Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars
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| 020 | |a 9788679461698 |9 978-86-7946-169-8 | ||
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| 100 | 1 | |a Đaković, Bogdan |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata |b (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars |c Bogdan Đaković |
| 246 | 1 | 1 | |a Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| 264 | 1 | |a Novi Sad |b Akademija umetnosti |c 2015 | |
| 264 | 0 | |a Novi Sad |b Matica srpska |c 2015 | |
| 300 | |a 275 Seiten |b Notenbeispiele | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Englische Zusammenfassung: Liturgical and artistic elements in Serbian sacred choral music between the two world wars | ||
| 546 | |a Text serbisch | ||
| 546 | |b Kyrillische Schrift | ||
| 648 | 7 | |a Geschichte 1918-1941 |2 gnd |9 rswk-swf | |
| 650 | 0 | 7 | |a Kirchenmusik |0 (DE-588)4030736-0 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Chormusik |0 (DE-588)4131189-9 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Serbisch |0 (DE-588)4133301-9 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Liturgischer Gesang |0 (DE-588)4036056-8 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Serbisch |0 (DE-588)4133301-9 |D s |
| 689 | 0 | 1 | |a Kirchenmusik |0 (DE-588)4030736-0 |D s |
| 689 | 0 | 2 | |a Chormusik |0 (DE-588)4131189-9 |D s |
| 689 | 0 | 3 | |a Liturgischer Gesang |0 (DE-588)4036056-8 |D s |
| 689 | 0 | 4 | |a Geschichte 1918-1941 |A z |
| 689 | 0 | |5 DE-604 | |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |3 Register // Personenregister |
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Datensatz im Suchindex
| _version_ | 1804176153791954944 |
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| adam_text | CAÆP}KAJ
ITpearoBop / 9
TpaflHUHOHajiHa qpKBeHa yMeTHOCT: ochobhh nojMOBH
h TyMa^eita y XX BeKy /19
IlpKBeHo yMeTHHMKo CTBapananiTBO h qpKBeHa xopcKa My3HKa
y cpncKoj KyjrrypH H3Meî)y flBa CBeTCKa paTa / 27
rio3Hqnje qpKBeHe yMeTHOCTH yHyrap KyjiTypHe nojiHTHKe
MefjypaTHor nepHoqa / 28
llpKBeHH xopcKH »aHp h MoqepHH3aqHja cpncKe
yMeTHHMKe My3HKe / 34
yïimaj apyniTBeHe ceKyjiapH3aqHje / 44
nojaM HaqHOHajiHor CTHJia h oahoc TpaflHqHOHajiHor h MoqepHor
y flpyrHM maHpoBHMa qpKBeHe yMeraocTH / 53
CraBOBH caBpeMeHHKa o cra y qpKBeHe xopcxe My3nxe / 65
HcTopnja xcaHpa i po3 cameflaBaite 6orocjiy K5eHHx h KOHqepTHHx
ejieMeHaTa - cTHJiCKo-aHajiHTHHKH HapaTHB / 76
rioMeTHa pa3MaTpaH a / 76
JeflHocTaBHe xapMOHH3aqHje h oôpaqe TpaqHqHOHajiHHx HaneBa / 81
KoMno3HqHje y „qyxy HaneBa / 94
CnoßoflHo yMeTHHHKO CTBapajiauiTBO /116
BorocjiymôeHO-KOHqepTHH npncTyn /118
KoHqepTHO-ôorocjiymôeHH npHCTyn /144
KoHqepTHH h KOHqepTHo-eKcnepHMeHTajiHH npncTyn /173
ÄMaTepcKH paqoBH /196
3aKJByHaK / 207
ripHJI03H / 227
JlHTepaTypa / 243
Summary / 257
Hmchckh perncTap / 265
7
SUMMARY
LITURGICAL AND ARTISTIC ELEMENTS IN SERBIAN SACRED
CHORAL MUSIC BETWEEN THE TWO WORLD WARS
(1918-1941)
Thanks to my own experience as a church conductor and musicologist
dedicated to Orthodox choral music, the problem of artistic creativity from
this perspective has remained a constant issue. The question of the “liturgi-
cal quality” of a single piece of music, in addition to its artistic value, con-
stantly provokes curiosity of a special aesthetic kind. Through coming to
know more about the most important Serbian composers of church choral
music, I arrived at the point of wishing to reconstruct an entire historical pe-
riod of this genre, as a type of music with the longest national tradition.
Between 1918 and 1941, Serbian sacred choral music underwent a very
interesting and strong development. Through the general process of moder-
nisation, the impulses were mainly artistic, but still strictly retaining the li-
turgical function, at the same time becoming examples of contemporary mu-
sic expression, and presented mostly in concert. After the process of collec-
ting this music, I was in a position to summarize all the characteristics of
these works written by Serbian composers both known and unknown. The
next step was to make a typological order of the different kinds of works
within this genre according to their constructive principles and functional
performing criteria. The basic analytical approach has been equally deter-
mined by elements of Orthodox theology and the aesthetic dimension, as part
of Serbian musical heritage as a whole. The methodological procedure com-
bines the functional and aesthetic view through the process of a theoretical-
-theological approach, followed by a comparative overview of other Serbian
church art genres during the same period, and finally the analysis of the
music.
The criterion that defined compositional attitudes was the usage of Ser-
bian chant. All the pieces may be divided into four categories: simple harmo-
nization and arrangements, music stylistically close to the chant with no di-
rect quotations, free artistic music, and works by amateurs. The dominance
of the original chant is easily recognized as the most common approach by
the best-known Serbian composers, Marinkovic, Konjovic, Manojlovic, Crv-
canin, Binicki, Hristic, Tajcevic, Milosevic and Zivkovic. The traditional har-
monizations and arrangements of chant made by Dordevic, Travanj, Krstic
and Ilie are very close to the conservative examples of the 19th century, with
257
only a few exceptions. Then there are the composers who worked closer to
the “spirit” of the chant - Joksimovic, Sijacki, Milosevic, Pascan-Kojanov,
Stanislav Preprek. Apart from some examples by Pascan and Preprek, these
are mostly neoromantic, eclectic pieces with no deep artistic value.
