Various Layers of Musical Iconographic Sources in Yugoslavia
AbstractMedieval iconographic musical sources in Yugoslavia are mostly listed and discussed in works dealing separately with material from Slovenia and Croatia on the one hand and from Serbia and Macedonia on the other. Those sources, however, facilitate wider comparative research both inside individual Yugoslav regions and on an international scale. The present paper draws attention to some peculiarities of medival iconographic sources in Yugoslavia and to the differences existing within these materials, both as to their subject matter and as to the specific instruments depicted within the framework of this subject matter. The sources under scrutiny are not only culturally and historically revealing; they also offer information of organographic nature and are eloquent on the symbolism of instruments and on tje acoustic, psychological, sociological, and other aspects of music-making in the Middle Ages in a particular cultural and historical setting. As regards the subject matter there are certain similarities but also differences between material coming from Croatia and Slovenia and that coming from Serbia and Macedonia. The themes recurring in Slovenia and Croatia, belong to the Occidental cultural sphere (Concerts of Angels, Madonna Enthroned, Epiphany), while the materials originating in Serbia and Macedonia belong to the sphere of the Byzantine iconographie repertoire (The Mocking of Christ). The kinds of instruments painted in the Slovene and Croatian sources are likewise those known in the Occident; on monuments are occasionally found side by side with some typically "western" ones. The latter sources also show more numerous variants of the same instruments. The present paper is concerned in particular with the way these scenes of music-making reflect reality, e.g. the instruments used in folklore and then current performing techniques. Its subject is likewise the intertwining of several levels of meaning in the representation of a scene (The Mocking of Christ on the fresco in Stari Nagoričin, XIVth c.). Even a glimpse of the materials which abound in medieval monuments in Yugoslavia makes it evident that besides subject matter and instruments specific of the Western and Eastern regions respectively, there are in existence also transitional forms. Therefore, further comparative research seems to be needed, all the more so because some of the instruments appearing here might be interesting in the context of the history of European instuments and their migration.
Download data is not yet available.
How to Cite
Kos, K. (1981). Various Layers of Musical Iconographic Sources in Yugoslavia. Musicological Annual, 17(2), 51–60. https://doi.org/10.4312/mz.17.2.51-60
Copyright (c) 1981 Koraljka Kos
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in journal Musicological Annual by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.
- Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.