Matica Srpska

ISSN 0352-9738
MATICA SRPSKA JOURNAL

OF STAGE ARTS
AND MUSIC
50
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
2014
ISSN 0352-9738

50
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2014
MATICASRPSKA
DEPARTMENTOFSTAGEARTSANDMUSIC

CONTENTS
, ,
STUDIES, ARTICLES, TREATISES

( ) . . . . . . . . . . . 9
Dr Mirjana Zaki and dr Jelena Jovanovi
Ethnomusicological Sources about the Instrument Kaval in Serbia and
Macedonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

. . . . . . . . . . . . . . 25
Dr Mihal Babiak
Status of Theater in the Postmodern Society . . . . . . . . . . . . . . . 31
Mp
. . . . . . . . . . . 33
Mr Neboja Anteevi
Epistemology of Scenography in the Theaters Today . . . . . . . . . . . 58

: Play Strindberg
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Dr Mirjana Veselinovi Hofman
Towards a Bottomless Pit: The Dramaturgy of Silence in the String Quartet
Play Strindberg by Ivana Stefanovi . . . . . . . . . . . . . . . . . . . 71

. . . . . . . . . . . . . . 73
Rado Mitrovi
Basic Considerations of the Issues of Temporality in the Chamber Opera
Petersburg and the Literary Piece by Andrei Bely . . . . . . . . . . . . 79
.

. . . . . . . . . 81
Mr Milena S. Zori
Slavenisms as a Form of Characterization of Cheaters in Sterijas Comedies Laa i paralaa and Pokondirena tikva . . . . . . . . . . . . . . . 91
.
. . ( )
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Dr Vesna O. Markovi
To Miss L. D. (Lenka Dunerski) in the Memorial Book the Honorable
Sacrifice of Lazar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
.

(II) . . . . . . . . . . . . . . . . . . . 103
Dr Sofija M. Koniar
Female Theater Artists on Their Profession through the Pen of Milo Crnjanski Intertextual Considerations (II) . . . . . . . . . . . . . . . . . . 118

. . 119
Dr Aleksandar Vasi
Slavophilia and Serbian Musicography Between the Two World Wars . . 131
.
.
a . . . . . . . . . . . . . . . . . . . 133
Dr Dragana V. Jovanovi
Conductors Interpretation of the Liturgy of St. John the Chrysostom for
Three Female Voices by Petar Konjovi . . . . . . . . . . . . . . . . . . 151

M . . . . . . 153
Dr Goran Gavri
Mechanistic Understanding of the Puppet Theater . . . . . . . . . . . . 164

. . . . . 165
Dr Ivana Ignjatov Popovi
People in Someone Elses Pocket Ranko Mladenovis Lost Play . . . 172

, :
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Milica Zajcev
Vladimir Logunov, Artist of Lyrical Dancing Dreams: A Critics View . . 190

100
On the Occasion of a Jubilee
Stevan Stojanovi Mokranjac
A Centennial of His Death
.
.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Dr ore S. Kosti
Public and Private with Stankovi and Mokranjac. Literary Reflections . 199

:
. . . . . . . . . . . . . . 201
Dr Bogdan akovi
The Sacred Choral Genre and the Modernization of Serbian Music. The
transformation of Mokranjacs heritage in the work of his disciples . . . 213
, ,
MEMOIRS, MATERIALS, CONTRIBUTIONS

. 215
Dr Vesna Peno
On the Trace of Unnoted Church Melodies from the Time of Turkocraty 222

:
Memories of Ruica Soki (A Sketch for a Portrait) . . . . . . . . . . . . 223
REVIEWS

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19992012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
. . . . . . . . . . . . . . . . . . . . . . . . . 235
. . . . . . . . . . . . . . . . . . . . . . . 243
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
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: , : .. , 2003.
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, (.). . , , 2510081 [..].
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1 (2) (1926): 383396.
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49 (2013): 922.
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225240.
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11 (1964): 773780.
, Aleksandar. O muzikim instrumentima makedonskih Slovena Zapisi, likovne
predstave i narodne pesme. Zvuk 89 (1968): 519529.
22
, . . : , 1986.
, . . II.
, 1987.
, .
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2003 ().
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. , 44.
, . . II/III (1959): 174176.
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, 1 (1968): 137146.
, . . 14.
, 1967. 1974: 575591.
, . ,
. : , 1997.
ATANASOV, V. and R. C. Morris, R. Petrovi, T. Alexandru. Kaval [kavali, kavall]. In Vol.
13 of The New Grove dictionary of music, ed. Stanley Sadie, 42425. Rev. Ed. London:
Macmillan, 2001.
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.
BAINES, Anthony. Woodwind Instruments and Their History. London: Faber and Faber limited,
24 Russel Square, 1962.
BAINES, Anthony. Woodwind Instruments and Their History. New York: Dover Publications,
Inc., 1991.
BAINES, Anthony. Lexikon der Musik-Instrumente. Stuttgart: Metzler, Kassel: Brenreiter, 1996.
BRMSE, Peter. Flten, Schalmein und Sackpfeifen Sudslawiens. BrnnPragLepcigWien:
Verlag Rudolf M. Rohrer, 1937.
DEVI, Dragoslav. Etnomuzikologija III deo. Beograd: Univerzitet u Beogradu, 1977.
DEVI, Dragoslav (.). Narodna muzika tradicija. Srbija instrumentalni ansambli.
, RTB [..].
AKOVAC, Dejan. Narodna muzika pirotskog kraja, diplomski rad. Beograd: Fakultet muzike
umetnosti, 1993.
23
GOJKOVI, Andrijana. Narodni muziki instrumenti. Beograd: Vuk Karadi, 1989.

