Simfonijska muzika u Bosni i Hercegovini
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Sarajevo
Muzička akademija Univerziteta, Institut za muzikologiju
2021
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| 500 | |a Tiraž 200. - Literaturverzeichnis Seite 269-285 | ||
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Datensatz im Suchindex
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| adam_text | SADRŽAJ PREDGOVOR/9 UVOD 115 I. TERMINOLOŠKO ODREĐENJE I HISTORIJSKI KONTEKST SIMFONIJSKE MUZIKE 123 О terminološkom određenju simfonijske muzike / 23 Od uvoda u operu к “instrumentalnoj drami”: stjecanje samostalnosti pretklasičke simfonije / 26 Simfonija kao umjetnička forma 131 Dovršetak kanonizacije simfonije: slučaj Beethoven I 36 Stoljeće novih simfonijskih formi 139 Prva kriza identiteta i “drugo razdoblje” simfonije / 42 Simfonijski koncepti u 20. stoljeću 148 II. TEORIJSKO UPORIŠTE DİSKURSA О SIMFONIJSKOJ MUZICI U BOSNI I HERCEGOVINI 157 Historijski okvir bosanskohercegovačke simfonijske muzike 157 Muzička građa i kompoziciona tehnika 169 Folklor i njegova transpozicija u umjetničku muziku 191 Formalni modeli simfonijske muzike u Bosni i Hercegovini 1102 Rasprava о simfonijskom stilu /107 Simfonizam kao umjetnički koncept simfonijske muzike /110
IIL SIMFONIZMIU BOSNI I HERCEGOVINI / 121 Umjetnost u službi režima: masovni simfonizam 1121 Miroslav Špiler Praznična skica / 126 Avdo Smailović Podigman 1142 Zaokret prema umjerenom modernizmu: folkloristički simfonizam 1157 Vlado S. Miloševič Dramatična simfonija / 161 Vojin Komadina Svita igara /184 Povratak autonomiji umjetničkog: formalistički simfonizam /187 Nada Ludvig Pečar Simfonietta /189 Anđelka Bego Šimunić Koncertni stavak za orkestar 1199 Uklon k avangardi: novi simfonizam /215 Josip Magdič Koncert NGC 5128 za orkestar /219 Mladen Miličevič Guerilla 1229 Nova jednostavnost: spiritualistički simfonizam / 241 Vojin Komadina Preludijum za “Modru rijeku” 1242 ГѴ. ZAKLJUČAK / 263 LITERATURA / 269 SUMMARY/ 287 SKRAĆENICE / 291 INDEX IMENA/293
I 269 LITERATURA Adorno, T. W., 1968. Filozofija nove muzike. Beograd: Nolit. Adorno, T. W., 1997. Aesthetic Theory. London, New York: Continuum. Adorno, T. W., 2009. Current ofMusic. Malden: Polity Press. Alić, A., 2004. Kompozitorska djelatnost Josipa Magdiča. Diplomski rad. Sarajevo: Muzička akademija Univerziteta u Sarajevu. Andreis, J„ 1975. Povijest glazbe. 1-4. Zagreb: Liber Mladost. Anić, Š., Klaić, N. i Domović, Ž„ 1998. Rječnik stranih riječi: tuđice, posuđenice, izrazi, kratice ifraze. Zagreb: Nacionalna i sveučilišna knjižnica. Asaf’ev, В. V., 1976. Musical Form as Process. Prijevod: J. R. Tull. Michi gan: The Ohio State University. Baker, ƒ. Μ., Beach, D. W i Bernard, ƒ. W. ur., 1997. Music Theory in Con cept and Practice. Rochester: University of Rochester Press. Bergamo, Μ., 1989. Fragment о muzički nacionalnom. U: V. Peričič, ur. Radovi sa naučnog skupa Folklor i njegova umetnička transpozicija. Beograd: Fakultet muzičke umetnosti. 211-221. Berio, L., 2021. Work Introduction. Luciano Berio on Sinfonia, [online] Dostupno na: https://www.universaledition.com/luciano-berio-54/works/ sinfonia-4672. [Posjećeno: 9. april 2021]. Bezič, J., 1971. Folklorna muzika. U: K. Kovačevič, ur. MELZ. 1. Zagreb: JLZ. 592-593. Bingulac, P., 1976. Bosna u delima Vlade Miloševiča. Putevi, XXII, 329-345. Bosnič, A., 2009a. Razgovor s Mladenom Miličevičem o simfonijskoj muzi ci u Bosni i Hercegovini, [e mail] (Lična korespondencija, 22. april 2009). Sa rajevo: Privatni arhiv A. Bosnić. Bosnić, A., 2009b. Razgovor s Anđelkom Bego Šimunić. [e mail] (Lična korespondencija, 22.
