scholarly journals Karlovac chant between tradition and innovation

2021 ◽  
pp. 207-223
Author(s):  
Dragan Askovic
Keyword(s):  
Necessary Conditions ◽  
Liturgical Music ◽  
The Balkans ◽  
Music Transcription ◽  
Musical Tradition ◽  
The Great Migration ◽  
Western European ◽  
Musical Achievement ◽  
Basic Characteristics ◽  
Musical Heritage

Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.

The Great Migration and Individual Travels: Precursors of Serbian Modernity?

2019 ◽  
pp. 150-169
Author(s):  
Dragana Grbić
Keyword(s):  
Eighteenth Century ◽  
Great Migration ◽  
The Balkans ◽  
The Enlightenment ◽  
South Slavs ◽  
The Great Migration ◽  
Early Eighteenth Century ◽  
Western European ◽  
European Thought

This chapter situates the travels of Dimitrije Dositej Obradović in the context of the late seventeenth- and early eighteenth-century Serbian Great Migration, which facilitated the dissemination of Western European thought throughout Serbia. Obradović’s travels typified this process. As a young man, he fled from a monastery and spent much of his life traveling through Germany, France, Italy, England and elsewhere in Europe. He paid his way by teaching languages, and when he returned home, he translated European works into the Serbian vernacular. His oeuvre brought the Enlightenment thought of Voltaire, Leibniz, and Kant to Serbian literature and introduced readers to the works of Fénelon, Rousseau, and Marmontel. Obradović’s writings, particularly his autobiography, not only shaped eighteenth-century Serbian culture, but also influenced South Slavs, Greeks, and Romanians in the Balkans. .

Problematic Terminology in a Tentative Research Methodology for the Visual Culture of the Balkans

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 67-78
Author(s):  
Anita Paolicchi ◽  
◽  
Keyword(s):  
Visual Culture ◽  
Eastern Europe ◽  
Research Methodology ◽  
Eastern European ◽  
The Balkans ◽  
South Eastern ◽  
South Eastern Europe ◽  
Methodological Problems ◽  
Western European ◽  
Interpretative Framework

"The aim of this paper is to highlight and briefly discuss some of the most problematic terms and concepts that recur in art historiography: for example, the words Byzantine, post-Byzantine, Eastern, Western and Local. These concepts are used in a misleading way not only by American and Western European authors, but also by Eastern and South-Eastern European ones: in fact, the “Balkan” art historiography based itself on the Western-European one, adopting its periodisation, terminology and interpretative framework, which led to a number of methodological problems that researchers are now trying to identify, discuss and, if possible, solve. Keywords: art historiography, South-Eastern Europe, silverwork, Byzantium. "

Epistemological eclecticism: Difference and the ‘Other’ in the Balkans and beyond

2017 ◽  
Vol 18 (1) ◽  
pp. 106-128 ◽  
Author(s):  
Čarna Brković
Keyword(s):  
20Th Century ◽  
Knowledge Production ◽  
The Other ◽  
Critical Reading ◽  
The Balkans ◽  
Production Of Knowledge ◽  
The Status ◽  
Background Assumption ◽  
Western European ◽  
19Th And 20Th Century

This article's concern is epistemological in that it seeks understanding of the nature of ethnographic knowledge production. Its background assumption is that decolonization of anthropology requires decolonization of anthropological epistemology. The article argues that anthropology is not so much a study of the ‘Other’, but an effort to acquire knowledge by translating across some sort of socio-historically established difference. Anthropologists do not acquire knowledge necessarily by translating between modern, Western European, and non-modern, ‘Other’ conceptual arrangements. Instead, the anthropological production of knowledge requires an effort to figure out the relevant differences and similarities between an anthropologist, their interlocutors, and their audiences, as well as a translation across these differences and similarities. In order to demonstrate this point, the article focuses on 19th- and 20th-century ethnographic discussions of rural joint families called zadruga in the Balkans. Through a critical reading of two works on zadruga, it demonstrates that anthropologists in the Balkans were epistemologically eclectic, in that they could make use of strategies of both ‘anthropology abroad’ and ‘auto-anthropology’, or combine and reverse them. While this instance of epistemological eclecticism is the result of widespread uncertainties concerning the status of the ‘modern’ and the ‘non-modern’ as organizational categories in the Balkans, it has direct implications for the production of anthropological knowledge generally.

