MHWKO UlyBaKoBHh

EOETHKA MY3HKE XX BEKA Y CP6HJH

Aeo I: YBOA y eCTeTHKy MY3HKe*

npV1CTynHV1 KOPAUV1

npl-1CTyn MY31-1UI-1 (KaO fJ.el\Y, CSeTY 1-1 I-1CTOpl-1jl-1) 3aCHI-1Sa ce Ha 'fJ.I-1CKYP3I-1B­HI-1M 3Ha4el-bl-1Ma' xoja CY aHTI-1Ul-1nl-1paHa, ycnocraaa.aua, passujaua 1-1 npuwana'yse«: noz, OfJ.pe1)eHI-1M YCI\OBI-1Ma 1-1 OKOI\HOCTI-1Ma OfJ.HOCa MY31-14KI-1X fJ.el\a 1-1 SaH­

MY31-14KI-1X TeKCTOSa, al\l-1 1-1 OfJ.HOCa npewa nojefJ.I-1Ha4HOM 'Tel\Y' KOMn031-1TOpa,

1-13S01)a4a, cxyuiaoua, MI-1CI\1-10Ua 1-11\1-1 nucua. "Texo' y MY31-1UI-1 ce yKa3yje KaO 'ria­

I\I-1MnCeCT'l y CI\O>KeHOM 1-1 KOHTpaSep3HOM OfJ.HOCY My31-14Ke npaxce 1-1 peaxusa­uuje KYI\Type. OfJ.HOC My31-1Ke 1-1 eCTeTI-1Ke je ozpebeu 'Ul-1pKYl\aul-1jaMa' KOHTeK­

CTyal\1-130saHI-1X 1-1 peKoHTeKCTyal\1-130saHI-1X npozyxuaja 1-1 penpoxysuuja KYI\Type1-1 I-1HCTI-1Tyul-1ja (1-11\1-1 fJ.l-1cKypCa) nOCpefJ.CTSOM 41-1jer I-1Mnl\l-1UI-1THOr 1-11\1-1 eKCnI\I-1UI-1T­HOr xexoaau.a nocroju OHO WTO 4yjeMo, OHO WTO pa3yMeMo 1-1 OHO WTO MO>KeMO

fJ.a 1-13roSOPl-1MO 1-11\1-1 3an1-1WeMO. 2 3aTO ny y pacnpaan xoja Cl\efJ.1-1 nOKywaTI-1 fJ.aI\OUl-1paM 1-13SeCHe 'XepMeHeyTI-14Ke' (I-1HTepnpeTaTI-1SHe) OKSl-1pe (KOHTeKCT~ I-1H­CTI-1Tyul-1je) y Kojl-1Ma ce ycnocras.sa l-1fJ.eHTl-1epl-1Kaul-1ja sua-reu,a. CMI-1Cl\a 1-1 epee­

HOCTI-1 My31-1Ke. 3 Iloxaaahy KaKO ce y jefJ.HOM VlCTOpVljCKOM nepaoxy (XX SeK) y

jefJ.Hoj xereporeuoj, orsopeuoj VI npOMeHlbl-1Boj KYI\TYpVl (cpncxoj) OfJ.l-1rpaBajyaprukyxauaje 'noeeauaau.a' (MeTaepOpVl4HO: xauaua, I\VlHKOBa) VI 'uacxojaaajyher

Pacnpasa "ECTen1Ka My31-1Ke XX sexa y Cp6l-1jl-1" je Hanl-1CaHa y rpn l>.el\a: ,,~eo I: YBOl>. YeCTeTI-1KY My3I-1Ke", ,,~eo II: Hel-1MaHeHTHa 1-1 I-1MaHeHTHa eCTeTI-1Ka MY3I-1Ke" 1-1 ,,~eo III: nOCe6He ecre­TI-1Ke My31-1 xe" . Pacnpasa je 3aCHOBaHa Ha I-1CUpnHOM nperl\el>.Y 'KOHUenaTa' MI-1Wlbel-ba 1-1 nl-1cal-ba 0eCTeTI-1UI-1 My31-1Ke y Cp61-1jl-1 TOKOM XX sexa 1-1 Ha nperl\el>.Y KapaKTepl-1CTI-14HI-1X aYTOpCKI-1X n031-1uI-1ja 1-1l>.el\a. ECTeTI-1KY My31-1Ke y OBOj pacnpaau I-1CTpa>KI-1BaO caM 1-1 npeao-raeao: (1) eCTeTI-14KY1M l>.el\Y1Ma KO­ja cy HaCTajal\a y Cp6l-1jY1 TOKOM XX aexa. (2) eCTeTY14KY1M l>.el\Y1Ma xoja cy uacrajaxa y Jyrocl\aBY1jY1 OA1918. l>.0 1991. roAY1He, a xoja cy 06jaBlbeHa y Cp61-1jl-1 Y11\1-1 cy Y13BpWl-1l\a reopajcxa yruua] ua MY1­Wlbel-be Y1 nuca-se 0 MY31-1UI-1 YCp6Y1jY1, (3) eCTeTY14KI-1M Ael\Y1Ma CTpaHY1X ayropa KOjl-1 cy npesobe-u­y Cp6Y1jY1 1-11\Y1 Ivrocxaaaj«, a Y1Mal\a cy 3HaTaH vruuaj Ha MY1Wlbel-be Y1 nuca-ee 0 MY3Y1UY1 Y Cp6l-1jl-1,(4) TeOpY1jcKY1M Ael\I-1Ma CTpaHY1X aYTopa KOjY1 HY1CY npesobeua KOl>. Hac, al\l-1 xoja caM KOpY1CTY10 y Ha­CTaBY1 "npY1Mel-beHe eCTeTY1Ke Y1 reopuje YMeTHOCTI-1" Ha CDaKyl\TeTy My3Y14Ke yMeTHocTI-1 y beorpaay.

83

HOBI1 3ByK

rpyrurca-sa' (MeTa¢OpH4HO: TeKTOHHKa, xxacrepa, pH30Ma) My311Ke H TeKCTa. 4

Floaeauaan,e Hi\H uacxojasaa,e He oznrpaaa ce 6e3 ornopa (rpeu.a, norupau,a,

CKpHBal-ba, nOTHCKVlBal-ba Vl xeresrouaja reopuja Vl KYi\Typa) Vl 3aTO ce Ol..HOC ecre­

TVlKe Vl My3VlKe MO)f(e nOCMaTpaTVl xao '03Ha4HTelbCKa npaxca'. no JYi\VljVl Kpu­CTeBoj5 '03Ha4VlTelbCKa npaxca' (pratique signifiante) l..e¢VlHHWe ce xao npeotipa­

»caj npnpozuax Vl l..pywTBeHVlx omopa, orpaua-reu.a Vl aacroja. l..VlCKypCy TeKCTa,4VlMe ce VlCTH4e l..VlHaMVl4Ka VlHTepBeHuVlja TeKCTa y l-beroBoM 'ceMVloTVl4KOM' (a

pehn ny H l..pywTBeHOM) okpyxcjy xoje TeKCT ucroapeweuo crpyxrvpupa Vl l..e­

CTPYKTypVlpa. TaKO npel..04eHa, 03Ha4VlTelbCKa npaxca crasn,a cyojexre (MY3HKe

Vl eCTeTVlKe) y npouec (sujet en process, WTO 3Ha4Vl l..a caaxy I-bVlXOBy CaMOVll..eH­

TVl¢VlKauVljy nozepraaa np06i\eMaTVl30sal-bY (npeacrurruaau.y). Xohy pehu l..a aa

OBy CTyl..Vljy HHje npseucreeuo 6HTHO nura-se I1CTI1He6 0 MY3HUVl Vl 0 eCTeTHUVlHi\H 0 Spel..HOCTVl oaor Vli\Vl ouor VlCKa3a 0 My3VlUVl, sen rurra-se 0 cneUVl¢Vl4HO­

CTVl Ci\Y4aja cynporcraae.au.a, ornopa Hi\Vl CY04el-ba My3HKe Vl eCTeTVlKe y 60p6H

aa Moryne Vli\Vl HeMoryne 3Ha4el-be, CMVlcao Vl apezuocr. Texcuurre pacnpase je

CTaBlbeHO Ha VlHTepTeKCTyai\He Ol..HOCe Me1)y 'oraopeaaw' TeKCTOSVlMa uayxa. re­

opuja Vl ¢Vli\030¢Hje 0 MY3HUVl Y Ol..HOCY Ha 'noceoue' rexcrose My3HKe KOjVl HVl­

cy l..aTH Ha jel..HOCTaSaH Ha4VlH, Ben ce yKa3yjy y Ol..HOCY ua:

1. My3VlKy xao l..ora1)aj H crpyxrypy 3ByKoBa (VlHTeHUVlOHai\HVl ype1)eHVl

3BY4HVl l..ora1)aj y npocropy Vl apeweuy):

2. My3VlKy xao noce6HVl THn 'nueva' (npoayxuuja HOTHor sannca. rj, nap­

rurype):3. My3HKy xao l..pywTseHy npaxcy rpauccpopwauaje 'CMVlCi\a' Vl 'spexuo-

ECTETV1KA MY3V1KE

Y eaponcxoj Tpat..HUHjH nocxe npocaerure/scraa 'eCTeTVlKoM MY3VlKe's Ha­

3Hsajy ce pa3i\Vl4HTO opajeurucaua VlHTepnpeTaTVlsHH npVlCTynVl 'MY3VlUVl' «ao

yMeTHocTVl Vl xao Kyi\TypVl. nori\el..ajMo «apaxrepacru-nre npVlCTyne xonuerrry Vl

VlHCTVlTyUVljVl eCTeTHKe My3VlKe.npSH npVlCTyn. Ecreraxa MY3HKe je ¢Vli\030¢CKO Vl3Y4asal-be nocetiuor Ol..­

uoca cnosuaje 3aCHOSHe ua 4Yi\Y cxyxa Vl npexo-raaau.y ,xenor. Y XX sesy ecre­

THKa My3VlKe je ¢Vli\030¢CKO H3Y4asal-be noceriuor Of>.HOCa cnosua]e 3aCHOBHe ua

4Yi\Y cxyxa H npexo-raaau.y 'YMeTHVl4Kor' Hi\Vl 'MY3H4Kor'. OBVlM ce vxasyje Ha

HCTOpVljCKy rpaucrpcpvauajy 'eCTeTHKe MY3VlKe' oz, ¢Hi\030¢Vlje 4Yi\HOr (4Yi\He

peuenuuje xenor y My3VlUH, na TVlMe Vl HaMeTepMVlHauHje eCTeTVlKe xao l..VlCKyp­

ca KOjVl aacryna 'yxyc' y MY3VlUVl Vl MY3H4KVl yKyC Y KYi\TYpVl) Y ¢Vli\030¢Vljy MY­3VlKe xao yMeTHocTI I Hi\Vl Y onurrev CMVlCi\Y reopu]e yMeTHocTVl.9 ECTeTHKa My3Vl­

Ke ce y TOM ClVv1Ci\Y paaauja «ao ¢Hi\030¢Hja peuenuuje (nepuenuuje,

l..O)f(HSlbaja, pa3YMesal-ba Vl npocy1)Vlsal-ba) My3VlKe xao yMeTHOCTH. Y06Vl4ajeHo je

l..a ce nojax, 'eCTeTVlKa MY3VlKa' Vll..eHTH¢VlKyje xao ¢Hi\030¢CKO MVlWlbel-be 0 npe­

f>.04aSaI-bY, paayvesan.y Vl npocybuaau.y MY3HKe. Y Tpal..HUVlOHai\HOM esponCKOM

84

M. WyBaKoBul1: ECTeTUKa My3uKe XX eexe y Cp6uju

CMl'1CAy eCTeTl'1Ka My3l'1Ke ce l'1f>.eHTl'1epl'1Kyje l'1 KaO aKCl'10AOrl'1ja My3l'1Ke, a TO 3Ha­Yl'1 epl'1A030epl'1ja My3l'1YKe Bpef>.HOCTl'1 l'1, Tl'1Me, yxyca. Ynorpeoe nojx-oaa 'yMeT­Hl'1YKO'l'1 'MY3l'1YKO', TOKOM XX aexa, He paayweaajy ce cavo xao reopnjcke l'1f>.eH­Tl'1epl'1KaUl'1je noceoue KAace 'CTBapl'1', 'curyauaja' l'1Al'1 'xorabaja', Ben l'1 xaoBpef>.HOCHe Of>.pef>.Hl'1Ue «ouuerrryaxuaaua]e ayToHOMHl'1X 06AaCTl'1 l'13pa>KaBal-ba yKyATypl'1.

