The ideology of moderated modernism in Serbian music and musicology

Medić, Ivana

doi:10.2298/muz0707279m

Cited by 13 publications

(3 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In recent decades in musicology there has been a broad representation of the concept of moderate modernism. It explains the later confluence (diffusion) of the stylistic of late romantic music with characteristic elements of varied trends of the musical language of modernism [Hakobian 1998;Medić 2007;Taruskin 2005;Whittall 2004]. The results of the creative work of a broad number of composers from almost all European states reflect, in certain individualised stylistic versions, a realised concept of moderate modernism It has also become its own kind of saviour, to research and characterize the various local manifestations and peculiarities of modernism.…”

Section: Introductionmentioning

confidence: 99%

“…However, this situationlittle radical modernism (avant-garde) and more moderate modernism stylistic manifestation -was a typical feature also in the musical culture of other European small nations (such as Estonia, Lithuania, North Macedonia, Serbia, Slovenia, and others). In addition, in each of these countries, in musical culture, the adaptation and flourish of modernism took place with different local peculiarities [Bruveris 2016;Humal 2015;Kolarovska-Gmirja 2018;Medić 2007;Pompe 2016;Stefanija 2006].…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Fragmentary and Moderate Modernism in Latvian Music History .

Kudiņš

2022

View full text Add to dashboard Cite

The question of 20th century modernism in the history of Latvian academic genres music is still topical. The prevailing opinion in musicological research (literature) is that representation of modernism in the history of Latvian music has been fragmentary. In various decades of the 20th century (the first and second half of the century), Latvian composers have rarely turned to the most radical expression of modernism, the avant-garde. Much more often possible identified stylistically moderate manifestations of modernism. However, these issues have still been little researched. This article offers a focused (panoramic) characterisation, looking at local peculiarities of adaptation and representation of modernism in Latvian music history in the 20th century.

show abstract

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Fragmentary and Moderate Modernism in Latvian Music History .

Kudiņš

2022

View full text Add to dashboard Cite

show abstract

“…According to Vlastimir Peričić, the fact that the Music Academy in Belgrade was only a decade old (founded in 1937) created some sort of "fear of dilettantism" among the first generation of professors after the end of WWII which is why they insisted that their students should master traditional forms and musical language of the past (Western) styles. Cf Medić, 2007:. 283; see alsoMedić, 2004: 79.…”

mentioning

confidence: 99%

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

Jankovic-Begus

2017

Musicologist

View full text Add to dashboard Cite

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 20 th 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 20 th Century.

show abstract

Moderate Modernism and the Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić

Bralović

2022

Music as Cultural Heritage and Novelty

View full text Add to dashboard Cite

The ideology of moderated modernism in Serbian music and musicology

Cited by 13 publications

References 1 publication

Fragmentary and Moderate Modernism in Latvian Music History .

Fragmentary and Moderate Modernism in Latvian Music History .

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

Moderate Modernism and the Socially Acceptable Paraphrase: Two Late Works by Serbian Composer Stanojlo Rajičić

Contact Info

Product

Resources

About