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- Buljančević, Rastko, 1991
(författare)
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Funkcije rodnog identiteta i ideologije nacionalizma u recepciji pijanističke djelatnosti Jovanke Stojković : The Roles of Gender Identity and Nationalist Ideology in the Reception of Piano Activity of Jovanka Stojković
- 2022
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Ingår i: Zbornik Matice srpske za scenske umetnosti i muziku. - 0352-9738. ; 67:2, s. 91-109
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Tidskriftsartikel (refereegranskat)abstract
- Thanks to the initiatives within the first wave of feminism, the second half of the 19th century saw a slight improvement in the position of women in the public sphere in various European cultural centres, including the Principality of Serbia. It was in such a socio-political climate, in Timișoara, Vienna, Prague, and later in Milan and Paris, that Jovanka Stojković grew up and performed. She was indeed a versatile artist (pianist, composer, and solo singer) who achieved extraordinary professional success in Serbia and abroad, despite stereotypical gender roles that neglected women’s the creative artistic potential. Due to her professional pianistic skills, she overcame the pervasive romantic stereotypes that confirmed the female subject as culturally invisible and prototypically relegated to the private sphere. Although she did not unconditionally submit to traditional male authority, Jovanka Stojković only partially resisted the omnipresent male ideology of power, hegemonic models of social structures, and patriarchal value systems. Even more, patriarchal ethic remained an integral part of her musical behaviour while representing her traditional Serbian identity abroad. This article attempts to reconstruct Jovanka Stojković’s piano playing from the perspective of the nationalist and gendered power relations inscribed in the discursive fabric of the predominantly affirmative critiques of her interpretations. Thus, the patriarchal attributes of femininity and nationalism inevitably shaped her performing identity in Serbian music journalism, while in Croatian, Slovenian, Czech, Austrian, and Parisian music periodicals it oscillated between the emancipatory female subject and the stereotypical imperatives of femininity.
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| 2. |
- Buljančević, Rastko, 1991
(författare)
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Problem fakture u klavirskim etidama Frederika Šopena : Musical Texture in Frédéric Chopin’s Piano Études
- 2022
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Ingår i: Časopis za muzičku kulturu Muzika. - 1512-5297 .- 2490-2489. ; 26:2, s. 105-130
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Tidskriftsartikel (refereegranskat)abstract
- In the Romantic era, we find various types, as well as the most prominent examples, of piano études, which were used in both the private and public spheres in the 19th century. Although composers worked on perfecting this genre as early as the 18th century, it reached its peak during musical romanticism, when a large number of composers from various European musical circles devoted themselves to writing these instructive pieces. This article addresses the problem of the musical texture of selected studies by Frédéric Chopin, which are considered the first, and paradigmatic, concert études in piano literature.
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