Institute of Musicology

ABSTRACT Newly composed folk music (NCFM, Serbian: novokomponovana narodna muzika) as a genre of popular folk music in Serbia and Yugoslavia since its beginnings in the late 1960s is distinguished by its contrast with rural traditional folk music. Although it was regarded among cultural elite as “corrupted” folk music, and in some cases as kitsch, it was unequivocally accepted as a more progressive form of folk music among the target group – newly arrived emigrants from a countryside, who in that period came to bigger cities, as well as went abroad. Emigration continued in the 1990s, when emigrant population left the disintegrating Yugoslavia, but NCFM continued to live among the emigrants, also among those of non-Serbian origin. To this day, it has survived in various post-Yugoslav emigrant communities, parallel to choreographed folklore (i.e. arrangements of traditional folk music for a dance accompaniment) and contemporary forms of popular folk music (such as popfolk and trepfolk). In this article, two levels of nostalgic existence of the NCFM will be examined – associations to the homeland and to the past, and in particular it will be examined: whether the NCFM has become a cultural heritage of the diaspora, as well as whether this popular music (unintentionally?) became a Serbian/Yugoslav cross-border “soft power”? On the cases from field researches conducted in Türkiye and Hungary, we will approach to the NCFM applying the concept of dissontant heritage, questioning apostasy of this popular genre from official cultural identity politics and considering it as a living practice which serves as an identification tool in dynamic diaspora communities.

BackgroundBronchoscopy is a fundamental diagnostic and therapeutic examination with rare complications which is often associated to anxiety and discomfort.The aim of our study is to evaluate the effect of music on anxiety levels among patients undergoing bronchoscopy in the pneumology department.MethodsWe conducted a prospective, randomized, investigator-blinded, controlled trial performed in two university hospitals. The patients were randomized into two groups: experimental group who had preselected classic Tunisian music during bronchoscopy and control group who had bronchoscopy without music. we assessed anxiety level using Spilberger’s State Anxiety inventory (S-STAI) and comfort level using visual analogic scale (VAS). Vital signs and side effects during bronchoscopy were also assessed.ResultsOne hundred thirty-six patients were equally assigned into the two groups. the anxiety levels before and after bronchoscopy were similar into the two groups. The music had no effect on anxiety level using the S-STAI . There was no significant difference between the two groups regarding side effects and vital signs during bronchoscopy. There was a significant effect of music on mean change of VAS score (p = 0.018).ConclusionThe music improved comfort level of patients undergoing bronchoscopy.Trial registrationThis study was retrospectively registered in the pan African Clinical Trial Registry with the trial number PACTR202309620440045 on 3 September 2023.

completi sunt dies 1 LX.lam non dicam vos servos 30 LXV.

Heuristic research thus far conducted on the manuscript collection of Karol Plicka (1894-1987) has focused on the region of Central Považie in the north-west of Slovakia.Reconstruction of the song repertoire has shown that this collector documented almost 950 songs in total, in 24 localities of this region.The article completes the identification of the regional song corpus with a treatment of the manuscript and published records from the locality of Vieska-Bezdedov (today part of the town of Púchov).Plicka conducted field work in this locality at the inception of his activity in Slovakia.From Plicka's written records from this locality, we have been able to identify 79 songs and 17 singers, from all generational strata.Almost half of the song records contain multipart singing in group performance (solo -tutti), as one of the style features of regional musical culture.Analysis of this song repertoire has confirmed that Plicka documented traditional folk singing across the entire span of the song genres.