Apyr« npucryn Ecreruxa My3HKe je epl'1A030epCKO l'13yyaBal-be My3l'1Ke xaoyMeTHOCTl'1 l'1Al'1 xao KyAType. My3l'1Ka je xao yMeTHocT V1 xao KyATypa nocras.se­ua aa oojexr epV1A030epCKor Ml'1Wlbel-ba l'1 nV1Cal-beM npef>.OyeHOr Ml'1Wlbel-ba 0 My­3l'1Ul'1. Y epl'1A030epV1jl'1 MO>Ke f>.a ce Ml'1CAV1 'My3l'1Ka' f>.l'1peKTHO l'1Al'1 nOCpef>.CTBOMuayice 0 yMeTHOCTl'1 (My3V1KoAorV1je) xao yMeTHoCT, Of>.HOCHO, My3l'1Ka MO>Ke f>.a ceMl'1CAl'1 f>.l'1peKTHO l'1Al'1 nOCpef>.CTBOM nOCe6Hl'1X uayica 0 KyATypV1 (eTHoMy3l'1KOAO­rnja) xao KyATypa. ECTeTl'1Ka l'1AV1 epl'1A030epl'1ja My3l'1Ke ce paasuja y OKBV1PY no­Ce6Hl'1x:

1. epl'1A030epCKl'1X f>.l'1CUV1nAl'1Ha 0 My3l'1Ul'1 - oHTOAOrl'1ja rOBOpl'1 0 nocroja­I-by My3l'1Ke, enacrevoxoruja 0 casuau.y My3l'1Ke V1 ca3HajHl'1M xapaxrepuaauaja­Ma My3l'1Ke, aKCl'10AorV1ja rOBOpl'1 0 Bpef>.HOCTV1 l'1 Bpef>.HOBaI-bY My3l'1Ke, a ceMV1O­Tl'1Ka V1 CeMl'10AOrl'1ja rosope 0 3HaKOBHV1M, 3HayeI-bCKl'1M l'1 TeKcTyaAHl'1Mnpef>.OyaBal-bV1Ma My3V1Ke;

2. epl'1A030epCKl'1X WKOAa 0 My3l'1Ul'1 - epeHoMeHoAorV1ja yo6l'1YajeHo roaopuo peuenunja My3V1Ke, xepveueynuca 0 l'1HTepnpeTauV1jaMa y My3l'1Ul'1 l'1 l'1HTepnpe­rauujava My3V1Ke, aHaAl'1Tl'1YKa epl'1A030epl'1ja roaopu 0 cl'1M6oAl'1YKOM y My3l'1UV1 V1o pa3yMeBal-by My3V1Ke, a CTpyKTypaAl'1CTl'1YKa eCTeTV1Ka roaopu 0 CTpyKTypaAHV1MMOf>.eAl'1Ma npeso-iaaau,a My3l'1YKOr f>.eAa l'1 My3l'1YKe KyAType, l'1Tf>..

Tpehu npl'1CTyn. Ecreruxa MpHKe je Ha3l'1B aa rAef>.l'1WTa (xoauerrryaxusa­uuje) «oja cy l'1MnAl'1Ul'1THO (npehvruo'") V1Al'1 eKCnAV1Ul'1THO (jaauo, l'13roBopeHo)yrpabeua y pa3Al'1Yl'1Te npaxce «oje ce Tl'1YY, npe csera, My3l'1Ke xao yMeTHOCTl'1(MY3l'1YKO f>.eAO, CBeT My3l'1Ke, ucropajy My3l'1Ke) l'1 f>.l'1CKypca 0 My3l'1UV1 (Of>. »capro­Ha 'csera My3l'1Ke', npeKo f>.l'1CKypca Kpl'1Tl'1Ke l'1 HayKa 0 My3l'1Ul'1, f>.O cave eCTeTV1­«e My3l'1Ke epOpMyAl'1CaHe y noce6HV1M nepl'10f>.l'1Ma l'1 KyATypaMa). 'ECTeTl'1KOM My­3l'1Ke' ce He l'1MeHyje noceoua WKOAa reopuje l'1Al'1 epV1A030epl'1je My3l'1Ke, Benl'1MnAl'1Ul'1THl'1 eepeKTV1 epV1A030epCKl'1X l'1Al'1 f>.pywTBeHl'1X reopuja l'1Al'1 epl'1A030epl'1jaMy3V1Ke KOjl'1 ce 'CBeCHO' (l'1AV1 l'1HTeHUl'10HaAHO) l'1Al'1 'HeCBeCHO' (Hel'1HTeHUl'10HaA­

HO) npnxaarajy, f>.O>Kl'1BlbaBajy l'1Al'1 pa3yMeBajy xao ospeznnue 'norxesa' Ha My­3l'1Ky kao yMeTHOCT. 3aTo ce eCTeTl'1Ka My3l'1Ke Bl'1f>.l'1 l'1 xao KOHCTl'1TyeHT 'CBeTa'My3l'1Ke V1 'CBeTa' f>.l'1CKypca 0 My3l'1UV1. GBa reaa ce MO>Ke npOWV1pl'1Tl'1 11 CTaBOM f>.a'l'1MnAl'1Ul'1THe eCTeTl'1Ke' HV1CY cavo 'eCTeTl'1Ke cave My3l'1Ke', Ben f>.a V1X Of>.pet)yjyl'1 Of>.HOCl'1 ca f>.pyrl'1M f>.V1CKypCV1Ma axryexue l'1 ucropajcxe KyAType (epV1A030epl'1ja,uayica, peAl'1rl'1ja, nOAl'1TV1Ka, o6l'1Yajl'1, MOf>.a, Of>.HOCl'1 nonyAapHor l'1 eAV1THor).

YeTBpTV1 npacryn Ecreraxa My3HKe je MeTaTeopV1jcKa l'1Al'1 MeTaKpl'1TV1YKapacnpasa Of>.HOCa My3l'1Ke (MY3l'1YKOr f>.eAa) l'1 pa3Al'1YV1TV1X f>.V1cKypca (rosopa, nV1­

CMa, 06Al'1Ka npeso-raaa-ea 3Hal-ba V13 My3V1Ke l'1 0 MY3V1Ul'1). Hewa ce aa Ul'11b f>.a ce

85

HOBt13BYK

eCTen1KOM My31-1Ke ycnocrasa y KaHTOBCKOM, WeAI-1HroBcKOM I-1AI-1 XereAOBCKOM 12

CMI-1CAY MeTaje3w-IKa CI-1CTeMCKa xujepapxnja (nl-1paMI-1L'..a) OL'.. 4yAHor y OCHOBI-1npexo Bapl-1jaHTI-1 rOBOpHOr Kpl-1TI-1Ke, reopnje yMeTHocTI-1 1-1 uayrca a yMeTHocTI-1L'..O L'..yxoBHor (epI-1A03Q{pCKor) ua BPXY pa3YMeBal-ba. HanpOTI-1B, nocroje HaMepeL'..a ce eCTeTI-1Ka My31-1Ke '6aBI-1' nOCTOjenl-1M 'Hel-1L'..eaAHI-1M' 1-1 'MaTepl-1jaAHI-1M' pera­CTpl-1Ma L'..l-1cKypca (rosopa 1-1 nl-1CMa) a MY31-1UI-1 1-1 A1-1 a rOBOpy 1-1 nl-1CMY a My31-1UI-1,a TI-1Me 1-1 a pa3AI-141-1TI-1M aCneKTI-1Ma craapa-sa My31-1Ke (noeruxa), I-1CTopl-1jcKor no­craezsajyher y06AI-14el-ba (CTI-1AI-1CTI-1Ka) 1-1 peuenuu]e My31-1Ke (eCTeTI-1Ka). Taza jeeCTeTI-1Ka My31-1Ke reopuja npeL'..04aBal-ba:

1. xouuenara 1-1 TeKCTOBa My31-1Ke (MY31-14KO L'..eAO xao 3BY4HI-1 L'..ora1)aj ce,Ha npl-1Mep, y ceMl-1oAowKoj reopujn npexo-iaaa MOL'..eAOM 'rexcra'):

2. TeKCTOBa yuyrap My31-1Ke xao yMeTHocTI-1 1-1 KyAType (naprurypa: OL'..HOCI-1HOTHorTeKCTa 1-1 KI-bI-1>KeBHOr TeKCTa y BOKaAHo-I-1HcTpYMeHTaAHI-1M L'..eAI-1Ma; OL'..HO­CI-1 My31-14Kor L'..eAa npeso-reuor xao TeKCT ca L'..pyrl-1M TeKCTOBI-1Ma yMeTHocTI-1 1-1xyxrype):

3. TeKCTOBa a MY31-1UI-1 (TeKCTOBI-1 Kpl-1TI-1Ke, uayrca a My31-1UI-1, epl-1A030epl-1ja 1-1eCTeTI-1Ka MY3I-1Ke).

o eCTeTI-1UI-1 My31-1Ke ce rosopa 1-1 y cAy4ajy pacnpaaa I-1HTepTeKCTyaAHl-1x OL'..­

uoca ycnocraa.se-u-x 1-13 L'..OMeHa L'..l-1cKypca a MY31-1UI-1 a CAO>KeHI-1M BI-1WeMeL'..l-1jcKI-1MI-1AI-1 L'..pyrl-1M YMeTHOCTI-1Ma (onepu, 6aAeTy, rearpy, epl-1AMy, KI-bI-1>KeBHOCTI-1, AI-1KOB­HI-1M yMeTHOCTI-1Ma, neprpopsraucy, TeXHOYMeTHOCTI-1), a rosopn ce 1-1 y curvauuja­Ma npeco-raaau-a 'MY31-1Ke' y L'..I-1CKypcI-1Ma a L'..pyrl-1M nOCe6HI-1M YMeTHOCTI-1Ma. Pac­npasa xojy caxa pa3BI-1jaM 'epOpMYAl-1caHa' je xao ynopeaua reopuja 'reopajcxnxTeKCTOBa' a MY31-1UI-1 (L'..eAy, csery, I-1CTOpl-1jl-1 1-1 HayKaMa), L'..pyrl-1M pe41-1Ma, eCTeTI-1­«a My31-1Ke je L'..eepl-1HI-1CaHa xao "rekcroxoruja I-1CTOpl-1jCKI-1X CBeTOBa MY3I-1Ke'.

ECTETV1KA MY3V1KE Y CP5V1JV1

Y OBOM cnucy He nOCMaTpaM OnWTI-1 nojav eCTeTI-1Ke I-1AI-1 epl-1A030epl-1je MY­31-1Ke, Ben cl-1Tyl-1paHocT 3aMI-1CAI-1 eCTeTI-1Ke My31-1Ke y OKBl-1p KyATypa 1-1 yMeTHocTI-1y Cp61-1jl-1 Y XX BeKy.13 ECTeTI-1Ka I-1AI-1 epl-1A030epl-1ja My31-1Ke y Cp61-1jl-1 He nocrojuxao KOHTI-1HyaAHa epl-1A030epCKa, Hay4Ha 1-1 reopnjcxa L'..I-1CUl-1nAI-1Ha (I-1AI-1 'epaMI-1AI-1­ja' nojaaa), Ben npe xao MHOWTBO I-1HL'..I-1BI-1L'..yaAHl-1x npaKCI-1 1-1 u-rrepecoeau.a aaepl-1A030epCKa, reopajcxa 1-1 Hay4Ha rurrau.a a MY31-1UI-1 1-1 HayKaMa a MY3I-1UI-1. 'ECTe­TI-1Ka' My31-1Ke no-uuse CI-1CTeMCKI-1 L'..a ce 1-13Y4aBa y I-1CTOpl-1jl-1 My31-1Ke 1-1 noce6HI-1Xuayxa a MY31-1UI-1 y xpvroj nOAOBI-1HI-1 XX aeka, a xao noceoua epI-1A030epCKO-My31-1­

KOAOWKa I-1HTepL'..I-1CUl-1nAI-1Ha je epOpMyAl-1caHa xpaje« XX aexa.Y epl-1A030epCKOM CMI-1CAY KOHTeKCTI-1 eKCnAI-1UI-1THe I-1AI-1 I-1MnAI-1UI-1THe ecre­

TI-1Ke My31-1Ke y Cp6r1jl-1 Mory ce nOCMaTpaTI-1 nOCpeL'..CTBOM 1-13BeCHI-1X MeTaepI-1AO­30epCKI-1X OL'..pe1)el-b,1. TOKOM L'..pyre nOAOBI-1He XIX seka 1-1 CBe L'..O llpaor CBeTCKorpara npucrvnn eCTeTI-1UI-1 My31-1Ke ce Mory l-1L'..eHTl-1epI-1KOBaTI-1 y OKBI-1PY Wl-1pl-1X epl-1­A030epCKI-1X OL'..peL'..HI-1Ua KaCHe 'arwoccpepe' npOCBeTI-1TelbCTBa 1-1 pOMaHTI-13Ma, caCBI-1M OMI-1KaMa KOHCTI-1TYl-1cal-ba fiypxcoacxe HaUI-10HaAHe KyAType. nOBOL'..OM np-

