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Refleksija društvenog i kulturnog okruženja u muzici za predstave pozorišta u Šapcu i Bitolju u periodu 1950.–1990. godine
(University of Silesia Press, 2020)
Bužarovski, Dimitrije
;
Đurković-Pantelić, Milena
;
Istraživanje o refleksiji društvenog i kulturnog okruženja u muzici za predstave koje su postavila pozorišta u Šapcu i Bitolju, dva grada u različitim republikama bivše SFRJ, polazi od pretpostavke da oba pozorišta povezuje više zajedničkih crta. Najpre ih ujedinjuje njihova geopolitička pozicija, jer oba grada predstavljaju tromeđu: Šabac je između Srbije, Bosne i Hrvatske, a Bitolj između Makedonije, Grčke i Albanije. Osim toga, Bitolj i Šabac su bili veoma važni kulturni i administrativni centri još u XIX veku. To su područja na kojima se ukrštaju orijentalni i okcidentalni kulturni idiomi, poznati su kao gradovi prvih klavira u Srbiji i Makedoniji, i u vreme SFRJ već imaju višedecenijsku pozorišnu tradiciju. Istraživanje se bazira i na pretpostavci da su na teritoriji bivše SFRJ postojali slični kulturni modeli kao rezultat društveno-političkog, ekonomskog, kulturnog i obrazovnog okruženja. Istraživanje je ograničeno na period 1950–1990. godine, da bi se ublažile direktne posledice Drugog svetskog rata kao i IB-a 1948, odnosno, kada se uspostavio jedan stabilniji period koji se zaokružuje sa početkom raspada SFRJ, 1990. godine. U ovom periodu, u Šapcu su premijerno izvedene 284 pozorišne predstave, a u 103 je korišćena muzika (prema dostupnim informacijama za 59 predstava autorska, a za 44 predstave ilustracije), dok je u Bitolju premijerno odigrano 278 predstava i u 113 je korišćena muzika (21 put autorska, 92 puta ilustracije). Istraživanje polazi od repertoara (dramski pisci, predstave i režiseri), da bi se suzilo i baziralo na upotrebu muzike u njemu. Pri tome, pretpostavka je da karakteristike upotrebljene muzike i posebno žanrovske i stilske preferencije režisera, reflektuju društveno i kulturno okruženje SFRJ. Isto tako, u dizajniranju istraživanja pošli smo i od pretpostavke da su tehničko okruženje (koje je stajalo na raspolaganju režiseru i koje se značajno menjalo u toku četiri decenije), kao i ekonomsko okruženje (mogućnost da se angažuju kompozitori i ansambli za izvođenje i snimanje muzike, ili se koriste muzički ilustratori), bitno uticali na nivo i dinamiku zastupljenosti muzike u analiziranom repertoaru. / The research on the reflection of the social and cultural environment in the music for plays set by the theaters in Šabac and Bitola, two cities in different republics of the former SFR Yugoslavia, is based on the assumption that both theaters have much in common: the geopolitical tripoint position of the cities (Šabac – Serbia, Bosnia, Croatia; Bitola – Macedonia, Greece, Albania), both cities were important cultural and administrative centers in the Balkans in the XIX century, those were the regions where Oriental and Occidental cultural idioms were crossed, apparently those were the cities with the first pianos in Serbia and Macedonia, and at the time of SFRY they already had almost century-old theater tradition. The research is based on the assumption that similar cultural models existed in the regions of the former SFRY as a result of the socio-political, economic, cultural and educational environment. The research is limited to the period 1950–1990 in order to mitigate the direct consequences of the World War Two, as well as IB 1948, i.e., to be established a more stable period, which is rounded off with the onset of the SFRY break-up in 1990. In this period, 284 theater performances were premiered in Šabac, 103 of which were plays with a use of music (59 with original music, 44 with adaptation of music), while 278 plays were premiered in Bitola, 113 of which music was used (21 with original music, 92 with adaptation of music). The research begins with the repertoire (playwrights, plays and directors) in order to focus on the use of music in the plays. In addition, the assumption is that the characteristics of the music used, and especially the genre and stylistic preferences of the director, reflect the social and cultural environment of the SFRY. Likewise, in the research design we also assumed that the technical environment (which was available to the director and which changed significantly over the course of four decades), as well as the economic environment (the ability to engage composers and ensembles for performing and recording music, vs someone who will only make adaptation of music to the play), significantly influenced the level and dynamics of the representation of music in the analyzed repertoire. Based on the collected empirical data, analysis and comments, we could conclude that music for plays is a very important indicator regarding the social and cultural changes in SFRY. There is an evident parallelism between the activities of the theatres in Šabac and Bitola. This is confirmed by: the average number of plays, repertoire policy, and the number of plays with composed or adapted music. The data confirmed that there was a significant level of the cultural integration on SFRY territory and that the changes in the repertoire and the usage of music reflected the social, political and cultural changes both in and out of SFRY. This was particularly evident in the democratization processes after the 1970s which led to the opening towards the western cultural trends.