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ļ 287 SUMMARY Ihe second half of the 20th century brought a new development momen tum to the artistic music of Bosnia and Herzegovina, stimulated by the com prehensive renewal of all aspects of social and cultural life after the Second World War, One of the representatives of this expansion is the emergence and development of symphonic creativity, which in itself presumed a renewed and developed infrastructure connected with educated staff and a dialectical attitude towards public space. Under the umbrella term of stylistic pluralism, in more than 90 symphonic works Bosnian composers developed several concepts of symphonic artistic thought - symphonisms - invoking various material bases, compositional techniques and formal solutions existing in the specific sociocultural milieu of socialist Bosnia and Herzegovina. The material used by Bosnian composers in their symphonic works is di vided into three categories. The first category, primarily dominant through out 1950s and early 1960s, refers to the thematic material dominated by expressive elements of melody and rhythm and tonal harmony as superior principles in managing the musical stream and form construction. This kind of material is based on the classical-romantic tradition of artistic Western music, transformed into motives and prominent melodies based on the mentioned means of expression and then generalized by linear development of thematic material in the phases of thematic formal processes. The second category shifts the focus to a more complex rhythmic expression combined with the predominance of dissonance in
the field of harmony whose con structive role is thus marginalized and the way is given to primarily color- istic and expressive articulation. Such treatment somewhat usurps the rela tionship toward design into predetermined formal systems, and although it relies on formal patterns of the past, their formal-structural architecture indicates a break with the thematic pre-modelling of the material. This inter est, marked by modernist tendencies, was intensified during the 1960s and 1970s. The third category, which is of interest in the late 1970’s and 1980’s, includes material consisting of the entire available continuum ranging from silence to noise, generated and/or modified by characteristics and manifes tations of extended acoustic capabilities and instrument techniques, and re shaping of the material by emphasizing its timbral and dynamic character-
288 ļ istics in the symphonic space, that is by marginalizing the formative role of melody and harmony. Development as a construction principle previously established through linear evolution is now replaced by “static” athematic processes; however, this music expands the dramaturgy of the music flow growth and release into a three-dimensional space established through lin ear, vertical and depth relationships between pervasive symphony orchestra parts. Folklore material constitutes a special category imposing itself as one of the phenomena representing the basis of the continuity of composition in Bosnia and Herzegovina. Most composers turn to folklore material based on the rural tradition, whose archaic labile tonal relations and immeasurable rhythm, melodies of stingy ambitus and minor-second relations, and folk lore polyphony of markedly dissonant sonority represent a kind of challenge and an opportunity for establishment through unspoken originality, irre spective of the creative concept, type of composition-technical incorpora tion of such material and versatile stylistic idioms. Theoretical-analytical discourse on shaping the material of symphonic music in the texture recognises one of the most important types of orga nization of sound material. This technical level disposes of and shapes the expressive elements of the material at the horizontal, vertical and depth lev els, manages their functional connection, gradation and degradation of dy namic stages, as well as the states of tension and relaxation. Texture and or chestration, as a supporting
superstructure of melorhythmic and harmonic expressive material, played a marginal role in the formative sense; however, in symphonisms that emphasize the timbre and dynamic characteristics of the material as its formative means, orchestration played a decisive formal role in terms of the construction of musical boundaries. The result of formal processes in symphonic music in Bosnia and Her zegovina is reduced to three basic tendencies of formal organization of the stated constructive bases and techniques that deal with them: 1) organiza tion into some of the formal models of symphonic music artistic tradition, 2) organisation characterised only by reliance on the features of these mod els, but also a simultaneous deviation from their consistent implementation due to the action of content, and 3) organisation in the direction of indi vidual forms, primarily individual closed-type forms, with only sporadic
ļ 289 appearances to its opening. Although all of the above-mentioned categories contain the names that refer (but do not oblige to a literal understanding) to the symphony and related forms of symphonic music - symphonic poem or suite, and concerto for orchestra - the formal solutions of the first two categories are focused on the symphonic canon of artistic tradition, while the third category shows a complete break with it. Various symphonisms, as artistic concepts of symphonic music, in Bos nia and Herzegovina are defined by the formal-structural parameters of symphonic works, aesthetic bases on which they are constructed and in a strong cause-and-effect correspondence with the socio-cultural milieu. During the 1950s and early 1960s, composers gathered around collective artistic ideas emerging under the influence of a rigid socialist realist system and shaped into formal-aesthetic concepts of the Western artistic tradition under the labels of mass and folkloristic symphonisms. These structures are mostly formally and aesthetically formed into symphonies (Miloševič Dramatična Simfonija), symphonic poems (Špiler Praznična skica.) and sym phonic suites (Smailović Podigman, Komadina Svita igara), with a foothold in tonality and thematic design of the material. In search for a framework that would reconcile artistic freedom of expression and the demands of the regime, folkloristic symphonism turns to the sublime use of folklore as the primary parameter of musical expression, to fantasy forms and only minor reliance upon the principles of sonata, theme-and-variations, rondo,
fugue. With the weakening of the socialist realist paradigm, individual artistic solu tions became more and more pronounced and intersected with the stated concepts as a kind of rebellion against the established practices and a shift from the “national” orientation. The establishment and strengthening of the educational system and opening up to Western practices provokes the need to return to the autonomy of the artistic and the search for new pos sibilities of artistically based ideologies. The 1960s will introduce the con cept of formalistic symphonism (Ludvig Pečar Simfonietta, Bego Šimunič Koncertni stavak for orchestra) as a product of these social factors and the artist’s reaction to the influence of “comprehensive” program symphonies and symphonic poems through advocating the return of “pure” symphon ic style artistic autonomy. The socio-cultural policy tolerated such moder-
290 I ate-modernist tendencies, which, however, remained anchored in academ icism and deprived of a stronger artistic echo. At the same time, the inflow of avant-garde trends from the West was slowed down, even in view of the regional context, capturing, at the end of the 1960s, only a few creative po etics. However, in their critique of the tradition, these tendencies were least reflected in the field of symphonic music and only after a decade of delay: the stream of new symphonism in the individual poetics of Magdič {Concer to NGC 5128 for orchestra) and Miličevič (Guerilla) will emerge in the late 1970s and 1980s, from the framework of moderate modernism, overlapping with the postmodernist-profiled examination of the spiritualist symphon ism and its symphonic sound spatiality (Komadina Preludijutn za “Modru rijeku”). The emergence of such profiled symphonisms indicates artistic per sonalities that were a sign of the growing resistance to the control of the sys tem that hampered the art developmental impulse; it anticipated the entry into the period of instability of socio-political system that finally collapsed in the early 1990 s.