86

M. WyBaKOBJ1n: ECTeTJ1Ka My3J1Ke XX eex« y Cp6J1jJ1

Be nOt\OBI-1He XX sexa MO)l(e ce roBOPI-1TI-1 0 ct\e!l.enI-1M epl-1t\030epCKI-1M 1-1 MeTaKpl-1­

TI-14KI-1M OKBl-1pI-1Ma:

• n03I-1TI-1BI-13Ma, y OHI-1M npl-1CTynl-1Ma KOjl-1 !l.Ot\a3e 1-13 !l.OMeHa uayxa 0

KI-bI-1)1(eBHOCTI-1; 14

• 'I-1MnpeCI-10HI-13Ma' 1-1 'eKCnpeCI-10HI-13Ma' xao nOt\eMI-14KOr OKBl-1pa

MI-1Wlbel-ba 1-1 nucau.a, npe ceera, Kl-bl-1)1(eBHe KpI-1TI-1Ke, na 3aTI-1M 1-1

'YMeTHI-14Ke KpI-1TI-1Ke' (t\I-1KOBHe, rearapcxe 1-1 MY31-14Ke); 15

• Kt\aCI-14He HeMa4Ke epl-1t\030epl-1je (HeOKaHTOBCTBO, CI-1CTeMCKa epl-1t\O­

30epl-1ja uayxe), CTY!l.l-1ja xet\eHI-1CTI-14Ke epl-1t\030epl-1je 1-1 KYt\Type, xao1-1 epl-1t\030epl-1 je I-1paUI-10Hat\1-13Ma; 16

• MapKCI-13Ma 1-1 couujaxuo opajeurucaaax Y4el-ba 0 KYt\TYPI-1 1-1 yMeT­

HOCH1;17

• 61-10t\or1-13Ma18 1-1 6l-1ot\ow KI-1X 1-13Y4aBal-ba npl-1Mel-beHI-1X Ha pacnpaseo YMeTHOCTI-1;

• TeOt\OWKe MI-1Ct\I-1; 19

• HeKOH31-1CTeHTHI-1X 1-1 rpparweurapuax nosuaau,a ua rpaeuuujyesponcxe epl-1t\030epl-1je,20 KI-bI-1)1(eBHOCTI-1,21 pet\l-1rl-1jcKe22 1-1 nOt\I-1TI-14­

Ke reopuje."

Flocxe Apyror CBeTCKor paTa epl-1t\030epCKI-1 OKBl-1pl-1 ce ycnocraa.sajy y-BI-1­

we CMepOBa:

• eCTeTI-1Ka coul-1jat\I-1CTl-14Kor peat\1-13Ma 1-1 MapKCI-1CTI-14Ke epl-1t\030epl-1je

yMeTHocTI-1;24

• ycnocrae.sa-ee epeHOMeHOt\OWKe25 epl-1t\030epl-1je 1-1 eCTeTI-1Ke;

• ycnocrarvsau,e eCTeTI-1Ke xao uayice 0 epopMaMa;26

• y !l.OMeHy HayKa y MY31-1UI-1 ce ycnocraa.sa nocetiau ep\llt\030epCK\II

CTaB 'MY31-14Kor o6jeKTI-1BI-13Ma' xao OCHOBe craapaisa, cxyura-sa 1-1,

3aTI-1M, passoja ayrouowne MY3I-1KOt\OWKe auaxnse 1-1 CI-1HTe3e;27

• KpajeM XX aexa !l.Ot\a31-1 !l.0 Kpl-1TI-14KOr pasa y noxpy-rjy I-1HTepnpe­

TaTI-1BHI-1X nOCTCTpYKTypat\I-1CTI-14KI-1X 'MY3I-1KOt\OWKI-1X eCTeT\IIKa', 'Te­

opuja' 1-1 'HaTypat\1-130BaHI-1X eCTeTI-1Ka'. 28

napat\et\HO npl-1cTyny KOjl-1 nparu O!l.HOC '!l.l-1cKypca 0 MY3I-1U\II' 1-1 epl-1t\030ep­

CKI-1X WKOt\a, Moryne je nOCMaTpaTI-1 O!l.HOCe HayKa 0 My3I-1UI-1, eCTeTI-1Ke 1-1 epl-1t\030­

epl-1je My31-1Ke npewa reopujawa MO!l.epHe 1-1 nOCTMO!l.epHe yMeTHocTI-1 1-1 KYt\Type:

• !l.I-1CKypCI-1 1-1 reopuje 0 MO!l.epHoj MY31-1UI-1 C 0631-1pOM Ha noja« 6yp­

)I(OaCKe HaUI-10Hat\He MO!l.epHOCTI-1 TOKOM XIX 1-1 pauor XX BeKa;29

• !l.I-1CKypCI-1 I-1HTepHaUI-10Hat\He MO!l.epHOCTI-1 30 !l.0 Apyror CBeTCKor pa­

ra, ca Ha3Ha4eHI-1M nl-1Tal-bl-1Ma 0 'MO!l.epHI-13My' 1-1t\1-1 'aBaHrap!l.\II';31

• cyK061-1 MO!l.epHI-1CTa 1-1 Tpa!l.I-1UI-10Hat\I-1CTa 1-13Met)y !l.Ba CBeTCKa para:

nojav MOi1epHJ1CTJ1 rpefia pa3MOTpl-1TI-1 y CMI-1Ct\y I-1HTepHaUI-10Hat\­

nor axryexuor (caepeweuor) MO!l.epHI-13Ma, a nojav Tpai1J1UJ10HaAJ1­

CTJ1 y CMI-1Ct\y HaU1-10Hat\Hor pOMaHTI-14apCKOr 1-1t\1-1 n031-1T\IIBI-1CT\II4KOr

MO!l.epHI-13Ma C xpaja XIX 1-1 n04eTKa XX BeKa;32

87

HOBU 3ByK

• KpHH1Ka MOf>.epHH3Ma KOf>. couujaxuo opHjeHTHcaHHX ayropa npez,

LlpyrH cseTCKH paT H y nepuocy couHjal\HCTH4KOr peal\H3Ma nocxe

Apyror csercxor para."• ycnocraa.sau,e nojva 'MOf>.epHe', 'Hose' H 'caapeweue' My3HKe y

OHOM KOHTeKCTY pa3MHWlbal-ba y KOMe cy nHCal\H Teof>.op B. Aaop­HO H V1saH <DOXT;34

• ysot)el-be nojMa 'aaaurapaue MY3HKe' H ycnocraaa.a-se reopu]e

aSaHrapf>.He My3HKe nocxe Apyror cserckor para;"• yaohea,e H npojexrouarse nojva nOCTMOf>.epHe My3HKe. 36

Kasa ce roaopn 0 eCTeTHUH My3HKe y XX sexy y Cp6HjH, H3f>.Sajajy ce xao

6HTHe Cl\ef>.ene TeMe: (1) ayrouowaja H epyHKuHje MY3H4Kor f>.el\a H My3HKe xao

yMeTHocTH;37 (2) HOBO H crapo, Of>.HOCHO, rpasuuaja H HHosauHje;38 (3) aKCHOI\O­

ruja H KpHTHKa My3HKe;39 (4) pexuruoaua H upxaeua My3HKa, Of>.HOCHO yruua]«

npaaocxaaue My3HKe ua yMeTHocT XX aeka:"? (5) HaUHOHal\HO y My3HUH;41 (6) HH­

TepHaUHOHal\Ha MY3HKa;42 (7) epopMYl\auHje nojwa eCTeTHKe MY3HKe;43 (8) TOHal\­

HH cHcTeMH;44 (9) -rersprroucxa MY3HKa;45 (10) aTOHaI\HOCT;46 (11) f>.Of>.eKaepoHH­

ja;47 (12) cepHjal\H3aM;48 (13) pef>.yKuHoHH3aM;49 (14) narau,a nonyxapue My3HKe

H KYI\Type;50 (15) ouroxoruja yMeTHocTH H MY3HKe;51 (16) uosa rexuoxoruja H MY­

3HKa;52 (17) rurrau.a 0 HCTOpHjH H MeTaTeopHjH HayKa 0 My3HUH;53 (18) reopuja

6al\eTa, onepe H MY3H4Kor rearpa.>'

<DV1A030<DCKA ECTETV1KA MY3V1KE

<DHI\030epCKOM eCTeTHKOM My3HKe HI\H epHI\030epHjOM My3HKe ce Ha3Hsajy

onurra epHI\03oepcKa (H3 f>.OMeHa HHCTHTyuHja H 'HHTepeca' tpHl\030epHje) H3Y4a­

aau.a MY3H4Kor f>.el\a, MY3H4Ke yMeTHocTH H KYI\Type (HI\H csera MY3HKe), Of>.HO­

CHO np061\eMH craapan.a, H3sot)el-ba H peuenuuje MY3H4Kor f>.el\a H MY3HKe.

<DH1\030epcKa eCTeTHKa My3HKe je 'f>.HCUHnI\HHa' onurre epHI\030epcKe eCTeTHKe.55

<DH1\030epcKa eCTeTHKa My3HKe y Cp6HjH jow He nOCTojH xao 'HHCTHTYUHOHaI\H­

soaaua' epHI\030epCKa f>.HCUHnI\HHa, sen je npe pe-t 0 peTKHM HHf>.HSHf>.yaI\HHM H

nospeMeHHM HHTepeCOSal-bHMa aa epHI\030epCKa rnrrau.a 0 My3HUH H HayKaMa 0

My3HUH. Y XIX sexy ce H3f>.Saja HeKOI\HKO noxyuiaja epHI\030epCKor MHWlbel-ba 0

My3HUH. MHxaHI\O XpHCTHepOp PHCTHn pacnpas/sa 0 My3HUH Y weCTOM TOMy caor

f>.el\a CUCTeM uesoxynne c{mAo3oc{mje56 (1860). V1Hf>.HKaTHSaH npHMep nucau.a

onurre eCTeTHKe ca OCSpTOM Ha eCTeTHKY My3HKe npeacrasn.a H KI-bHra CresauanaBI\OSHna57 oojas/seua 1895. OH pacnpasa.a 0 H3seCHHM nHTal-bHMa eCTeTHKe

My3HKe YSOf>.enH HeKoH3HcTeHTHY H He caCSHM kopexruy MY3H4KY TepMHHOI\OrH­

jy. naSI\OSHn je nucao 0 lIf>.eepHHHuHjH My3HKe", "caCTasy My3HKe: MeI\Of>.HjH,

xapMoHHjH H PHTMY', IIYCI\OSHMa H3S0t)el-ba MY3HKe", IIspCTaMa MY3HKe" H "HCTO­

pHjH MY3HKe". naBI\OBHneS 3aKaCHel\H 'npocaer-rre.scka' H npaeoepeveua KOM­

napaTHSHCTH4KH npHcTyn My3HUH MO>KeMO pa3yMeTH xao jet.aH Of>. no-reraxa HI\H

anruuanauaja MOt.epHe epHI\030epCKe H neaarouncu opajeurucaue eCTeTHKe MY­

3HKe XX seka, nOWTO OH yKa3yje Ha noceriuy H avrouovuy KOHCTHTyUHjy MY3H-

88

M. WyBaKOBJ1n: ECTeTJ1Ka My3J1Ke XX eexe y Cp6J1jJ1

Ke KaO yMeTHocH1 H ua l-beHe CneUH¢H4HOCTH y OllHOCY ua llpyre yMeTHocTH III¢yHKuHje KY/\Type.

V13Met)y llBa CBeTCKa para ce yKa3yjy lleAHMH4Ha HHTepeCOBal-ba aa ¢HAO­30¢CKY eCTeTHKY My3HKe - jellHa noceoua. HnaK nocpezua. AHHHja HHTepeCOBa­I-ba ce OTKpHBa KOll xeAeHHCTH4KH opHjeHTHcaHHX ¢HA030¢a H ¢HAOAora KOjH cy

nHcaAH H 0 xeAeHCKOM 'OKBHpy' H 'arvocrpepu' pasyveaau.a yMeTHocTH H My3H­Ke (KAaCH4HH ¢HAOAor AHHua CaBHn Pe6au58 H ¢HA030¢ MHAOW H. l)ypHn59).

KpHTHKY 'BHTaAHCTH4Ke eCTeTHKe' ua npHMepy PHxaplla Ban-epa H KPHTHKY ecre­TH4Kor MY3H4Kor ¢opMaAH3Ma Ha npHMepy Ellyaplla XaHCAHKa ycnocrasao je¢HA030¢ .6.ywaH HellelbKOBHn60 npoMHwlbajynH ncuxoxornjy AHpCKor craapau.a.

