Musical Identities and European Perspective: An Interdisciplinary Approach (Eastern European Studies in Musicology)

300 Pages·2017·5.633 MB·English

by  Ivana Perkovic (editor), Franco Fabbri (editor)

8
This book focuses on the relationship between identity and music in Europe Ivana Perković/Franco Fabbri (eds.)
from different angles. It takes two basic categories into account: identities in
music and music in identities. The authors provide studies on identity construc-
tion in different historical and geographical contexts. They also evaluate the
discourse of popular music in Europe and analyze various topics related to Musical Identities
complex and changing concepts of identity, whether it is about an individual
composer, issues of style or musical work itself.
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ISBN 978-3-631-67231-0
EESM 08_267231_Perkovic_gr_A5HCk PLA.indd 1 27.07.17 13:05
8
This book focuses on the relationship between identity and music in Europe Ivana Perković/Franco Fabbri (eds.)
from different angles. It takes two basic categories into account: identities in
music and music in identities. The authors provide studies on identity construc-
tion in different historical and geographical contexts. They also evaluate the
discourse of popular music in Europe and analyze various topics related to Musical Identities
complex and changing concepts of identity, whether it is about an individual
composer, issues of style or musical work itself.
and European Perspective
e
v
cti An Interdisciplinary Approach
e
p
s
r
e
P
n
a
e
p
o
r
u
E
d
n
a
s
e
ntiti
e
d
al I Volume 8
c
si
u
M Eastern European Studies
s.) · in Musicology
d
e
Ivana Perković is a musicologist and Professor at the Department of Musicology, ri (
b Edited by Maciej Gołąb
Faculty of Music, University of Arts, Belgrade. She is member of the Interna- b
a
tional Musicological Society, Serbian Musicological Society and the Interna- F
tional Society for Orthodox Church Music. She is vice dean for research and o
c
international cooperation at the Faculty of Music. n
a
r
F
Franco Fabbri teaches popular music history, analysis and economy at the ć/
Conservatory of Parma and the University of Milan. His main interests are genre vi
o
theories and music typologies, the impact of media and technology across gen- k
r
res and musical cultures, and the history of popular music. He has served twice Pe
as chairman of the International Association for the Study of Popular Music a
n
(IASPM). a
v
I
EESM 08_267231_Perkovic_gr_A5HCk PLA.indd 1 27.07.17 13:05
Musical Identities and European Perspective
Eastern European Studies
in Musicology
Edited by Maciej Gołąb

Editorial board
Mikuláš Bek (Brno)
Gražina Daunoravičienė (Vilnius)
Luba Kyjanovska (Lviv)
Mikhail Saponov (Moscow)
Adrian Thomas (Cardiff)
László Vikárius (Budapest)
Volume 8
Ivana Perković / Franco Fabbri (eds.)

Musical Identities and European
Perspective

An Interdisciplinary Approach
Bibliographic Information published by the Deutsche
Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in
the Deutsche Nationalbibliografie; detailed bibliographic
data is available in the internet at http://dnb.d-nb.de.

Library of Congress Cataloging-in-Publication Data
Names: Perković, Ivana. | Fabbri, Franco, 1949 -
Title: Musical identities and European perspective : an interdisciplinary approach /
Ivana Perković, Franco Fabbri (eds.).
Description: Frankfurt am Main ; New York : Peter Lang, 2017. | Series:
Eastern European studies in musicology ; Vol. 8
Identifiers: LCCN 2017017251 | ISBN 9783631672310
Subjects: LCSH: Music—Social aspects—Europe—History. | Nationalism in music.
Classification: LCC ML3917.E85 M89 2017 | DDC 780.94—dc23
LC record available at https://lccn.loc.gov/2017017251

Reviewers: Dr. Leon Stefanija, Professor at Department of Musicology, Faculty of Arts,
University of Ljubljana (Slovenia) and Dr. Ana Stefanović, Professor at Faculty of Music,
University of Arts in Belgrade (Serbia)

