81

, , ). , ( - ), , . (, . 1937). (, ), (, 1979: 108), - . , , , , . , , . - (1926: 1): , , -, , , , . , , , , , - . , 1936. 1937. 1940. . , 1930. . : , , , . , , , , ( 1936: 3). , :

82

, , , . . , , . ( 1939: 3). , . - , ( , ), (BINGULAC 1963, ViDi-RASMUSSEN 2002). : ( ), , , . [, . . .] , , , -, ( 1964: 277). , , (Miloevi 1964: 78), .

, , . , 22 . , , . , , , ., . , - (. ).

, . -

83

. 1929. -, , , , . ( 1931), . . ( 1929), : , , , , , . , , . ( ) . 1938. ( 1938), .

, , . , . , - , , . , - , . , . , , . , -. , , , , ( 1931).

84

, - , , ( 1938).

, - , , , , , ( 1926). , . (REVERS ZA VOENJE SALONSKOG ORKESTRA). .

, , , , . , , - , ( : BUCHanan 1995).

. . - , , , ( - , , ). - 1931. : 3040.000 .

85

, -. , , : , , , , , , , , . , , . , . , .

, . : 1937. , , , ( 2008: 492493).

, - , - ( 1910: 14). ( ), ( , , .). , , , , . , .

, 1930. 1936, - . , - (Uri-KLAJN 1957: 397).

86

, , - . , , , , . - , , - .

, - . - . , : ( ), ( - ), ( ), ( ), ( ) ( ). 1935. , , .

, . - , , 1940. . ( , (.: 2007: 205206, 261262, 330), . ( ), , , . (. ), (. ), . , ,

87

.

, . - : ( 1939: 1), : , . , , , ( 1940: 2). .

* -

, , , . . - (LORTAT-JACOB 1981: 187), , , . 1929. 1941. . . , , , .

88

, . . : , (.). 19301941. : , 1983: 5379.

, . . : , 2007.

, . (. 66 . 374 . . 611). : , 1931.

. . 6. : , 2008., . . : ,

(.). 10. 2529. 9. 1963. : , 1964: 275279.

, . . : , (.). . : , 1966: viiXii.

, []. . : , 1926., []. :

. : . 11, . 47 (1939): 14.

, . . : , 2011., . . : ,

1910., . : 19051945. :

, 1984., . : 19181941. ,

1987., . , , -

, , , (. 66 . 374 . . 611). : , 1929.

, []. , , , (. 66 . 374 . . 611). : , 1931.

, . , - (. 66 . 620 . . 1030). : , 1926.

, . : (. 66 . 374 . . 611). : , 1931.

, . (. 66 . 375 . . 613). : , 1938.

, . : - . : , , , (.). : . : , 2011: 1128.

. . : . 8, . 45 (1936): 13.

. . : . 11, . 44 (1939): 3.

89

. . : . 12, . 1 (1940): 2.

, . : . : . 34, . 3 (2010): 821837.

, . : 18901914. : , 2008.

, , . (. 66 . 375 . . 613). : , 1937.

BINGULAC, Petar. Uticaj radiodifuzije i gramofona na muziki folklor. : , (.). 13. 1966. . : , 1968: 529539.

BUCHanan, Donna. metaphors of Power, metaphors of Truth: The Politics of music Professionalism in Bulgarian Folk Orchestras. Ethnomusicology . 39, . 3 (1995): 381416.

DIMOv, ventsislav. a Contribution to the research of the media music on the Balkans: a view from the Tavern Tables to Some Relations between the Musical Cultures in the Balkans in the field of media music during the first Half of 20th Century. : DesPi, Dejan, Jelena Jovanovi, Danka lajimihajlovi (.). Musical Practices in the Balkans: Ethnomusicological Perspectives Proceedings of the International Conference Held from November 23 to 25, 2011. Belgrade: serbian academy of sciences and arts: institute of musicology sasa, 2012: 313324.

Uri-KLAJN, stana. Petar Krsti: 18.11.187721.1.1957. Zvuk: Jugoslovenska muzika revija . 910 (1957): 397399.

HOFMAN, ana. Kafana singers: Popular music, Gender and subjectivity in the Cultural space of Socialist Yugoslavia. Narodna umjetnost . 47, . 1 (2010): 141160.

JONSSON GarlinGHoUse, Esther. Yugoslavia, Serbia, and Macedonia (54070f). Bloomington: indiana University archives of Traditional music, 1940.

