Zlata Marjanović – Prikaz Trećeg ICTM Simpozijuma Studijske grupe Multipart Music u Budimpešti (12-16. 09. 2013)

 
 
 

Zlata Marjanovic

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Prikaz Trećeg ICTM Simpozijuma
Studijske grupe Multipart Music u Budimpešti

 

Između 12. i 16. septembra 2013. godine je pri Institute for Musicology Research Centre for the Humanities of the Hungarian Academy of Scienses u Budimpešti održan Treći ICTM Simpozijum Studijske grupe Multipart Music.

 

Budimpešta 1

 

Teme skupa su bile 1. Scholarly terminology and local musical practice (Naučna terminologija i lokalna praska), 2. Individualists in company (Pojedinci u društvu) i 3. The role of educated musicians and missionaries in local music practices (Uloga obrazovanih muzičara i misionara u lokalnoj muzičkoj praksi). Na skupu su učestvovali etnomuzikolozi iz raznih i mnogih zemalja.

 

Budimpešta 2

 

Program skupa:

 

Thursday, September 12, 2013

09:00 – 09:30 Opening Ceremony

Welcome addresses and introduction to the contents of the symposium

09:30 – 11:00 Session I

Scholarly terminology and local musical practice

Ulrich MORGENSTERN (Austria)  Phonic Contrast, Harmonic Accents, Rhythm of Texture. Multipart Folk Instrumental Practice as a Challenge to Musicological Terminology.

Žanna PÄRTLAS (Estonia) Between Local and International, Folk and Scholarly Terminology: The Case of Traditional Russian Multivoiced Singing

Larry Francis HILARIAN (Singapore) The Use of Scholarly Terminology and Concepts in the Understanding Local Musical Practices, Through the Performance of the Malay-Lute (Gambus)

11:00 – 11:30 Coffee and Tea Break

11:30 – 13:00 Session II

Individualists in company I

Lujza TARI (Hungary) Researching individuality in Hungarian instrumental folk music

Ignazio MACCHIARELLA (Italy) “For those who have ears to hear.” Individual signatures in Sardinian multipart singing.

Enrique CÀMARA DE LANDA (Spain) A musician operating in several areas: Roberto Scarlato and vocal and instrumental polyphony in Argentina today

13:00 – 15:00 Lunch Break

15:00 – 16:30 Session III

Individualists in company II

Fulvia CARUSO (Italy) The “Canzonetta in lode alla Santissima Trinità” between tradition and innovation

Marco LUTZU (Italy) Shaping the ritual. The role of individual choices in the definition of the musical structure of the Oro cantado (Cuba).

Gianni BELLUSCIO (Italy) and Oliver GERLACH (Germany) Multipart singing of the Italo-Albanian communities in Calabria

19:30 – 21:00 Musical evening

 

Friday, September 13, 2013

09:00 – 11:00 PANEL

New “traditions” invented by educated musicians, scholars and missionaries

Chair: Gerda LECHLEITNER (Austria) Nona LOMIDZE (Austria/Georgia) Georgian folk music – changes in tradition through professionalization?

Paolo BRAVI (Italy) Training, cultural values and the shaping of the voice in the Sardinian a sa nuoresa choirs

Cristina GHIRARDINI (Italy) Francesco Balilla Pratella and choral singing in Romagna

Gerda LECHLEITNER (Austria) Zulu recordings from 1908: a conflict between “tradition” and “modernity”

11:00 – 11:30 Coffee and Tea Break

11:30 – 13:00 Session IV

The role of educated musicians and missionaries in local music practices I

Anda BEITĀNE (Latvia) Who influences whom? Educated musicians and their influence on local multipart music practice in Eastern Latvia.

Daiva RAČIŪNAITö-VYČINIENö (Lithuania) The impact of education on the practice of sutartin÷s in the 20th century

Anne CAUFRIEZ (Belgium) The current practice of “traditional” music on Porto Santo island (Madeira)

13:00 – 15:00 Lunch Break

15:00 – 16:30 Session V

The role of educated musicians and missionaries in local music practices II

Jean-Jacques CASTÉRET (France) The royal VIth tone’s institutions of transfer: Multipart singing and education in traditional western Pyrenean society.

Renato MORELLI (Italy) Christmas carols in northern Italy, between printed sources and oral transmission.  The role of saints, monks and priests in the diffusion of the repertoire.

Constantin SECARĂ (Romania) Romanian Christmas Carols in Byzantine Style. The Tradition of Monody and Ison  (Isokratema), between Written Sources and Oral Transmission.

16:30 – 17:00 Coffee and Tea Break

17:00 – 18:00 General Assembly of the ICTM Study Group on Multipart Music

19:30 – 21:00 Music and Dance

 

SATURDAY, September 14, 2013

09:00 – 10:30 Session VI

The role of educated musicians and missionaries in local music practices III

Pál RICHTER (Hungary) Monophony in Multipart Instrumental Hungarian Folk Music

Amra TOSKA (Bosnia and Herzegovina) Etnoakademik: Reinterpretations of musical traditions

Guido B. RASCHIERI (Italy) Multipart music in the contemporary vocal and instrumental tradition of north-western Italy

10:30 – 11:00 Coffee and Tea Break

11:00 – 12:30 Session VII

The role of educated musicians and missionaries in local music practices IV

Catherine INGRAM (Australia) The roles of individual singers within the Kam people’s “big song” choral singing in  southwestern China

Wei-Ya LIN (Austria) The relationship between the practices of traditional singing and church hymns in the society of the Tao (an indigenous ethnic group in Taiwan)

Ieva PĀNE (Latvia) The influence of creative persons on the natural course of traditional multipart singing in the village of Bārta

12:30 – 15:00 Lunch Break

15:00 – 17:00 Workshop: Yodeling

19: 00 – Open end: Informal get-together

 

SUNDAY, September 15, 2013: Excursion

 

MONDAY, September 16, 2013

09:00 – 10:30 Session VIII

The role of educated musicians and missionaries in local music practices VI

Tamaz GABISONIA (Georgia) The known examples of personal influence on Georgian musical tradition

Zlata MARJANOVIĆ (Serbia) The ethnomusicologist on fieldwork: an educated outsider or compatriot-by-music practice?