ISSN 2193-8342
ISBN 978-3-631-67231-0 (Print)
E-ISBN 978-3-653-06766-8 (E-PDF)
E-ISBN 978-3-631-70544-5 (EPUB)
E-ISBN 978-3-631-70545-2 (MOBI)
DOI 10.3726/978-3-653-06766-8

© Peter Lang GmbH
Internationaler Verlag der Wissenschaften
Frankfurt am Main 2017
All rights reserved.
PL Academic Research is an Imprint of Peter Lang GmbH.
Peter Lang – Frankfurt am Main ∙ Bern ∙ Bruxelles ∙ New York ∙
Oxford ∙ Warszawa ∙ Wien
All parts of this publication are protected by copyright. Any
utilisation outside the strict limits of the copyright law, without
the permission of the publisher, is forbidden and liable to
prosecution. This applies in particular to reproductions,
translations, microfilming, and storage and processing in
electronic retrieval systems.

This publication has been peer reviewed.
www.peterlang.com
Table of Contents
Introduction ..................................................................................................................7
Music and Identity: Defining ‘Self’ and ‘Other’
Rūta Stanevičiūtė
The Velvet Curtain. European Identities and Lithuanian
Musical Imagination in the Post-Communist Era .................................................13
Małgorzata Janicka-Słysz
Karol Szymanowski and His Concept of Modern Music Culture ........................39
Paulo F. de Castro
From ‘Good Other’ to ‘Ideal Self’: Images of Russian Otherness in
France and the Iberian Peninsula at the Turn of the 20th Century .....................55
Ivana Perković
Ambiguity, Mimicry and War: Alla Turca in Contredanse
K 535 by Wolfgang Amadeus Mozart ......................................................................73
Lina Navickaitė-Martinelli
Defining Identity: In Quest of ‘Lithuanianness’ in Piano Performance Art ........91
Unity in Diversity
Franco Fabbri
Influence, imitation, and the reshaping of identities
in European popular music ....................................................................................115
Vesna Mikić
Rock me Lane moje – European Identifications of Transitory
Yugoslav/West Balkans’ Identities at the Eurovision Song Contest ..................127
Saskia Jaszoltowski
Memory, Spectacle, and the Image of Songs ........................................................145
Kaire Maimets
The Estonian Singing Revolution: Musematic Insights ......................................161
6 Table of Contents
(Re)Conceptualizing Approaches to Music and ‘Europness’
Dragana Stojanović-Novičić
Short Correspondence between Edgard Varèse and John Cage:
Around, about and above ‘organized sound’ .........................................................187
Mirjana Veselinović-Hofman
The Facets of the Decline of Avant-Garde Exclusivity as the Cause of
Specific Stylistic Connotations of the Musical Avant-Garde Today .................203
Marija Masnikosa
Types of Transtextuality in Selected Works of Serbian
Musical Postmodernism .........................................................................................221
Tijana Popović Mladjenović
The Musical Text and the Ontology of the Musical Work .................................243
List of Contributors .................................................................................................297
Introduction
The publication of this book is part of the project “Musical Identities and Euro-
pean Perspective: an Interdisciplinary Approach” conducted by the Department
of Musicology of the Faculty of Music, University of Arts in Belgrade, and led by
Professor Dr. Mirjana Veselinović-Hofman. This project, the Jean Monnet module,
is supported by Erasmus+ and includes teaching on EU matters in the field of
arts, especially music and musicology, as well as research, conducted in order to
support teaching activities. The aims of our project are to raise awareness about
the importance of crossing cultural and musical boundaries in the European con-
text, to promote understanding of each individual European musical culture as
a product of the intercultural dialogue and part of the greater European culture
and to identify and contextualize dynamic issues of musical identities, both from
pedagogical and research perspectives. “Europeanization” of the curricula at the
Department of Musicology focuses Europe-related identity of the chosen topics
aiming to encourage the future professional activities of students and their aca-
demic dialogue with their European colleagues.
This volume focuses on relationships between identity and music in Europe
from different angles, taking into account two basic categories: identities in music