LORTAT-JACOB, Bernard. Community music and the rise of Professionalism: a sardinian Example. Ethnomusicology . 25, . 2 (1981): 185197.

Miloevi, vlado. Sevdalinka. Banja luka: muzej Bosanske krajine, 1964.REVERS ZA VOENJE SALONSKOG ORKESTRA (. 66 . 375 . . 612). :

.STOKES, martin. introduction. : sTOKES, Martin (yp.). Ethnicity, Identity and Music: The

Musical Construction of Place. oxford: new York: Berg, 1994: 127.ViDi-RASMUSSEN, Ljerka. Newly Composed Folk Music of Yugoslavia. new York: london:

Routledge, 2002.

90

Marija Dumni

MUSICAL PERFORMANCES AND MUSICIANS IN BELGRADE Taverns from THe BeGinninG of raDio BelGraDe

BROADCASTING UNTIL WORLD WAR TWO

Summary

musical life in urban areas of serbia has been a topic of very few scientific papers. As it is typical for genres which can be interpreted as popular music, urban folk music was neither a common subject for collecting and later for research. Its distinguished vitality even in todays everyday practice is caused mostly by performances in taverns, i.e. in specific cultural spaces where professional musicians perform. Kafana (the tavern) as a musical space is the arena of negotiation of public and private music performance, the musicians connection, the interaction of musicians with the audience, and performance of different music practices which profile a specific genre of urban folk music. This paper deals with musical performances in Belgrade taverns from 1929 to 1941 the part of the interwar period when the music from the taverns in Belgrade became very popular because of Radio Belgrade broadcasting. Tavern musicians were the carriers of this performing practice, so they are considered a particular profession, not only because of the remuneration and the recognition of their skill in society, but also because of their grouping, education, specified gender roles and influences on music. social aspects of this performing practice are analyzed by using the musicians guilds official documents. The material for the reconstruction of this practice in Belgrade taverns is collected by archival research, so this paper aims to point out the importance of the interpretation of historical sources in ethnomusicology (old music recordings and official documentation about musical performances), with the goal to contribute to the understanding of its contemporary condition.

Key words: urban folk music, musicians, tavern, radio Belgrade, period between world wars.

91

. , o / original scientific paper

(i)*

: , , XX : , , , , , , . , , , . 1932.

: , , , , , (19211941), , 19311932, .

* * * . , . -. . , , , , , .1 ( )

* (. 178005) , ,

1 , , , , , , 1992, 17.

UDC 821.163.41.09 Crnjanski M. (047.59)

92

, - -, , -, . , , , , . , , , - . , , : , ! , , , . : , , 2, , , , 3 ,

2 , , 17. 1936 ( ) . . , (: , , , 1958). - . , , 35, , . [] [] , , - . , , , . : , , (, . 806, 15. 06. 2006). , , , .

3 1921. . , , . 6. 1941, , , 19411944, , . . 19411944, ( , , , i, 1970). . 27. 1931. 27. 1932. (

93

1932. , , ? - , , . .

, , - . , . 1932. - , . , , , , .4

, , , 2, 3. 4. , , , - , , , , . , - , [] 10.000 .5

, , . , . , 23. , , , , - .6 , , , , , ,

) (.: . , , , 2013).

4 : 14. 02. 1932, 4; 16. 17. 02. 1932, 5; 17. 02. 1932, 5

5 , 31. 12. 1931, 8.6 , 23, 24 01. 1932.

94

. 7 , , , . 8 9 .

. 10 23. 1832, , 30. 1931, 1932, - , .

(filippo Tommaso marinetti) (Pitigrilli, Dino segre) - .11

, , : : , .12

, - , , , , , , , . - , ,

7 , : , , 9. 12. 1932, 2.

8 . , , .

9 , , , 13. 1932, 7.

10 (ii), , 26. 1932.11 , 19. 01. 1932, 4.12 , 31. 03. 1932, 2.

95

. 13. , , , . , . , :

, - .

, , . , , , , .

, , , .

, , , , . , , , , , .

, , , , , , , , . , , , , , .

, , . , , .

, , , . , . , , .

, , , , , . , , .

13 . eudaimonia , , , , (Branko Bonjak, Filozofija, Napri-jed, Zagreb 1982, 188).

96

, . , , . , , , , , , .

, , , ?