GOJKOVI, Andrijana. Prouavanja narodnih muzikih instrumenata u Srbiji. Beograd, 1990.
HADZI-MANOV, Vasil. Instruments folkloriques en Macedoine kavalis. Journal of the
International Folk Music Council XII (1960): 2122.
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.
KULII, piro. Traditions and Folklore in Yugoslavia. Belgrade: Jugoslavija, 1966.
MARCUSE, Sybil. Musical Instruments A Comprehensive Dictionary. New York: W. W. Norton
& Company. Inc., 1975.
SACHS, Curt. Reallexikon der Musikinstrumente. Hildesheim: Georg Olms Verlagsbuchhandlung,
1962.
TAMMER, Anthony. Kavals and Dzamares: End-blown Flutes of Greece and Macedonia, 2000.
<http://www.umbc.edu/eol/4/tammer/bio.html>
TODEVSKI, Kiro. Kaval u Makedoniji, diplomski rad. Muzika akademija, Odsek za istoriju
muzike i muziki folklor, D/7, Beograd, 1970.
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
Ethnomusicological Sources about the
Instrument Kaval in Serbia and Macedonia
Summary
The paper is the continuation of the previous study focused on the kaval, a half-transverse
flute about 800mm 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 previous article was dedicated to the
sources in medieval paintings, to ethnographic and literary sources, where as this one refers
to ethnomusicological sources about the kaval from the regions of Serbia and Macedonia. The
authors made a certain methodological innovation with regards to the former usual approach
to the instruments from the group of labial flutes. This was motivated by several factors: the
popularity that the kaval achieved due to 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 applications and its bearers on the territory of Serbia; and finally, the fact that
different data about the kaval have not been synthesized until today. In this article, a special
attention is dedicated to the cultural and identity policies that are also reflected through the
practice of the use of the kaval and the creation of discourse about it in the Balkans.
Key words: kaval, ethnomusicological sources, Serbia, Macedonia.
24
UDC 792:141.78
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/Original scientific paper
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BENJAMIN, Walter. Dlo a jeho zdroj. [ .] Praha, 1979.
GAJDO, Jlius. Postmodern podoby divadla. [ .]. Brno:
Nakladatelstv Vtrn mlny, 2001.
HUBK, Stanislav. Postmodern kultura. [ .] Olomouc: Mlad Umn K
Lidem, 1991.
MAAK, Andrej. Kopeme do mtvoly? In: Postavenie divadla v spolonosti. Zbornk refertov
z X. medzinrodnej teatrologickej konferencie v cykle DNES A TU. [, .
? : . X
.] Ed. Andrej
Maak. Bansk Bystrica: Fakulta dramatickch umen Akadmie umen v Banskej
Bystrici, 2013: 401408.
Mihal Babiak
Status of Theater in the Postmodern Society
Summary
The paper observes the status of the theater, i.e. its being in the era of the postmodern. The
postmodern has an identical content in the Slovak, Czech and Western contexts. The dilemma is
whether the Slovak postmodern feeling of the world is identical to the Western European one.
The phenomenon of postmodern culture is analyzed via the theoretical approach of the Czech
theoretician Stanislav Hubik. The theater has gradually lost its ritual basis and a magical and
religious moment in the Euroatlantic culture. In the age of the modern as well as at the time of
socialism (exemplified by the theaters in former Czechoslovakia and former Yugoslavia) the
theater was a matter of elite social circles.
Key words: theater, postmodern, status of the theater, theater in Slovakia, Stanislav
Hubik, Walter Benjamin.
31
UDC 792.021
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53
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tre Wales and WildWorks), (Michael Sheen),
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57
, . , . : , 1981.
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. L, . 12 (2003): 98102.
, . . /.
: , 2001.
, . . : Horetzky, 2005.
, . . : , 2008.
PEARSON, Mike. Site-Specific Performance. London: Palgrave Macmillan, 2010.
TSCHUMI, Bernard. Arhitektura i disjunkcija. Zagreb: AGM, 2004.
Neboja Anteevi
Epistemology of Scenography in the Theaters Today
Summary
Active research in the field of theatrical art in the last decade of the 20th century, especially
in the first decade of the 21st century, changed the established concept of the theater, putting
the stage space in the maelstrom of everyday life as the most scenic events. Accordingly, the
scenic area gets an extended meaning, which leads the notion of set design as an integral part of
the stage action and the actors performances because the visual presence of the stage area and
an often complex design and meaningful solutions stand out as critical and artistic disciplines.
Numerous theatrical works in our country and abroad were accompanied by set designs
of the most varied characters and form solutions. Because of the lack of written and published
papers on set designs, separate examinations of scenography of theater productions and a
small number of set design exhibitions, it is difficult to gain an artistic and critical insight into
the development of current trends in set design. During the 20th century scenography lost its
decorative and descriptive character and became a more complex multimedia artistic discipline
that was actively involved in researching contemporary theatrical works, i.e. in the recognition
of ambiguity of literary or other theater works in the contemporary context.
In the theater or outside the theater building, as the theater production is not only aimed
at the black box of theater scene today, the scenic area is seen as an experimental testing ground
which becomes a visual form of the detected substance, part of an ongoing process of thought
and knowledge.
Epistemology of scenography in the theater today is aimed at the conceptual stage design
solutions division of the arts, the character and descriptive study of their role in contemporary
theater productions. Since set design today is not a form of decorating the space where the theater
act is performed, its role in the realization of the theatrical achievement is equally important,
artistic and meaningful. The examining contemporary artistic approach to set design is necessary
to explore its artistic achievements and role in the theater today.
The epistemological division of the scenography in the theater today in this paper is
based on previous artistic and research tendencies: 1. Descriptive and decorative (classical)
scenography; 2. Interpretive-semiotic scenography; 3. Visual-formative scenography; 4.
Conceptual and experimental scenography; 5. Scenography of ambient theater (Site-specific
theater).
Although all contemporary scenographies epistemologically have a common basis and
purpose, as well as present-day needs to seek new forms of materialization of theater works, they
58
differ in artistic interpretation and formal techniques. In this respect, the analyzed scenography
forms primarily have different artistic and visual characteristics, while the choice of scenography
shape depends on the type of theater stage works, the concept of directing and the character of
the theater. The art of the theater today shows its power to simultaneously display and realize
the historical, conceptual and phenomenological aspects of one discipline or interrelationships
of more disciplines in their historical and current appearance.
Key words: theater today, set/stage design, scenography, the metaphor of the scenic area,
directing, experiment.
59
UDC 78.071.1:929 Stefanovi I.
, ,
:
PLAY STRINDBERG *
: Play Strindberg (1993)
, .
,
,
.
.
: , , ,
Play Strindberg.
,
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(cf. KARA-PEI 1999: 13), ,
, ,
alter ega.

/ ; ,

; , .
,
*O ,
, ,
. Musical Romania and
its Neighbouring Cultures, traditions, influences, identities, Eastern European Studies
in Musicology, Peter Lang.
61
,
,
.

(August Strindberg), .
Play Strindberg, ,
, ,
.
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.
, ,
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1983: 50),
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1983: loc. cit.).