The other criterion was related to the domination of one of two opposite
principles - the liturgical, functional style or music of highly artistic and con-
cert character. This kind of analysis has been organised as a methodical cre-
scendo”, in which artistic elements increase at the expense of the functional:
from the traditional balance of liturgical and concert elements (Marinlcovic,
Manojlovic, Crvcanin), to the opposite order, in which the concert element is
stronger (Konjovic, Binicki, Hristic, Tajcevic), the predominantly concert
approach (Milojevic) and the most radical, concert-experimental style (Ziv-
kovic).
The chapter Traditional Church Art: basic ideas and interpretations in
the 20th century discusses the theological background of genuine aspects of
church art in which symbolism may, in a liturgical perspective, express the
“flavour” of another reality. The traditional concept of Orthodox liturgical
art under discussion represents the basic point from which the Serbian com-
posers have “moved on , neglecting the functional aspect and favouring
instead the aesthetic approach. On the other hand, the values of highly so-
phisticated modern realizations themselves established their own position as
an authentic historical part of the evolution of church art. The dogmatic and
methodological “circle of rules” of traditional church art serves as a critical
framework in which to examine the music. Special attention is given to the
meaning of the artistic symbol and its status in the theological realm, as well
as the general position of music in the complex perspective of liturgy, repre-
senting a synthesis of different arts.
The essence of the artistic symbol is the meeting point between real life
and eschatological reality or eternity. The criterion for authentic Church art
lies in its possibility to unite or gather these realities. There is a relatively
short list of Serbian composers who, by abandoning the traditional element
- the chant - through an original music language succeeded in uniting these
two realities. In these examples, aesthetic potential was only assured by the
hymnographical content, which is however negated by the domination of
constructive and artistic elements, the final result leading the music out of
liturgical sphere. On other hand, modern composers close to a “new age” arti-
stic vision objectively succeeded in becoming artists in the church music tra-
dition. Much more important than the few successful constructive ideas is
the capability of church art itself to witness continuously to the Church’s
truth, using artistic means that derive from the time, society and culture to
it belongs. Through this kind of understanding, the results of the generation
of composers active between the two World Wars, though they abandoned
258
not only the element of chant, but sometimes also the “classical” approach
of Mokranjac, can be valued as professional and original steps in the history
of Serbian church choral music.
The next chapter, Church art and Church choral music in Serbian cul-
ture during the period between the two World Wars, offers a contextual com-
parative overview of sacred choral music and church architecture, icon and
fresco paintings, which define the goals accomplished by Serbian composers
as a part of the general development of Orthodox art. The fundamentally si-
milar elements of evolution in these different genres always depended on
methods of keeping within tradition and, at the same time, the level of free-
dom allowed for contemporary solutions. It concerns the discovery of poten-
tial mutual principles in the construction of liturgical symbols, whose final
characteristics can define the new piece of art as being more liturgical or
more purely artistic.
The very strong unitary concept of Kingdom of Yugoslavia from the
1930s promoted the utopian idea that all different national, religious and cul-
tural elements should be totally repressed. Thus, at the beginning of the
1940s among Serbian intellectuals and artists there arose a new interest in
national cultural values. Some results of this became evident in the field of
contemporary Orthodox choral works by Serbian composers. The Liturgies
by Tajcevic (1931), Travanj (1933), Joksimovic (1935), Zivkovic (1935), Hri-
stic (1936), Milosevic (1937), Crvcanin (1938), Ilic (1937-1940) and Milose-
vic (1940) endeavoured, through new social and artistic conditions, to bring
back the quality of the genre as it had been in the time of Stevan Mokranjac.
The tragic death of King Alexander Karadordevic in October 1934 in France
gave rise to the composition of a certain number of new pieces: the Requiem
for female choir by Milojevic, and the Requiems by Manojlovic and Pascan-
Kojanov. The early Requiem No. 2 by Milojevic had its first performance du-
ring this period.
The strong secularization of Yugoslav and Serbian society in the context
of our theme may be seen in the tendency to avoid liturgical performances
of sacred choral music in favour of concert performance, and the stressing
of its artistic values. Father Alexander Schmemann explains that the essence
of every kind of secularization is hidden behind neglecting church services,
and one of the most important aspects of modern church art is to re-esta-
blish the importance of the “true meaning and power of the ritual”. That is
exactly how I understand the basic motivation for the new approach to
church music by Serbian composers, who did not show enough interest in
the traditional functional aspect, being in favour of the modernization of art
in general. Unlike church architecture and painting, institutional concern for
church music, outside theological schools, never became a subject of serious
interest.
259
For Serbian composers, personal poetics successfully used in the field
of secular music frequently represented the “basic level” of the aesthetic
approach to church music as well. The employment of specific melodic ele-
ments from the Serbian Middle Ages was not yet possible because there were
no transcriptions of the neumatic manuscripts. But the real problem was so-
mewhere else, hidden in the complex circle of different elements of modern
music as church art, where important things are not on the surface, but deep
down under its potential spiritual nature.
The question was certainly not in the sphere of creativity, but in the ge-
neral attitude of the majority of composers not being ready to sacrifice their
own musical personality for the “objective liturgical style of Orthodox ri-
tual. Highly critical remarks and negative statements from the witnesses of
this process make it clear that this genre was not sufficiently traditionally
functional.
In spite of the initial statement that liturgical usage of a Church music
piece does not depend on the stylistic and constructive procedures employed,
but on the mimetic approach in relation to tradition and the Orthodox arti-
stic symbol it defines, I have constructed an approach through the definition
of objective criteria and their consistent guidance through the analysis. Furt-
her on I determined the hierarchical relationship between compositional proce-
dures (the dominance of Western or Orthodox elements), as well as the re-
cognition of a typology of the adoption of conventions (the implementation of
compositional solutions).
