Faculty of Music

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Skopje

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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
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Tomić, Dragan
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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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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
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Đurković-Pantelić, Milena
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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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Recovery of Polyunsaturated Fatty Acids Rich Extracts from European Carp Viscera Using Supercritical Carbon Dioxide: Artificial Neural Network Modelling
(SDEWES Centre, 2025-03)
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Dimitrievska, Isidora
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Stojchevski, Martin
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Rekonstrukcija pionirske delatnosti Ladislava Palfija u razvoju makedonskog pijanizma
(Centre for Evaluation in Education and Science (CEON/CEES), 2017)
Ladislav Palfi (1924–2008) važi za jednu od najmarkantnijih fi gura u razvoju makedonske pijanističke umetnosti i pedagogije, posebno u periodu posle Drugog svetskog rata. Rekonstrukcija pijanističke delatnosti Ladislava Palfi ja je urađena kroz analizu digitalnih baza sa prikupljenim dostupnim artefaktima o njegovim studijskim i koncertnim repertoarima. U radu je prikazana struktura glavnog i dva izvedena kataloga artefakata, i saopšteni su rezultati statističke analize podataka, koji su na kraju sintetizovani u glavne punktove delovanja Ladislava Palfi ja u posleratnom razvoju makedonske muzičke kulture.
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Connecting Music Tradition and Contemporary Mass Media: The Macedonian Music Folklore on Internet
(Muzikološko Društvo Federacije Bosne i Hercegovine, Muzička akademija Univerziteta u Sarajevu, 2018)
The Macedonian music folklore is a complex entity that has been presented on different levels of media presentation in the past. It is rich in segments which apply a variety of musical genres as a source of interpretation or simply as a musical background. In this context, it gained its newest form of media presentation through Internet and even more through the freeware servers and social networks. This phenomenon is one of the starting points of this paper. The paper will try to determine the basic segments and principles of presentation as well as the diversity of the Internet presented audiovisual examples of Macedonian music folklore.
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Muzika u studentskim protestima i autonomnoj zoni u Makedoniji, novembar 2014 – februar 2015. godine
(Univerzitet u Nišu, Fakultet umetnosti u Nišu, 2016)
Rad obrađuje muzičke događaje (koncerti, performansi, alternativna nastava i di-džej setovi), muzičke žanrove i muzičke oblike u okviru kulturnog i obrazovnog programa koje je organizovao Studentski plenum Univerziteta „Sv. Kiril i Metodij“ u Skoplju, za vreme protesta i Autonomne zone, novembar 2014 – februar 2015. godine, preko kojih je izražen revolt prema lošim reformama u makedonskom obrazovanju. Korišćenje muzike, pre svega, u političke svrhe, ali isto tako i kao kulturni program i razonoda za vreme ovih događaja, daje materijal za sociološku analizu funkcije muzike u društvu. Kulturne i muzičke matrice odražavaju preferencije studentskog pokreta i ujedno njihov pokušaj da tim matricama izraze svoje negodovanje, ne samo zbog loše obrazovne reforme, nego i kritiku lošeg ukusa u, od države subvencioniranim, kulturnim i muzičkim programima. / The paper is concerned with the music events (concerts, performances, alternative lectures and DJ sets), music genres and musical forms of the cultural and educational program organized by the Student Plenum of Ss. Cyril and Methodius University in Skopje, during the protests and the creation of the Autonomous zone, November 2014 – February 2015. The protests were organized as a reaction to the educational reforms in the higher education in Macedonia. The use of music as political means in the cultural and entertainment program during these events offers an exceptional material for sociological analysis of the function of music in the society. The cultural and music matrices reflected the preferences of the student movement and the attempt to express their revolt against bad educational reforms, as well as their critique of the bad taste in the state supported cultural and music activities.
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Orient and Occident Encounters in Dimitrije Buzarovski’s Oratorio “Radomir’s Psalms”
(University of Ljubljana, 2015-04-03)
<jats:p>The oratorio Radomir’s Psalms op. 47 (1999) by Dimitrije Buzarovski addresses Orthodox chant in a Western tradition, embedding Eastern modal monodic sacred and folk tradition into Western polyphonic sacred and secular tonal forms. The work is also an example of the influence of the cultural environment upon shaping of the musical ideas. </jats:p>
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Otroške glasbene igre na Kosovu
(Zavod Republike Slovenije za šolstvo; Digitalna knjižnica Slovenije – dLib.si / Digital Library of Slovenia – dLib.si, 2016)
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Rexhepi, Arnisa
The paper presents the digital video collection of children’s play songs recorded in rural and urbal settlements in Kosovo in 2010. The data collected through exploratory method are related to the play songs children play during their leisure time in the school, at home and on the streets. The process of digitisation of the recorded material also included a catalogue with metadata about the play songs and the informants. The digital catalogue consists of 1,281 entries from 1,114 informants. A sample of 50 melodic and 50 rhytmic play songs was selected. The 100 items were transcribed into notation with textual and graphic descriptions of the play songs, and the additional data catalogized. The entire digital collection (156.83 GB) was deposited in the archive BuzAr, while the collection of the 100 transcriptions was published in Kosovo in 2013. The secondary and tertiary data from the catalogue, as well as our direct insight into the recording, digitisation and transcription process, were used during the data analysis which relied on descriptive statistics, frequency distributions, contingency tables and chi-square test.
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Muzika u praksi ‒ metafora, percepcija, simbolizam
(Univerzitet u Nišu, Fakultet umetnosti u Nišu, Srpska akademija nauka i umetnosti, Ogranak SANU u Nišu, 2020)
Muzičko delo i njegov vanmuzički sadržaj su teorijski problem koji prati teoriju muzike od njenih začetaka u VI veku p.n.e. Njime se bave najrazličitije discipline od filozofije, muzikologije, sociologije muzike, psihologije muzike, pa do lingvistike i komunikacijskih nauka. Muzički sadržaj – muzička građa i njena harmonija, polifonija, instrumentacija i orkestracija, i na kraju oblik – može dobiti različita tumačenja tokom akustičke aktualizacije, drugim rečima vanmuzički sadržaj. Vanmuzički sadržaj je, sa druge strane, pod direktnim uticajem faktora okruženja. Zato tumačenje vanmuzičkog sadržaja podrazumeva poznavanje okruženja. Različita tumačenja mogu se odnositi na pojedina muzička dela, ali i na cele žanrove. U radu biće obrađeno više primera transformacije značenja muzike u praksi. / Musical piece and its extramusical content is a theoretical problem that has been following the theory of music since the 6th century BC. This problem is elaborated in a wide variety of disciplines, from philosophy, musicology, sociology of music, psychology of music, to linguistics and communication studies. Musical content – music building material and its harmony, polyphony, instrumentation and orchestration, and finally form – can create different interpretations during acoustic actualization, i.e. extramusical content. Extramusical content, on the other hand, is directly influenced by environmental factors. This is why interpreting extramusical content implies knowledge of the environment. Different interpretations of extramusical content may refer to individual pieces of music as well as entire genres. The paper examines several examples of meaning transformation of music in use.
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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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