The Western European Union (WEU)

2019 ◽  
Author(s):  
Maxime H. A. Larivé
Keyword(s):  
European Union ◽  
Security Policy ◽  
Defense Policy ◽  
The European Union ◽  
European Security ◽  
Gulf Region ◽  
European Continent ◽  
The Balkans ◽  
Western European ◽  
The Eu

This empirical and historical analysis of the Western European Union (WEU), an intergovernmental defense organization, contributes to the broader understanding of the construction and integration of European security and defense policy. The WEU was established in 1954 by the Modified Brussels Treaty after the failure of the European Defense Community and at the time of the construction of the North Atlantic Treaty Organization (NATO). Over its lifetime, the WEU was confronted by two major trends: the centrality of collective defense agreement providing security on the European continent enforced by NATO and the construction of a European security and defense policy within the broad integration process of the European Union (EU). The WEU provided a platform for Western European powers, particularly France, the United Kingdom, and Germany, to engage in the construction of a European defense. Historically, these countries had diverging visions ranging from an autonomous force to one that should remain under the NATO auspice. The end of the Cold War accelerated the transfer of the WEU mission to the EU, but the crises in the Gulf region and in the Balkans in 1990s led to a period of activity for the WEU. The institutionalization of the EU, beginning with the 1992 Treaty of Maastricht, accelerated the construction of a European defense and security policy within EU structures. The transfer from the WEU to the EU began in the late 1990s and the WEU was dissolved in 2011.

Glinka in Soviet and Post-Soviet Historiography: Myths, Realities and Ideologies

2017 ◽  
Author(s):  
Daniil Zavlunov
Keyword(s):  
Personal Style ◽  
Musical Tradition ◽  
Western European ◽  
Soviet Historiography

The advent of glasnost’ prompted a reassessment of many aspects of Russia’s musical past, especially in regard of key figures such as the composer Mikhail Glinka. The revisionism that swept Glinka scholarship in Russia itself thereafter promised much: new and better understanding of Glinka and his music, investigation of previously forbidden topics and reassessment of the sources. Although recent Russian studies have sought to re-contextualise and to reappraise the composer’s life and works in relation to the Western European musical tradition, problematically, this revisionist scholarship tends to fall victim to the clichés that it would seek to avoid: Glinka’s divergence from selected models is generally attributed not to his personal style, but to his Russianness, forcing us to perpetuate the myth of Glinka’s musical uniqueness vis-à-vis his nationality.

The roots and manifestations of conflicts in Medieval Europe

2021 ◽  
Vol 2021 (03) ◽  
pp. 47-65
Author(s):  
Sergey Rybakov
Keyword(s):  
Western Europe ◽  
The Political ◽  
Practical Implementation ◽  
Great Migration ◽  
Ethical Problems ◽  
Medieval Europe ◽  
The Great Migration ◽  
Mental Space ◽  
Religious Factors ◽  
Western European

The article examines the nature of conflicts in medieval Western Europe. It is noted that the roots of Western European conflicts go back to the time of the Great migration of peoples. Ethno-cultural and Church-religious factors that directly or indirectly influenced the course and nature of conflicts are considered. Projects of secular and ecclesiastical authorities aimed at ousting conflicts from the political and mental space of Western Europe are presented; legal, ethno-cultural, moral and ethical problems that did not allow achieving success in the practical implementation of these projects are identified.

Nationalist Politics and the Dynamics of State and Civil Society in the Habsburg Monarchy, 1867–1914

2007 ◽  
Vol 40 (2) ◽  
pp. 241-278 ◽  
Author(s):  
Gary B. Cohen
Keyword(s):  
World War I ◽  
Civic Identity ◽  
Political Movements ◽  
World War ◽  
Habsburg Monarchy ◽  
The Balkans ◽  
European Experience ◽  
Political Forces ◽  
Western European ◽  
Locus Classicus