The complex circle of elements used derives from Western Romantic and
earlier Church choral music, as well as traditional and modern aspects of
Eastern Orthodox music idioms. Serbian composers moved freely through
these stylistic fields, usually producing neo-romantic and eclectic pieces, ma-
ture concert-artistic profiles or artistic experimentation.
Dordevic, Travanj, Krstic and Ilic cultivated styles based on traditional
harmonization and arrangements of Serbian Chant, through a variety of
artistic conventions, from classical to neoromantic elements. As far as the
hierarchical relation between compositional procedures is concerned, the com-
mon tendency was the domination of Eastern Orthodox choral style. Only in
some small details does this musical language differ from approaches by si-
milar composers approaches in the 19th century. As far as the typology of the
adoption of conventions is concerned, these authors insisted absolutely on a
homophonic style with simple harmonic structures, and very rare modal pas-
sages, as indicators of traditional aspects of the genre.
Composers who were generally interested in a original approach close to
the “spirit” of Serbian chant - Joksimovic, Sijacki, Milosevic, Pascan-Koja-
nov, Preprek - created their music using a great variety of Western and tra-
ditional, Orthodox elements. From the point of view of the hierarchical rela-
260
tion between compositional procedures, it is easy to find a lack of “order , or
priorities, among these different influences. Their stylistic approach brings
romantic elements together with the typical “national models (Stankovic,
Ostojic, Mokranjac) as well as some important characteristics derived from
Russian music.
The two most important influences from European choral music of the
first half of the 20th century - Western romantic and Russian - as “foreign”
elements were apparently an easier solution than the attempt to come closer
to the artistic “taste” of Serbian Chant. As evidence for this, the typology of
the adoption of conventions witnesses the concept of “confused” compositio-
nal techniques between rigorous homophony, occasional and conventional
usage of polyphony, and the dominance of Western tonal language with some
added modality or repeated simple classical cadences. As far as the level of
potential liturgical function is concerned, this music shares the attitude
of the previous group, which harmonized the chant.
The authors united by the title free artistic approach represent the most
complex stylistic orientation of this period, determined by both Western and
Orthodox elements, influences from their secular works as well as a specific
relationship with the Serbian church choral tradition. In the terms of obser-
ving the hierarchical relation between compositional procedures, by searching
for the dominance of Western or Orthodox elements, most of the composers
demonstrated a very high level of “coexistence” between these two princi-
ples. On other hand, the typology of the adoption of conventions of some speci-
fic technical elements - the treatment of polyphony and the harmonic-tonal
aspect — showed not only good balance, but could define the values of each
personal approach. In highly original pieces in particular, the lack of “chant
material” was successfully replaced by the balanced treatment of all the other
elements used.
The relationship between the elements of harmony and tonality in many
ways can help to define the basic point of the Western or Orthodox “location”,
one of the most typical innovations in Serbian music during the period bet-
ween the two World Wars. It indicates primarily the relationship between
modality and tonality as an example of archaic-modern and, frequently, neo-
romantic harmony with many chromatic elements.
The position of modality as a marker for modernity, opposed to the con-
servative world of chromatic harmony, is particularly the case in the music
of Stevan Hristic. Generally using the Russian homophonic tradition, but
with great melodic richness and an expansion of diatonic harmony, he gave
a new perspective on modality. The delicate alternation of chords ensures a
unique tonal colour. The specific simplicity of Tajcevic’s modality as a “dia-
tonic sound with a modal flavour” often contrasting with traditional tonality,
was also close to Hristic’s language. This kind of “evolution” of musical lan-
261
guage was more acceptable than the extravagant attitude of Milojevic. With
its over-emphasis on “effects”, the final stylistic stage of his last work (
Solemn Liturgy) can be understood as a “dramatized concert concept”. After
a few decades of a good balance between traditional and modern ideas, fi-
nally his very typical personal artistic subjectivity overcame the objective
limits of the church choral genre. In his particular case, the hierarchical rela-
tion between the compositional procedures expose dominant Western principles,
which can be seen chiefly in the harmony, elements of form and the motivic
working. Though in the church choral music of Zivkovic several concepts may
be found, the experimental style being the most original, by its typological
attitude it reached the level of modernity. Driven by the initial anti-roman-
tic need to compose almost in an avant-garde manner, in a very original way
he connected old quasi-Byzantine and contemporary artistic practice. Zivko-
vic thus very successfully anticipated the work of some of the famous post-
modern world composers of the end of the 20th century. Giving primacy to
artistic elements in this genre, Milojevic and Zivkovic, as the most typical
modern authors of the Serbian Church choral music, coming close to the
“real” expressionists, moved the religious art away from its traditional nar-
rative and didactic position to a new, experimental one.
The continuous presence of Serbian Chant in the music of Milivoje Crv-
canin represents a kind of “traditionalist answer” to the above-mentioned
principles. Thanks to his knowledge of the chant tradition and the inner “spi-
rit” of the service, Crvcanin followed the basic principle of the liturgical type
of music, but with intense and rich artistic elements. Similar things may be
said of the music of Kosta Manojlovic. Unlike composers with an original
style without any quotation of chant, who never experienced the real liturgi-
cal dimension of this genre, Manojlovic succeeded to turning the whole styli-
stic concept not only to his “personal” artistic side, but, much more impor-
tantly, to enable people to pray with his music.
Two composers who managed to achieve the perfect hierarchy between
stylistic relations, and a good balance between specific compositional techni-
ques were Stevan Hristic and Marko Tajcevic. Tajcevic’s quality in his gene-
ral approach can be seen through the different types of music within his out-
put: the artistic-concert kind (Four Spiritual ) and functional-liturgical
(The Liturgy of St John Chrysostom). Being a stable Orthodox composer with
solid knowledge of Western elements always used in a sensible way, Tajce-
vic’s artistic, sometimes very modern response to the new possibilities of the
genre, was always seen through the eyes of a traditional artist. Working in a
similar direction, Hristic achieved a unique position of balanced functional
and aesthetic elements. The basic value of his style lies in the subtle relation-
ship between the “ethical and “aesthetic” characteristics, which appear as
Western elements transformed in an Orthodox way taken initially from the
262
Russian practice, which Hristic then organised in his own highly personal
and original fashion.
