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Muzikologija  2004 

Music in Serbian literary magazine and Yugoslav ideology

DOI: 10.2298/muz0404039v

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Abstract:

It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine’s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojevi began to develop the idea of union with Slavs from the South in a critical analysis he rendered of their performance. Until the end of the first/old series, SLM highlighted a noticeable number of texts about Croatians and Slovenians: critical reviews of Croatian musical books, concerts of Slovenian artists in Belgrade, score editions of Slovenian music performances of instrument soloists from Zagreb in Belgrade - as well as notes about the musical work of Croatian Academy (Yugoslav Academy of Sciences and Arts, Zagreb). Echoes of rare tours of Serbian musicians in South Slavs cultural centers did not go unheard, either. In the older series of the journal, lasting and two-fold relations had already begun to lean towards Yugoslav ideology. From one side, even before World War I, Yugoslav ideology in the Magazine was accepted as a program objective of Serbian political and cultural elite. On the other, the journal does not appear to have negotiated any of its aesthetic criterion when estimating musical events that came from Zagreb and Ljubljana to Belgrade - at least not "in the name of Yugoslav ideology". In later series of SLM, the Yugoslav platform was being represented as official ideological statehood of newly created Kingdoms of Serbs, Croats and Slovenians (1918), i.e., the Kingdom of Yugoslavia (1929). At that time, the Magazine had occasional literary cooperation from Croatian musical writers such as Lujo afranek-Kavi , Bo idar irola and Antun Dobroni . Their articles described activities of the Croatian National Theatre and evaluated new works of Croatian composers. But they were not at all remiss about acknowledging great masterpieces of European music being performed in Zagreb in their day, either. The works of Claude Debussy, Pelléas et Mélisande; Ludwig van Beethoven, Missa solemnis Richard Wagner, Lohengrin were also followed through reviews, albeit within a curious Croatian-paradigm of musical history which included musical and dramatic theatre from Ljubljana, Zagreb

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