Historians have conventionally depicted the Habsburg Monarchy as the largest modern European imperial polity to disappear from the map because of its inability to accommodate the national aspirations of its peoples. It is the locus classicus for the failure of an old-fashioned dynastic empire to develop among its subjects a broader civic identity and loyalty to the state to counter the rise of nationalist demands for self-government. For later historians as well as many contemporary observers of the frequent internal crises after the 1890s, this was already a failed state even before World War I brought on the tragic denouement. In this perspective the monarchy's participation in the war was not a purely exogenous factor that led eventually to the polity's demise. Most scholars have agreed that the monarchy's entry into the war came largely because of its need to preserve its status as a Great Power, defend its position in the Balkans, and counter the challenges of its own nationalist political movements, some of them allied with political forces beyond the borders. Older western European and North American histories also tended to view nationalist politics in Habsburg central Europe, in contrast to western European experience, as an intolerant and ultimately anti-democratic force that helped doom hopes for parliamentary democracy both under the monarchy and in the post-1918 successor states.

The Sultan's Entrepreneurs: The Avrupa Tüccaris and the Hayriye Tüccaris in Syria

1992 ◽  
Vol 24 (4) ◽  
pp. 579-597 ◽  
Author(s):  
Bruce Masters
Keyword(s):  
Middle East ◽  
19Th Century ◽  
Political Influence ◽  
The Balkans ◽  
Western European ◽  
The 19Th Century ◽  
The Military ◽  
Arab Middle East

By the first quarter of the 19th century, foreigners and Ottomans alike were keenly aware that the sovereignty of the house of Osman was rapidly eroding. Austrian and Russian armies threatened the empire from without; ethnic revolts and secession beset it from within. Its occasional allies Britain and France ate away at its autonomy through growing economic and political influence. The military threats were apparent, but the Porte was less alert to the dangers its relationships with the Western European powers held for Ottoman hegemony over the peoples of the Balkans and the Arab Middle East.1

scholarly journals Specifics of the structure of the cycle and the musical form in the Concerto for Persian Ney and Orchestra «Toward That Endless Plain» by Reza Vali

2021 ◽  
Vol 59 (59) ◽  
pp. 185-201
Author(s):  
Ehsan Tavakkol
Keyword(s):  
Classical Music ◽  
Musical Form ◽  
Unusual Structure ◽  
Musical Tradition ◽  
Peculiar Form ◽  
Ternary Form ◽  
Form Part ◽  
Western European ◽  
Mosaic Form ◽  
Slow Tempo

The article considers the peculiarities of the structure of the cycle and the form of the Concerto for the Persian Ney with Orchestra «Toward That Endless Plain» by the modern Iranian-American composer of the XX–XXI centuries Reza Vali (b. 1952). It was found that the unusual structure and musical form of this Concert are manifested in the combination between traditional Western European principles of cycle composition with the principles of musical form each part that is characteristic of classical Iranian music. The cycle of the Concerto is three-part with additional sections. This model of a solo concerto has developed in the European musical tradition. However, due to the author’s program the structure of the cycle, in general, is extremely specific (Tavakkol, 2019: 271). It was found that the specifics of the structure of the cycle is the introduction of two additional sections, marked as “Prelude” (set out before Part I) and “Interlude” (placed between Parts II and III). It is established that each of the three parts and additional sections are set out in a peculiar form inherent in Iranian classical music: Parts I and III are composed in mosaic form, Part II is written in the form of nobats; “Prelude” and “Interlude” are created in Ternary form. It is revealed that the arched principle (the principle of symmetry) in the construction of the cycle is found between “Prelude” and “Interlude”, as well as between I and III parts. The alternation of tempo characteristics of the parts is revealed in the general composition of the cycle. The I and III parts have a slow tempo and the II part has a fast. (this kind of contrast between parts is not typical for the genre of a solo concert of Western European music). Two principles in the organization of the composition cycle and the form of individual parts are highlighted. It is proved that R. Vali’s choice of a specific composition of the cycle, the form of parts and additional sections, as well as the use of tempo of each part, is due to the concert program, which is a kind of interpretation of the meaning contained in the poem by S. Sepehri. The music of the work is closely connected with the program. All parts of the Concerto have titles in Persian and English, which are based on the postulates of mystical philosophy and Sufism. Prelude and Interlude, which are associated with images of the material world – aggression and war. In comparison with the saturated, solid sound of the Prelude and Interlude, the delicate sparsity of the three main parts of the cycle are meant to reveal the spiritual life of humanity (Tavakkol, 2020: 113–117).

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