Sacred choral compositions by Serbian authors from the period between
the two World Wars, mainly through emphasizing aesthetic elements, repre-
sent an artistically strong and ambitious creative effort towards new paths in
Orthodox Church music. The dominance of the concert type of complete li-
turgical forms, or individual liturgical “numbers”, besides formal expression
based on canonical hymnography, could only indicate the “transformational”
potential of genuine liturgical art. Functional-liturgical works, on the other
hand, directly, through ritual power to the moment of “live” communication
of believers with God through communion, lift the participants in the “di-
vine drama” above everything, even the prefect artistic reality. The power of
the “liturgical presentation” of any functional choral piece is absolutely
beyond the aesthetic goals of concert performance: a good performance can
certainly ensure higher artistic quality, but it can never make these two ca-
tegories the same. Almost nowhere except on the threshold of the liturgical
experience, through the process of individual transformation, the very vivid
feeling of higher reality emphasized through artistic elements, can it be pre-
sented so magnificently.
263
HMEHCKH PETHCTAP
A^aMHq, Emhji 163
AHApenc, Jocnn 125
ApajiHua, CTojaH 54
ApceH eB, AjieKcej E. 16, 201
ApxaHrencKH, AjieKcaHAap 35-37, 73,
92, 98, 162, 167, 172, 191
EafleB, ATaHac 184
BajHh, HcHflop 97, 104, 107, 174, 203,
236
EajmaHCKH, MnjiaH 121, 152, 172, 228,
236,239
EajiauiOB, HHKOJiaj 26
BaHflyp, JoBaH 103, 161, 162, 231, 235
EapaHOBHh, KpeuiHMHp 146, 171
BapaqKH, HeHaA 15, 66, 73, 87, 136,
137, 203,204
Bax, JoxaH CeSacTHjaH (Bach, Johann
Sebastian) 46, 103, 104
Eepi)ajeB, HHKOJiaj AjieKcaHApoBHH 31
Eepe30BCKH, MaKCHM Co30htobhh 99,
168
Bepca, Enaroje 156
BeTOBeH, JlyABHr BaH (Beethoven,
Ludwig van) 200
BeineBHh, HHKOJia 54
BnroBHh, PaflOBaH 49
EHHiyjiau, neTap 66, 70, 71, 143, 160
Ehhhhkh, CTaHHCJiaB 11, 14, 58, 67, 77,
78, 98, 109, 116, 117, 131, 144, 145,
148-152, 160, 168, 172, 190, 202,
209,221,222,230,237, 238
Bobepnh, BjiaAHMHp 132, 198
EorflaHOBuh, JlHMHTpHje 25
BoHxo(J)ep 48
EopTH aHCKH, flHMHTpnje CTenaHOBHu
36, 99, 104, 105, 161, 162, 166, 169,
202, 204, 235-237
EouiKOBHh, hypi)e 55, 56, 59, 60
EpaMC, JoxaHec (Brahms, Johannes)
167
EpyKHep 200
BpyM(J)Hnfl, B. C. (Brumfield, W. C.) 21,
164
ByrapcKH, JIa3ap 47
ByjirapKOB, Ceprej 31, 54
Eypcah, AHApej 112
Bamep, PnxapA (Wagner, Richard) 200
Baparuh, BwheHraje 200, 201
Bacnh, AjieKcaHAap 11, 45, 67
Bacnh, flparnina 30
BeAe/b, ApTeMHje 142, 168, 234, 235
BejiHMHpoBHh, Mhjioiu M. 21, 164
Be;iHMHpoBHh, HHKOJiaj 31, 34
BejLKOBHh, FopAaHa 11, 86
BepönuKH, AneKcaHAap 104, 107,
236
BepAH, T5y3ene (Verdi, Giuseppe) 57,
105, 165,200, 235
BecejiHHOBHh Xoc[)MaH, MnpjaHa 13,
40, 123-125, 131
BecHH, Mhjioih M. 17
BnKeHTHje, enncKon 160
BHHaBep, CTaHHCJiaB 54
BHUiouieBHh, BjeKoejiaB 112
BjiaAHineBCKa, TaTjaHa 21
BpeSajioB, AneKcaHApa 160
ByicaniHHOBHh, BnaAHMHp 49, 186
ByKAparoBHh, MnxaHJio 9, 11, 159-161,
163, 172, 174
ByKOBHh, CaBa 105, 201
ByuKOBHh, PaAOBaH 29
TajHh, MHJiHua 179
TaJi, Oparbo 115
TaJiyc 236
reoprajeBHh/hop^eBHh, JoBaH 136
DiyMaq, JlyrnaH 91, 93
ToTOBau, Jai 0B 163
rpaHHh, OHJiapeT 61
rpromeBHh, 3jiaTi o 171, 172
TpAaHHUKH, JJaMacKHH 66, 72, 84
Tpt)Hh, flparojtyb 30
rpeuaHHHOB, AjieKcaHAap Thxohobhh
35, 36, 124, 140-142, 192, 202
TpHropjeB 142, 235
TpHHKOB, AjieKcej 36
265
rpHcöaxep, IleTep (Griesbacher,
Peter) 111
ryjbaHHmo, HaTajinja 14, 76
flaBHflOBHh, flajviacKHH 104
flanxayc, Kapa (Dalhaus, Carl) 42
flßopacaK, Ahtoühh (Dvorak, Antonin)
125
flepoKO, AjieKcaHflap 53, 62
flecimh, flejaH 9, 156, 168, 171
flexTepjeß 235
flHMHTpnje, naTpnjapx 240
flHMHh, Jbyöonpar 28-31, 45
flHHeß, IleTap 166, 184
