TY  - JOUR
AU  - Vasić, Aleksandar
PY  - 2013
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/1021
AB  - Between the two World Wars, in Belgrade and Serbia, seven musical jour­
nals were published: “Musical Gazette” (1922), “Music” (1928–1929), “Herald 
of the Musical Society Stanković” (1928–1934, 1938–1941; renamed to “Mu­
sical Herald” in january 1931), “Sound” (1932–1936), “Journal of The South 
Slav Choral Union” (1935–1936, 1938), “Slavic Music” (1939–1941) and “Music 
Review” (1940). The influence of marxism can be observed in “Musical Her­
ald” (in the series from 1938), “Sound” and “Slavic Music”.
A Marxist influence is obvious through indications of determinism. Name­
ly, some writers (Dragutin Čolić) observed elements of musical art and its 
history as (indirect) consequences of sociopolitical and economic process­
es. Still, journals published articles of domestic and foreign authors who in­
terpreted the relation between music, society and economy in a much more 
moderate and subtle manner (D.Cvetko, A.Schering).
Editors and associates of these journals also had proscriptive ambitions – 
they recommended and even determined regulations for composers about 
what kind of music to write according to social goals and needs. According 
to tendencies in Marxism, there was a follow up of musical work in the So­
viet Union. Editors tried not to be one-sided. There were writings about the 
USSR by left orientated associates as much as emigrants from that country, 
and articles of Soviet authors were translated. Also, there were critical tones 
about musical development in the first country of socialism. 
Serbian musical periodicals recognized the enormous threat from fascism. 
Also, there were articles about influence of Nazi ideology and dictatorship 
on musical prospects in Germany. Since Germany annexed Sudetenland 
in 1938, “Musical Herald” expressed support to musicians and people of 
that friendly country by devoting the October and November 1938 issue to 
Czechoslovak music, along with an appropriate introduction by the editor, 
Stana Đurić-Klajn.
T2  - Filozofija i društvo/Philosophy and Society
T1  - Marksizam i društvenopolitički angažman u srpskoj muzičkoj periodici između dva svetska rata
T1  - Marxism and Sociopolitical Engagement In Serbian  Musical Periodicals between the Two World Wars
SP  - 212
EP  - 235
DO  - 10.2298/FID1303212V
ER  - 

@article{
editor = "Jovanov, Rastko",
author = "Vasić, Aleksandar",
year = "2013",
abstract = "Between the two World Wars, in Belgrade and Serbia, seven musical jour­
nals were published: “Musical Gazette” (1922), “Music” (1928–1929), “Herald 
of the Musical Society Stanković” (1928–1934, 1938–1941; renamed to “Mu­
sical Herald” in january 1931), “Sound” (1932–1936), “Journal of The South 
Slav Choral Union” (1935–1936, 1938), “Slavic Music” (1939–1941) and “Music 
Review” (1940). The influence of marxism can be observed in “Musical Her­
ald” (in the series from 1938), “Sound” and “Slavic Music”.
A Marxist influence is obvious through indications of determinism. Name­
ly, some writers (Dragutin Čolić) observed elements of musical art and its 
history as (indirect) consequences of sociopolitical and economic process­
es. Still, journals published articles of domestic and foreign authors who in­
terpreted the relation between music, society and economy in a much more 
moderate and subtle manner (D.Cvetko, A.Schering).
Editors and associates of these journals also had proscriptive ambitions – 
they recommended and even determined regulations for composers about 
what kind of music to write according to social goals and needs. According 
to tendencies in Marxism, there was a follow up of musical work in the So­
viet Union. Editors tried not to be one-sided. There were writings about the 
USSR by left orientated associates as much as emigrants from that country, 
and articles of Soviet authors were translated. Also, there were critical tones 
about musical development in the first country of socialism. 
Serbian musical periodicals recognized the enormous threat from fascism. 
Also, there were articles about influence of Nazi ideology and dictatorship 
on musical prospects in Germany. Since Germany annexed Sudetenland 
in 1938, “Musical Herald” expressed support to musicians and people of 
that friendly country by devoting the October and November 1938 issue to 
Czechoslovak music, along with an appropriate introduction by the editor, 
Stana Đurić-Klajn.",
journal = "Filozofija i društvo/Philosophy and Society",
title = "Marksizam i društvenopolitički angažman u srpskoj muzičkoj periodici između dva svetska rata, Marxism and Sociopolitical Engagement In Serbian  Musical Periodicals between the Two World Wars",
pages = "212-235",
doi = "10.2298/FID1303212V"
}

Jovanov, R.,& Vasić, A.. (2013). Marksizam i društvenopolitički angažman u srpskoj muzičkoj periodici između dva svetska rata. in Filozofija i društvo/Philosophy and Society, 212-235.
https://doi.org/10.2298/FID1303212V

Jovanov R, Vasić A. Marksizam i društvenopolitički angažman u srpskoj muzičkoj periodici između dva svetska rata. in Filozofija i društvo/Philosophy and Society. 2013;:212-235.
doi:10.2298/FID1303212V .

Jovanov, Rastko, Vasić, Aleksandar, "Marksizam i društvenopolitički angažman u srpskoj muzičkoj periodici između dva svetska rata" in Filozofija i društvo/Philosophy and Society (2013):212-235,
https://doi.org/10.2298/FID1303212V . .

TY  - JOUR
AU  - Vesić, Ivana
PY  - 2012
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/606
AB  - Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci’s thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci’s theory as well as the critical review of the application of its main concepts in the existing body of research on music.
T2  - Filozofija i društvo/Philosophy and Society
T1  - Tumačenje umetničkih praksi u diskursu Antonija Gramšija. Ka konstruisanju gramšijevske analize muzike u modernim i postmodernim društvima
T1  - The Interpretation of Artistic Practices in Gramsci’s Discourse : Towards the Gramscian Analysis of Music of Modern and Postmodern Times
SP  - 274
EP  - 291
DO  - 10.2298/FID1203274V
ER  - 

@article{
editor = "Milidrag, Predrag",
author = "Vesić, Ivana",
year = "2012",
abstract = "Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci’s thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci’s theory as well as the critical review of the application of its main concepts in the existing body of research on music.",
journal = "Filozofija i društvo/Philosophy and Society",
title = "Tumačenje umetničkih praksi u diskursu Antonija Gramšija. Ka konstruisanju gramšijevske analize muzike u modernim i postmodernim društvima, The Interpretation of Artistic Practices in Gramsci’s Discourse : Towards the Gramscian Analysis of Music of Modern and Postmodern Times",
pages = "274-291",
doi = "10.2298/FID1203274V"
}

Milidrag, P.,& Vesić, I.. (2012). Tumačenje umetničkih praksi u diskursu Antonija Gramšija. Ka konstruisanju gramšijevske analize muzike u modernim i postmodernim društvima. in Filozofija i društvo/Philosophy and Society, 274-291.
https://doi.org/10.2298/FID1203274V

Milidrag P, Vesić I. Tumačenje umetničkih praksi u diskursu Antonija Gramšija. Ka konstruisanju gramšijevske analize muzike u modernim i postmodernim društvima. in Filozofija i društvo/Philosophy and Society. 2012;:274-291.
doi:10.2298/FID1203274V .

Milidrag, Predrag, Vesić, Ivana, "Tumačenje umetničkih praksi u diskursu Antonija Gramšija. Ka konstruisanju gramšijevske analize muzike u modernim i postmodernim društvima" in Filozofija i društvo/Philosophy and Society (2012):274-291,
https://doi.org/10.2298/FID1203274V . .