Abstract Late 16th- and early 17th-century Italian theatrical works (with or without music) based on the Book of Judith are perceived as associated with women, who acted as their performers (in female monasteries), dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, which evolved in the circles of religious and lay congregations, in which women were either marginalised or altogether excluded. The link between women and the oratorio genre was thus maintained only in the case of the so-called palace oratorios. Oratorios did not gain a solid footing in the music life of female religious orders, either. Their presence mainly made itself felt in the space suspended between the monastic and secular worlds, namely, in the context of the ceremonies of clothing and profession, which were celebrated with performances of cantatas, dialogues, or oratorios. A survey of such repertoire from the 17th and 18th centuries has revealed an astonishing wealth of subjects and approaches: allegorical works, saints’ lives, Old Testament stories praising parents who offered their children up to God, happy weddings, or the deeds of extraordinary women. The Book of Judith occupies an important place among the latter subjects, which emphasised the fides and fortitudo of those entering monastic life. Existing works (such as Metastasio's Betulia) were also sometimes used. Some texts were written specially for such occasions, and they demonstrate individual qualities. Metastasio's solemn and exalted model was followed even in such small-scale pieces as the Florentine componimento sacro Giuditta of 1750. The rappresentazione La Giuditte (1621) depicts the strength of faith not only of Judith herself, but also (contrary to the Biblical account) – of the Bethulian society as an allegory of Bologna and its inhabitants. Comic elements were smuggled into the Paduan oratorio Giuditta (1735). To sum up, dramatic works with music based on the Book of Judith, written for the ceremonies of women entering the monastery, which have hitherto remained marginal to academic research, represent a promising field for further studies.

In this essay, the author considers intertextuality in contemporary musical work, conceptualizing it not only as a critical category and as an artistic convention, but also as an aesthetic strategy. Listening for texts, as it were, opens the work for influences and gives it new purposes. The multiple texts, which are mutually interdependent, alter each other's meaning and are "read" and "re-read" during aesthetic experience. Depending on the listener, these meanings are more or less pronounced; some are seen as primary, while others are seen as secondary. Sometimes they are co-dependent and meaningful together, but sometimes they shy each other out. The multilayered quality of the work is acknowledged and seen as important even before individual meanings can be discovered. The author proposes a look at intertextuality in reference to musical works by Steve Reich, (e.g. Different trains, 1988). The author uses Ryszard Nycz's definition of intertextuality and confronts it with Umberto Eco's idea of interpretation and the structural openness of art. Putting forward a concept of listening-in as a necessary element of receiving and understanding certain musical works, she suggests accepting an intertextual aesthetic strategy for a satisfactory aesthetic experience. Assuming the presence of multiple texts, which are different in character and meaning, and accepting their interdependence, changes the reception of the work and colors its qualities. The challenge is not only to seek out different texts hidden behind the purely musical face of the work but to find out the way they influence each other, knowing full well that the major or minor role those texts play depend on the listener as much as on the author.

Sciendo provides publishing services and solutions to academic and professional organizations and individual authors. We publish journals, books, conference proceedings and a variety of other publications.

Prince Teodor Lubomirski staged 4 operas in his Polish estates: Venceslao, La fede ne'tradimenti, Mariane, Griselda (1725-1727). The Krakw prints of the libretti for the first 3 operas follow the Venetians prints (1722, 1721, 1724), while the Cracovian Griselda is a pasticcio probably prepared on the base of the variant of the opera staged in Venice in 1720 (mus. G. M. Orlandini). Acting as a patron of opera in Poland was a part of a Teodor's well-thought-out policy aimed at standing out against the other Polish aristocrats, at bringing entertainments to himself and his morganatic wife and at an attempt to break the society's aversion by means of offering the attractions that were hardly accessible in Poland at the time. The repertoire of his theatre was in perfect accord with such aims, especially taking into consideration Zeno's Griselda, allegorically enhancing the status of Teodor's own wife and children. Teodor's ephemeral musical hobby was by no means uncommon in 18th-century Poland. Like many other Polish aristocrats he saw opera as a good way to improve his own social status, but contrary to the West-European royal and princely courts, he did not perceive the genre as the medium of political propaganda that would be worth money. So at the end of the twenties, when Teodor returned to political life, he gave up his operatic interests.

Pierre Boulez (1925-2016) devoted a great deal of time and consideration to the relationship between the composer?s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez?s famous essay ?Technology and the Composer? (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez?s ?vintage? insights are here juxtaposed with a contemporary Quantum Music project (2015-2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines of thinking relevant for the present discussion can be drawn from Boulez?s text: the first dealing with the possible development of new musical instruments, and the other inviting a merger between music composition and science.