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62
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(pp) (Lento. Molto tranquillo),

63
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70

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al niente.
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Play Strindberg

KARA-PEI, Ana. Only Silence is Rich. A Conversation with Ivana Stefanovi. New Sound
International Magazine for Music 14 (1999): 716.
STRINDBERG, August. The Father. : CARLSON, Harry G. (transl./ed.). Strindberg: Five Plays.
Berkeley Los Angeles London: University of California Press (1983): 1962.
Mirjana Veselinovi Hofman
Towards a Bottomless Pit: The Dramaturgy of Silence in
the String Quartet Play Strindberg by Ivana Stefanovi
Summary
This paper deals with some aspects of the materialization of silence in Ivana Stefanovis
string quartet Play Strindberg (1993). Based on August Strindbergs drama The Father, it
consists of an autonomous whole with its own narration which I explore as being rooted in
silence. Thus, the quartet is analyzed and elucidated from the perspective of musically articulated silence whose concrete and particular incentive is pinpointed here in a scene at the end
of the second act of Strindbergs drama. That scene is considered and proved to be the core of
the musical dramaturgy of the quartet, given the nature of that silence as the silence of a latent
conflict, anxiety, dark forebodings and expectations, which functions as a means of the musical
portrayal of the characters and the irrevocable tragedy of events.
Key words: Ivana Stefanovi, musical silence, August Strindberg, string quartet Play
Strindberg.
71
UDC 821.161.1.09 Bely A.

UDC 785(470.23)
, ,

:
. ,
. ,

.
: , , , , , .
, ,1
(Andrei Bely),
/,
. , ,

. , , (),
(FINK 1997: 290).
.
, .
*
.
1
19. 6. 2012. .
73

,
, status quo.
, ,
, ,
. ,
24 , , , .
,
, , zeitgeist
1905. . , (James Joyce)
, . , ,
, .

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1998: 87). ,
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74
, ,

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( MALITI 1998: 87).
, ,
.

, . ,
, . ,
, , je
,
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(Georg Stimmel).2 ,
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. (2002: 11).
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2

(Marcel Proust) (Virginia Woolf) (LOYD 1993).
75

,
.3
, . ,

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2). ,
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1. VI , 11111114
2. IX , 15311534
3. , 2430,
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4
myriapoda.
77
. ,
:
, ,
lorem ipsum dolor sit amet, consectetur adepiscing elit revolution
evolution , ,
(POPOVI 2013: 37).
, . , ,
, ,
, . ,
,
.
, ,
, , ,
, , .
,
.
,
.
,
( ),
- ,
(MALITI 1998: 92) ,
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(MALITI 1998: 92).
,
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78

, . . : , 2006.
BANJANIN, Milica. Of Dreams, Phantoms, and Places: Andrey Belys Petersburg. The
International Fiction Review 10/2 (1983): 98103.
BEMONG, Nele and Pieter Borghart. Bakhtins Theory of the Literary Chronotope. Reflections,
Applications, Perspectives. Gent: Academia Press, 2010.
CURRIE, Mark. About Time. Narrative, Fiction and the Philosophy of Time. Edinburgh: Edinburgh
University Press LTD, 2007.
FINK, Hilary. Andrei Bely and the Music of Bergsonian Duration. The Slavic and East
European Journal 41/2 (1997): 287302.
GEROULD, Daniel C. Russian Symbolist. Performing Art Journal 3/2 (1978): 2529.
LOYD, Genevieve. Being in Time, Selves and Narrators in Philosophy and Literature. London:
Routledge, 1993.
MALITI, Eva. The World of Novel Petersburg by Andrei Bely. Human Affairs 8 (1998):
8596.
MAUS, Derek. Space, Time and Things Made Strange: Andrei Bely, Pavel Filonov, and Theory
of Forms. Studies in Slavic Cultures 1 (2000): 77.
POIDEVIN, Robin Le (ed.). The Philosophy of Time. New York: Oxford University Press, 1993.
POPOVI, Branka. Petrograd, Kamerna opera, Teorijska studija o doktorskom umetnikom delu.
Beograd: Fakultet muzike umetnosti, 2013 (neobjavljen tekst).
POPOVI, Branka. Petrograd, Kamerna opera. Beograd, 2013 ( ).
RUSSELL, Sandra Joy. The City as Dialectic: Andrey Belys Creative Consciousness, its
Nietzschean Influence, and the Urban Centre in Petersburg. TranscUlturAl 1/4 (2011):
3146.
STIMMEL, Georg. The Metropolis and Mental Life. : WATSON, Sophie (ed.). The Blackwell
City Reader. Oxford: Blackwell, 2002: 1119.
Rado Mitrovi
Basic Considerations of the Issues of Temporality in the Chamber
Opera Petersburg and the Literary Piece by Andrei Bely
Summary
The paper considers the relationship between the novel Petersburg by Andrei Bely and
the chamber opera of the same name by Branka Popovi. The focus is on establishing the
connections between the treatment of temporality in the novel and equivalent procedures in
the music piece. Actually, the novel Petersburg is constructed on the basis of the idea on the
non-linear motion of different temporal lines. Thus, there are multiple layers inside the structure
of the piece achieved by different ways of conducting narration and different perspectives
that are intertwined. Narration is based on the principles of the flow of consciousness, i.e.
on a constant borderline between the conscious and the unconscious, which is often blurred.
Petersburg remains the only object as well as the subject which exists beyond what the plot
represents. Actually, such a seemingly confusing structure is the equivalent of the zeitgeist of
the pre-revolutionary Russia. On the other hand, inside the composition of Branka Popovi,
which is constructed on the basis of a linear narration, we can establish relations with the ways
79
of structural shaping of the novel. The piece is based on a general reduction which has multiple
layers. The electronic medium presents a temporal continuum which unifies, like Petersburg
in the novel, the piece. The narrator is given music whose vocal technique resembles arias to a
greater extent and stands as a certain antipode for other characters who do not have differentiated
features and who are represented by rhythmical repetitions, which is an expression of their
closedness inside the unseen historical temporality. In that way, like Bely, Branka Popovi also
counts of what the Russian writer called the mental game.
Key words: Petersburg, Andrei Bely, Branka Popovi, chamber opera, temporality,
narration.
80
UDC 821.163.41-2.09 Popovi J. S.
,

