Надежда Мосусова

Путеви српске музике од 1919. до 1944. године

Introduction

Путеви српске музике од 1919. до 1944. године. Рад приказује развој српске музике (1919-1944) у европском контексту, истражујући естетике космополитизма, национализма, традиције и авангарде, уз значајне премијере.

Abstract

У раду су приказани основни токови развоја српске музике у назначеном периоду, сагледани и у контексту европских тенденција. Указује се на различите естетске погледе по питању космополитизма и национализма, традиционалног и авангардног у српској музици. Наглашен је значај премијерног извођења у Београду великих дела светског репертоара, као што је опера Борис Годунов Модеста Мусоргског.

Review

This paper, titled "Paths of Serbian Music from 1919 to 1944," outlines a comprehensive historical survey of the primary developments within Serbian music during the designated period. The abstract effectively conveys the article's aim to present the essential currents that shaped this era, crucially framing them within the broader context of contemporary European musical tendencies. This contextualized approach is particularly commendable, suggesting a detailed exploration of how Serbian musical identity evolved in response to, and in dialogue with, significant international artistic movements. A significant strength highlighted in the abstract is the paper's intention to delve into the differing aesthetic perspectives prevalent at the time. It promises to explore the dynamic interplay between cosmopolitan and nationalist sentiments, as well as the tension between traditional and avant-garde approaches within Serbian musical output. Such an analysis is vital for understanding the complex ideological and stylistic debates that informed artistic creation during this pivotal period. Furthermore, the abstract notes the importance of premiere performances of major international works in Belgrade, such as Modest Mussorgsky's "Boris Godunov," indicating a focus on cultural exchange and the reception of global influences within the local musical landscape. In conclusion, this article appears to be a valuable and insightful contribution to the field of music history. By meticulously tracing the developmental trajectories and examining the multifaceted aesthetic discussions, the author offers a nuanced perspective on a crucial period in Serbian music. The dual emphasis on internal stylistic debates and external influences, coupled with concrete examples of cultural reception, suggests a well-researched and thoughtfully constructed study. This work will undoubtedly appeal to scholars interested in music history, cultural studies, and the intricate processes of national musical identity formation within a broader European context.

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