Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)

IF 0.2 0 MUSIC
A. Vasić
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引用次数: 0

Abstract

Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
参与音乐批评:帕夫勒·斯特凡诺维奇在《音乐先驱报》上的文章(1938-1940)
帕夫莱·斯特凡诺维奇(1901-1985)是塞尔维亚最杰出的音乐评论家和散文家之一。他创作了大量的音乐作品,大部分分散在期刊上。作为一名受过教育的哲学家,他对音乐及其历史有着渊博的知识。他的风格以雄辩、联想和表达的可塑性为特点。1938年至1940年间,他在《音乐先驱报》(The music Herald)上发表了18篇音乐评论。《音乐先驱报》是两次世界大战期间(1928年至1941年,1934年至1938年中断)发行时间最长的贝尔格莱德音乐杂志。斯特凡诺维奇写了贝尔格莱德的音乐会、歌剧和芭蕾舞表演,以及当地和著名外国艺术家的表演。他的评论包括Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?胡伯曼、亚历山大·乌宁斯基、亚历山大·波罗夫斯基、伊格纳兹·弗里德曼、尼基塔·马加洛夫和许多其他著名音乐家。本研究致力于分析Stefanovic?年代的过程。帕夫勒·斯特凡诺维奇是一名反法西斯和左翼分子。他认为音乐评论家的任务不仅仅是分析和评价音乐作品和音乐诠释。他认为,评论家应该参与与音乐和音乐生活有关的重要社会问题。这就是为什么他在德国艺术家访问贝尔格莱德的时候写文章,讲述犹太人血统的音乐家受到的迫害和第三帝国的文化状况。另一方面,斯特凡诺维奇是一个审美享乐主义者,他对音乐作品的美感表现出强烈的感觉。这种双重性——一个积极参与社会的知识分子和一个微妙的享受者。艺术的——保持不受干扰。在这些文章中,他没有对音乐作品的结构和音乐史进行决定论的解释。他不接受larpurlarism的观点。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.20
自引率
0.00%
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5
审稿时长
12 weeks
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