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2007. 200- 150 .
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1956; 1965; Anelkovi, Thomas 2006.
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2003; 2004; 2006; 2012.
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180618562006. CXVII. . . 17.
: , 2007: 689694.
, .
. 35 (2004): 69154.
, . .
19/2 (1990): 514.
, . . . . : , 2001.
, . . : , (.). . , . 6, :
, 1987: 177181.
21
(Friedrich Schiller), (Heinrich Clauren),
(Miguel de Cervantes Saavedra), (Jean-Franois Marmontel), (Johann
Heinrich Daniel Zschokke), (August Friedrich Ferdinand von Kotzebue),
,
.
89
, . . : , (.).
180618562006. CXVII.
. . 17. : , 2007: 695703.
, . .
: 18611961. : ,
1961: 73130.
, . . : , 1998.
, (.). . :
, 1965.
, . . :
, (.). 180618562006.
CXVII. . . 17. : , 2007: 521537.
, . . : ,
(.). 180618562006. CXVII.
. . 17. : , 2007: 7789.
, (.). . : ,
1956.
, .
XVIII XIX .
VI/1 (1976): 157163.
, .
. XXI/1 (1978): 93112.
, .
XVIII XIX . XXII/2
(1979): 95129.
, .
XVIII XIX .
2 (1982): 1320.
, .
. XXXI/1 (1988):
137143.
, .
. : , (.).
180618562006. CXVII. . . 17.
: , 2007: 665674.
, . XX . :
, 2006.
, . . :
, 2004.
, . . : ,
(.). 180618562006. CXVII.
. . 17. : , 2007: 9196.
, . . : : . : , 1997: 519.
, (.). 180618562006.
CXVII. . . 17. : , 2007.
, . . : , 2006.
, . II
. : , 1988: 205210.
90
, . .
: , 1992.
, . . :
. : , 1981: 208215.
, .
. 11/1 (1982): 6167.
, .
( ). : -, . . (.). (- ). 6.
: , , 2007: 240252.
, . .
36/1 (2007): 215224.
, . ao
. 39 (2008): 69118.
, [Peter Herrity]. .
XXIX/3 (1981): 495501.
, [Peter Herrity]. . 11/1 (1981): 511.
, . , I. : , 1977.
, . 1852. .
XLVIII (2006): 95108.
Anelkovi, Sava i Paul-Louis Thomas (prir.). Jovan Sterija Popovi klasik koji nam se
obraa: Radovi sa Meunarodnog naunog skupa odranog 24. i 25. marta 2006. godine
na Univerzitetu Pariz IV Sorbona. Vrac: KOV, 2006.
Suboti, Ljiljana. Kojim je to jezikom pisao Sterija? : Anelkovi, Sava i Paul-Louis Thomas (prir.). Jovan Sterija Popovi klasik koji nam se obraa. Radovi sa Meunarodnog
naunog skupa odranog 24. i 25. marta 2006. godine na Univerzitetu Pariz IV Sorbona
(str. 1740). Vrac: KV, 2006.
Milena S. Zori
Slavenisms as a Form of Characterization of Cheaters in
Sterijas Comedies Laa i paralaa and Pokondirena tikva
Summary
This paper analyzed Slavenisms and their use in comedies Laa i paralaa and Pokondirena
tikva by Jovan Sterija Popovi, primarily in the domain of the characterization of cheaters and
the construction of comical errors. The focus is on the pairs of cheaters: Baron Goli and Mita
on the one hand and Ruii and Mrs. Miri on the other. The aim of the paper is to establish if
a solid parallel can be drawn between these two characters. The paper starts with the premise
that in his early comedies Sterija used Slavenisms as a particular form of mostly negative
characterization.
Key words: Slavenisms, Jovan Sterija Popovi, Laa i paralaa, Pokondirena tikva,
characterization.
91
UDC 821.163.41-14.09 Kosti L.
,
. . ( )

: . . , .
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283297.
, . . :
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101
, . . :
, 2005.
, . . :
1999.
LAMPE, G. W. H. A Patristic Greek Lexicon. Oxford: 1961.
Vesna O. Markovi
To Miss L. D. (Lenka Dunerski) in the Memorial Book
the Honorable Sacrifice of Lazar
Summary
The poem To Miss L. D. in the Memorial Book is less known than the most famous poem
of the Serbian poet Lazar Kosti Santa Maria della Salute. Only recently, in 2011, Slobodan
Rakiti added it to his Anthology of the Poetry of Serbian Romanticism and this is the first time
this poem has been made part of the anthology of Serbian poetry as the authors of previous
significant anthologies did not pay much attention to it. At a first glance it may seem wrong that
the trochee rhythm of the poem To Miss L. D. in the Memorial Book does not correspond to the
sad content the renouncement of the right to love the beloved woman. However, this poem
relies on the unity of opposition to express the basic principle of the poets opus and view of
the world. The unity of opposition in the said poem is reflected in the simplicity of the trochee
octosyllable, second most frequent verse of the Serbian folk poetry and through joyful sorrow
as the basis of the Christian paradox which, we believe, was influenced by the atmosphere of
the Kruedol monastery where the poem was written. Having in mind the great difference in
age, the poet painfully yet honorably renounced the right to love the beloved woman giving
her youth to more worthy suitors, blessing her future marital bliss and his peaceful old age.
Key words: Laza Kosti, trochee, symmetrical octosyllable, unity of opposition, joyful
sorrow.
102
UDC 821.163.41.09 Crnjanski M.
,
/Original scientific paper

(II)*
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XXXIII
:
XXXIII
Ein Im Norden auf kahler Hh.

Ihn schlfert; mit weier Decke
Umhllen ihn Eis und Schnee.
Er trumt von einer Palme,
Die, fern im Morgenland,
Einsam Fichtenbaum steht einsam
und schweigend trauert
Auf brennender Felsenwand.
Smtliche Schriften. Bd. 1 / Heinrich Heine. Mnchen: Deutscher Taschenbuch Verla, 1997
(. 88).
5
(1992). : ; : ,
; : Roland Barthes par Roland Barthes, crivains de toujouts /
seuil, 1975.
112
, 6 , 7
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(.Tristan und Isolde)
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. 1857. 1859. ,
10. 1865. . .
<http://hr.wikipedia.org/wiki/Tristan_i_Izolda_(opera)>
115
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.

