Faculty of Music

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Музичките состави од инструменталната македонска етнопоп музика од 80-тите години на 20-тиот век
(Асоциация за антропология, етнология и фолклористика „Онгъл“, 2021)
Димитријевски, Александар
The instrumental Macedonian ethnopop music was the main subject of interest in one of my previous researches dedicated to its most profound development especially in the 1980ties. In this paper the primary focus is set to the instrumental ensembles which characterize this music as a unique music phenomenon and its musical pieces as its primary product. The conclusions are based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces (generated from a large population of 610 pieces). Also, a special attention is dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music versus the reproductive process of this music.
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Dinamika promena: tinejdžeri – muzika – mediji
(Ниш: САНУ, Огранак САНУ у Нишу, Универзитет у Нишу, Факултет уметности у Нишу, 2019)
Metafizička statičnost našeg poimanja realnosti dovodi do privida da sve oko nas stoji. U istom smislu stoji i muzika, stoje i mediji, stoji i njihov doživljaj različitih generacija. Nasuprot prividu je realnost, koja doktrinarno menja naš univerzum okruženja i to za vremenske periode koji su mnogo manji nego raniji, mereni decenijama i vekovima. Istraživanje digitalnih medija i tinejdžerske muzičke kulture, koje smo sproveli u Skoplju u 2009. godini, i istraživanje socijalnih mreža i muzičke kulture mladih, isto u Skoplju, u 2015. godini, daju uvid u dinamiku promena kod ove noseće populacije budućnosti. Zato smo uporedili rezultate onih komponenti koje spajaju medije i muziku sa ovom starosnom grupom. I pored veoma malog vremenskog razmaka, naši rezultati pokazuju značajni pomak u posedovanju laptopa, pametnih telefona, uvođenja hibridnih tableta, korišćenju interneta i socijalnih mreža u komunikaciji sa muzikom. / Metaphysical nature of our understanding of the reality creates an illusion that everything around us is changeless. Hence, it seems that both music and media are static, as well as their experience among different age groups. Contrary to this perception is the reality where doctrinal environmental changes happen in time periods much shorter than the previous ones, that were measured in decades or even centuries. Two researches, one on digital media and teenage music culture, and the other on social networks and youth music culture, conducted in Skopje in 2009, and 2015, provide an insight into the dynamics of changes in this vital population group for the future culture. Therefore, we compared the variables from these researches that connect media and music with this age group. Despite the short time span, the results show a significant shift in possession of laptops, smartphones, tablets, and the Internet and social networks communication with music.
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The Shift in the Idioms of Macedonian Music Culture during the Balkan Wars and World War I
(Croatian Musicological Society / Hrvatsko muzikološko društvo, 2019)
The predominantly Oriental Macedonian music culture of the Ottoman period and the beginning of the twentieth century experienced serious changes during the Balkan Wars and World War I. Macedonia was the last part of the Ottoman Empire in central and Western Balkans where the Oriental Turkish idioms – particularly through the use of makam and usul patterns – were the leading music feature of the Macedonian local music environment. However, the Occidental influence can be traced to the end of the nineteenth and beginning of the twentieth century in different channels: first through the members of the Turkish gentry who were trying to modernize the country and introduce Western cultural models; then through the influence of spiritual and secular music from the surrounding countries (Serbia, Bulgaria and Greece); and finally, through the introduction of Western models through European diplomats in the city of Bitola/Manastır in the late nineteenth century. Although this process would continue for another several decades until the establishment of the Republic of Macedonia (ASNOM, 1944), the shift in the music culture in almost all segments occurred already in the first years after World War I. Thus the Occidentalization of the Macedonian music culture can be observed in several areas: popular music, spiritual music, music education, and particularly the use of the Western musical instruments. Parallel to the čalgija ensembles and its monodic vocal and instrumental idioms (makams and usuls), the 3/4 (particularly minor tonal), the Western Europe waltz became part of the urban folklore. The introduction of the piano and the first performances of opera segments were other examples of Western music patterns in the urban culture. Military bands with Western instruments of Western provenience played an important role in the movement of different armies through Macedonia during the Balkan Wars and World War I, eventually becoming a standard component of military and secular music culture after 1918. A particularly important channel for the introduction of the Western idioms was elementary school education, used by invading countries as a key tool for political and other types of influence. Finally, the replacement of the old Byzantine/Slavonic monodic Orthodox chant with the homophonic tonal patterns signals the dramatic change of the music idioms of the twentieth century Macedonian music culture.
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Muzak – prostorna muzika
(Ниш: САНУ, Огранак, Центар за научноистражувачки рад САНУ и Универзитета у Нишу, Факултет уметности у Нишу, 2016)
pikurejski filozof Filodem još u antici (I vek), oponirajući pitagorejcima i njihovom etičkom tumačenju muzike, anticipira prostornost muzike, postavljajući je u funkciju zabave, odnosno njenog zvučnog background-a. Sedamnaest vekova kasnije, Kant pripisuje muzici mane urbaniteta, čime otvara problem prostornog širenja (zagađenja) muzike. Funkcija muzike kao pozadine zabave, ali i kao sastavnog dela važnih svečanosti u životu pojedinaca, zajednica i država, u XX veku dobija novi ekonomsko-marketinški format. Nove tehnologije (počev od telharmonijuma, magnetnih nosača i radija) proširile su zvučni proctor, koji je osloboĎen od potrebe za živim izvoĎačima (nešto što se već desilo sa pojavom mehaničkih instrumenata u XVIII i XIX veku). Marketing eksploatiše moć masovne kulture, da bi popularnu muziku postavio u funkciju prodaje proizvoda i usluga. Tako je rođen koncept muzak, sinonim za komercijalno produciranu background muziku svih vrsta. Ovaj trend prostorne muzike se dalje razvija pojavom ambijentalne muzike, i na komercijalnom i na umetničkom nivou, i dostiže krajnje granice u savremenoj elektronskoj muzici, koja snima različite prostorne ambijente (priroda, zvuk grada), pod pretpostavkom da su oni kreativni i neponovljivi. / In the 1st century A.D. Epicurean philosopher Philodemus, opposing Pythagoreans and their ethical interpretation of music, anticipated the question of music space by giving it a function of entertainment, i.e. creation of specific sound background. Seventeen centuries later, Kant attributed the flaws of urbanity to music, thus raising the problem of spatial spread (contamination) of music. The function of music as a background entertainment and a constituent part of important individual, communal and state events, acquired an economic-marketing meaning in the 20th century. New technologies (telharmonium, magnetic carriers and radio) widened the sound space, liberating it from the need of live performance (something that already occurred in the area of mechanical instruments in the 18th and 19th centuries). Marketing exploits the power of mass culture using popular music to improve the sale of products and services. Consequently, the concept of muzak was born, as a synonym for commercially produced background music of all genres. Further development of spatial music includes the introduction of ambient music, both on commercial and artistic level. It reached its boundaries in the contemporary electronic music recordings of various sound environments (natural and urban soundscapes), under the assumption that they are creative and unique.
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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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National Theatre: Characteristics, Influences, Distinguishing Features
(Adam Mickiewicz Institute Centre for Culture in Lublin Institute of Arts of the Polish Academy of Sciences, 2016)
Zdravkova-Djeparoska, Sonja

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