V13BeCHa ¢IIlA030¢CKa rurrau.a 0 My3HUH cy nocraa.seua nOCAe ApyrorCBeTCKor para, npe csera y npacryruwa peuenuaju eCTeTHKe HAH ¢HAo30¢Hje

My3HKe uacraxoj H3BaH Cpouje. Mory ce cnOMeHYTH caCBHM pa3AH4HTe peuen­uaje eCTeTHKe MY3HKe, noeruke, MeTaMy3HKoAOWKHX paswarpau,a HAIIl ¢HAO­30¢CKHX paaxiarpau.a nOBe3aHHX Ha 'HeKH' Ha4HH ca My3HKOM KOll: Erjeua Cy­pnoa." Maxca Aeconpa.v' YM6epTa EKa,63 rBHlla Mopnypra-Talba6yea,64Teosopa AilopHa,65 nayAa XHHlleMHTa,66 [lerpa CeAeMa,67 Xauca XajHea WTy­

KeHWMHTa,68 30¢Hje !\lIlce,69 Ellyaplla XaHCAHKa/o V1BaHa CynH4Hna,71 '{apxca

P03eHa,72 Cyaaue Aaurep." Huxoxaja XapTMaHa/4 KAOlla Aeau-Crpoca." V1BaHaCDOXTa/6 EpHCTa 6Aoxa,77 UOHa Kejua." Aepmca KyKa/9 >KaKa ATaAHa,80 !\eo­

uapaa 6. Mejepa." BAallHMHpa JaHKeAeBH4a,82 CDepyna 6y30HHja,83 MHKeA .6.H­¢peH,84 >KaHa-CDpaHcoa !\HOTapa,85 MapH-EAH3a6eT .6.Hwe3,86 Crerpaua Mopas­CKor,87 POMaHa V1HraplleHa,88 Kapxa Aaxxayca." >KHA6epa Pyxea.?" >KHAa

Aexesa H CDeAHKca f arapnja.?' bopuca ze WAe3epa,92 >Kepapa >KeHeTa93 H >KaKa

.6.epHlle.94 nOll 'peuenuujow' HHTepHaUHOHaAHe eCTeTHKe My3HKe paay-aejy ceTpH 'npoueca';

1. eCTeTH4Ka H ¢HAo30¢cKa peuenuuja - paayweaa-se, KpHTHKa H HHTep­nperauuja HHTepHauHoHaAHHx cnuca y pacnpaaawa ¢HAo30¢a H ecreru-tapa yCp6HjH;

2. yBot)el-be 3aMHCAH HHTepHauHoHaAHe eCTeTHKe My3HKe y yHHBep3HTeT­

CKy HaCTaBY ucropa]e MY3HKe, eCTeTHKe MY3HKe, ¢HAo30¢cKe eCTeTHKe;

3. 'npeweurrau.e' 3aMHCAH HHTepHauHoHaAHe eCTeTHKe My3HKe y npehyr­ua H onurra 3Hal-ba 0 My3HUH (KoMnOHOBaI-bY, H3Bot)awTBy), My3HKoAorHjH HeCTeTHUH, llpyrHM pe4HMa, 'ecTeTH4Ka rAellHwTa' nocrajy KOHCTHTyTHBHH eAe­MeHTH CBeTOBa My3HKe.

Asopuoaa (j)J1I\03ocjJJ1ja HOBe My3J1Ke je jeaua oz, YTHuajHHx KOHCTHTyTHB­HHX KI-bHra 'KpHTH4Ke MOllepHe' y Cp6HjH nOCAe Apyror CBeTCKor paTa. CDHAO­

30¢CKa H My3HKoAoWKa peuenuuja Asopuoee eCTeTHKe MOllepHe My3HKe je

CTBopHAa XOpH30HT pa3YMeBal-ba MOllepHOCTH y My311lUH H, 3aTHM, unrpe y yMeT­HOCTH. 06jaBlbHBal-be npesosa AilOpHOBHX cnuca y 360pHHUHMa H -raconuc-wa

Tpelin npotpei« PS, 3ByK H MyJJ1YKJ1 Tal\ac 95 oMorynlllAo je uuipe 1Il3Y4aBal-be I-be­rosor pasa H MOllepHHCTH4Kor llpywTBeHo opajeurucauor paayveaa-sa MY3HKe,

89

HOBt1 3ByK

Of..HOCa I-1Hcn1Tyul-1ja My31-1Ke 1-1 KyAType. Aexoaau,e V1saHa <DoXTa, KOjl-1 je npeza­sao epl-1A030epl-1jy 1-1 eCTeTI-1KY y Capajesy 1-1 3arpe6y, MO>Ke ce CMaTpaTI-1 6AI-1CKI-1Mynruaje« ua 'epI-1A030epCKY KAI-1My' Y Cp61-1jl-1 1-1 Ha epl-1A030epCKy peuenuujy 'ecre­TI-1Ka MY3I-1Ke' XaHCAI-1Ka, L1aHKepTa, 5y30Hl-1ja, epeHOMeHoAorl-1je My31-1Ke, Mepc­MaHa, XaAMa, Xaprwaua, V1Hrapf..eHa, Aaxxayca, CTpaSI-1HCKOr, Aanrepose, Asop­ua. 5Aoxa, JaHKeAeSI-14a 1-1 Aujeca. Takobe cy 61-1THI-1 1-1 <DOXTOBI-1 OnWTI-1 npucrynaepl-1A030epl-1jl-1 My31-1Ke y Cnl-1CI-1Ma "WTa je MY3I-1Ka" (1973), 1-1 ,,<DI-1A030epl-1ja My31-1­Ke"96 (1978). ECTeTI-14KI-1 yruuaj« L1aHKa rpAl-1na, xao 1-1 I-berosa cnopazn-u-a I-1HTe­pecoaau.a aa eCTeTI-1KY My31-1Ke, caaxaxo cy 61-1THI-1 sa onWTY CAI-1KY epl-1A030epCKeeCTeTI-1Ke My31-1Ke, a, raxobe, nOTpe6HO je YKa3aTI-1 1-1 ua I-beroso f..eAO 0 <Dpl-1f..pl-1­xy HI-14ey KOjl-1M je onuprao OnWTI-1 OKBl-1p HI-14eOBe epl-1A030epl-1je 1-1 eCTeTI-1Ke, KO­jl-1 je 61-1TaH 1-1 aa paayveaa-se My31-1Ke y apeveuy epopMl-1pal-ba pane MOf..epHe.97

Aparau JepeMl-1n je y OKBl-1pl-1Ma OnWTI-1X pacnpasa aanasue yMeTHOCTI-1, a npecaera KI-bI-1>KeSHOCTI-1, YKa31-1sao 1-1 Ha 1-13BeCHe npuvepe 1-13 My31-1Ke (Eax, 5epA1-103,5eTOBeH, 5yAe3, Bar-rep, BI-1SaMI-1, r AyK, L1e6I-1cl-1, Keju, MouapT, CaTI-1, CTpaSI-1H­CKI-1, Xajf..H, Xouerep, llleuoepr, WTOKxaY3eH).98 MI-1AaH L1aMl-baHOBl-1n je nOcpef..­HO I-1AI-1 uenocpezuo TpeTl-1paO 1-13SeCHa rurrau.a eCTeTI-1Ke My31-1Ke: np06AeM CI-1M­60Aa KOf.. Cyaaue Aaurep, rurra-sa epeHOMeHoAorl-1je My31-1Ke, a uanucao je 1-1CTyf..l-1jy 0 HI-1KoAajy Xaprwauy 1-1 l-beroBoM eCTeTI-14KOM npexo-raaa-sy My31-1Ke. Ka­paKTepl-1CTI-14Ha cy 1-1 L1aMl-baHOSl-1nesa f..sa onurruja TeKCTa 0 pl-1TMY 1-1 CTI-1Ay.99L1aMl-baHOBl-1neB pas je aa eCTeTI-1KY My31-1Ke 1-1 onWTY 1-1 npl-1Mel-beHY eCTeTI-1KY 1-1epl-1A030epl-1jy yMeTHocTI-1 61-1TaH 1-1 y l-beroBoM f..eepl-1Hl-1cal-bY yxore reopujoce ua­CTaBe Ha YHI-1sep31-1TeTY yMeTHocTI-1 41-1Me je CTBopeH noreuuujaxau OKBl-1p pa3SI-1­jeuor recpnjcxor pasa Ha YMeTHI-14KI-1M epaKyATeTI-1Ma. lOO Cpereu Flerpoauh jeKpl-1TI-1KOM onurre epl-1A030epCKe eCTeTI-1Ke CTSOPl-10 OCHOBy aa epl-1A030epCKO pasy­MeSal-be noce6HI-1X I-1AI-1 npl-1Mel-beHI-1X eCTeTI-1Ka 1-1A1-1 reopuja yMeTHocTI-1 1-1 KyATy­pe. Y yu6eHI-1Ky eCTeTI-1Ke aa CTYf..eHTe <DI-1AOAOWKor epaKyATeTa Flerpoauh je 1-13­eeo Ca>KeTy CKI-1UY eCTeTI-14KOr 1-13Y4asal-ba MY3I-1Ke.101 MI-1AaH Ysexau je y Kl-b1-131-1YBOLl Y eCTeTt1KY 1-13AO>K1-10 npernocraaxe aa caspeveuy eCTeTI-1KY My31-1Ke,102 a «a­CHI-1X f..eBef..eCeTI-1X rof..I-1Ha je 06jaBI-10 eCTeTI-1KY MY3I-1Ke.103 EAeOHopa Ml-1nYHOBl-1nje uanucaxa xpahe pacnpase 0 aYTonoeTI-14KI-1M 1-1 nOeTI-14KI-1M Cnl-1CI-1Ma KOMn031-1­Topa V1ropa CTpaBI-1HCKOr 1-1 nOAI-1TI-1KOAOra >KaKa ATaAl-1ja.104 L1ywaH najl-1H je nu­cao 0 I-1Hf..l-1jCKOM nxecy 1-1 MY31-1UI-1 Y OKSI-1PY I-1CTpa>KI-1Bal-ba aaujcxe epl-1A030qmje,pexnruje, KyAType 1-1 YMeTHocTI-1. 10SL1I-1SHa Byxcanoauh je uanucaxa auure TeKCTO­aa 1-13 eCTeTI-1Ke My31-1Ke, a y f..OKTOpCKOj Te31-1 je 06paf..I-1Aa Of..HOCe MOf..epHe 1-1nOCTMOf..epHe I-1HTepnpeTaul-1je Asopua 1-1 5Aoxa, yKa3yjynl-1 ua I-bI-1XOBe eCTeTI-1KeMY3I-1Ke. 106

CI-1CTeMCKa I-'lCTpa)f(I-1Bal-ba epl-1A030epl-1je 1-1 eCTeTI-1Ke y Cp61-1jl-1 cy f..eAI-1MI-14­HO, yrAasHoM epaK"TOrpaepCKI-1, 3aXSaTI-1Aa 1-1 rnrran.a eCTeTI-1Ke My31-1Ke, a TO cy ze­Aa: AHf..pl-1je Crojkoeaha Pa3Bt1TaK tpnsocotpn]« y Cp6a 7804-7944107 (1972),Aparaua M. Iepevuha ECTeTt1Ka KOLl Cp6a OLl cpesner eexe LlO CBeT03apa Map­KOBt1na'08 (1989) 1-1 MI-1AaHa PaHKOSl-1na ktctopn]« cpncxe eCTeTt1Ke109 (1998).

90

M. WyBaKOBUn: ECTeTUKa My3uKe XX eex« y Cp6uju

6E;\EWKE / HAnOMEHE

MV1WKO lllyaakoauh, ,,!\V1cKyp3V1BHa aHaJ\V13a" V13 rewara "noCTCTpyKTypaJ\V1CTV1'-lKa HayKa 0MY3V1UV1", 5eorpat.., HOBI1 3ayK (cneuujaxuo V13t..at-be), 1998, CTp. 27-30.

3

3aMV1cao "rexa' KaO 'naJ\V1MnCeCTa' je nOCTaBV1O Richard Leppert, The Sight of Sound. Music,Representation, and the History of the Body, Berkeley, University of California Press, 1993, CTp. XXVI.!\aHac ce noja« 'eCTeTV1Ka' nosesv]e npe ca epV1J\030epV1jOM rexa Hero ca epV1J\030epV1jOM V130J\oBaHV1XV1 ayToHoMHV1X '-lYJ\a cJ\yxa V1J\V1 BV1t..a. 3a Moja pa3MaTpat-ba ot..Hoca My3V1Ke V1 rexa ot.. Ba)l(HOCTV1 cyaHaJ\V13e V13HeceHe y ecejy POJ\aHa bapra "Rasch", y: The Responsibility of Forms. Critical Essays onMusic, Art, and Representation, Berkeley, University of California Press, 1985, CTp. 299-312. baprnuure: "L1ywa, oceheue, cpue cy pOMaHTV1'-lHa V1MeHa aa rexo", CTp. 308.

2

Lawrence Kramer, "Tropes and Windows: An Outline of Musical Hermeneutics" y: Music asCultural Practice 1800-1900, Berkeley, University of Ca lifornia Press, 1990, CTp. 13.

4 John Shepherd, Music as Social Text, Cambridge, Polity, 1991.

5 Julija Kristeva. "The Subject in Process" (1973) y: Patrick French, Roland-Francois Lack, TheTel Quel Reader, London, Routledge, 1998, CTp. 133-178.