flH(J aj, THjoM (Diffay, Giomme) 161
floöpoBuh, IleTap 54
flo KHh, raBpH.io 83
floH Ka3e.fi (Don Casel) 51
flOCHTej, MHTpOnOJIHT 160
flOCTOjeBCKH, I jOflOp MuxajjIOBH I 31
flparoH, CaÖHH 202, 236
ÆparyTHHOBHh, Epamco 90, 103, 105,
163, 178, 236
flpaHHap, Pafle 54
flpauiKOBHh, CjioOoflaH 30
flyraH, $paH o 111, 153, 154
(lyian, Opaito CiapHjH 156
alvflHHK 92
flyje, ÄHflpe (Douillet, Andre) 125
Æyunh, JoBaH 47
DaKOBHh, Borflan 9, 11, 16, 32, 41, 45,
46, 55, 84, 86, 92, 102-107, 125,
126, 151, 162, 164, 174, 183, 184,
200-202, 204
BoKOBHh, npeflpar 16
bopf)eBnh, BjiaflHMHp 56, 67, 77,
78,81-85,94, 209,218, 227,
237
Ebaokhmohob, riayji (Evdokimonov,
Paul) 24, 26
Eko, YMÖepTO (Eco, Umberto) 12
EmuTajH, Muxana 47, 48
KaKnh, BjiaflHMHp 146, 163
)KapHH, CHHHiua 92
KraHeu, Bhhko 98
JKhbkobhÏï, JoBaH 83
JKhbkobhÎi, MwieHKo 11, 14, 15, 32, 39,
40, 52, 55, 59, 60, 63-67, 69, 74,
77, 79, 80, 83, 84, 91, 92, 98, 99,
102, 106, 116, 117, 119, 129, 147,
163, 173, 179-181, 184, 186-189,
191-193, 195, 207, 209, 211-213,
215, 221, 223, 227, 232, 233, 236,
241
ÎKynaHOBHÎt, JIoBpo 114
3H3jyjiac, JoBaH 23, 24, 25
3hhoh, apxMMaiiapHT 50
3opnh, IlaBJie 47, 48
3yHO, MnjiaH 163
MBaHHUieBHh, TopaH 165, 166
HjinjeBCKH, AaeKcaHflpa 55, 60
HjihÎi, BojncjiaB 9, 14, 56, 66, 73,
77-79, 81, 82, 88-94, 98, 160, 209,
212,214,218, 227, 231,233,
235-237
Hiiojtht Mbhhob, Muxauji MnxajjiOBHH
36, 37
Hct, LJ oh Majicn (East, John Michael)
196
JaKOBJteBHh, BopHBoje 15, 196
JaHapac, XpncTo 24
JaHa^eK, Jleorn 38
JaHHh, BojncnaB 82, 127
JoBaHOBuh, 3opaH 53-55, 57, 59, 60,
180
JoBaHOBHh, KocTa J. 64
JoBaHOBHh, Mnoapar 32, 54, 58, 61, 62,
64
JoBaHOBHh, Mnxajjio 124
JoBaHOBHh, naja 58
JoBaHOBHh, CjioöoaaH 30, 45
JoKCHMOBHh, BojKHflap 14, 67, 77, 80,
94-98, 115, 209, 211, 219, 227, 238
JoHHh, Bennbop 30
Ka5e, M. 159
KaflHjeBHh, A/iencaiujap 53, 61-63, 214,
215
KajraHHh, MHJiHpa 11, 145
KajiHHHKOB, BacHJi CeprejeBHH 36
Kapaí|opl)eBHh, AnexcaHflap 107, 172,
177, 179, 212
266
KacrajbCKH, AaeKcaHaap 35, 164, 169,
191
KauiaHHH, MHJiaa 33, 60, 62, 64
Khh, JaH 131, 229
KHpHI HlI 49
Khiu, Jlajoui 103, 236
KJiOKHh, CTeBaH 90, 95, 126, 128
KojHh, BpaHHcnaB 54
Koaapnh, Mhpko 14, 77, 79, 114, 115,
165, 240
KojiapoBHli, HaHja 54
KoayuuHh, flyrnaH M. 58
KoMapeBCKH, Eopnc Bhktopobhh 166,
232
KoiBOBHh, rieTap 9, 11, 14, 15, 35,
36, 38, 69, 71, 77, 78, 80, 85, 105,
116-118, 145-148, 156, 163, 166,
172, 175-177, 183, 184, 194, 195,
200, 202, 209, 220, 221, 230,
235-237, 239
KopyHOBHh, Momhp 31, 54, 61-64, 213,
215
KoTyp, HyrnaH 46, 66, 73
KoijHh, MapujaHa 155, 175
KpaitneBuh 236, 237
KpcTHh, T)opT e 58, 59
Kpcrah, rieTap 14, 51, 52, 56, 58, 67,
77, 78, 81, 82, 86-88, 94, 136, 165,
166, 197, 209, 218, 219, 224, 227,
235-237
Kyaptnc 237
Ky3MeHKO, A. H. 37
Ky.iyni.iHja, PaaMwia 98, 159,
163
KycoBap, Hmcona 59, 61
JIa3apeBHh, BpaHico 46
JIa3Hh, Mnaopaa 19, 21, 25, 65
JIaco, OpnaHflo ah (Lasso, Orlando di)
104
Jlepa, JIa3ap 87, 165, 218, 237
Jlerah, Teopraje 92, 176
JlexTxaaep, H. (Lechthaler, I.) 74
JlHHrac, AjicKcamiap (Lingas,
Alexandar) 21, 160
JlnnaeB, PtBaH 164
JlHpHH 237
JIhchhckh, Bai potaaB 171
JIOMaKHH, I aupHA JaKHMOBHM 202
JIockh, BnaflHMnp HHKonajeBHH 19, 20,
25, 216
JIOTKa, 4 paH 98, 104, 156, 161, 231
JlyKHh, Bomnaap fl. 127, 240
JlyTocnaBCKH, Bh iohh (Lutoslawski,
Witold Roman) 186
JBbob, AaeKcej OjoaopoBun 36
MarapauieBHh, MnpKo 237
MajaaHap, Bopo 16
MaKCHMOBnh, Teopraje 17
MaKCHMOBHh, PajKO 160
MaKCHMOBHh, cyanja 200
MaaauiKHH, H. fl. 142, 162, 166, 234,
235
MaHeBHh, 3opaH 53, 63
MaHojaoBnh, Kocra n. 9, 11, 14, 15,
36, 51, 52, 59, 66, 69-72, 77, 79, 80,
84, 85, 89, 95, 99, 103, 107, 112,
116-118, 120, 122, 123, 125-128,
131, 134, 136-144, 163, 165-167,
172, 175, 186, 190, 209, 212, 214,
221, 223, 224, 228-231, 234-236,
238, 239
