塞尔维亚二十世纪和二十一世纪音乐先锋花园简介

IF 0.3 2区 艺术学 0 MUSIC
Laura Emmery
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引用次数: 2

摘要

在二十世纪和二十一世纪期间,塞尔维亚经历了几次重大的政治和社会经济重组,这对其文化和音乐生活产生了巨大的影响。20世纪初标志着塞尔维亚文化生活各个领域的重大发展:建立了文化机构(剧院、音乐厅和歌剧院),组建了专业管弦乐队和合唱团,建立了音乐学校。这一时期的塞尔维亚作曲家延续了浪漫主义的传统。正如Sonja marinkovovic所观察到的,塞尔维亚音乐的发展可以通过浪漫主义的三个阶段来考察:前浪漫主义(1830 - 1880),浪漫主义(1880 - 1914)和后期浪漫主义,为现代主义铺平道路(直到20世纪50年代)(marinkovovic 2008,71)。最著名的第一代(浪漫主义)作曲家是Josif marinkovovic(1851-1931)和Stevan Mokranjac(1856-1914),他的其他成就之一是在1908年用五人谱记录了塞尔维亚东正教教堂的圣歌,Octoechos(或八个音调)。第二代塞尔维亚作曲家继续以浪漫主义传统写作,包括“贝尔格莱德学派”的作曲家——Stanislav bini(1872-1942)、Petar krstiki(1877-1957)、Milenko paunoviki(1889-1924)和Vladimir D´orde´viki(1869-1938)——他们在当时的欧洲主要音乐中心,如慕尼黑、布拉格和维也纳磨练了他们的作曲技巧。就在第一次世界大战之前,塞尔维亚音乐的三位“巨人”——佩塔尔·康约维茨克(1883-1970)、斯蒂文·克里斯蒂奇(1885-1958)和米洛耶·米洛耶维奇(1884 - 1946)的作品开始出现。然而,1912年至1918年间塞尔维亚卷入、扰乱和废除了该国音乐生活的阻碍战争。塞尔维亚的文化生活在两次世界大战期间蓬勃发展——南斯拉夫首都贝尔格莱德成为该国的文化中心,《当代音乐评论》(Contemporary Music Review)于2021年出版,第40卷,第5-6期,第471-481期,https://doi.org/10.1080/07494467.2021.2022884
本文章由计算机程序翻译,如有差异,请以英文原文为准。
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction
During the course of the twentiethand twenty-first centuries, Serbia underwent several major political and socio-economic reorderings, which had a tremendous impact on its cultural and musical life. The beginning of the twentieth century marks a significant development in all spheres of Serbian cultural life: the founding of cultural institutions (theatres, concert halls, and opera houses), the formation of professional orchestras and ensembles, and the establishment of music schools. Serbian composers during this period continued the romantic tradition. As Sonja Marinković observes, the development of Serbian music can be examined through three stages of romanticism: preromantic (1830s– 1880s), romantic (1880s–1914), and late-romantic, paving the road for modernism (until the 1950s) (Marinković 2008, 71). The most notable first-generation (romantic) composers were Josif Marinković (1851–1931) and Stevan Mokranjac (1856–1914), who among his other achievements recorded Serbian Orthodox church chants,Octoechos (or eight tones) in staff notation in 1908. The second generation of Serbian composers, who continued writing in the romantic tradition, included the ‘Belgrade School’ composers––Stanislav Binički (1872–1942), Petar Krstić (1877–1957), Milenko Paunović (1889–1924), and Vladimir D̵orde̵vić (1869–1938)––who honed their compositional skills at the leading music centres in Europe at the time, such as Munich, Prague, and Vienna. Right before the First World War, the works of three ‘giants’ of Serbian music––Petar Konjović (1883–1970), Stevan Hristić (1885–1958), and Miloje Milojević (1884– 1946)––started to appear. However, the impeding wars between 1912 and 1918 in which Serbia engaged, disrupted and abolished musical life in the country. Serbian cultural life flourished during the interwar period––Belgrade, the Yugoslav capital, became the cultural centre of the country, with the formation of a Contemporary Music Review, 2021 Vol. 40, Nos. 5–6, 471–481, https://doi.org/10.1080/07494467.2021.2022884
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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