6 OBV1M TeKcToM HV1je ot..6a'-leHO MeTaepV13V1'-lKO rurra-se 0 'V1CTV1HV1 MY3V1Ke', aJ\V1 je npet..O'-laBa­HO t..a je OHO cJ\O)l(eHa ynncaua. fipucaaa. OMaraHa V1 uacxojaaaua epyHKul1ja Moryner csera My3V1KeV1 KYJ\Type y Ot..pe1)eHoM V1CTOpV1jCKOM nepaozy. a npo6J\eMaTV13auV1jV1 'V1CTV1He YMeTHOCTV1' BV1t..eTV1paswarpa-sa xo]a je Moryne npV1MeHV1TV1 V1 Ha nura-ea 0 MY3V1UV1: Martin Heidegger, .Jzvor urnjet­nickog djela" y: Danilo Pejovic (pr.), Nova filozofija umjetnosti, Zagreb, Nakladni zavod MH, 1972,CTp. 448-487; MV1J\aH !\aMt-baHOSV1n, ,,0 npV1pot..V1 yMeTHV1'-lKe V1CTV1He", y: CywTI1Ha 11 nOBeCT, Eeo­rpac, YHV1Bep3V1TeT yMeTHoCTV1 y Beorpasy, 1976; Gilles Deleuze, .Znak i istina", Zagreb, Cordoganbr. 17-18, 1985, CTp. 50-63; Jacques Derrida, /stina u slikerstvu, Sarajevo, Svjetlost, 1988.

7 ECTeTV1'-lKa V1 reopujcxa npet..O'-laBat-ba My3V1Ke kao 'orsopeuor cucrewa' He 3Ha'-le 'KOMnOHO­Bat-be' t..eepV1HV1TV1BHV1X V1HTepnpeTauV1ja cucreva My3V1Ke, Ben ycnocraea.aree vnopeznax Ot..Hoca Y13­Me1)y pa3J\V1'-lV1TY1X cV1CTeMa V1J\V1 npaKcV1 xoje KOHCTV1TYV1WY My3V1Ky xao yMeTHoCT V1 xao KYJ\TYPY. 3a­MV1CJ\V1 'cV1HTe3e' TeOpY1jcKV1 ce cynporcraaa.a 3aMV1cao 'KOMnapaTV1SHV1X' (y MOt..epHV13MY) V1'V1HTepTeKCTyaJ\HV1X' (y nocTMOt..epHV13MY) CTyt..V1ja V1 pacnpasa YMeTHOCTV1. 3a paayveaa-ee xownapa­TV1BHV1X eCTeTV1'-lKV1X CTyt..V1ja 6Y1THa cy t..eJ\a Erjeua Cypuoa, Odnos medu umetnostima, Sarajevo, IP'Svjetlost' 1958; MV1J\aH PaHKoBV1n, KOMnapaTI1BHa eCTeTl1Ka, 5eorpat.., YMeTHV1'-lKa aKat..eMV1ja, 1973;MV1J\aH !\aMt-baHOBV1n, CywTI1Ha 11 nOBeCT, beorpaz, YHV1Bep3V1TeT yMeTHoCTV1, 1976.

8 Edward Lippman, "The Twentieth Century", y: A History of Western Musical Aesthetics,Lincoln, University of Nebraska Press, 1992, CTp. 351-510.

9 a nojMy 'onurre reopuje YMeTHoCTV1': juri] M. Lotman, "Problem opce teorije umjetnosti" y:Danilo Pejovic (pr.), Nova filozofija umjetnosti. Antologija tekstove, Zagreb, MH, 1972, CTp.236-271.

10 a epyHKuV1jaMa 'npehyruor 3Hat-ba' y MV1KpocouV1jaJ\HV1M 3ajet..HV1uaMa: Michael Polany,Personal Knowledge, Chicago, Chicago University Press, 1958; TOMac KyH, .Flpehyruo 3Hat-be", y:Crpyxryp« HaY4HI1x pesosyun]«, 5eorpat.., HOJ\V1T, 1974, CTp. 258-266; Charles Harrison, FredOrton, .Paradogrns. Tcait Knowledge and Incommensurability. Thomas S. Kuhn", y: ModernismCriticism Realism. Alternative context for art, London, Harper & Row, 1984, CTp. 229-231.

11 Floja« 'reopu]a y YMeTHoCTV1' y: Misko Suvakovic, .Teorija u umetnosti: definicija i primer",Prolegomena za analiticku estetiku, Novi Sad, Cetvrti talas, 1995, CTp. 194-208.

12 KpV1TV1Ka 'BeJ\V1Ke HapauV1je' V1J\V1 'MeTaje3V1Ka' y Kt-bV13Y1 >KaH-<DpaHcoa !\V1oTapa, Postmodernosten]e, Novi Sad, Bratstvo i jedinstvo, 1988.

13 MY1WKO WyBaKoBV1n, "CV1CTeMcKa rurra-sa 0 eCTeTV1UV1 XX sexa y Cp6V1jV1", TeKcT V13J\arat-ba HaocaMHaeCTOM Hay'-lHOM cxyny ECTeTV1'-lKOr t..pywTBa Cp6V1je Concxs eCTeTl1Ka XX eexe, HOBeM6ap1998.

91

HOBI1 3ByK

14 0.: Dragan M. Ierernic, ,,0 filozofiji kod Srba", Beograd, Savremenik br. 6, 1967, CTp.534-549; flpeepar naAaBeCTpa, "HacAe1)e cpncKor MOllepH113Ma. Kl-bl1)1(eBHe 111leje kao 06AI1K llyXOB­He KyAType enoxe" y: Hac"el)e cpncxot M0.1epHI13Ma, beorpae, npOcBeTa, 1985, CTp. 93-152.

15 Cf.: jOBaH Cxepxnh, "ll.OrMaTl14Ka 11 I1MnpeCI10HI1CTI14Ka KpI1TI1Ka", HOBI1 Call, CpnCKI1 Kfbl1­)/(eBHI1 rAaCHI1K V, 1902, CTp. 208-213, 290-298; 50WKO TOKI1H, "EKCnpeCI10HI1CTI14Ka epl1A030epl1ja11 YMeTHoCT", Eeorpac, Flpotpec 6p. 103, 1920, CTp. 2-3; Milenko Zivkovic, "Muzicki impresioni­zarn". Beograd, Zvuk br. 10, 1935, CTp. 355-359; MI1Aoje MI1Aojesl1n, ,,<DpaHuycKI1 MY3114KI1 I1Mnpe­CI10HI13aM" y: Mpl14Ke CTy.1l1je 114AaHul1l1l, Seorpac, 1953, CTp. 166-173.0 I1CTOPl1jCKI1M 11 KOH­uemyaAHI1M y06AI14el-bl1Ma eKcnpeCI10HI13Ma xao My3114Ke KyAType nucaxa je Mapl1ja Sepravo,EAeMeHTI1 eKCnpeCI10HI1CTI14Ke opuieureuu]e y cpncxo] MY311UI1 .10 1945. ro.1I1He, 5eorpall, CAHY,1980. Onurre CTI1ACKe 11 Kpl1TI14Ke 3aMI1CAI1 'I1MnpeCI10HI13Ma' 11 'eKCnpeCI10HI13Ma' yWAe cy y 'oape­1)yjyne OKBl1pe' mrca-sa 0 MY311UI1 Y npsoj nOAOBI1HI1 XX sexa. V1MnpeCI10HI1CTI14KI1M nl1Cal-beM 0 My­311UI1 Ha311Ba ce npeao-raaa-se 1l0)l(I1SlbeHOr 11 MeTaepopl14KI1 npeao-reuor 'cno.saunser - 4yAHor' YTI1­CKa My311Ke. TepMI1H 'I1MnpeCI10HI1CTI14Ka KpI1T11Ka' y06114ajeH je sa npucrvne npeeo-raaau.yMy3114Kor lleAa ua OCHoBy 4yAHor (cxyunror) YTl1cKa KOjl1 xao lla lleAO 'yspoxyje'. EKCnpeCI10HI1CTI14­KI1M nl1Cal-beM 0 MY311UI1 Ha311Ba ce 113pa)l(aSal-be (excnpecuja) YHYTpawl-ber 1l0)l(I1Blbaja My311Ke I1AI1npeso-raaau,e 1l0)l(I1Blbaja My311Ke no yaopy Ha 'YHYTpawl-bl1' (nCI1XOAOWKI1, llYXOBHI1) 1l0)l(I1Blbaj.

16 0 MOllepHI13MY 11 I1lleaAI1CTI14Koj ep11A030epl1jl1: MI1AaH PallYAOBl1n, ,,<DI1AOCOepCKO-KyATypOAO­WKI1 KOHTeKCT cpncxor MOllepHI13Ma", y: M0.1epHI13aM 11 cpncse l1.1eaAI1CTI14Ka cjJl1A03otpu]«, beo­rpaz, V1HCTI1TyT aa Kl-bl1)1(eBHOCT 11 yMeTHoCT, 1989, CTp. 9-32. Cf.: CBeTAaHa Cxaruuak, "nojaM KAa­Cl14HO y cpncxoj Kl-bl1)1(eBHoj Kpl1TI1UI1 Hd npeAoMy XIX 11 XX sexa", y: npellpar Haxaeecrpa (np.).npl1A0311 3a I1CTOpl1jy cpncxe Kfbl1)/(eBHe KpI1TI1Ke, 5eorpall, V1HCTI1TyT sa Kl-bl1)1(eBHOCT 11 yMeTHocT,1984, CTp. 92-109; Dragan M. lerernic, ,,0 filozofiji kod Srba (VII)", Beograd, Savremenik br. 12,1967, CTp. 487~500.

17 Csera AyKl1n, npellpar [laxaaecrpa (np.). MapKCl13aM 11 Kfbl1)/(eBHa Kpl1TI1Ka y JyrocAaBl1jl1

7978-7947, 5eorpall, V1HCTI1TyT aa Kl-bl1)1(eBHOCT 11 yMeTHoCT, 1978.

18 lby60MI1p CaBKOBl1n, 0 AenOTl1. OMOMaK [eane 6110AOWKe cjJI1A030cjJl1je, beorpac. V131lal-be C.5. UBl1jaHOBl1na, 1927.

19 0.: 50pl1CAaS Aopeuu, nCI1XOAOrl1ja 11 cjJl1AococjJl1ja peA ntn]« , 5eorpall, 1939; jYCTI1H Florio­Bl1n, <I>I1AococjJl1ja 11 pesurn]« C!J. M. L1ocTOjeBcKOr, beorpaa, 1923. Taxobe Bl1lleTI1: MI1AaH Pasyxo­Bl1n, .Teoxourxa eCTeTI1Ka HI1KoAaja BeAI1Ml1poBl1na" 11 "XpI1WnaHCKI1 nepCOHaAI13aM jyCTI1Ha nono­auha 11 eKCnpeCI10HI1CTI14KI1 I1HllI1Bl1llyaAI13aM", y: M011epHI13aM 11 cpncxe l111eaAI1CTI14Ka cjJl1A030cjJl1ja,beorpaa, V1HCTI1TyT sa Kl-bl1)1(eBHOCT 11 yMeTHoCT, 1989, CTp, 123-146, 147-186.

20 Esponcxa epl1A030epCKa rpaaauuja uaroaeurreua je y cnl1CI1Ma KOMn03I1Topa 11 My311KoAora(Flerap Ko-soeuh. MI1Aoje MI1AojeBl1n, CTaHa l)ypl1n-KAajH) y pacnoHy 011 nAaTOHa, Apl1CTOTeAa 11boeuaja. npeKO Cpelll-bOBeKOSHI1X MI1CAI1AaUa, 110 MOllepHI1X epl1A030epa XIX 11 XX aexa. 3Ha4ajHy yAO­ry I1Majy epl1A030epCKa Y4el-ba V1MaHyeAa KaHTa npucvrua nOCpellCTSOM yruuaja My3114Kor epopMaAI1­3Ma, kao 111ll1peKTHI1 yruuaj« Aprypa llloneuxayepa 11 <Dpl1llpl1xa Hl14ea, 01lHOCHO Aupuja beprcoua.Y zpvro] nOAOSI1HI1 XX sexa npeCYllHI1 yruuaj Ha pa3YMeBal-ba My311Ke I1Mao je Teoaop B. A1l0pHO.Kpajev XX aexa ce 1131lSajajy vruua]« epl1A030epa 11 reoperu-rapa YM6epTa EKa, KAOlla AeBI1-CTpOCa,POAaHa bapra. MI1WeAa <DyKoa, >KaKa iJ.epl1lle 11 >KaKa Aaxaua.