ļ 293 INDEXIMENA A Adorno, Theodor W, 110,115,116,124,269 Albinoni, Tomasso, 27 Aranovski,Mark, 19,110, 111, 112,115,156,165,190 Asafjev, Boris Vladimirovič, 19,110, 111, 113,114,115,166 В Bach, Johann Christian, 28,31, Bach, Johann Sebastian, 25,26,28,172,248,249,272 Bach, Carl Philipp Emanuel, 23,28,34 Bajac, Ljubomir, 58 Barber, Samuel, 51 Baric, Srđan, 161 Bartók, Béla, 53,96,150,199 Beck, Franz Ignaz, 29 Beethoven, Ludwig van, 7,9,15,23,31, 36, 37, 38, 39,40,41,42,43,44,45,48, 49,60,102, 111, 115,122,129,141, 248,272,274,275,280 Bego Šimunić, Anđelka, 8,11,63,64,67,68,81,83,102,104,105,106,126,189, 199,200,201,202,203,204,206,208,209,211,213,214,265,269,270,285,289 Bekker, Paid, 111, 116 Benda, Franz, 28 Berg, Alban, 108 Bergson, Henry, 114 Berio, Luciano, 53,269 Berlioz, Hector, 23,40,41,178 Bersa, Blagoje, 126 Bešlié-Gál, Belma, 244 Blackwood, Easley, 51 Bosiljevac, Aleksandar Sandor, 58 Božič, Darijan, 216 Brahms, Johannes, 44,45, 59,111,280 Brecht, Bertolt, 50 Brendel, Franz, 40,41 Brkanović, Ivan, 63,67,68,199 Bruckner, Anton, 45, 59 Bukvić Nichols, Svjetlana, 63,216 Buljušmić, Hakija, 58
294 ļ C Cage, John, 158 Cannabich, Christian, 29 Carter, Elliot, 51 Conti, Francesco, 28 Copland, Aaron, 51 Cowell, Henry, 51 Cvijetić Dutina, Valentina, 63,67,68,92,216 Czajkowski, Michael, 229 Č Čajkovski, Petar Iljič, 45,46,111 Čavlović, Ivan, 11, 17, 29, 35, 36, 39, 58, 59, 60, 61, 62, 63, 64, 91, 96, 99, 104, 107, 108, 113, 121, 126, 127, 143, 144, 160, 161, 162, 164, 166, 167, 169, 176, 184, 196, 197, 215, 216, 219, 220, 242, 244, 246, 247, 249, 271, 272, 274, 278, 281,285 D Danon, Oskar, 60,61 Debussy, Claude, 46,249 Demeter, Ivan, 61,64,65,68,102,103,284 Dhomi, Rauf, 126 Dizdar, Mak, 242,243,244,245, 246, 248,250,251,259,272,273 D’Indy, Vincent, 126 Dvořák, Antonín, 45,46 Đ Đenader, Dragoje, 63,66,68,86,99,101,102,285 E Eisler, Hanns, 50 Elgar, Edvard, 46 F Franck, César, 45 Franco, James, 229 Frankovié, Sebastijan, 58 Fučik, Julius, 58 G Gabrieli, Giovanni, 24 Gershwin, George, 51
I 295 Górecki, Henryk, 53,184,243 Graun, Carl Heinrich, 28 Graun, Johann Gottlieb, 28 Grgošević, Zlatko, 219 Grković, Branko, 63,66,68,102 Gubaidulina, Sofia, 53,241 H Hadžajlić, Hanan, 64 Hadžiselimović, Edina, 63 Harris, Roy, 51 Hanslick, Eduard, 41,45,275 Haydn, Franz Joseph, 23,29,31,32,33,34,35,37,38,91,190,197 Hindemith, Pard, 50,51,52 Hladek Bohinjski, Josip, 60 Hoffmann, Ernst Theodor Amadeus, 37 Holst, Gustav, 49 Holzbauer Ignaz, 29 Honegger, Arthur, 50,51,163 Horozić, Asim, 63,92,99,184,216,244 Horvat, Milan, 161 I Ivanovic, Vojislav, 63,184 Ives, Charles, 51 J Jakešević, Gavro, 63,65,68 Jažić, Aida, 64 Jažić, Ammar, 64 Jeličanin, Milan, 63,67,68,86,102 Jež, Jakob, 216 Jiránek, Josef, 60 Jungić, Beluš, 60,61 К Kačerovski, Bogomir, 58,279,284 Kállay, Benjamin von, 57 Kam, Dennis, 229 Kaplan, Josip, 60
296 ļ Karača, Igor, 63 Karađorđević, Aleksandar, 59 Kelemen, Milko, 216,217 Kézié, Aldo, 63,67,68 Klementi, Artur, 66,68 Komadina, Vojin, 8,63,64,66,68,86,89, 90,94,97,98,99,102,103,104,105, 160, 184, 185, 186, 187, 215, 216, 217, 230, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 256, 257, 258, 265, 266, 270, 271, 272, 275, 277, 285, 289,290 Křenek, Eduard Edo, 60 Kuševicki, Sergej, 51 L Lamartine, Alphonso de, 249 Lavrin, Anton, 63,67,68 Lhotka, Fran, 161 Ligeti, György Sándor, 158,216,233 Lisinski, Vatroslav, 60 Liszt, Franz, 40,41,48,249 Logar, Mihovil, 184 Lucier, Alvin, 229 Ludvig Pečar, Nada, 8,63,66,68,86,102,104,189,190,193,195,196,197,198, 265, 271 285,289 Lukinič, Alexandr, 60 Lutosławski, Witold, 124,158,184,199 Μ Magdié, Josip, 8,11,63,64,67,68, 86, 87,99,105,106,124,159,215, 216,217, 219, 220,221, 222, 223,224,227,229, 241,246,266,269,278, 285,299 Mahler, Gustav, 9,23,45,46,47,48, 51, 52, 59,111,145,154,164,280,281 Majer, Josip, 60,61,65 Mallarmé, Stéphane, 249 Martini, Giovanni Battista, 27 Martinů, Bohuslav, 52 Marx, Adolf Bernhard, 28 Mastikosa, David, 64,244 Matějovský, František, 58,60,65 Matějovský, Mara, 58 Mattheson, Johann, 25,248 Mažar, Vlado, 161
