A Brief History of Serbian Music


Book Description

After the Battle of Kosovo in 1389 and the destruction of Serbian nationhood, 500 years of Ottoman slavery ensued in the Balkans with the inevitable decline of the Serbian Orthodox faith and music. During this Turkish occupation, Serbs were forbidden to own property, to learn to read and write and were even denied the use of musical instruments. The Serbs however were tenacious and maintained an oral history through folk poems and songs. The only defenders of Serbian art and culture in these difficult centuries were the peasants who played the Gusle, a one-stringed instrument. As their punishment for playing a musical instrument many of these musicians were blinded by their oppressors resulting in thousands of such punishments. Being denied the right to music or dance, the Serbs invented a silent kolo (dance) in which the syncopation of the pounding feet became a sort of musical accompaniment to the dancers. This dance is still performed today by Serbian people.The great poet and dramatist Goethe so loved the Serbian people, their poetry and folklore that he learned to fluently speak their language. Goethe was also the major influence in encouraging Brahms, Loewe, and Josef Maria Wolfram to create musical compositions based on Serbian folk poems and literature. Brahms' famous lullaby is derived from a Serbian folk poem.When the Jews fled Spain the Serbs provided a hospitable environment in which the Jews resettled and prospered. The oldest Jewish Choir in the modern world is in Belgrade.The formation of the Pancevo Church Choral Society in 1838 and the Belgrade Choral Society in 1853 resulted in each becoming centers for nurturing young talent. The first music schools were founded through the efforts of these choral societies. The Brilliant work of Serbian composers like Bajic, Stankovic, Mokranjac, Marinkovic, maksimovic, Djordjevic and Binicki accomplished in a hundred years what other cultures had the luxury of creating in several centuries. This books covers the history of over 40 of these composers.




Music in the Balkans


Book Description

This book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.







Introduction to Serbia


Book Description

Serbia is a landlocked country located in southeastern Europe, and it shares borders with Montenegro, Kosovo, Albania, North Macedonia, Bulgaria, Romania, and Hungary. The population of Serbia is estimated to be around 7 million people, with Belgrade as its capital city. The official language is Serbian, and the currency used is the Serbian dinar. The country has a varied landscape, including mountain ranges, forests, and rivers, with the Danube River being the longest and the largest in the country. Serbia has a rich history that has seen the country pass through numerous wars and conflicts. The country was part of the former Yugoslavia, and during this time, it suffered from wars and conflicts, leading to the disintegration of the country. Today, Serbia is a democratic country with a diverse economy, and it is a member of organizations such as the United Nations, World Trade Organization, and Council of Europe. Additionally, Serbia is known for its cultural heritage, including art, music, and literature, with famous figures such as Nikola Tesla and Mihajlo Pupin who contributed significantly to science and technology.




The Harvard Dictionary of Music


Book Description

This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.




Twentieth-Century Music and Politics


Book Description

When considering the role music played in the major totalitarian regimes of the century it is music's usefulness as propaganda that leaps first to mind. But as a number of the chapters in this volume demonstrate, there is a complex relationship both between art music and politicised mass culture, and between entertainment and propaganda. Nationality, self/other, power and ideology are the dominant themes of this book, whilst key topics include: music in totalitarian regimes; music as propaganda; music and national identity; émigré communities and composers; music's role in shaping identities of 'self' and 'other' and music as both resistance to and instrument of oppression. Taking the contributions together it becomes clear that shared experiences such as war, dictatorship, colonialism, exile and emigration produced different, yet clearly inter-related musical consequences.




Introduction to Tár


Book Description

Tár is a plucked string instrument, popularly known as the long-necked lute, traditionally played in Iran, Azerbaijan, and Central Asia. It has a distinctive sound and is played with a small plectrum made of wood or tortoise shell. The body of the tár is traditionally carved from a single piece of wood, and its neck has 25 strings arranged in five groups of five. Four of the five groups are tuned in unison, while the fifth group is tuned in octaves. The tár has historically been used in a variety of musical genres, ranging from classical Persian music to folk and popular music in Azerbaijan. There are several variations of the tár, including the Azerbaijani tár, which has a slightly different shape and tuning than the Persian tár. Similarly, the Central Asian dotar is a two-stringed version of the instrument. The tár has become known worldwide, and it is now played in Western classical concerts and world music concerts. The instrument originated in Central Asia, and it is believed to have been derived from an earlier instrument known as the dombra. The tár has become an integral part of the culture and music of Iran, Azerbaijan, and Central Asia, with many famous musicians having played the instrument over the centuries.




Central European Folk Music


Book Description

This is the first annotated bibliography, in German or English, to gather the rich sources for German-language folk-music scholarship. It presents a comprehensive view of both historical and contemporary trends in a field embracing folkloristics and ethnomusicology, as well as philological and cultural studies. Beginning with early theories of folk song-formulated by Herder, Goethe, the Brothers Grimm, and others-the book examines the most important collections of the 19th-century folk-song movement, and surveys the 20th-century institutions and publications that have made folk-music scholarship essential to an understanding of German-speaking Europe. The book represents the enormous diversity of folk music. Ideas of genre and classification contrast with the ways in which minority and ethnic groups have contributed to the complex constructs of 19th- and 20th-century nationalism. The intellectual history in this book often takes the form of a clash between institutions and the forceful personalities of scholars who theorized that folk music was the product of individuals or the linguistic core of nations. Entries that illustrate the ways in which constructs of folk music have contributed to the politics of culture (e.g., in Nazi Germany or in the workers' culture of the former German Democratic Republic) also constitute the expansive musical landscape covered by this book The author includes diverse disciplinary perspectives, not just those of folklorists, but also concepts from ethnomusicology, historical musicology, and religious and cultural studies. In addition to traditional studies of the canons of German folk music (e.g., ballads and singing-society repertories), Bohlman includes studies of religious and ethnic minorities, and of German folk music in nations and regions outside Central Europe. The comprehensive nature of this book, not only makes available a rich history of scholarship, but also contextualizes Central European folk music as a vital and critical discipline for the interpretation of a changing Europe. Includes index.




The Legacy of Serbia's Great War


Book Description

In the winter of 1915, following the invasion of Serbia by the Central Powers, the Serbian Army retreated across the mountains of Albania and Montenegro together with thousands of civilians. Around 240,000 lost their lives. Today, the story of the retreat is little known, except in Serbia where it is represents the heroic Serbian sacrifice in the Great War. In this book Alex Tomić examines the centenary events memorializing the First World War with the retreat at its core, and provides a persuasive account of the ways in which the remembrance of Serbian history has been manipulated for political purposes. Whether through commemorations, ceremonies, or grass- root initiatives, she demonstrates how these have been used as distractions from the more recent unexamined past and in doing so provides an important new perspective on the cultural history of commemoration.




Manele in Romania


Book Description

This edited volume examines manele (sing. manea), an urban Romanian song-dance ethnopop genre that combines local traditional and popular music with Balkan and Middle Eastern elements. The genre is performed primarily by male Romani musicians at weddings and clubs and appeals especially to Romanian and Romani youth. It became immensely popular after the collapse of communism, representing for many the newly liberated social conditions of the post-1989 world. But manele have also engendered much controversy among the educated and professional elite, who view the genre as vulgar and even “alien” to the Romanian national character. The essays collected here examine the “manea phenomenon” as a vibrant form of cultural expression that engages in several levels of social meaning, all informed by historical conditions, politics, aesthetics, tradition, ethnicity, gender, class, and geography.