21 Y npsoj nOAOBI1HI1 aexa 611THI1 cy yruuaj« Ferea. Toxcroja, Byxa Kapauuha, josaaa CKepAI1­ha, 50rllaHa nOnOBl1na 11 V1cl1llope CeKyAl1n. Tpeoaxo 611 lla ce ycnocrae« nocetiaa pacnpasa 0 pe­uenuuja Kl-bl1)1(eBHI1X lleAa, npe csera noesu]e. y My3I1UI1. KOMn0311Topl1 cy 011 pOMaHTI13Ma na 110MO­llepHe 11 nocrvoaepue 'vnorpeo.saaaxa' Kl-bl1)1(eSHI1 TeKCT sa nporpavcxy I1AI1 MaTepl1jaAHy ocuoaynpu KOMnoHoBal-bY MY3114KI1X lleAa. V131lBajajy ce, ua npl1Mep, I1MeHa neCHI1Ka: loaaua rp411na MI1AeH­ka, bpauxa Palll14eBl1na, losaua iJ.y4I1na, MapKa PI1CTl1na, na cse 110 Bacxa none, Ml10llpara Flasxo­Bl1na 11 MaTl1je 5enKosl11ia.

22 Kpyr peAl1rl1jcKv x I1HTepeCOSal-ba je Wl1pOK: 011 I1HTepeCOBal-ba sa jespejocy peAl1rl103HY 11 MI1­CH14KY Tpalll1ul1jy 11 xpuurhaucrso (npaaocxasa,e, KaTOAI14aHCTBO, npoTeCTaHTl13aM) 110 I1CAaMa, seua11 'epI1KUI10HaAHI1X' peAl1rl1jcKl1x 11 pl1TyaAHl1x 'MOTI1Ba'. V1HcTpyKTI1BaH je cnuc MI1Aoja MI1Aojesl1na"My311Ka 11 npaBocAasHa upksa", CpeMCKI1 Kapxosuu, r011I1WfbaK 11 xsseusep Cpncxe npeeocseeneneronjsoiuuje, 1933, CTp. 115-135. Y npsov lleAy cru-ca MI1AojeBl1n paasaja pacnpasy 0 ep11A030ep-

92

M. WyBaKOBl1n: ECTeTI1Ka My311Ke XX eexe y Cp611jl1

CKI-1M acnexru-aa peAl-1rl-1je, yKa3yjynl-1 Hd MI-1CAI-1 Ayrepa, !\. Exapra, K. <D. EM. 5axa, 50eul-1ja, WOneH­xayepa, r erea 1-1 Apyrl-1X.

23 51-1THI-1 cy YTl-1uajl-1 nOAI-1TI-14KI-1X MI-1CAI-1AaUa CBeT03apa ~apKOBl-1na, KapAa ~apKca, !\aBaTpouxor. a nOCAe Apyror CBeTCKor para - A. A. >KAaHoBa, Teozopa Asopua 1-1, AaHac, >KaHa 50Apl-1­japa.

24 0.: Sveta Lukic, Umetnost i kriterijumi, Beograd, Prosveta, 1964; Vjekoslav ~ikecin, Marksi­zam i umjetnos!, Beograd, IC 'Komunist', 1976; Sreten Petrovic, Marksisticka estetike, Beograd, BIGZ,1979; Dragan Zunic, Esteticki humanizam, Nis, Gradina, 1988.

25 0.: Milan Darnnjanovic (pr.), Fenotnenologijs, Beograd, Nolit, 1975; ~ilan Uzelac, Filozofijaigre. Primer fenomenologije igre kod Eugena Finka, Novi Sad, Knjiievna zajednica Novog Sada,1991; ~ilan Uzelac, Kosmologija umetnosti (Ogled! 0 poreklu tenomenoloske estetike), Novi Sad,Knjiievna zajednica Novog Sada, 1995. <DeHoMeHoAowKa ¢I-1Ao30qmja 1-1 eCTeTI-1Ka yKa3yjy ce xaojesua OA 61-1THI-1X 1-1 yCMepaBajynl-1x 'rpasvuaja' y Cp61-1jl-1 TOKOM XX sexa. Hy)l(HO je npaTI-1TI-1 He ca­MO paaso] ¢eHOMeHOAOWKe eCTeTI-1Ke, Ben 1-1 ¢eHOMeHOAOWKe ¢I-1A030¢l-1je, xoja je nocpezno YTI-1­uaxa Ha noceoue eCTeTI-1Ke 1-1 reopuje yMeTHOCTI-1, na 1-1 Ha eCTeTI-14Ke 1-1 My31-1KoAoWKe CTyAl-1je MY31-1­xe. Ha npl-1Mep, y reopujn AI-1KOBHI-1X yMeTHocTI-1 lby6oMI-1p r Al-1ropl-1jeBl-1n je pa3BI-10 ¢eHOMeHoAowKyI-1HTepnpeTaul-1jy YMeTHI-14Kor ofijexra, a BAaAaH PaAOBaHOBl-1n je OHTOAOWKY Ae¢I-1Hl-1ul-1jy My31-1Ke 3a­CHOBao Ha ¢eHOMeHOAOWKO-CTpYKTypaAI-1CTI-14KOM xouuerrry. Flperxea ¢eHOMeHOAOWKe eCTeTI-1Ke yCp61-1jl-1 je AaAa 5paHI-1CAaBa ~I-1Al-1jl-1n, "npI-1CYTHOCT ¢eHoMeHoAowKe MI-1CAI-1 y cpncxoj eCTeTI-1UI-1",TeKCT 1-13Aarafba Ha ocaMHaeCTOM Hay4HoM cKyny ECTeTI-14Kor apyurraa Cpcuje: Cpncxe eCTeTI1Ka XXeexe, HOBeM6ap 1998.

26 0.: Dragutin Gostuski, Vreme umetnosti. Prilog zasnivanju jedne opste nauke 0 oblicima,Beograd, Prosveta, 1968; Berislav Popovic, Muzicka forma iIi smisao u muzici, Beograd, Clio, 1998.

27 ~o)l(e ce npaTI-1TI-1 ycnocras/sa-se AI-1Hl-1je 'o6jeKTI-1BI-13Ma' y HayKaMa 0 MY31-1UI-1 OATpl-1AeCeTI-1XroAI-1Ha XX aexa, OA npl-1Mepa My31-1KoAoWKor aHaAI-1TI-14KOr paAa Ap ~I-1Aoja ~I-1AojeBl-1na 1-1 CTaHe l)y­pl-1n-KAajH npexo CI-1CTeMCKI-1X aHaAI-1TI-14KI-1X I-1CTpa)l(l-1Bafba BAaCTIo1MI-1pa nepl-141-1na 1-1 Aejaaa .6.ecnl-1­ha AO aKTyeAHor aHaAI-1TI-14KO-CI-1HTeTI-14KOr 1-1 I-1HTepnpeTaTI-1BHOr My31-1KoAoWKor pasa ~l-1pjaHe Bece­AI-1HOBl-1n-XO¢MaH 1-1 Co-se ~apI-1HKOBl-1n.

28 "nOCTCTpyKTypaAI-1CTI-14Ka HayKa 0 MY3I-1UI-1" (TeMaT), 5eorpaA, HOBI1 3ByK (cneuujaxuo 1'13Aa­-se), 1998.

29 Roksanda Pejovic, ,,~uzicke publikacije srpskih autora 1864-1941 ", Ljubljana, Muzikoloskizbornik st. 2, 1981, CTp. 101-11 O.

30 0.: neTap KOfboBl-1n, "PI-1XapA Baruep 1-1 MOAepHa YMeTHOCT", beorpae. HOBa t-tcsp« 6p. 9,1906, CTp. 275-277, 6p. 10 CTp. 306-308, 6p. 11-12 CTp. 351-359; PI-1KapA lllsapu, 0 npo6AeMyHOBe MY3I1Ke", 5eorpaA, MY3114KI1 rAaCHI1K 6p. 5-6, 1932, CTp. 132-140; ~I-1Aoje ~I-1AojeBl-1n, ,,0cpncko] yMeTHI-14Koj MY31-1UI-1 ca OC061-1TI-1M norAeAOM Ha MOAepHe crpyje", HOBI-1 Cas, CpnCKI1 KI-bI1­)KeBHI1 rAaCHI1K CB. 7, 1936, CTp. 497-510; CTaHa l)ypl-1n-KAajH, "nyTeBI-1 uaure ~oAepHe", Beorpas.MY3114KI1 rAaCHI1K 6p. 1, 1938, CTp. 7-10.

31 Roksanda Pejovic, ,,5ta se u beogradskoj sredini smatralo rnuzicki savremenim, modernim iavangardnim u periodu izrnedu dva svetska rata", Cakovec, Meaimurje br. 13-14, 1988, CTp.172-184.

32 OBa npo6AeMaTI-1Ka je y I-1CTOpl-1jl-1 Kfbl-1)1(eBHOCTI-1 AeTalbHO paapabuaaua: ~ilan Bogdanovic,Slom modernizma izmedu dva rata, Beograd, Kolarcev narodni univerzitet, 1949.1-1 Gojko Tesic (pr.),Zli volsebnici. Polemike i pamfleti u srpskoj knjiievnosti 7977-7943 I-III, Beograd, Siovo Ijubve,1983. Y OAHOCy Ha My31-1Ky BI-1AeTI-1: ~I-1Aoje ~I-1AojeBl-1n, ,,~oAepHa My31-1Ka KOA Iyrocxoaena". HOBI-1Cas, CpnCKI1 KI-bI1)KeBHI1 rAaCHI1K 6p. 5, 1936, CTp. 349-356; Becua ~aTOBl-1n, "BecHl-1ul-1 aaaurapz,ey cpncxo] nepl-10AI-1UI-1 y041-1 npsor CBeTCKor para" 1-1 ~eAI-1Ta ~I-1AI-1H, "Hanl-1cl-1 0 aBaHrapAI-1 y 6eo­rpaACKI-1M MY31-14KI-1M 4aCOnl-1CI-1Ma 1-13Me1)y ABa CBeTCKa para" y: BI-1AOCaBa rOAy6oBl-1n, CTaHI-1Wa TYT­fbeBl-1n (np.), Cpttcxe eesnrepae y nepI10.1I1UI1, HOBI-1 Cas, ~aTI-1Ua cpncKa 1-1 5eorpaA, II1HCTI-1TyT aaKfbl-1)1(eBHOCT 1-1 yMeTHocT, 1996, CTp. 69-78, 479-492.

33 0.: Bojncxaa BY4KoBl-1n, YMeTHocT 11 YMeTHI14Ko .1eAO. Eceju 11 crysuje 0 yMeTHoCTI1 11 My311­UI1, beorpae, HOAI-1T, 1962; ~I-1AeHKO >KI-1BKOBl-1n, "Onacne nojase y caepeweuoj My3I-1UI-1, paswarpa-

93

HOBJ1 3ByK

H:>a 1-1 CSeA04aHCTSa", MY3114Kl1,AaCHl1K 6p. 3, 1933, CTp. 49-59 1-1 .Crsapa AI-1 ce y My31-14KOj axace­Ml-1jl-1 rpyna eKCTpeMHI-1X MOAepHI-1X KOMn03I-1TOpa", beorpae. Kfbl1)/(eBHe HOBI1He, 25.3.1954; OCKapLlaHoH, "Yxora caapeweae My31-1Ke y ApyWTBy", beorpae, My3l1Ka 6p. 1, 1948, CTp. 5-16; PavleStefanovic, Tragom tona, Sarajevo, Svjetlost, 1958; Nikola Hercigonja, Napisi 0 muzici, Beograd,Urnetnicka akademija, 1972; Miroslav Cangalovic, "Muzika i revolucija", Sarajevo, Zvuk br. 4, 1975,CTp. 18-21. iI1CTOpl-1jCKy pacnpasy couujaxuo opnje-rrucane My31-1Ke, My31-1KoAorl-1je 1-1 eCTeTI-1Ke My31-1­xe pa3BI-1Aa je COH:>a Mapl-1HKOBl-1n, Praska generacija u previranjima socijalne umetnosti, magistarskirad, Beograd, Fakultet rnuzicke umetnosti, 1983.

34 0.: Ivan Focht, "Muzika u stavu negativiteta" y: Theodor W. Adorno, Filozofija nove muzike,Beograd, Nolit, 1968, CTp. 9-26; .Predgovor iii opravdanje izbora" y: Savremena estetika muzike.Petnaest teorijskih porttete, Beograd, Nolit, 1980, CTp. 7-24. 3a qmA030qKKo pa3yMeSaH:>e 'OKBl-1pa'MOAepHe KyAType, yMeTHocTI-1 1-1 My31-1Ke 0.: Teodor Adorno, Negativna dijalektika, Beograd, BIGZ,1979; Teodor Adorno, Estetick« teori]e, Beograd, Nolit, 1979; Max Horkheimer, Teodor Adorno,Oljalektik~ prosvetiteljstva. Filozofski fragmenti, Sarajevo, IP 'Veselin Maslesa' - 'Svjetlost', 1989;Abdulah Sarcevic, Esteticka teorija danas. Ideje Adornove esteticke teorije (zborriik), Sarajevo, IP'Vesel in Maslesa', 1990.

