Proučavanje srpske muzike između dva svetska rata - od teorijsko-metodološkog pluralizma do integralne muzičke istorije

This study deals with problems of an integral perception of Serbian music between the two World Wars across of synchronic and diachronic levels, aiming to begin resolution of the following question: What kind of musical history of that period, based on modern scientific principles, is needed and possible today? A part of this work is dedicated to theoretical-methodological aspects, and priority has been given to contextual studies. Many modern scientific approaches, based on various studies of the relationship between artistic text and context, stand as possible keys to researching Serbian music of the period. Certain views held by the historians and theoreticians of modern Serbian literature, who dealt with the 'historicism crisis' and came to very stimulating conclusions in resolving similar musicological questions, have also been pointed out. Contextual complexity, along with historical, formal-stylistic and aesthetic dimensions, also includes cultural-anthropological aspects of artistic creation in an epoch's culture can bring about consciousness of the totality of the musical-historical processes. There is an opinion that there is no omni-valid musical history. Each era and each culture writes its own history according to its own historical and cultural consciousness criteria. The history has to be open to different approaches and methodological procedures so that a modern model including historical and theoretical-aesthetic and comparative studies, can be reached. A greater of this work is dedicated to concrete suggestions and steps in integral perception of Serbian inter-war music: from a contemporary comparative approach to interdisciplinary aspects (Serbian music in a national art context and Serbian music in an international music context), to a basis for a typology of Serbian inter-war musical opus. It has been emphasized that national and international phenomena correlate. Their mutual coordination can be achieved by establishing common study criteria. Existing analysis of modernistic epoch cultural dynamism has been chosen as a starting point in that direction. (Milan Radulović, Modernism and Serbian Idealistic Philosophy, Belgrade, 1989). One part of this text is dedicated to systematization of Serbian inter-war musical opus according to basic cultural models existing almost in parallel in Serbia at the beginning of the 20th century. It has been concluded that the dominant model was the one represented by a modern bourgeois culture. From this model, as a center of modernization, two synchronous paths can be seen. One led ahead, marked with avant-garde cultural concepts not entirely successfully realized. Actually this presented the final point of Serbian musical modernization. Along with it, there also were indications of a proletarian cultural program the expansion of which came immediately after the Second World War. A path backwards showed that inherited forms of patriarchal and rationalistic bourgeois culture were still present. But during the modernization, these forms experienced manifold transformations. The proposed systematization can serve as a starting-point for a more detailed classification of every basic cultural model variation. In that context, according to analysis of cultural dynamism in music, a plan for systematization of different types, defined in a range between high music art and mass musical culture, has also been given. In this text, numerous questions, unavoidable in this musical epoch, have been indicated. It has also been suggested to mark 1906-1908 as the point at which the modernization processes in Serbian music began. It has also been suggested to chose, among many names that could mark Serbian inter-war music and its time, one involving the term modernization such as Modernism or Moderna.Studija se bavi problemima integralnog sagledavanja srpske međuratne muzike u jedinstvu sinhronijske i dijahronijske ravni, s krajnjim ciljem da se pokrene rešavanje jednog aktuelnog pitanja: kakvu je muzičku istoriju ovoga doba zasnovanu na savremenim naučnim načelima, danas potrebno i moguće napisati? Deo rada je posvećen teorijsko-metodološkim aspektima, a prednost je data kontekstualnim izučavanjima. Zastupa se stav da muzička istorija treba da bude otvorena za različite pristupe i metodološke postupke, kako bi došla do savremenog modela koji obuhvata i istorijska i teorijsko-estetička i komparatistička proučavanja. Predloženo je da analiza kulturnog dinamizma posluži kao jedna od zajedničkih osnova u izučavanju različitih aspekata muzike u kulturi epohe