I 297 Mehmedovič, Muhamed, 143 Mendelssohn Bartholdy, Felix, 44,46,60 Menšik, Klemens, 60 Milhaud, Darius, 49 Miličevič, Mladen, 8,11, 63, 67, 68, 86, 87, 88, 89, 99,105, 215, 216, 218, 229, 230,231,232,235,237,239,266,269,279,285,290 Miloševič, Vlado, 8,61,64,65,68,71,76,78,80,81,86,92,94,96,99,100,102, 103, 123, 125, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 175, 177, 178, 180, 182, 183, 184, 241, 244, 246, 265, 269, 271, 272, 276, 279,280,282,284,285,289 Monn, Georg Matthias, 28 Moor, Karel, 60 Mozart, Wolfgang Amadeus, 26,33,34,35,37,38,248,278 Mrazović Preindlsberger, Milena, 58 N Nielsen, Carl, 46,48,49,273 Nuić, Rada, 63,244,280 О Obradovič, Aleksandar, 217,281 Oljača, Mladen, 161,162 Osmanagić, Jasmin, 63 Osmič, Jasmin, 64 Osterc, Slavko, 158 P Palo, Nerina, 64 Papandopulo, Boris, 63,67,68 Paržik, Dragutin Karlo, 59 Pärt, Arvo, 53,241 Penderecki, Krzysztof, 52,184 Petrič, Ivo, 216 Pientä, Karlo, 58 Pignon, Paul, 217 Plecity, Jaroslav, 60 Pordes, Alfred, 61 Pozajić, Mladen, 63,65,68,189,281,282,285 Prebanda, Milan, 61,63,92 Prokofjev, Sergej, 51,52
298 ļ R Radica, Ruben, 63 Radovanovič, Vladan, 187,217,276 Ramovš, Primož, 158 Ravel, Maurice, 51 Respighi, Ottorino, 51 Rešidbegović, Dino, 63 Richter, Franz Xaver, 29 Rihtman, Cvjetko, 61,65,68,92,94,95,282 Romanic, Teodor, 220,244 Rosenberg-Ružić, Vjekoslav, 161 Roussel, Albert, 51 Rožđalovski, Josef, 60 Rufer, Josef, 126 S Sakač, Branimir, 158,217 Sammartini, Giovanni Battista, 27 Scarlatti, Alessandro, 25,26 Schaeffer, Pierre, 158,217 Scheidt, Samuel, 25 Schnittke, Alfred, 241 Schönberg, Arnold, 49,51,59,108,126,158,159,248,282 Schubert, Franz, 42,43 Schumann, Robert, 45,280 Schütz, Heinrich, 24 Sekulič, Dara, 124 Sessions, Roger, 51 Sibelius, Jean, 46,48,49,51 Sijarić, Ališer, 63 Smailović, Avdo, 8,63,64,66,68,71,84,85,86,99,100,102,103,104,123,124, 125, 142, 143, 144, 145, 146, 147, 148, 149, 151, 152, 153, 154, 155, 156, 246, 265,270,278,282, 285, 289 Sondheimer, Peter, 111 Spaun, Joseph von, 42 Spasič, Radivoj, 144,282 Srebotnjak, Alojz, 216 Stahuljak, Mladen, 63,66,68,94,276 Stamitz, Jan Václav, 23,29
ļ 299 Stamitz, Carl, 29 Stamitz, Anton, 29 Stefanovič, Dimitrije, 161,283 Stibilj, Milan, 216 Stockhausen, Karlheinz, 158,216 Strauss, Richard, 46,48 Stravinski, Igor, 51,52,108,127,283 Sulzbach, Carl Iheodor von, 29 Suzin, Albert, 58 Š Šantić, Aleksa, 58,284 Šaula, Đorđe, 164 Šehu, Bashkim, 126 Škerjanc, Lucijan Marija, 142,189,219 Škerl, Danijel, 63,67,68 Šostakovič, Dmitrij, 52 Špiler, Miroslav, 8, 63, 64, 66, 68, 71, 73, 75,103,108,123,125,126,127,128, 129,130,132,135,139,140,142,156,189,199,265,271, 275,285,289 T Tahiri, Ramiz, 244 Tanjejev, Sergej Ivanovič, 111 Trudič, Božidar, 63,67,68,142,158,184 Tuček, Alfred, 66,68 U Unger, Max, 60,61 V Vancaš, Josip, 59 W Wagenseil, Georg Christoph, 28 Wagner, Richard, 23,34,40,42,45,46,284 Webern, Anton, 86,108 Williams, Ralph Vaughan, 49 Z Zlatić, Slavko, 158 Zonič, Edin, 63
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SADRŽAJ PREDGOVOR/9 UVOD 115 I. TERMINOLOŠKO ODREĐENJE I HISTORIJSKI KONTEKST SIMFONIJSKE MUZIKE 123 О terminološkom određenju simfonijske muzike / 23 Od uvoda u operu к “instrumentalnoj drami”: stjecanje samostalnosti pretklasičke simfonije / 26 Simfonija kao umjetnička forma 131 Dovršetak kanonizacije simfonije: slučaj Beethoven I 36 Stoljeće novih simfonijskih formi 139 Prva kriza identiteta i “drugo razdoblje” simfonije / 42 Simfonijski koncepti u 20. stoljeću 148 II. TEORIJSKO UPORIŠTE DİSKURSA О SIMFONIJSKOJ MUZICI U BOSNI I HERCEGOVINI 157 Historijski okvir bosanskohercegovačke simfonijske muzike 157 Muzička građa i kompoziciona tehnika 169 Folklor i njegova transpozicija u umjetničku muziku 191 Formalni modeli simfonijske muzike u Bosni i Hercegovini 1102 Rasprava о simfonijskom stilu /107 Simfonizam kao umjetnički koncept simfonijske muzike /110
IIL SIMFONIZMIU BOSNI I HERCEGOVINI / 121 Umjetnost u službi režima: masovni simfonizam 1121 Miroslav Špiler Praznična skica / 126 Avdo Smailović Podigman 1142 Zaokret prema umjerenom modernizmu: folkloristički simfonizam 1157 Vlado S. Miloševič Dramatična simfonija / 161 Vojin Komadina Svita igara /184 Povratak autonomiji umjetničkog: formalistički simfonizam /187 Nada Ludvig Pečar Simfonietta /189 Anđelka Bego Šimunić Koncertni stavak za orkestar 1199 Uklon k avangardi: novi simfonizam /215 Josip Magdič Koncert NGC 5128 za orkestar /219 Mladen Miličevič Guerilla 1229 Nova jednostavnost: spiritualistički simfonizam / 241 Vojin Komadina Preludijum za “Modru rijeku” 1242 ГѴ. ZAKLJUČAK / 263 LITERATURA / 269 SUMMARY/ 287 SKRAĆENICE / 291 INDEX IMENA/293