. , II, . 2.
, . . : ,
, 2002.
, .
. : , 2013.
, . . : , 1990.
, . , , .
, 41 (1837): 1.
. : ; : , (1992); : Roland Barthes par Roland Barthes,
crivains de toujouts / seuil, 1975.
, . ? 11. 01. 1932: 2
( , ).
117
, . ? 20. 01. 1932: 2

( , ).
, . ? 23. 01. 1932: 2
( , ).
, . I. , ,
, : 1966.
, . II. ,
, , : 1966.
, . . (I). : , 1971.
, . . (II). : , 1971.
, . . : , 1981.
, . IIII. : , 1984.
, . . . :
, 1991.
, . II. Lausanne, :
Editions l age d homme, 1999.
. II, . 2.
Sofija M. Koniar
Female Theater Artists on Their Profession through the
Pen of Milo Crnjanski Intertextual Considerations (II)
Summary
The interviews of Milo Crnjanski with famous theater artists, Mrs. Lepu-Poli, a
primadonna of the Ljubljana Opera, Mrs. Marica Popovi, a Belgrade actress, and Mrs. Anta
Kovai, a Ljubljana actress, were published in the daily Vreme, in January 1932. They have a
wider culturological and artistic-theoretical significance. They are primarily a contribution to
understanding the social context of the time as well as the pulses and sensitivities of the public
opinion of the time with regards to the complex issue of the social position of female artists
during the world economic crisis in Kingdom Yugoslavia. This complex issue, with all of its
important aspects that are included in the interviews, are still current today in the conditions
of the contemporary world socio-economic recession typical of the countries in transition, the
European community and for our country as well. The issues of that time have remained until
today in a stalemate of permanent currentness and procuring more or less tolerable formulae for
the synergetic synchronization of the private and the artistic. The interviews, however, also have
a comparativistic importance as a source of citations. They have a dialogically indicative and
intertextual correspondence with a wide combination of themes and motives and the discourse
technique of later Crnjanski prose, especially the Novel about London, which is indicated in
the paper and illustrated with appropriate examples.
Key words: Milo Crnjanski journalist, writer, social position, professional status of
female artists, feminism, equality of sexes, economic independence, love, sex, marriage, family,
happiness, intertextuality, citation, proto-text, female character, Novel about London.
118
UDC 78(497.11)"1928/1941"
UDC 050:78(497.11)"1928/1941"
,

*
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, (MILOJEVI, MANOJLOVI, VARC 1928: 7).

(, 1924).
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121
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122
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(Bedich Smetana).
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(PADEREWSKI 1928; 1928; 1928).
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124
. : 2005: 312.
,
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( 1930; 1939; 1940; 1940; URI-KLAJN 1939).

(Josef Suk) .
. (Boleslav Vomka) .
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(Gustave Samazeuilh) ,
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. -,
(Karol Szymanowski), , ,
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(BAJANSKI 1933; GLISKI 1933; VUKOVI 1934; VUKDRAGOVI 1934;
GRICKAT 1934).

( )
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, . ,
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Temps.

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125
,
.
,
sadanjost i sva budunost (LUNAARSKI 1934: 394).
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.

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, , , ,
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.
126

.
. (Vtzslav Novk), (Robert Schumann),
(Franz Liszt) (Johannes Brahms) (
1941).
( 1941).
.
,
, .
(
, [ ], [Ludwig van
Beethoven], [Richard Wagner], , [Amilcare
Ponchielli], .).
(Eduard Hanslick)
(
. 1940).
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.
.
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( 1940).
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127
( )
( ) ( 1939; 1940; 1940;
1940).
(Jan
Kubelk) . - (
- ) ( 1941; 1941).
,
,
. , , , .
.
,

.