35 Mirjana Veselinovic, Stvaralacka prisutnost evropske avangarde u nas, Beograd, Univerzitetumetnosti u Beogradu, 1983, CTp. 132-133.

36 Mirjana Veselinovic-Hofman. Fragmenti a muzickoj postmoderni, Novi Sad, Matica srpska,1997.

37 0 ayTOHoMl-1jl-1 1-1 epyHKul-1jaMa My31-1Ke: Theodor Adorno, Einleitung in die Musiksoziologie,Frankfurt am Main, Suhrkamp Verlag, 1962.0.: CTaHa l)ypl-1n-KAajH, "Lll-1pl-1rOSaHa 1-1A1-1 cA060AHa My­3I-1Ka", MY3114Kl1 ,AaCHI1K 6p. 5, 1939, CTp. 94-97; Pavle Stefanovic, "Uvod" 1-1 .Jdejni smisaornuzickog dela" y: Tragom tona, Sarajevo, Svjetlost, 1958, CTp. 5-6, 31-42.

Hanoweaa: y osoj CTyAl-1jl-1 ce nojav '06jeKTI-1sl-13aM y MY31-1UI-1' vnorpefi/saaa sa npucryne My­31-1UI-1 KOjl-1 noxase OA noceouux 1-1 I-1MaHeHTHI-1X 3aKOHI-1TOCTI-1 CTpyKTypl-1paH:>a My31-14Ke MaTepl-1je xao61-1THI-1X OApeAHI-1Ua My31-1Ke xao yMeTHOCTI-1, a nojaw 'aYToHoMl-1ja MY31-1Ke' 03Ha4aBa 'noceouocr: My­31-1Ke y OAHOCy Ha ApywTseHe epyHKul-1je 1-1 nojaBHoCTI-1 My31-1Ke.

38 Mirjana Veselinovic-Hofrnan, .Avangarda i novo", .Avangarda i urnetnicki kvalitet",.Odstupanja avangardnog pokreta od tipicnih obelezja njegovog toka" i odeljak .Lik srpske muzickeavangarde", iz Stvaralacka prisutnost evropske avangarde u nes, Beograd, Univerzitet umetnosti uBeogradu, 1983, CTp. 6-7, 21-23,30-32,1-1277-408; Karapuua Towaureauh, "npI-1SI-1AHI-1 I-1AI-1 craap­HI-1 cyK06 Crapor 1-1 HOBor (SI-1AOBI-1 canocroja-sa TpaAI-1UI-10HaAHOr 1-1 MOAepHory cpncxoj MY31-1UI-1 1-13­Me1)y Asa csercxa para)" y: 03Y3eTHOCT 11 cenocrojen-e, 5eorpaA, <DaKyATeT My31-14Ke yMeTHOCTI-1, 5e­orpas. 1997, CTp. 103-112.

39 0.: P06epT TOAI-1Hrep, ,,0 Kpl-1TI-1UI-1 rxasfie", KI-1KI-1HAa, fy.t.a;\o 6p. 3, 1886, CTp. 37-43; CTe­BaH Xpl-1CTl-1n , .Hauia My31-14Ka KpI-1TI-1Ka", 5eorpaA, JymcAoBeHCKI1 nl1jeMoHT 6p. 14, 1920, CTp, 1;Pavle Stefanovic, ,,0 kriterijumima vrednosti umetnickog dela" (1961) y: Eseji, Beograd, Nolit, 1982,CTp. 133-147; Enriko josif, .Za nova merila vrednovanja muzike - povodom jugoslovenske rnuzicketribine u Opati]i". Beograd, Zvuk br. 64,1965, CTp. 437-441; CTaHa l)ypl-1n-K!\ajH, "My31-14Ka ecej«­CTI-1Ka 1-1 Kpl-1TI-1Ka y Cp6l-1jl-1" y: Ecej« 0 yMeTHOCTl1, Hoau CaA, MaTl-1ua cpncxa, 1966, CTp. 175-201;Vladan Radovanovic, "Traganje za kriterijumom vrednovanja rnuzickog dela", Beograd, Zvuk br. 54,1962, CTp. 389-400, "Teorija i kritika u odnosu na rnuzicko stvaralastvo", Sarajevo, Zvuk br. 113-114,1971, CTp. 147-151, "Vrednosti i kriteriji, od umetnosti do rnuzickog dela" (pyxonuc), 1988. Oon­WTI-1M eCTeTI-14KI-1M nl-1TaH:>I-1Ma 0 BpeAHOCTI-1 0.: Roman ingarden, Ooiivljaj, utnetnicko delo i vrednost,Beograd, Nolit, 1975; Jan Mukarzovski, Struktura, funkcija, znak, vrednost. Ogledi iz estetike i poet­ike, Beograd, Nolit. 1987; Leon Kojen, Umetnost i vtednost, Beograd, ZZIO 'Filip Visnjic', 1989.

40 0.: Stevan Hrisr.c, "Srpska crkvena urnetnicka rnuzika", Zagreb, Sv. Cecilija br. 2-3, 1920,CTp. 29-30; LlI-1MI-1Tpl-1jl' Crerpanoauh. "iI13BOpl-1 sa npoy-raaa-se crape cpncxe upxseue MY3I-1Ke" y:Cpttcxe MY3I1Ka Kp03 BeKOBe, beorpaz, CAHY, 1973, CTp. 113-121 1-1 Crepe cpncxe My3l1Ka, Beorpae,CAHY, 1975; Xpl-1CTI-1Ha MeAl-1n, "CpncKa My31-1Ka AeseTezeueuaje 1-13 ausype BI-13aHTI-1jcKe eCTeTI-1Ke",Beorpaz, 0CT04Hl1K 6p. 7-8, 1993, CTp. 146-155; BAaAeTa leporuh, .Llpkseua My31-1Ka 1-1 peAHrHjcKooceha-se", HOSH CaA, 36oPHl1K Metnue cpncKe 3a cuencxe yMeTHOCTl111 My311Ky, 1994, CTp. 17-22.

94

M. WyBaKOBJ1n: ECTeTJ1Ka My3J1Ke XX eexe y Cp6J1jJ1

41 0.: CTeBaH Xpl-1CTl-1n, ,,0 HaU1-10Hai\Hoj MY3I-1UI-1", 3Be3.4a 6p. 5, 1912, CTp. 316-317 1-1 .Flyre­BI-1 HaUI-10Hai\He MY3I-1Ke", 6eorpan, XX BeK I-IV, 1938, CTp. 1-3; MI-1i\oje MIo1i\ojeBl-1n, ,,0 My31-14KOMHaUI-10Hai\1-13MY", y: MY311YKe crvsn]« 11 YAaHUI1 II, beorpaz, 1933, CTp. 27-38; Nadezda Mosusova,"Problem nacionalne muzike i Stevan Mokranjac", y: Stevan Mokranjac 1856-1981, Beograd, ProMusica (posebno izdanje), 1981, CTp. 15-17. V1CTOpl-1jCKy pacnpaBy 0 np06i\eMaTI-1UIo1 'HaUI-10Hai\HOr'paaauxa je Co-sa MapI-1HKOBl-1n: MPI1YKI1 HaUI10HaAHO y cpncxo] MY311UI1 npBe nOAOBI1He XX eexe,nOKTOpCKa nl-1CepTaulo1ja, beorpae, <DaKYi\TeT My31-14Ke yMeTHOCTI-1, 1992. 1-1 "POMaHTI-14apCKI-1 1-1i\1-1 'Ha­UI-10Hai\HI-1 CTI-1i\': Bl-1n eKCKi\Y3I-1BI-1TeTa 1-1i\1-1 Koer3I-1CTeHul-1je?" y: J,13Y3eTHocT 11 cetioctoisne, beorpaa,<DaKYi\TeT My31014Ke yMeTHOCTI-1, beorpaz, 1997, CTp. 87-93.

42 0.: CTaHa l)ypl-1n-Ki\ajH, "CaBpeMeHacppaauyoca MY3I-1Ka", y: My311Ka 0.4 Kpaja XV/.4o XX Be­Ka (nperAe.4 KapaKTepl1CTI1YHI1X MOMeHaTa y peseojy eepoticxe My311Ke HOBor eexe), beorpae, Koxap­-reaa 3any)K6l-1Ha, 1936, CTp. 61-68; MI-1i\oje MI-1i\ojeBl-1n, ,,6ai\KaHCKI-1 101 I-1HTepHaUI-10Hai\HI-1 ei\eMeHTy caBpeMeHoM crsapa-ey KOn Cp6a", 6eorpan, HOBa CMeHa, HOBeM6ap 1938; .6.paryTI-1H YOi\l-1n, "Mo­zepua My3lo1Ka 101 npywTBo", beorpaz, MY3114KI1 rAaCHI1K 6p. 7-8, 1932, CTp. 205-206.

43 Cf: .6.paryTI-1H 6Aa)KeK, "HeKOi\I-1KO pe41-1 0 MY31-1UI-1 ca eCTeTI-14KOr ri\enI-1WTa", leeop 6p. 10,1885, CTp. 309-312; CTp. 309-312; N. Damil, Muzika - nova muzick« estetike, Beograd, Beletra,1938; Dusan Plavsa, "Muzicka estetika" y: Enciklopedijski leks ikon - Mozaik znanja: Muzicka umet­nest, Beograd, Interpres, 1972, CTp. 364-367.

44 0.: Vlastimir Pericic, Razvoj tonalnog sistema, Beograd, Urnetnicka akademija u Beogradu,1968; Dejan Despic, Teorija tonaliteta, Urnetnicka akademija u Beogradu, 1971; Kontrast tonaliteta,Beograd, Univerzitet umetnosti u Beogradu, 1989.

45 0.: MI-1i\oje MI-1i\ojeBl-1n, "V1neje Ai\01-13a Xa6e", y: My3114Ke ctvsn]« 11 YAaHUI1 I, beorpae. V1Kreue KOHa, 1926, CTp. 40-64; Alois Haba, "Mladi jugoslovenski kompozitori i cetvrttonska muzika",Beograd, Zvuk br. 3,1933, CTp. 81-85; Bojucxae BY4KoBI-1n, ,,0 4eTBpT-ToHcKoj MY3I-1UI-1", y: YMeT­HOCT 11 YMeTHI1YKO .4eAO, beorpae, HOi\I-1T, 1962, CTp. 260-269.

46 Cf.: Paxapz, lllaapu, "ApHOM llleutiepr xao Y4I-1Telb", Seorpae. (AaCHI1K MY311YKOr .4pywTBa"CTaHKOBl1n" 6p. 7, 1929, CTp. 117-123; Bojncxas BY4KoBl-1n, "XI-1HneMI-1T 1-1 arouaxua MY3I-1Ka", 6e­orpas, CaBpeMeHI1 aKOp.411 6p. 4, 1954, CTp. 35-38; Gisele Brelet, "Atonalna muzika", Beograd, Zvukbr. 45-46, 1963, CTp. 233-246; Dusan Skovran, "Arnold Schonberg", Beograd, Zvuk br. 60, 1963,CTp. 641-658.

47 0.: Egon Wellesz, "Arnold Schonberg i pocetak dodekafonije", Beograd, Zvuk br. 33-34,1960, CTp. 113-118; Vlastimir Pericic. ,,0 dodekafonskoj tehnici", Beograd, Zvuk br. 53, 1962, CTp.265-275.

48 0.: Vladan Radovanovic, .Broj kao slucajnost zvuka u dodekafonskom i serijalnom sistemu.Uvod 1I kritiku dodekafonskog i serijalnog sistema", Beograd, Zvuk br. 51, 1961, CTp. 1-10; GiseleBrelet, .Serijalna muzika", Beograd, Zvuk br. 61, 1963, CTp. 1-12. Ml-1pjaHa Becei\I-1HoBl-1n-XoepMaHje 3aCHOBai\a cI-1HTeTI-14KY kouuerrrvaxuy 1-1 I-1CTOpl-1jCKy pacnpasy cepl-1jai\1-13Ma, noneKaepoHl-1je 1-1 axe­aropuxe y norxaa.sv "Avangardna muzika" y: Stvereleck« prisutnost evropske avangarde u nas, Beo­grad, Univerzitet umetnosti u Beogradu, 1983, CTp. 152-276.

49 0.: Ml-1wa Caeuh, "CKI-1Ua aa reopujcx« npl-1cTyn ei\eMeHTapHI-1M (npIo1MapHI-1M) MY31-14KI-1MepopMaMa", Hnui. (paAI1Ha, 1981, CTp. 151-158; Vladimir Tosic, .Redukcionisticki principi konstitu­cije muzickog dela", Sarajevo, Zvuk br. 3-4, 1986, CTp. 54-81; Lazarov Miodrag Pashu,Fenomenalizam - Aperceptivno-ienomenelisticke umetnost: radni m aterij aI, stvaralacki postupak,proces stvaranja i naCin mislien]e analizirani na primerima radova beogradskog kruga autora, Marl-1­CTapCKI-1 pan, 6eorpan, <DaKYi\TeT My31-14Ke yMeTHocTIo1, 1988, pabeuo noz MeHTopcTBOM npocpecopanp MIo1i\aHa .6.aMt-baHOBl-1na; Marija Masnikosa, Muzicki minimalizam. Americke paradigma i differ­entia specifica u ostvarenjima grupe beogradskih kompozitora, Beograd, Clio, 1998.