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Panel diskusija – Repertoar mešovitih horova u Srbiji u 2015. godini, Istraživanje repertoara mešovitih horova u Srbiji u 2015. godini
(Univerzitet u Nišu, Fakultet umetnosti u Nišu, 2017)
Bužarovski, Dimitrije
;
;
Tomić, Dragan
;
Jovanović, Iva
Dizajn istraživanja o repertoaru mešovitih horova u Srbiji u 2015. godini polazi od pretpostavke da su burne globalne promene okruženja XXI veka (socijalne, političke, ekonomske, tehnološke) u kojima dominira postdigitalna kultura, imali svoj uticaj i na obim aktivnosti horova i na njihov repertoar. Pošto smo očekivali da će broj mešovitih horova iz čitave Srbije (Vojvodina, Beograd, Centralna i Južna Srbija), a i njihove aktivnosti biti dosta obimne, ograničili smo se samo na nastupe i repertoar na teritoriji zemlje u 2015. godini. Ključne varijable u sakupljanju podataka odnosile su se na zastupljenost različitih žanrova, autora i dela u horskom repertoaru. Istraživanje dominantno koristi kvantitativni pristup. Dizajn istraživanja obuhvata populaciju mešovitih horova koji su bili aktivni na teritoriji Srbije u 2015. godini, javne nastupe u zemlji i izvedeni repertoar sa naslovima dela i autora. Osnovni instrumenti istraživanja su bila tri anketna upitnika: o horovima, o javnim nastupima i o repertoaru. Kao dopunski kvalitativni instrumenat je korišćen intervju sa dirigentima, horistima i drugima, koji su bili uključeni u organizaciju nastupa. Rezultati statističke obrade podataka obuhvata populaciju od 101 mešoviti hor, sa ukupno 297 javnih nastupa i repertoar od 697 kompozicija. Rezultati obuhvataju frekvencijske distribucije i deskriptivnu statistiku (mere centralne tendencije i disperzije) prema geografskom poreklu horova (širi region zemlje i naseljeno mesto), godinu osnivanja hora i broj nastupa u zemlji u 2015. godini, način sakupljanja podataka (sakupljač, saradnja horova u sakupljanju podataka i podaci sa socijalnih mreža), tip nastupa, broj izvedenih dela, prostor, mesto i mesec nastupa i na kraju, rezultati o delima i njihovim autorima (kompozitorima, autorima teksta i aranžerima), godinu stvaranja dela i žanrovsko/stilsko obeležje repertoara. / The research design of the project about the repertory of mixed voice choruses in Serbia in 2015 was based on the assumption that the turbulent global environment changes of the predominantly postdigital XXI century (social, political, economic, technological), had an impact on the scope of choruses’ activities and repertory building. Since we expected that the number of mixed voice choruses and their activities will be very large, we limited the collection of data only to performances and repertory they performed in Serbia during 2015. The key variables were related to the presence of different genres, authors and works in the choral repertory. The design of the research was predominantly based on the quantitative approach. Three complementary questionnaires were used for data collection: choruses, performances, and repertory qs. In addition, a qualitative research instrument – an interview with conductors, singers and events management was used. The statistical analysis of the collected data was conducted on a population of 101 mixed voice choruses, 297 public performances, and 697 choral works. The results included the frequency distributions and descriptive statistics (measures of central tendency and dispersion) of the data regarding the provenance of the choruses (a wider region of the country and the town), the foundation year, the number of performances in the country in 2015, the collection process (name of the collector, the cooperation of the chorus in data collection, and data from social networks), the type of performance, the number of performed compositions, place and month of performance, the titles of performed compositions, the authors (composers, lyricists and arrangers), and the musical genre/style of the compositions.
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Monografija "Muzički ključ" Trene Jordanoske
(Centre for Evaluation in Education and Science (CEON/CEES), 2020)
Bužarovski, Dimitrije
;
Kolarovska-Gmirja, Viktorija

Faculty of Music

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