[]. (Le musicien de la vie) , Edition Emile Paul freres.
1 ( 1939): 4.
[]. . . . : . III. . 37. ( Hudebni
Matice UB. ). ( 1940): 28.
[]. . 78
( 1940): 5254.
, . .
4 5 ( 1930): 7376.
, . . 78 (
1940): 5758.
, . . 12 (
1941): 25.
, .
. 5 ( 1939): 8991.
, . . 56
( 1940): 6571.
, . . . .
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, . . 4 ( 1940): 2528.
, . . ( ). 3
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, . . .
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, . . . . 3 ( 1941): 46.
, . . 2 ( 1933): 3739.
, . . . - 25- .
56 ( 1933): 97101; 7 ( 1933): 194201; 8 ( 1933): 239247.
, . . ( 40- ). 910
( 1933): 281286.
, . . 34
( 1939): 5962.
, . (
). 8 ( 1930):
145147.
. . 78 (
1940): 5459.
, . . - . . 12 ( 1928): 347350.
, . XIX . .
12 ( 1928): 350354.
, . [] . []. . . [] . 7 ( 1928): 195201.
, . . 1 ( 1939):
12.
, . ( ).
. 12 ( 1928): 363367.
. . [ ]. . .
3 ( 1940): 21.
. . [ ]. . .
4 ( 1940): 2526.
, . . 5 6 (
1928): 147151.
, . . 7 ( 1928): 201204.
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212.
M. M. [ ]. . . 7 (
1928): 214215.
, . . . . .
3 ( 1929): 87.
, . . ( ).
2 ( 1939): 912.
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( 1941): 59.
, . . .
12 ( 1928): 343347.
129
, . . . I. . II. .
8 ( 1930): 148152; 9 (
1930): 170174.
, . .
56 ( 1940): 7177.
, . ( 1941).
. I. : , 2005.
. . 7 ( 1928): 181182.
, . . - . . . [ . ].
7 ( 1928): 188191.
, . . .
78 ( 1940): 5456.
, . . . . [ ]. 7
( 1928): 209211.
BAJANSKI, Milan. Rimski-Korsakov (povodom dvadesetpetogodinjice smrti). Zvuk 1011
(avgustseptembar 1933): 356359.
URI-KLAJN, Stana. Iz prepiske Modesta Musorgskog. Povodom stogodinjice roenja.
34 ( 1939): 6369.
GLISKI, Mateusz. Poljska moderna muzika. Sa ekog, Jovan Bandur. 12 (
1928): 354360.
GLISKI, Mateusz. Karol Szymanowski (Prilikom pedesetogodinjice roenja). Zvuk 12
(oktobar 1933): 385389.
GRICKAT, Zinaida. Aleksandar P. Borodin. Povodom stogodinjice roenja. Zvuk 12 (oktobar
1934): 424427.
LUNAARSKI, A. V. Boris Godunov od Musorgskog. Prevod Rue Bogli. Zvuk 1011 (avgust
septembar 1934): 388394.
MILOJEVI, Miloje, Kosta P. Manojlovi, Rikard varc. Naa prva re. 1 (
1928): 68.
NEJEDLY, Zdenjek. Evropa i slovenska muzika. S osobitim pogledom na muziku kod eha.
Preveo D-r M. M. [= Miloje Milojevi]). 7 ( 1928): 183188.
NEJEDLY, Zdenjek. Bedrih Smetana. Preveo Dr. M. M. [= Miloje Milojevi]. 7 (
1928): 191194.
PADEREWSKI. Chopin i poljska muzika. S francuskog Svetislav Petrovi. 12 (
1928): 341342.
SAMAZEUILH, Gustave. Linosti dananjice. Ignacy Paderewski. 78
( 1939): 144146.
VAULIN, Aleksandar. O ajkovskom. Zvuk 2 (decembar 1933): 4952.
VUKOVI, Vojislav. Josef Suk. Povodom esdesete godinjice roenja. Zvuk 3 (januar 1934):
8187.
VUKDRAGOVI, Mihailo. Smetana Dvorak. Povodom pedesetogodinjice odnosno
tridesetogodinjice smrti. Zvuk 7 (maj 1934): 245248.
130
Aleksandar Vasi
Slavophilia and Serbian Musicography
Between the Two World Wars
Summary
Slavophilic ideology had a strong influence on the Serbian culture of the 19th century. In
the first half of the 19th century the dominant influence was French. However, Slavophilia kept
its influence and, until the beginning of World War II, Serbian culture was permeated by this
idea. This paper researches the presence of Slavophilic content in Serbian musical journals in the
period between the two world wars. The focus is on the following journals: Music (19281929),
Herald of the Musical Society Stankovi (19281934, 19381941, in 1931 it was renamed
Musical Herald), Sound (19321936), and Slavic Music (19391941). The author analyzed the
corpus from the Musical Herald from 1922 in a previously published paper, while the Heralds
of the South Slavic Singing Association (19351936, 1938) and the Music Review (1940) do
not have any material of interest for this topic.
These musical journals published a large number of texts on the music of Slavic people
studies, articles, reviews, criticisms, necrologies. The journals covered the topics from
the history of Slavic music but they also kept track of current events. Slavophilia was most
prominent in the journal Music. Among others, two issues of this journal were completely
devoted to Slavic music Czechoslovakian (July 1928) and Polish (December 1928). Musical
journals also published the translations of the articles of Slavic authors as well as the texts of
our music writers on Slavic music. The undying strength of Slavophilic tradition in Serbia is
best seen in the initiation of a journal dedicated to Slavic music (1939).
There are two aspects that are characteristic of Slavic content in the musical journals
between the two world wars. Never have editors shown any kind of weakness in the name of
their ideology artistic value was a top criterion. In 1929 Miloje Milojevi, one of the editors
of the journal Music, condemned energetically inadequate enthusiasm of the audience at an
opera where Russian tenor Dmitri Smirnov was performing.
Like in the case of texts on musical cultures of the West, Slavic music was presented to
the Belgrade, Serbian and Yugoslav music through topics and texts in which terminological
lexicon was strictly controlled. This achieved a lot: the young domestic musical scene easily
absorbed data and interpretations which they would have rejected had writers insisted on the
esoteric language of music theory.
Key words: Slavophilia, Serbian music, Music (19281929), Herald of the Musical
Society Stankovi / Musical Herald (19281934, 19381941), Sound (19321936), Slavic
Music (19391941).
131
UDC 78.071.1:929 Konjovi P.
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vjesnik, 1938.
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Dragana V. Jovanovi
Conductors Interpretation of the Liturgy of St. John the
Chrysostom for Three Female Voices by Petar Konjovi
Summary
At the beginning of the 20th century Petar Konjovi, composer, conductor, pedagogue,
musicologist and musical writer, created his spiritual work. Analytical texts that tackle the
issues of this genre in Konjovis opus, however, are rare as are the performances of his spiritual
compositions. As there are no records that the Liturgy of St. John the Chrysostom for Three
Female Voices was ever performed, in order to interpret it correctly we must first analyze the
relevant musical parameters (from melody and harmony, through fracture, treatment of text
and metrics, to form) and interpret their mutual relationships for the purpose of revealing the
dramaturgical potential of the piece at both the micro and macro levels. The results of the
analysis in combination with the particularities that come with the work of the conductor with
the ensemble will lead to the coordination between the authentic-ritual and intuitive-artistic
interpretation of the partiture, i.e. a faithful concert interpretation of the piece.
Key words: interpretation, Petar Konjevi, conductor, Liturgy, choir.
151
UDC 792.97
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ovek maina. Beograd: Kultura, 1955.
156

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popular Culture. New York: Cornell University Press, 1995, 205. , : ,

. Nadja Linnine Masura. Digital Theatre: A live and Mediated Art Form Expanding
Perceptions of Body, Place, and Community. Michigan: ProQuest, 2007, 56.
157
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.

GROSS, Kenneth. Puppet: An Essay on Uncanny Life. Chicago: University of Chicago Press,
2011.
JURKOVSKI, Henrik. Svet Edvarda Gordona Krega. Beograd: KIZ Altera, 2008.
KLEIST, Heinrich von. ber das Marionettentheater. HorGut! Verlag, 1966.
KOTARBINJSKI, Tadeu. Traktat o dobrom delanju. Beograd: Nolit, 1964.
LAMETRI, ilijen Ofrej de. ovek maina. Beograd: Kultura, 1955.
LEACH, Robert. Directors in Perspective: Vsevolod Meyerhold. Cambridge: Cambridge
University Press, 1993.
MASURA, Nadja Linnine. Digital Theatre: A live and Mediated Art Form Expanding
Perceptions of Body, Place, and Community. Michigan: ProQuest, 2007.
OHNUMA, Reiko. Head, Eyes, Flesh, and Blood: Giving Away the Body in Indian Buddhist
Literature. New York: Columbia University Press, 2007.
RANDY, Adams, Steve Gibson and Stefan Muller Arisona. Trandisciplinary Digital Art: Sound,
Vision and the New Screen. New York: Springer, 2008.
SEGEL, Harold B. Pinocchios Progeny: Puppets, Marionettes, Automatons and Robots in
Modernist and Avant-garde Drama. Baltimore, Maryland: JHU Press, 1995.
SEIM, Turid Karlsen and Jorunn kland. Metamorphoses: Resurrection, Body and Transformative
Practices in Early Christianity. Berlin: Walter de Gruyter, 2009.
SHERSHOW, Scott Cutler. Puppets and popular Culture. New York: Cornell University Press,
1995.
TIFFANY, Daniel Newton. Toy Medium: Materialism and Modern Lyric. Berkeley: University
of California Press, 2000.
VAINGURT, Julia. Wonderlands of the Avant-Garde: Technology and the Arts in Russia of the
1920s. Evanston, Illinois: Northwestern University Press, 2013.
VERNANT, Jean Pierre. Mortal and Immortals: Collected Essays. Princeton, New Jersey:
Princeton University Press, 1991.
WAGNER, Meike. Of Other Bodies: The Intermedial Gaze in Theatre. In: CHAPPLE, Freda and
Chiel Kattenbelt (ed.). Intermediality in Theatre and Performance. Amsterdam and New
York: Rodopi, 2006: 125136.
163
Goran Gavri
Mechanistic Understanding of the Puppet Theater
Summary
In this paper we consider one aspect of the puppet theater that is directly related to the
physical movements of puppets and therefore to the functioning of the entire body. Actually,
it is mechanistic view with which we see the puppet from a slightly different angle than usual.
This consideration of the puppet theater is important for two reasons. Firstly, since these puppets
are not alive, since they can only be enlivened by the human actor and since they are unable to
move themselves and pronounce words, the analysis of their mechanical character is of crucial
importance to determine their body structure and robotic capacities. Secondly, the analysis can
move in a different direction in which we will view puppets as self-conscious and self-propelled,
i.e. automated and digitized, which means that they now also have linguistic capacities. By
assigning these characteristics to puppets, we are trying to look at the relationship between the
actor manipulator and the puppet in a different light and at the same time emphasize the crucial
role played by the puppet in the puppet show.
Key words: mechanistic understanding, moving puppet, actor manipulator, superimposed
puppet, puppet show.
164
UDC 821.163.41.09 Mladenovi R.
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171
Ivana Ignjatov Popovi