and music in identities. The diversity of issues and approaches may seem hetero-
geneous at the first sight, but there are similarities, on different levels, that unite
the chapters together. As a whole, this book contains three sections, each divided
into multiple chapters. The first section, “Music and Identity: Defining ‘Self’ and
‘Other’”, provides chapters on identity construction in different historical and
geographical contexts, from the Enlightenment to the present, and from the East
to the West of Europe. The second section “Unity in Diversity” deals with the dis-
course of popular music in Europe, while the third section “(Re)conceptualizing
Approaches to Music and ‘Europness’” encompases chapters on various topics
related to complex and changing concepts of identity, whether about individual
composers, issues of style or musical work itself.
The first section begins with Rūta Stanevičiūtė’s chapter “The Velvet Curtain.
European Identities and Lithuanian Musical Imagination in the Post-Communist
Era”. Inspired by many works composed by Lithuanian authors dedicated to the
theme of Europe, she explores the Post-Cold War period and the “formation of
the images of Europe in the… Lithuanian cultural tradition and their transforma-
tion in the music works of Lithuanian composers at the turn of the 21st century.”
Małgorzata Janicka-Słysz in her chapter “Karol Szymanowski and His Concept of
8 Introduction
Modern Music Culture” analyses Karol Szymanowski’s texts and his attitudes to
culture, “modern music”, with attention to his opinions on relationships between
Polish and European music. Paulo F. de Castro, in “From ‘Good Other’ to ‘Ideal
Self’: Images of Russian Otherness in France and the Iberian Peninsula at the Turn
of the 20th Century” deals with representations of Russian otherness in France
and the Iberian Peninsula at the turn of the 20th century in order to show that the
“identity one adopts as one’s own is not always, or not necessarily, identical with
the identity one chooses to present to the outside world; and that both identities –
designed for internal and external consumption, as it were – may fail to agree
with the outsider’s perception of one’s identity.” The next chapter, Ivana Perković’s
“Ambiguity, Mimicry and War: Alla Turca in Contredanse K 535 by Wolfgang
Amadeus Mozart” explores Mozart’s Contredanse K 535 La Battaille, known also
as The Siege of Belgrade, from the perspective of postcolonial and Balkan studies.
Along with theories of Bhabha and Todorova, Mozart’s work is analyzed through
the prism of the Austro-Turkish War and Viennese balls during carnival season.
The last chapter in this section, Lina Navickaitė-Martinelli’s “Defining Identity:
In Quest of ‘Lithuanianness’ in Piano Performance Art”, focuses on the concept
and the practice of a ‘school’, as applied to the art of music performance, with a
particular focus on the idea of a national school. She defines the common features
valued in performance practice of Lithuanian pianists, such as philosophical in-
sights, meditation and the importance of profound reflections.
Popular music, as music not belonging to the ‘classical’ or ‘folk’ concepts, ap-
peared in Europe since the early decades of the Nineteenth century, and interrela-
tions among local styles and genres (chanson, fado, canzone, flamenco, music hall,
Schlager, etc.) have been operating since then, forming the basic layers of a Euro-
pean popular culture, which has accompanied the history of our continent, quite
often going across political barriers. This is the main subject of Franco Fabbri’s
“Influence, imitation, and the reshaping of identities in European popular music”,
which opens a section focused on popular music, from different methodological
perspectives. Vesna Mikić, for her “Rock me Lane moje – European Identifications
of Transitory Yugoslav/West Balkans’ Identities at the Eurovision Song Contest”,
claims an approach based on “cultural theory (Hall), as well as Gerard Delanty’s
critical combination of historical sociology and political theory, here appropri-
ated by (cultural) musicology”. Saskia Jaszoltowski, in “Memory, Spectacle, and the
Image of Songs”, follows a socio-musicological approach, integrating elements of
(above all) harmonic analysis into a ‘classic’ sociological and media studies frame-
work. Kaire Maimets, in “The Estonian Singing Revolution: Musematic Insights”,
bases her analysis on the semio-musicological method developed by Philip Tagg