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ļ 287 SUMMARY Ihe second half of the 20th century brought a new development momen tum to the artistic music of Bosnia and Herzegovina, stimulated by the com prehensive renewal of all aspects of social and cultural life after the Second World War, One of the representatives of this expansion is the emergence and development of symphonic creativity, which in itself presumed a renewed and developed infrastructure connected with educated staff and a dialectical attitude towards public space. Under the umbrella term of stylistic pluralism, in more than 90 symphonic works Bosnian composers developed several concepts of symphonic artistic thought - symphonisms - invoking various material bases, compositional techniques and formal solutions existing in the specific sociocultural milieu of socialist Bosnia and Herzegovina. The material used by Bosnian composers in their symphonic works is di vided into three categories. The first category, primarily dominant through out 1950s and early 1960s, refers to the thematic material dominated by expressive elements of melody and rhythm and tonal harmony as superior principles in managing the musical stream and form construction. This kind of material is based on the classical-romantic tradition of artistic Western music, transformed into motives and prominent melodies based on the mentioned means of expression and then generalized by linear development of thematic material in the phases of thematic formal processes. The second category shifts the focus to a more complex rhythmic expression combined with the predominance of dissonance in
the field of harmony whose con structive role is thus marginalized and the way is given to primarily color- istic and expressive articulation. Such treatment somewhat usurps the rela tionship toward design into predetermined formal systems, and although it relies on formal patterns of the past, their formal-structural architecture indicates a break with the thematic pre-modelling of the material. This inter est, marked by modernist tendencies, was intensified during the 1960s and 1970s. The third category, which is of interest in the late 1970’s and 1980’s, includes material consisting of the entire available continuum ranging from silence to noise, generated and/or modified by characteristics and manifes tations of extended acoustic capabilities and instrument techniques, and re shaping of the material by emphasizing its timbral and dynamic character-
288 ļ istics in the symphonic space, that is by marginalizing the formative role of melody and harmony. Development as a construction principle previously established through linear evolution is now replaced by “static” athematic processes; however, this music expands the dramaturgy of the music flow growth and release into a three-dimensional space established through lin ear, vertical and depth relationships between pervasive symphony orchestra parts. Folklore material constitutes a special category imposing itself as one of the phenomena representing the basis of the continuity of composition in Bosnia and Herzegovina. Most composers turn to folklore material based on the rural tradition, whose archaic labile tonal relations and immeasurable rhythm, melodies of stingy ambitus and minor-second relations, and folk lore polyphony of markedly dissonant sonority represent a kind of challenge and an opportunity for establishment through unspoken originality, irre spective of the creative concept, type of composition-technical incorpora tion of such material and versatile stylistic idioms. Theoretical-analytical discourse on shaping the material of symphonic music in the texture recognises one of the most important types of orga nization of sound material. This technical level disposes of and shapes the expressive elements of the material at the horizontal, vertical and depth lev els, manages their functional connection, gradation and degradation of dy namic stages, as well as the states of tension and relaxation. Texture and or chestration, as a supporting
superstructure of melorhythmic and harmonic expressive material, played a marginal role in the formative sense; however, in symphonisms that emphasize the timbre and dynamic characteristics of the material as its formative means, orchestration played a decisive formal role in terms of the construction of musical boundaries. The result of formal processes in symphonic music in Bosnia and Her zegovina is reduced to three basic tendencies of formal organization of the stated constructive bases and techniques that deal with them: 1) organiza tion into some of the formal models of symphonic music artistic tradition, 2) organisation characterised only by reliance on the features of these mod els, but also a simultaneous deviation from their consistent implementation due to the action of content, and 3) organisation in the direction of indi vidual forms, primarily individual closed-type forms, with only sporadic