People in Someone Elses Pocket Ranko Mladenovis Lost Play
Summary
The subject of this paper is Ranko Mladenovis play People in someone elses pocket
(Ljudi u tuem depu) about which we had just a note on an old paper, but text of this drama
was missing. On 22nd of April 2013 Bala Mladenovi gave me, from his fathers bequest, the
first act of this play. Ranko Mladenovi worked on finishing of this act of play at the end of
1942. However, the destiny of the whole manuscript (three acts) is still unknown.
People in someone elses pocket, with its team and characters, is a type of bourgeois
drama. Mladenovi wrote it during his captivity in Nuremberg (19411942), ten years after
he had written the other three plays with a similar subject and a similar social environment.
Faithfully and without exaggeration, Mladenovi painted a human need to become rich as
easily as possible. In that kind of a lifestyle, moral does not exist. The materialistic passion of
characters, which Mladenovi skillfully built, makes this play current even today.
Key words: Ranko Mladenovi, People in Someone Elses Pocket, lost drama, critique
of morality and materialistic passion.
172
UDC 792.8.071.2:929 Logunov V.
Orchestra, ,
,

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.
Milica Zajcev
Vladimir Logunov, Artist of Lyrical
Dancing Dreams: A Critics View
Summary
This paper chronologically observes the dancing and choreography of artist Vladimir
Logunov (Belgrade, 1942), one of the most important workers in the dancing sphere, of a diverse
and rich creative opus that was performed on almost all dancing stages of former Yugoslavia
and, due to his artistic quality, was part of the repertoire of some theaters for a long time. The
view of Vladimir Logunovs opus is a view of a critic who had the opportunity to observe most
of the performances of his lyrical dancing dreams, as the artist himself called his roles and
choreographies. The paper consists of the artists biography, analysis of his character dancing
roles and choreographies, and a conclusion that sums up the evaluation of his creative opus from
one source with the intention to be the basis of further research of Vladimir Logunovs opus.
Key words: choreography, ballet performance, music, composer, opera, performer,
ballerina, ballet dancer, soloist, ensamble, critical evaluation, dancing dreams.
190

100
UDC 78.071.1:929 Stankovi K.
UDC 78.071.1:929 Mokranjac S.
,

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. . , 1893.
ore S. Kosti
Public and Private with Stankovi and Mokranjac
Literary Reflections
Summary
Relying on the notes and letters by Kornelije Stankovi and Stevan Mokranjac, as well
as the relationship of their closest associates and people they came into contact with, the paper
describes the relationship of the private and public sphere in Serbian culture. It discusses a
mutual relationship of the musicians and the society in which they lived, created and fought for
their ideas; in addition, it researches the points of connection between the two said composers.
199
Through several illustrations the author presents his own personal attitude on the relationship
between the private and public in the lives of Kornelije Stankovi and Stevan Mokranjac, from
the desires, aspirations and accomplishments of the composers to their reception in the society.
The author simultaneously analyzes the feedback the relation of the public towards the artists
and their work. The focus is on the condescending relationship of the church towards the work
of Kornelije Stankovi and Stevan Mokranjac, on the painful process of creating a mixed choir,
i.e. female voices and diplomatic talks with the parents of the girls who had to step out of the
private sphere and onto the stage of the public. In the context of searching for the Serbian music
heritage, at the end of the article the author presents his own personal attitude concerning the
relationship of contemporaries towards the composers and a decennial care of the society
for these important cultural workers.
Key words: Kornelije Stankovi, Stevan Mokranjac, cultural heritage, private and public
in Serbian culture.
200
UDC 78.071.1:929 Mokranjac S.