Mapwamep, Xhhko 36
MapHHKOBuh, JocHcf) 10-12, 36, 41, 42,
58, 67, 77-80, 97, 109, 116-118,
120-122, 131, 138, 145, 146, 172,
186, 190, 194, 200, 209, 212, 215,
220,221,228, 236-238
Mapnh, JBydntia 213, 214
MapKOBHh, HHMHTpHje 14, 77,
196-199, 206, 209, 241
MapKOBHli, TaTjaHa 10, 16, 92, 123,
126,142, 151
MacKaitH, IljeTpo (Mascagni, Pietro)
165
MacaoB, EBreHHj H. 36
MaTaanh, JIOBpo 142, 143, 161, 162,
178,231,233,235,236
MeaaKOBHh, flejaH 29, 58
MeHaeacoH, 1 e,iHKC (Mendelssohn,
Felix) 104
Mnanh, Hntamje 32
MnjaTOBHh, A. ieKcaiuiap 200
MnKHh, PaaMnaa 11
MnaaaHHOBnh, flyniaH 157
MwiaHOBHh, BnajaHa 27, 43
267
MHJierah, CBeio3ap 121
MHJiHjnh, EpaHHcaaBa 41
Mhjihh, Mcjima 214
MHjiHueBHh, MHxaH. io 95
MHaojeBHh, Mnaoje 9, 11, 14, 15, 35,
37, 38, 42, 46, 52, 54-57, 65-71,
74, 77, 78, 90, 92, 93, 106, 107, 109,
116, 117, 122, 124, 127, 129, 131,
142, 146, 147, 152, 155, 163-166,
172-176, 178,179, 181-184, 186,
189-195, 197, 200, 207, 209, 211,
212, 215, 216, 221, 222, 233-236,
239
MHJiojKOBHh Tiypah, Jeaena 143
MHJiomeBHh, Baaao M. 11, 15, 52, 72,
77, 80, 94, 98, 99, 100, 101, 102, 115,
159, 209, 212, 219, 220, 228, 232,
233,236,238
MHJiomeBHh, npenpar 91, 183, 200,
230, 233
MHjiyraHOBHh, flparyTHH 53
MHoapar, Ilpeflpar 16, 89, 90
MHpocaBJM Bi-ih, BejBKO 104
MHxajieK, /OyiuaH 10
M/iafleHOBHh, fl. 146, 163
MoKpaH aq, CTeBaH CTojaHOBHh 9,
12, 34-36, 39, 42, 44, 46, 48, 58,
61,65,66, 71,73, 75,81,83-85,
87, 94, 97, 98, 104, 105, 109, 115,
118-120, 122, 123, 129, 131, 132,
134, 136, 142, 143, 146, 147, 149,
150, 152, 159, 161-166, 172, 180,
181, 186, 190-192, 194, 200, 202,
208,211,213,215,219,222,
234-237
MopocaH, BjiaflHMHp 76, 164, 192, 193
MouapT, Bo/icpram Ajwaaeyc (Mozart,
Wolfgang Amadeus) 177, 178, 200
MpaoBnh, Teoflocnje 119
MyflH, HBaH (Moody, Ivan) 10, 16, 160,
184, 211
MygpHHCKH, HBaH A. 199, 203
MycHC, AneKcaHaep 211
MycoprcKH, MoaecT IleTpoBHH 38
MyuiHUKH, Haaa 151, 202
HacTacHjeBHh, )KHBopaa 54
HacTacHjeBHh, Cbctomhp 54, 93, 156,
178, 179, 200
HecTopoBnh, Eoraan 54, 62
HhkojihIi, Mnaoje 80
Hhkojbckh, AaeKcanaap 104, 167, 172,
193, 202, 237
HoBaK, Bhktop 161, 172
HOBaKOBHh, ÜHOHHCHje 185
OaaK, KpcTO 163, 171
OcTojnh, Thxomhp 10, 45, 83, 84, 86,
97, 105, 109, 115, 174, 204, 219,
236, 237
IlaBJioBHh, Cania 101, 102
llajiaBecTpa, IIpeapar29, 31, 34, 44-47
najiaBHHHHH, IleTap 54
najiaflHH, AneKcaHapa 11, 180, 186
najiecrpHHa, T)0BaHH njepjiynl)«
(Palestrina, Giovanni Pierluigi) 103,
105, 162, 200, 235
nanaHflonyjio, EopHC 172
napT, ApBO (Part, Arvo) 20
IlayMOBa IIpeflCJiHKOBa, AHa 134, 229
IlamhaH KojaHOB, Cbctojihk 14, 15,
69, 72, 77-80, 85, 87, 94, 101-110,
115, 116, 131, 161, 166, 190, 205,
209, 212, 219, 220, 228, 229, 231,
234-236, 238
nejoBHh, PoKcaHfla 11, 45, 71, 72, 121,
179
neHflepemcH, KuiHiiiTOcjj (Pendereck,
Krzysztof) 186
IleHO, BecHa 12, 17, 22
rieprojie3H, boiiaiiH BaracTa
(Pergolesi, Giovanni Battista) 104,
234
IIepn, JaKono (Peri, Jacopo) 105, 235
IlepHHHh, BaacTHMHp 10, 120, 121,
122, 140, 149, 157, 171
nepKOBHh, Hßana 11, 12, 16, 17, 42,
82, 86, 95, 118, 120, 122, 139, 146,
159
nepo3H, AaecaHflpo 165
IleTpoBHh, ÄHTe 151, 230
neTpoBHh, BepocaaB 148
IleTpoBHh, BecejiHH 16
IleTpoBHh, flaHHpa 9, 10, 16, 17, 29, 84,
87, 91, 92, 126, 142, 144, 151, 174,
184, 203, 204
IleuiHh, MHJieHa 157
268
riHmHeBHh, fl. 93
rijiaBiiia, flyuiaH 111
rioMopHinaq, Baca 54, 60
rionoBHh, Borflan 46
rionoBHÍi, JycTHH 31, 34, 50, 51
nonoBHh, Muxajjio 136, 137
nonoBHh, n. 53
llonoBHh, CTeBaH 196, 237
npeflHh, yporn 58
IlpenpeK, OraHHCJiaB 14, 77, 79, 80, 94,
110-115, 209, 219, 228, 238
IlpoflaHOB KpajmiiHHK, Hpa 17
npoTHh, MHOflpar B. 41, 213
PaflOBaHOBHh, Thxoh (Thxomhp) 91
PaAOBHh, Pafle 80
PaAoj^mh, MnjieHa 16
PaAyJiOBHh, MHJiaH 29, 31, 34, 47,
225
PajKOBHh, T ypa 16, 110, 111