. , , , . , , .

, , ?, . .

, , , .

: , , - .

! ; ., , ? . ,

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103

Sofija M. Koniar

female THeaTer arTisTs on THeir Profession THroUGH THe Pen of milo CrnJansKi ConTeXT anD inTervieWs (i)

Summary

The basic thematic framework of the forgotten female interviews of milo Crnjanski which he had with famous female theater artists of the Kingdom of Yugoslavia in the 1930s, regarding the topics such as the position of female artists during the world economic recession in the cultural and social hiatusof the patriarchal and the new, feminist world view, is still topical today. The paper reviews and explains the context of three scientifically and artistically unjustifiably marginalized interviews of milo Crnjanski which he had with mrs. lepuPoli, a primadonna of the ljubljana opera, mrs. marica Popovi, a Belgrade actress, and mrs. anta Kovai, a ljubljana actress. The paper also contains the transcripts of these interviews, which were published in one of the most respectable newspapers of Yugoslavia at the time, in the daily Vreme, in January 1932, thus contributing to the preservation of both artistic and publicistic heritage of Milo Crnjanski.

Key words: milo Crnjanski interviewer, interview, lepuPoli, opera singer, marica Popovi, actress, anta Kovai, actress, daily Vreme (19211941), world economic crisis, social and cultural setting 19311932, Kingdom of Yugoslavia.

105

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Nevena Varnica

ERUDITE COMEDY AND MELODRAMA TWO DRAMA Genres as seen BY DraGolJUB Pavlovi

Summary

When studying the literature of Dubrovnik, Dragoljub Pavlovi stressed that erudite comedy and melodrama were the most significant genres in the periods of renaissance and baroque. He noticed particular elements specific for these genres created in the region of the Dubrovnik Republic. For the Plautine comedy this was primarily the touch with the daily life and the criticism of the society. Melodrama is also characterized by the fact that it appeared in the old Dubrovnik at the very beginning of the 17th century and it flourished and achieved success here sooner than in France or England.

Key words: Dragoljub Pavlovi, Dubrovnik republic, erudite comedy, melodrama, history of literature.

115

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Maja Risti

OUR BelGraDe Drama THeaTer THeaTer of DomesTiC Drama

Summary

Belgrade Drama Theater, founded in 1947, with its civic mission and the mission of a modern theater,brought about an important change and an expressed otherness in comparison with the repertoire policy of other Belgrade theaters of the time, primarily Yugoslav Drama Theater and National Theater, which based their concept on performing domestic classical works

131

and works of Soviet realism in accordance with the cultural politics after the Second World War. The repertoire of this theater strived to portray the problems and fears of an ordinary man, a man of capitalism who loses his job, a man in a vortex of family problems, a man as described by Tennessee Williams and Arthur Miller. Relying on reality, naturalness in acting and striving to create a modern theater led to a great prosperity of the Belgrade Drama Theater at the end of the 1950s. Unfortunately, after these golden years this theater, located outside of the center of Belgrade, went through many crises, fluctuations in repertoire tendencies and many changes of managers. It seems that this theater had the greatest number of ups and downs in its history. This was the theater which hosted brilliant actors: rade and olivera markovi, Tatjana lukjanova, and directors: soja Jovanovi, Paolo magelli, nikita milivojevi, egon savin. it also promoted socially engaged domestic dramas such as Konak (inn) by milo Crnjanski, Pismo/glava (Heads/tails) after the novel of the same name by slobodan seleni, and many others. This theater also performed contemporary serbian drama: sabirni centar (The meeting Point) by Duan Kovaevi, Dugo putovanje u Jevropu (a long Journey to europe), U pola cene (Half price) by stevan Koprivica, veliki dan (a Great Day) by slobodan stojanovi, Doktor D (Doctor D) by Goran markovi, ne igraj na engleze (Dont put your money on england) by vladimir urevi. This theater has never made great compromises with respect to the artistic form and content. It has always strived for the natural expression and social questioning. Its great contribution to the development of the national culture can be seen in the promotion of the domestic drama, theater beyond naturalism, and liberation of the Serbian theater from stereotypes and a thematic, ideational and non-critical view of the past.

Key words: Belgrade Drama Theater, serbian drama, engaged theater, natural acting.

133

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135

1950. , , , , ( 2009: 1819). , - . O! (rogers and Hammerstein), 6. 1966. , . ! , (West Si