ļ 289 appearances to its opening. Although all of the above-mentioned categories contain the names that refer (but do not oblige to a literal understanding) to the symphony and related forms of symphonic music - symphonic poem or suite, and concerto for orchestra - the formal solutions of the first two categories are focused on the symphonic canon of artistic tradition, while the third category shows a complete break with it. Various symphonisms, as artistic concepts of symphonic music, in Bos nia and Herzegovina are defined by the formal-structural parameters of symphonic works, aesthetic bases on which they are constructed and in a strong cause-and-effect correspondence with the socio-cultural milieu. During the 1950s and early 1960s, composers gathered around collective artistic ideas emerging under the influence of a rigid socialist realist system and shaped into formal-aesthetic concepts of the Western artistic tradition under the labels of mass and folkloristic symphonisms. These structures are mostly formally and aesthetically formed into symphonies (Miloševič Dramatična Simfonija), symphonic poems (Špiler Praznična skica.) and sym phonic suites (Smailović Podigman, Komadina Svita igara), with a foothold in tonality and thematic design of the material. In search for a framework that would reconcile artistic freedom of expression and the demands of the regime, folkloristic symphonism turns to the sublime use of folklore as the primary parameter of musical expression, to fantasy forms and only minor reliance upon the principles of sonata, theme-and-variations, rondo,
fugue. With the weakening of the socialist realist paradigm, individual artistic solu tions became more and more pronounced and intersected with the stated concepts as a kind of rebellion against the established practices and a shift from the “national” orientation. The establishment and strengthening of the educational system and opening up to Western practices provokes the need to return to the autonomy of the artistic and the search for new pos sibilities of artistically based ideologies. The 1960s will introduce the con cept of formalistic symphonism (Ludvig Pečar Simfonietta, Bego Šimunič Koncertni stavak for orchestra) as a product of these social factors and the artist’s reaction to the influence of “comprehensive” program symphonies and symphonic poems through advocating the return of “pure” symphon ic style artistic autonomy. The socio-cultural policy tolerated such moder-
290 I ate-modernist tendencies, which, however, remained anchored in academ icism and deprived of a stronger artistic echo. At the same time, the inflow of avant-garde trends from the West was slowed down, even in view of the regional context, capturing, at the end of the 1960s, only a few creative po etics. However, in their critique of the tradition, these tendencies were least reflected in the field of symphonic music and only after a decade of delay: the stream of new symphonism in the individual poetics of Magdič {Concer to NGC 5128 for orchestra) and Miličevič (Guerilla) will emerge in the late 1970s and 1980s, from the framework of moderate modernism, overlapping with the postmodernist-profiled examination of the spiritualist symphon ism and its symphonic sound spatiality (Komadina Preludijutn za “Modru rijeku”). The emergence of such profiled symphonisms indicates artistic per sonalities that were a sign of the growing resistance to the control of the sys tem that hampered the art developmental impulse; it anticipated the entry into the period of instability of socio-political system that finally collapsed in the early 1990 s.
ļ 293 INDEXIMENA A Adorno, Theodor W, 110,115,116,124,269 Albinoni, Tomasso, 27 Aranovski,Mark, 19,110, 111, 112,115,156,165,190 Asafjev, Boris Vladimirovič, 19,110, 111, 113,114,115,166 В Bach, Johann Christian, 28,31, Bach, Johann Sebastian, 25,26,28,172,248,249,272 Bach, Carl Philipp Emanuel, 23,28,34 Bajac, Ljubomir, 58 Barber, Samuel, 51 Baric, Srđan, 161 Bartók, Béla, 53,96,150,199 Beck, Franz Ignaz, 29 Beethoven, Ludwig van, 7,9,15,23,31, 36, 37, 38, 39,40,41,42,43,44,45,48, 49,60,102, 111, 115,122,129,141, 248,272,274,275,280 Bego Šimunić, Anđelka, 8,11,63,64,67,68,81,83,102,104,105,106,126,189, 199,200,201,202,203,204,206,208,209,211,213,214,265,269,270,285,289 Bekker, Paid, 111, 116 Benda, Franz, 28 Berg, Alban, 108 Bergson, Henry, 114 Berio, Luciano, 53,269 Berlioz, Hector, 23,40,41,178 Bersa, Blagoje, 126 Bešlié-Gál, Belma, 244 Blackwood, Easley, 51 Bosiljevac, Aleksandar Sandor, 58 Božič, Darijan, 216 Brahms, Johannes, 44,45, 59,111,280 Brecht, Bertolt, 50 Brendel, Franz, 40,41 Brkanović, Ivan, 63,67,68,199 Bruckner, Anton, 45, 59 Bukvić Nichols, Svjetlana, 63,216 Buljušmić, Hakija, 58