PayTaBapa, EHjoyxaHH 188
PaxMatbHHOB, Ceprej BacHJBeBHH 35, 36,
53, 73, 113, 164, 171, 192, 193
PeÔHKOB, BjiaAHMHp HBaHOBHH 142,
234
PHÖHh, PoMaHa 11
PHCojeBHh, PaHKO 101
PHCTOBHh, HeHaA 16, 87, 88, 139
Pochhh, T)oaKHHo (Rossini, Gioachino)
105,235
Pocnh, BapHaBa (IleTap) 91, 92, 140,
240
Py KHh, MnjiyTHH 14, 77, 78, 98, 196,
199-206, 209, 230, 232, 234, 237,
241
Py KHh, MnafleH 203
CaBHh, JKapico 177
CaBHh, HeMaita 100
Cai c, MHJiaH 171, 233
CßeTH TpHropHje IlajiaMa 21
Cbhjihhk, JaH IlHTep (Sweelink, Jan
Peters) 161
CeicyjiHh, 3flpaBKo 54
CeKyjiHh, HcHAopa 48
Cepa^JHM, eriHCKon 160
Chhhko, OpaHHecKO 10, 104, 105, 107,
236
CKepjmh, JoBaH 34, 44, 45, 46
Ckjihphc, CTaMarac 56, 62
CjiaBeHCKH, Jocnn 98, 163, 172
CMeTaHa, Eca khx (Smetana, Bedrich)
125
Cmhphob 202
CoKOJiOBHh, CTjenaH 111
CojiOßjeB, AjieKcaHAap BacnjbeBHH 31
CnepH»aK, Bcjihmhp 11
CnHpHflOHOBHh CaBHh, Jejia 47
CraHHcaBJLeBHh, ByKaniHH 119
CTaHKOBHh, KaTapHHa 11, 93
CraHKOBHh, KopHejinje 10, 65, 71, 85,
105, 109, 115, 121, 129, 134, 165,
219,236
CraHHHh, CBeracJiaB 163, 166, 231,
235
CrapopycKH 202
Gre(J aHOBHh, ÄHa 123, 125, 126, 137
CrecjiaHOBHh, EyAHMHp 136, 139
CTei|)aHOBHh, flHMHTpnje 10, 11, 17,
102, 147, 161
CTecJjaHOBHh, IlaBJie 57, 167, 178,
179
CTOjaAHHOBHh, MHJiaH 28
CrojaHOBHh, HHKOJia 30
CTojaHOBHh, IleTap 146
CrojKOBHh, HßaH 54
CTojneBHh, IlaBJie (Tojico) 93
CTpaBHHCKH, Hrop OjOAOpOBHH 200
CTpaAejia, AjiecaHApo (Stradella,
Alessandro) 104
CTpajHHh, KocTa 63
CrpoKHH, Mnxajjio 104, 237
TaitejeB, Ceprej HßaHOBHH 124
TajneBHh, Mapico 11, 14, 15, 37, 39, 51,
59, 70, 74, 77, 79, 80, 95, 98, 110,
112, 114, 116, 117, 141, 144-146,
152, 156-160, 162, 163, 165-173,
190, 192, 202, 203, 207, 209, 211,
212,215,221,222,224,231,
235-237, 240
TeHe3Hh, EpaHKO 32, 53, 213
Thtob, BacHJiHje IIojiHKapnoBHH 99,
168
TojicToj, JlaB HHKOJiajeBHH 31
ToMaHAJi, Mhxobhji 16, 104, 162
ToMameBHh, KaTapHHa 12, 16, 17, 35,
37, 42, 44,146,165,200
269
TonanoBHh, Mmu 104, 119, 162
Tpaßait, JoBaH 56, 77, 81-85, 94, 209,
211,218,219,227,237
Tp6ojeBHh, rieTap 109
TpöojeBHh, CnnpHflOH 10
TpH^yHOBHh, JIa3ap 58, 60, 64
TypjiaKOB, GnoöoflaH 69, 95, 147, 151,
161, 171, 172, 177
Typ^aHHHOB, n. 36
TiHpHh, HpHHej 105, 160, 165, 200-203,
239
RopOBHh, B,iaj(MMHp 30
ByjiyM, JoBaH 200, 201
YflOBHHKH, HßaHKa 45
YcneHCKH, Hopnc ÄHflpejeBHH 22
YcneHCKH, JleoHHfl 19, 20, 25, 48,
216
«tepcrep, Jocecf) Eoxycjiaß (Foerster,
Josef Bohuslav) 125
OnrypoBCKH, IlaBJie AjieKcaHflpoBHH
201
OjOflOpOB 31
«bjiopeHCKH, riaBne 22, 25, 31
«J ojepBax, JlyuBHr cJjoh (Feuerbach,
Ludwig von) 24
OyKC, JI. 82, 98, 99, 227, 237
XaBC, I pejaM (Howes, Graham) 19, 20,
26, 55, 56
XaflHal)eB, Hcuflop 196, 237
XajaH, Jo3e(J» (Haydn, Joseph) 105,
235
XajeK, Emhji 229
XeHfla, I eopr t pH,apHX (Händel, Georg
Friedrich) 104, 200
Xnjmjep, FLoji (Hillier, Paul) 20, 48
XoHerep, Apryp (Honegger, Arthur)
200
XpucTHh, CTeBaH 11, 14, 35, 37-39,
42, 51, 59, 69, 70, 73, 74, 77, 79, 80,
92, 93, 95, 104, 107, 109, 115-117,
122, 132,143-145, 151-158, 160,
161, 164, 165, 167, 168, 172, 173,
181, 190, 192, 202, 207, 209, 211,
212, 215, 222, 224, 230, 234-237,
239
XpncTOB, floôpu 166, 202, 236
Lfap, Jocun 54
IJapHHa, Bepa 104
HsejHh, Epamco 136
IfBHJHh, JoBaH 45
UpBvaHHH, flapHHKa133
IJpBuaHHH, JKuBaHa 128
IfpBvaHHH, MHJiHBoje 11, 14, 40, 41,
51-53, 56, 63, 77, 79, 80, 106, 117,
118, 112, 116, 123- 125, 128-136,
140, 190, 207, 209, 212, 214, 221,
223, 224, 229, 240
HaBjiOBuh, MBaH 100
HajKOBCKH, IleTap Hjbhm 35, 36, 53, 73,
171, 191, 193, 194, 202,235
HepemtHH, H. 37, 191
MecHOKOB, IlaBeji rpnropjeBHH 35-37,
73, 104, 141, 167, 191, 202
Hojinh, HparyTHH 166
IIIaHTHh, AiieKca 47
IIlBapu, Pnxapa 65
Illepapfl, 4 hjihii (Sherrard, Philip) 23,
32
IÜHjauKH, CTeBaH 14, 77, 80, 94, 97, 98,
115, 129, 209, 219, 220, 228, 238