Katalin LÀZÀR (Hungary) Polyphony in the vocal traditional music of peoples with Finno-Ugrian languages

10:30 – 11:00 Coffee and Tea Break

11:00 – 13:00 Session IX

The role of educated musicians and missionaries in local music practices VII

János SIPOS (HUNGARY) Traces of multipart music in some Turkic-speaking communities

Eno KOÇO (UK/Albania) Music of the Albanian Orthodox Church and its local practices

Kata RISKÓ (Hungary) Towards multipart music – embourgeoisement and new musical ideals in the Northwestern region of Hungarian folk music

Lana ŠEHOVIĆ-PAĆUKA (Bosnia and Herzegovina) A Bosnian musical adventure of the Hungarian composer Julius Gyula Major

13:00 – 15:00 Lunch Break

15:00 – 16:30 Final discussion and closing ceremony

 

***

 

Crnogorsku muzičku tradiciju je 16. septembra, a u okviru teme The role of educated musicians and missionaries in local music practices predstavila svojom prezentacijom dr etnomuzikologije Zlata Marjanović, pod nazivom The ethnomusicologist on the fieldwork: an educated outlander or compatriot-by-music practice? (Etnomuzikolog na terenu: obrazovani stranac ili rođak-po-muzičkoj-praksi?).

U svojoj prezentaciji autorka je pratila neke od načina na koje narodna muzička tradicija delova Crnogorskog primorja sa zaleđem reaguje na kulturne uticaje različitog porekla.  To se najčešeće dešava delovanjem obrazovanih stručnjaka različitih profesija (putem elektronskih medija, na primer), između ostalih, i zahvaljujući terenskom istraživanju etnomuzikologa.

Iako autorka nije rodom sa Crnogorskom primorja i iako na ovom području ne živi, sticajem različitih okolnosti se desilo da, kao etnomuzikolog, počev od 1987. godine, istražuje muzičku prasku pomenute oblasti. Sasvim neočekivano, i bez ikakve namere, istraživanje autorke je uticalo na lokalnu prasku, manifestujući se kao jedna vid modernizacije tradicije.

Kroz odgovarajuće primere muzičke prakse Grbljana i Paštrovića, autorkina prezentacija je pokazala koji su se sve uticaji i posledice njenog terenskog istraživanja odrazili na lokalnu muzičku praksu.

 

Terensko istrazivanje - 1

 

Sa jedne strane, autorka je mišljenja da se većina ovih uticaja veoma pozitivno odrazilo na muzičku tradiciju pomenutih oblasti. Ovi uticaji su čak dali lokalnoj tradiciji novu snagu, oni su je obogatili, osvežili i produžili joj život. Ovi uticaji su čak doprineli tome da se stara muzička tradicija predstavi u – novom, modernijem i među Grbljanima i Paštrovićima mnogo popularnijem svetlu.

 

Terensko istrazivanje - 2

 

Sa druge strane, autorka istražuje da li je njen terenski rad ostavio posledice – i u obrnutom smeru? Da li se njena konstantna komunikacija sa kazivačima iz Grblja i Paštrovića odrazila na nju samu, kao etnomuzikologa? Ili je u nekim delovima njenog terenskog istraživa prevagnula određena subjektivnost, umesto nužne i očekivane objektivnosti, poput, na primer, veće sklonosti ka nekom od stilova muziciranja ili ka određenoj grupi izvođača? Da li, takođe, postoje još neka muzička „polja“ koja autorka nije istražila? I, naposletku, da li je svojim dugogdišnjim terenskim istraživanjima navedenih oblasti autorka i dalje ostala stranac za lokalno stanovništvo, ili je nenamernim, ali svakako evidentno izvršenim uticajima, autroka postala deo lokalne muzičke prakse istraživanog područja?

 

Budimpešta 3

 

Zlata Marjanović

The ethnomusicologist on the fieldwork: an educated outlander or compatriot-by-music practice?

This paper will trace some of the ways in which the folk music practice of Montenegro coast with its hinterland has responded to the cultural impacts of different origin. These impacts come mostly from a variety of experts (from electronic media etc), but especially through the activity of ethnomusicologists.

Although I am not a native in the Montenegrin coast with its hinterland and even though I do not live there, it happened that as ethnomusicologist, I research music practice of mentioned area for almost three decades (from 1987). Quite unexpectedly and without any intention, my research has affected on the local practice (which is mostly manifested as a kind of modernization of tradition).

Trough the adequate examples, this paper will show what the impacts and consequences my fieldwork had in local music practice. On the one hand, and in my opinion, most of these impacts did not reflect negatively on the music practice of Montenegro coast. On the contrary, they are giving to this practice a new power, they enriched, refreshed and prolong its life. In short, these impacts helped old meaning of music tradition to shows in a new light. On the other hand, did my research have consequences — in the reverse direction? Is my continuous communication with people of the Montenegrin coast and Hinterland reflected on me, in the role of the ethnomusicologist? In this sense, have I always been, and remain objective as a researcher? Or in my research outweighed my personal musical preferences (for example, for a certain style of music or a particular group of performers) – inspired by the beautiful and rich music tradition of Montenegrin coast? Are there „fields” which I have not yet explored? And finally, do I still remain just an outlander, or, by my unintentional, but committed influences, I became part of the local tradition?