294 ļ C Cage, John, 158 Cannabich, Christian, 29 Carter, Elliot, 51 Conti, Francesco, 28 Copland, Aaron, 51 Cowell, Henry, 51 Cvijetić Dutina, Valentina, 63,67,68,92,216 Czajkowski, Michael, 229 Č Čajkovski, Petar Iljič, 45,46,111 Čavlović, Ivan, 11, 17, 29, 35, 36, 39, 58, 59, 60, 61, 62, 63, 64, 91, 96, 99, 104, 107, 108, 113, 121, 126, 127, 143, 144, 160, 161, 162, 164, 166, 167, 169, 176, 184, 196, 197, 215, 216, 219, 220, 242, 244, 246, 247, 249, 271, 272, 274, 278, 281,285 D Danon, Oskar, 60,61 Debussy, Claude, 46,249 Demeter, Ivan, 61,64,65,68,102,103,284 Dhomi, Rauf, 126 Dizdar, Mak, 242,243,244,245, 246, 248,250,251,259,272,273 D’Indy, Vincent, 126 Dvořák, Antonín, 45,46 Đ Đenader, Dragoje, 63,66,68,86,99,101,102,285 E Eisler, Hanns, 50 Elgar, Edvard, 46 F Franck, César, 45 Franco, James, 229 Frankovié, Sebastijan, 58 Fučik, Julius, 58 G Gabrieli, Giovanni, 24 Gershwin, George, 51
I 295 Górecki, Henryk, 53,184,243 Graun, Carl Heinrich, 28 Graun, Johann Gottlieb, 28 Grgošević, Zlatko, 219 Grković, Branko, 63,66,68,102 Gubaidulina, Sofia, 53,241 H Hadžajlić, Hanan, 64 Hadžiselimović, Edina, 63 Harris, Roy, 51 Hanslick, Eduard, 41,45,275 Haydn, Franz Joseph, 23,29,31,32,33,34,35,37,38,91,190,197 Hindemith, Pard, 50,51,52 Hladek Bohinjski, Josip, 60 Hoffmann, Ernst Theodor Amadeus, 37 Holst, Gustav, 49 Holzbauer Ignaz, 29 Honegger, Arthur, 50,51,163 Horozić, Asim, 63,92,99,184,216,244 Horvat, Milan, 161 I Ivanovic, Vojislav, 63,184 Ives, Charles, 51 J Jakešević, Gavro, 63,65,68 Jažić, Aida, 64 Jažić, Ammar, 64 Jeličanin, Milan, 63,67,68,86,102 Jež, Jakob, 216 Jiránek, Josef, 60 Jungić, Beluš, 60,61 К Kačerovski, Bogomir, 58,279,284 Kállay, Benjamin von, 57 Kam, Dennis, 229 Kaplan, Josip, 60
296 ļ Karača, Igor, 63 Karađorđević, Aleksandar, 59 Kelemen, Milko, 216,217 Kézié, Aldo, 63,67,68 Klementi, Artur, 66,68 Komadina, Vojin, 8,63,64,66,68,86,89, 90,94,97,98,99,102,103,104,105, 160, 184, 185, 186, 187, 215, 216, 217, 230, 242, 243, 244, 245, 246, 247, 248, 249, 250, 251, 252, 253, 256, 257, 258, 265, 266, 270, 271, 272, 275, 277, 285, 289,290 Křenek, Eduard Edo, 60 Kuševicki, Sergej, 51 L Lamartine, Alphonso de, 249 Lavrin, Anton, 63,67,68 Lhotka, Fran, 161 Ligeti, György Sándor, 158,216,233 Lisinski, Vatroslav, 60 Liszt, Franz, 40,41,48,249 Logar, Mihovil, 184 Lucier, Alvin, 229 Ludvig Pečar, Nada, 8,63,66,68,86,102,104,189,190,193,195,196,197,198, 265, 271 285,289 Lukinič, Alexandr, 60 Lutosławski, Witold, 124,158,184,199 Μ Magdié, Josip, 8,11,63,64,67,68, 86, 87,99,105,106,124,159,215, 216,217, 219, 220,221, 222, 223,224,227,229, 241,246,266,269,278, 285,299 Mahler, Gustav, 9,23,45,46,47,48, 51, 52, 59,111,145,154,164,280,281 Majer, Josip, 60,61,65 Mallarmé, Stéphane, 249 Martini, Giovanni Battista, 27 Martinů, Bohuslav, 52 Marx, Adolf Bernhard, 28 Mastikosa, David, 64,244 Matějovský, František, 58,60,65 Matějovský, Mara, 58 Mattheson, Johann, 25,248 Mažar, Vlado, 161
I 297 Mehmedovič, Muhamed, 143 Mendelssohn Bartholdy, Felix, 44,46,60 Menšik, Klemens, 60 Milhaud, Darius, 49 Miličevič, Mladen, 8,11, 63, 67, 68, 86, 87, 88, 89, 99,105, 215, 216, 218, 229, 230,231,232,235,237,239,266,269,279,285,290 Miloševič, Vlado, 8,61,64,65,68,71,76,78,80,81,86,92,94,96,99,100,102, 103, 123, 125, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 175, 177, 178, 180, 182, 183, 184, 241, 244, 246, 265, 269, 271, 272, 276, 279,280,282,284,285,289 Monn, Georg Matthias, 28 Moor, Karel, 60 Mozart, Wolfgang Amadeus, 26,33,34,35,37,38,248,278 Mrazović Preindlsberger, Milena, 58 N Nielsen, Carl, 46,48,49,273 Nuić, Rada, 63,244,280 О Obradovič, Aleksandar, 217,281 Oljača, Mladen, 161,162 Osmanagić, Jasmin, 63 Osmič, Jasmin, 64 Osterc, Slavko, 158 P Palo, Nerina, 64 Papandopulo, Boris, 63,67,68 Paržik, Dragutin Karlo, 59 Pärt, Arvo, 53,241 Penderecki, Krzysztof, 52,184 Petrič, Ivo, 216 Pientä, Karlo, 58 Pignon, Paul, 217 Plecity, Jaroslav, 60 Pordes, Alfred, 61 Pozajić, Mladen, 63,65,68,189,281,282,285 Prebanda, Milan, 61,63,92 Prokofjev, Sergej, 51,52