lÜHMaHOBCKH, Kapoji (Szymanowski,
Karol) 200
III upojia, r o KH/iap 172, 236
IÜMeMaH, AaeKcaHflap (Schmemann,
Alexandar) 20, 25, 49, 50, 210, 212,
217
Ill rajiiOepr, MaKCHMHjmjaH OcejeBHM
163, 235
IÜTOJiuep, Jocnn 163
IllTpayc, Piixapa (Strauss, Richard) 37
IIIyBaKOBHh, Mhûiko 225
UJyMaHOBHh, CaBa 54
Perncrap canHHHJia
Tatajana üu8huuku Jlpunuh
270
|
| any_adam_object | 1 |
| author | Đaković, Bogdan |
| author_facet | Đaković, Bogdan |
| author_role | aut |
| author_sort | Đaković, Bogdan |
| author_variant | b đ bđ |
| building | Verbundindex |
| bvnumber | BV043512110 |
| ctrlnum | (OCoLC)958470992 (DE-599)BVBBV043512110 |
| era | Geschichte 1918-1941 gnd |
| era_facet | Geschichte 1918-1941 |
| format | Book |
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| id | DE-604.BV043512110 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:27:40Z |
| institution | BVB |
| isbn | 9788679461698 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028928266 |
| oclc_num | 958470992 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 275 Seiten Notenbeispiele |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Akademija umetnosti |
| record_format | marc |
| spelling | Đaković, Bogdan Verfasser aut Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars Bogdan Đaković Liturgical and artistic elements in Serbian sacred choral music between the two world wars Novi Sad Akademija umetnosti 2015 Novi Sad Matica srpska 2015 275 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung: Liturgical and artistic elements in Serbian sacred choral music between the two world wars Text serbisch Kyrillische Schrift Geschichte 1918-1941 gnd rswk-swf Kirchenmusik (DE-588)4030736-0 gnd rswk-swf Chormusik (DE-588)4131189-9 gnd rswk-swf Serbisch (DE-588)4133301-9 gnd rswk-swf Liturgischer Gesang (DE-588)4036056-8 gnd rswk-swf Serbisch (DE-588)4133301-9 s Kirchenmusik (DE-588)4030736-0 s Chormusik (DE-588)4131189-9 s Liturgischer Gesang (DE-588)4036056-8 s Geschichte 1918-1941 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | Đaković, Bogdan Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars Kirchenmusik (DE-588)4030736-0 gnd Chormusik (DE-588)4131189-9 gnd Serbisch (DE-588)4133301-9 gnd Liturgischer Gesang (DE-588)4036056-8 gnd |
| subject_GND | (DE-588)4030736-0 (DE-588)4131189-9 (DE-588)4133301-9 (DE-588)4036056-8 |
| title | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| title_alt | Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| title_auth | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| title_exact_search | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| title_full | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars Bogdan Đaković |
| title_fullStr | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars Bogdan Đaković |
| title_full_unstemmed | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars Bogdan Đaković |
| title_short | Bogoslužbeni i umetnički elementi u srpskoj crkvenoj horskoj muzici u periodu između dva svetska rata |
| title_sort | bogosluzbeni i umetnicki elementi u srpskoj crkvenoj horskoj muzici u periodu izmedu dva svetska rata 1918 1941 liturgical and artistic elements in serbian sacred choral music between the two world wars |
| title_sub | (1918-1941) = Liturgical and artistic elements in Serbian sacred choral music between the two world wars |
| topic | Kirchenmusik (DE-588)4030736-0 gnd Chormusik (DE-588)4131189-9 gnd Serbisch (DE-588)4133301-9 gnd Liturgischer Gesang (DE-588)4036056-8 gnd |
| topic_facet | Kirchenmusik Chormusik Serbisch Liturgischer Gesang |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928266&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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