UDC 783(497.11)
,

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201
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2005.
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II. . 5. K, 1995.
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212
, . .
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, . . 21.
1939.
, . .
(19181941). :
, 2009.
MOODY, Ivan. Integration and disintegration: Serbian monophony in a polyphonic context.
Musicology No. 11 (2011).
MOODY, Ivan. Mokranjac, Culture and Icons. New Sound (2014) (in print).
AJEVI, Marko. Predgovor. : Petar Konjovic, Muzika duhovna (Musique sacree), srpsko-pravoslavni crkveni napjevi u viseglasnoj obradi vokalnoj Les chants de leglise serbe
ecrits en remaniement polyphon. Zagreb: Izdanje i naklada Cirilometodskog vjesnika,
1938.
Bogdan akovi
The Sacred Choral Genre and the Modernization of Serbian Music
The transformation of Mokranjacs heritage
in the work of his disciples
Summary
In the period between the two world wars Serbian sacred choral music underwent a
very interesting and strong development. Through the general process of modernization the
impulses were mainly artistic, but still strictly retaining a liturgical function, at the same time
becoming examples of contemporary music expression which was presented mostly in concert.
The Liturgies by Tajevi (1931), Travanj (1933), Joksimovi (1935), ivkovi (1935), Hristi
(1936), Milojevi (1937), Crvanin (1938), Ili (19371940) and Miloevi (1940) endeavored,
through new social and artistic conditions, to bring back the quality of the genre from the time
of Stevan Mokranjac (18561914). The idea of his classical style in this music genre was
based on the harmonic relation between the liturgical and concert-artistic usage and on the
perfect balance between content and form. As a melographer, Mokranjac always understood
the chant repertoire as a tool for liturgical function, at the same time using it as the most
important compositional material. His strong dedication through different professional aspects
of this genre melography, pedagogy, choral conducting and composing put him into an
objective position of the father of Serbian Church Music. Mokranjacs approach towards
harmony shows both his traditional and innovative side: from the simplicity of the language
found in music mainly written for the service to the very rich harmonic plan following the
213
complex psychological characterization. In terms of the choral structure, his typical choral
polyphony brings a delicate individualization of every choral line despite the rather complex
polyphonization with the recognizable stylistic purity as a final result. Some of the most
prominent composers of the next generation directly failed in this important aspect of the
new Orthodox choral music. Their personal poetics successfully used in the field of secular
music frequently represented the basic level of the aesthetic approach to church music as
well. The specific simplicity of Tajevis modality as a diatonic sound with a modal flavor
often contrasting with traditional tonality was similar to Hristis language in which he used
the Russian homophonic tradition with great melodic richness and an expansion of diatonic
harmony, bringing again a new perspective on modality. This kind of evolution of musical
language was more acceptable than the extravagant attitude of Milojevi, whose final stylistic
stage of his last work (The Solemn Liturgy) can be understood as a dramatized concert concept.
Unlike composers with an original style without any quotation of chant who never experienced
the real liturgical dimension of this genre, Manojlovi and Crvanin succeeded in turning the
whole stylistic concept not only to their personal artistic side, but much more importantly,
in enabling people to pray with this music. Sacred choral compositions by Serbian authors
from the period between the two world wars, mainly through emphasizing aesthetic elements,
represent an artistically strong and ambitious creative effort towards new paths in Orthodox
Church music. Some of the most important elements were already prepared through the work
of Stevan Mokranjac.
Key words: Mokranjac, period between the two world wars, modernization of music,
traditional and modern, national style, service music, concert spiritual music.
214
, ,
UDC 783(497.11)(091)
,

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Catzhgiakou,mh( Mano,lhj). Ceiro,grafa ekklhsiastikh,j mousikh,j 14531820. Aqh,na:: Eqnhkh,
Tra,peza thj Ella,doj( 1980.
MATEJI, M. i D. Bogdanovi. Slavic Codices of the Great Lavra Monastery. A Description,
Sofia, 1989.
STA,QH(, Grhgo,rioj,). Ta. ceiro,grafa buzantinh/j mousikh/j Agi,on {Oroj kata,logoj perigrafiko.j
tw/n ceirogra,fwn kwdi,kwn buzantinh/j mousikh/j tw/n avpokeime,nwn evn tai/j biblioqh,kaij
tw/n ~Ierw/n Monw/n kai. Skhtw/n tou/ ~Agi,ou :Orouj,( to,m) G ,( VAqh/nai: ~Iera. Su,nodoj
th/j VEkklhsi,aj th/j ~Ella,doj VIdruma Buzantinh/j Mousikologi,aj( 1993.
STA,QH( Grhgo,rioj. Ta, mousika, ceiro,grafa) Iera, Megi,sth Monh, Batopaidi,ou para,dosh(
istori,a( te,cnh( to,m) B ,( Agi,on ,Oroj 1996: 598604.
221
Vesna Peno
On the Trace of Unnoted Church Melodies
from the Time of Turkocraty
Summary
Although Greek manuscript funds from the time of Turkocraty have a significant number
of musical manuscripts preserved, some of which are master pieces of calligraphy, there are
no whole noted chanting books in the Slavic language nor the ones that can be connected with
Serbian chanters. During the Osman rule, most of all during the first century of the rule, books
were the first to be destroyed. However, in mid 16th century there were almost no Serbian
monasteries which did not have a scriptory where, at least to some extent, books were copied.
The traces on the chanting practice, more precisely songs that chanters wrote and chanted
at services, are found in versologies and irmologies (which I dealt with in a separate study),
psaltiri s posledovanjem, bogorodinici, troparnici i, u manjoj meri, akatisnici i kanonikoni. The
review of the said collections from most of the available library funds has established that their
content and structure were changeable during the 16th century and in the 17th and 18th centuries,
in accordance with the rising needs of the church, a certain model became established according
to which these unnoted yet certainly chanting manuscripts were copied.
Key words: church chanting, service books, manuscript, psaltir, troparnik, bogorodinik,
akatisnika, kanonikon.
222
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: 021/420-199, 6615-038
e-mail: mtisma@maticasrpska.org.rs
www.maticasrpska.org.rs
Matica srpska Journal of Stage Arts and Music
Published semi-annually by Matica Srpska
Editorial and publishing office: Novi Sad, ul. Matice Srpske 1
Phone: 381 21 420-199, 6615-038
e-mail: mtisma@maticasrpska.org.rs
www.maticasrpska.org.rs

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, 1987, 24 cm
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ISSN 0352-9738
COBISS.SR-ID 16339202

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Matica Srpska

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ISSN 0352-9738

MATICA SRPSKA JOURNAL

GOJKOVI, Andrijana. Narodni muziki instrumenti. Beograd: Vuk Karadi, 1989.

(context-specific) (PEARSON 2010: 8). site-specific , site (,

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UDC 78.071.1:929 Stefanovi I.

5. Play Strindberg, . 98102

UDC 821.161.1.09 Bely A.

UDC 821.163.41-2.09 Popovi J. S.

UDC 821.163.41-14.09 Kosti L.

UDC 821.163.41.09 Crnjanski M.

Ein Im Norden auf kahler Hh.

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UDC 821.163.41.09 Mladenovi R.

Ivana Ignjatov Popovi

UDC 792.8.071.2:929 Logunov V.

UDC 78.071.1:929 Mokranjac S.

(1938), (19371940), (1940),

UDC 792.071.2.028:929 Soki R.

, (Andrei Bely) 7380

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, 103104, 106107, 108111,

, e (Karel apek) 157

, (Karol Szymanowski) 125

VELTMAN, K.H. Augmented Books, knowledge and culture.

TIT, A. Teaching Info-preneurship: students perspective. ASLIB Proceedings February 2000.

WILDE, Oscar. Encyclopedia Americana. <http://www.encyclopedia.com/doc/1G1-92614715.

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