298 ļ R Radica, Ruben, 63 Radovanovič, Vladan, 187,217,276 Ramovš, Primož, 158 Ravel, Maurice, 51 Respighi, Ottorino, 51 Rešidbegović, Dino, 63 Richter, Franz Xaver, 29 Rihtman, Cvjetko, 61,65,68,92,94,95,282 Romanic, Teodor, 220,244 Rosenberg-Ružić, Vjekoslav, 161 Roussel, Albert, 51 Rožđalovski, Josef, 60 Rufer, Josef, 126 S Sakač, Branimir, 158,217 Sammartini, Giovanni Battista, 27 Scarlatti, Alessandro, 25,26 Schaeffer, Pierre, 158,217 Scheidt, Samuel, 25 Schnittke, Alfred, 241 Schönberg, Arnold, 49,51,59,108,126,158,159,248,282 Schubert, Franz, 42,43 Schumann, Robert, 45,280 Schütz, Heinrich, 24 Sekulič, Dara, 124 Sessions, Roger, 51 Sibelius, Jean, 46,48,49,51 Sijarić, Ališer, 63 Smailović, Avdo, 8,63,64,66,68,71,84,85,86,99,100,102,103,104,123,124, 125, 142, 143, 144, 145, 146, 147, 148, 149, 151, 152, 153, 154, 155, 156, 246, 265,270,278,282, 285, 289 Sondheimer, Peter, 111 Spaun, Joseph von, 42 Spasič, Radivoj, 144,282 Srebotnjak, Alojz, 216 Stahuljak, Mladen, 63,66,68,94,276 Stamitz, Jan Václav, 23,29
ļ 299 Stamitz, Carl, 29 Stamitz, Anton, 29 Stefanovič, Dimitrije, 161,283 Stibilj, Milan, 216 Stockhausen, Karlheinz, 158,216 Strauss, Richard, 46,48 Stravinski, Igor, 51,52,108,127,283 Sulzbach, Carl Iheodor von, 29 Suzin, Albert, 58 Š Šantić, Aleksa, 58,284 Šaula, Đorđe, 164 Šehu, Bashkim, 126 Škerjanc, Lucijan Marija, 142,189,219 Škerl, Danijel, 63,67,68 Šostakovič, Dmitrij, 52 Špiler, Miroslav, 8, 63, 64, 66, 68, 71, 73, 75,103,108,123,125,126,127,128, 129,130,132,135,139,140,142,156,189,199,265,271, 275,285,289 T Tahiri, Ramiz, 244 Tanjejev, Sergej Ivanovič, 111 Trudič, Božidar, 63,67,68,142,158,184 Tuček, Alfred, 66,68 U Unger, Max, 60,61 V Vancaš, Josip, 59 W Wagenseil, Georg Christoph, 28 Wagner, Richard, 23,34,40,42,45,46,284 Webern, Anton, 86,108 Williams, Ralph Vaughan, 49 Z Zlatić, Slavko, 158 Zonič, Edin, 63 |
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| era | Geschichte 1950-2010 gnd |
| era_facet | Geschichte 1950-2010 |
| format | Thesis Book |
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| geographic | Bosnien-Herzegowina (DE-588)4088119-2 gnd |
| geographic_facet | Bosnien-Herzegowina |
| id | DE-604.BV048414313 |
| illustrated | Illustrated |
| index_date | 2024-07-03T20:26:03Z |
| indexdate | 2024-07-10T09:37:33Z |
| institution | BVB |
| isbn | 9789958689284 |
| language | Bosnian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033792720 |
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| physical | 299 Seiten Notenbeispiele |
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| spelling | Bosnić, Amra 1979- Verfasser (DE-588)1264417403 aut Simfonijska muzika u Bosni i Hercegovini Amra Bosnić Sarajevo Muzička akademija Univerziteta, Institut za muzikologiju 2021 299 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Tiraž 200. - Literaturverzeichnis Seite 269-285 Magisterarbeit Univerzitet u Sarajevu, Muzička akademija, Teoretsko-pedagoški odsjek 2010 Überarbeitete Buchhandelsausgabe Englische Zusammenfassung Geschichte 1950-2010 gnd rswk-swf Sinfonie (DE-588)4055087-4 gnd rswk-swf Bosnien-Herzegowina (DE-588)4088119-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Bosnien-Herzegowina (DE-588)4088119-2 g Sinfonie (DE-588)4055087-4 s Geschichte 1950-2010 z DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792720&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792720&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792720&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033792720&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | Bosnić, Amra 1979- Simfonijska muzika u Bosni i Hercegovini Sinfonie (DE-588)4055087-4 gnd |
| subject_GND | (DE-588)4055087-4 (DE-588)4088119-2 (DE-588)4113937-9 |
| title | Simfonijska muzika u Bosni i Hercegovini |
| title_auth | Simfonijska muzika u Bosni i Hercegovini |
| title_exact_search | Simfonijska muzika u Bosni i Hercegovini |
| title_exact_search_txtP | Simfonijska muzika u Bosni i Hercegovini |
| title_full | Simfonijska muzika u Bosni i Hercegovini Amra Bosnić |
| title_fullStr | Simfonijska muzika u Bosni i Hercegovini Amra Bosnić |
| title_full_unstemmed | Simfonijska muzika u Bosni i Hercegovini Amra Bosnić |
| title_short | Simfonijska muzika u Bosni i Hercegovini |
| title_sort | simfonijska muzika u bosni i hercegovini |
| topic | Sinfonie (DE-588)4055087-4 gnd |
| topic_facet | Sinfonie Bosnien-Herzegowina Hochschulschrift |
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