50 0.: Dragutin Gostuski, .Socijalna inverzija i estetika lakog", y: Vreme umetnosti. Prilog zes­nivanju jedne opite nauke a oblicima, Beograd, Prosveta, 1968, CTp. 304-307; Vartkes Baronijan,"Jazz iii avantura invencije", Sarajevo, Zvuk br. 82, 1968, CTp. 109-112; Ivan Focht, "Kic-djelo i kic­ukus: 'Trivijalno u umjetnosti' 1-1 'Ukus malogracianina'" y: Tajna umjetnosti, Skolska knjiga, Zagreb,1976, CTp. 161-179; Milena Dragicevic-Sesic, Umetnost i alternativa, Beograd, Institut za pozoriste.

95

HOBI1 3BYK

film, radio i televiziju - Fakultet dramskih umetnosti, 1992; Neofolk kultura, Sremski Karlovci, IKZorana Stojanovica, 1994; II1BaHa BYKcaHoB~n, "Tp~B~jaAHo y MY3~U~ XX sexa (ca noce6H~M OCBP­TOM Ha npse TP~ neueH~je)" y: 113Y3eTHoCT /t1 cenocroieue, beorpae, CDaKyATeT My3Vl'-lKe YMeTHoCT~,

beorpas. 1997, CTp. 122-128.

51 Ouroxornjos, MY3~Ke ce ~MeHyjy n~CKYpC~ Koi~ onucyjy. oojaunsaaajy ~ ~HTepnpeT~pajyMO­ryh-rocr«, Ha'-l~He ~A~ nocxesnue nocrojau.a MY3~4KorneAa ~ MY3~Ke xao YMeTHoCT~, OnHOCHO n~C­

K~PC~ Koj~Ma ,ce ne<p~H~we nojav YMeTHoCT~ ~ My3VlKe xao CBeTa, n~Cu~nA~He, neAa ~A~ nojaae.Ct.: Dragutin Colic, .Jzrazajn: materijal muzike i njeno delovanje", Beograd, Zvuk br. 6, 1933, CTp.207-214; Vladan Radovanovic. "Medij ispituje sam. sebe, Tape Medium, Paper Medium ... ", Beograd,Oelo br. 4, 1977, CTp. 76-81; Pavle Stefanovic, .Sta je muzika?" y: Um za tonom, Beograd, Nolit,1986, CTp. 11-20; Milan Darnnjanovic, .Fenornenoloska estetika" ~ .Ontoloska hermeneutika", y:Strujanja u savremenoj estetici", Beograd, Univerzitet umetnosti u Beogradu, 1984, CTp. 57-72,72-79; M~onpar WYBaKOB~n, "Lle<p~H~u~je YMeTHoCT~" y: IV MeI)YHapOi1H/t1 CJ1Mn03/t1jYM: ([)O/lK/lOPMy3J1Ka Lle/lo, 5eorpan, CDaKyATeT MY3~'-lKe YMeTHoCT~, 1997, CTp. 27-33; M~AeHa Men~n, "Ca3Be­>K1)a Bxaaaua PanOBaHoB~na. Ayn~oB~3yeAHo ocr'sapeu.e y cserxv ouroxoruje YMeTHOCT~", beorpac,MPJ14KJ1 Ta/laC 6p. 3-6, 1997, CTp. 106-125. II1BaH CDOXT je pa3panVlo <PVlA030<P~jy o-rroxor«je My­3VlKe y TeKCTY .Bitno u umjetnosti" y: Tajna umjetnosti, Zagreb, Skolska knjiga, 1976, CTp. 9-85. 3aonwTy pacnpaBy ouroxoruje. ouroxornje YMeTHoCT~ ~ ouroxoruje MY3~Ke B~neTVl: Martin Heidegger,"Izvor umjetnickog djela" y: Danilo Pejovic (pr.), Nova filozofija umjetnosti. Zagreb, Nakladni zavodMH, 1972, CTp. 448-487; Roman Ingarden, Ontologija umetnosti (studije iz estetike), Novi Sad,Knjizevna zajednica Novoga Sada, 1991.

52 0.: Stanislav Vinaver, "Mehanicka muzika", Beograd, Zvuk br. 2, 1935, CTp. 45--48; VladanRadovanovic, .Elernenti elektronske i konkretne muzike", pYKon~c, cpenVlHa ureasecerux rOn~Ha; PolPignon, "Sistemi za stvaralacki kontrolisanu proizvodnju zvuka", Sarajevo, Zvuk br. 121-123, 1972;flU svetu elektronske muzike", Sarajevo, Zvuk br. 3, 1975, CTp. 21-23; Dubravko Detoni, "PaulPignon: Hardware performance", Sarajevo, Zvuk br. 3, 1973, CTp. 283-287; Vartkes Baronijan,"Muzika i tehnologija", Sarajevo, Zvuk br. 4, 1974, CTp. 22-26; CTp. 11-34; Milan Oarnnjanovic,.Umetnost u tehnicko doba", y: Sustine i povest, Beograd, Univerzitet umetnosti u Beogradu, 1976,CTp. 273-310; AHa KOTeBCKa, "Musica ex mach ina. EAeKTpOHCKa MY3~Ka y Cp6~j~" y: FlocsepernecpncKa aBaHrapi1a (TeMaT), Huur, Ipesnn« 6p. 8, 1980, CTp. 154-161; Srdan Hofman, Osobenostielektronske muzike, Knjazevac, Nota, 1995; Mirjana Veselinovic-Hofrnan, .Funkcije tehnoloskognapretka u muzici XX veka" y: Umetnost priroda tehnika. Zbornik radova, Beograd, Esteticko drustvoSrbije, 1996, CTp. 133-139; Misko Suvakovic, .Pojarn tehnoestetike" y: Umetnost priroda tehnika.Zbornik radova, Beograd, Esteticko drustvo Srbije, 1996, CTp. 153-166; Becua M~K~n, "EKpaH: no­cpenH~K/ca~rpa'-l","nOCTCTpYKTypaA~CT~'-lKaHayKa 0 MY3~UVl" (TeMaT), beorpaa, HOBJ1 3ByK (cneu»­jaAHo ~3naf-be), 1998, CTp. 55-60.

53 0.: CTaHa l)yp~n-KAajH, "MY3~'-lKa ecejacruxa ~ ny6A~u~cT~Ka y Cp6a" y: JOBaH h~PVlAOB,CTaHa l)yp~n-KAajH, Aasap Tp~<pYHoB~n (np.), Ecejn a yMeTHOCTJ1, HOBVl Can, MaTVlua cpncxa, 1966,CTp. 175-201; Aparyrn« rOCTYWK~, "MY3~'-lKe HayKe xao MOneA VlHTepn~Cu~nA~HapHor MeTOna ~c­

rpaxaaa-sa". y: Cpncxe MY3/t1Ka Kp03 BeKOBe, Eeorpas, CAHY, 1973, CTp. 9-52; Poxcauaa nejoB~n,

"LjeT~pVl jyrocxoseucxa 3ByKa", Eeorpac, HOBJ1 3ByK 6p. 1, 1993, CTp. 29-53; MAaneH MapKoB~n,

"ETHOMY3~KoAor~ja y Cp6~jVl", beorpas, HOBJ1 3ByK 6p. 3, 1994, CTp. 19-30; Co-sa Map~HKoB~n,

,,1113 ucropujara ucropaje My3VlKe xao HaCTaBHornpezwera. nO'-leu~ HaCTaBe ~cTop~je MY3~Ke y Cpn­CKOj My3J14KOj WKO/l/t1 carAenaH~ y eaponcxov KOHTeKCTY", beorpac. HOB/t1 3ByK 6p. 6, 1995, CTp.137-147 ~ "Llonp~Hoc WTaMnaH~X ~3naf-ba MY3~KoAowKor~HcT~TYTa CAHY VlcTop~orpa<p~jltfcpn­eke MY3~Ke", 5eorpan, HOBJ1 3ByK 6p. 12, 1998, CTp. 111-113.

54 TOKOM XX sexa je HaCTaAa pasuopoaua A~TepaTypa 0 OnHOC~Ma MY3~Ke ~ rearpa, OnHOCHO 06aAeTy, onepu ~ MY3~4KOM TeaTpy. C~HTem'-lK~ YB~n ca CTaHOB~WTa 'MY3~Ke' naT je y: AHa Maro­B~n, MeA~Ta M~A~H, Hane>Kna MycycoBa, Karapuua Tovaureeuh (np.), Cpncxe My3J14Ka cuene.36oPHJ1K pesoee, 5eorp<.n, CAHY, 1995.

55 OnWTa <P~A03octcKo-eCTeT~4Ka neAa xoja crsapajy OKB~P aa pa3YMeBaf-be <P~A030<PCK~X J1H­TeHUJ1ja ~ untepece cy opojua ~ 3aTO ny HaBeCT~ cawo OHa HajYTVluajHVlja: 5eHeneTO Kpo-re, ECTeTJ1­Ka «eo HayKa a J13pa3y /t1 otuure /lJ1HrB/t1CTJ1Ka, 5eorpan, KOCMOC, 1934; AHP~ 5eprcoH, Creepese-uceeeosvun]«, beorpae, KOCMOC, 1934; Ami Lefevr, Prilog estetici, Beograd, Kultura, 1957; KatarinaEveret Gilbert, Helmut Kun, Istorija estetike, Beograd, Kultura, 1969; Zigmund J. Srnit, Estetski proce-

96

M. WyBaKoBt11t ECTeTt1Ka Mpt1Ke XX eex« y Cponiu

si. Prilozi teoriji jedne ne-mimeticke umetnosti i knjiievnosti, Nis, Gradina, 1975; Max Bense,Estetika, Rijeka, Otokar Kersovani, 1978; Danko Crlic, Estetika 11/: Smrt estetskog, Zagreb, Naprijed,1978. >1 Estetika IV: S onu stranu estetike, Zagreb, Naprijed, 1979; Vladimir Tatarkijevic, Istorija sestpojmova: utnetnost, Iepo, forma, stverelestvo, podraiavanje, estetski doiivljaj; dodatak: 0

sevrsenstvu, Beograd, Nolit, 1978; Hans Georg Gadamer, Istina i metoda. Osnovi filozofskehermeneutike, IP 'Vesel in Maslesa'. 1978; Derd Lube, Osobenost estetskog, Nolit, Beograd, 1980;Stefan Moravski. Marksizam i estetika I, II. Titograd. NIO 'Pobjeda'. 1980; Danko Grlic, Estetika.Povijest tilozotskih problema. Zagreb, Naprijed, 1983. >1 Estetika Ii. Epoha estetike, Zagreb, Naprijed,1983; Nadezda Cacinovic. Estetika, Zagreb, Naprijed. 1988.

5G M>1AaH PaHKOB>1n, "ECTeT>14Ka M>1CaO 0 apX>1TeKTyp>1. My3>1U>1, diororparpnja" y: i-tcropu]«cpncxe eCTeTVIKe, beorpaz, 3aBot.. aa yufie-unce >1 HaCTaBHa cpezcrsa, 1998. CTp. 40.

57 CTeBaH naBAOB>1n, "My3>1Ka" y: ECTeTVIKa VlIIVI HayKa 0 senotn 3a WKOIlY VI HapO.1, HOB>1 Cas.MaT>1Ua cpncxa, 1895, CTp. 112-124.

58 Cf.: AH>1Ua Caauh-Petiau, Ftpetttsetoncxe eporosornje (1932), HOB>1 Cas, Kt-b>1)KeBHa aajez­H>1Ua HOBor Casa. 1985 >1 AHTVl4Ka eCTeTVIKa VI HayKa 0 Kl-bVl)/(eBHOCTVI (CTy.1V1ja 0 I-beHOM pa3Bojy 0.1n04eTKa .10 Apnctorese), 5eorpat.., KyATypa, 1955. Cf.: "AHJ.1Ua Caeuh-Petiau >1 np06l\eMJ.1 aHT>14KeeCTeT>1Ke" (TeMaT), HOB>1 Cas. /setonnc MaTVIue cpncxe Kt-b. 438 CB. 1-2, 1986, CTp. 36-196.

59 0.: M>1AOW H. l)yp>1n: .,Orl\et..>1 >13 rp-nce cjJ>1AOcocjJ>1je >1 YMeTHOCT>1" y: CaBpeMeHVlK CK3 6p.24, Eeorpaz, 1936, CTp. 226-228 >1 ,,v13 >1CTOp>1je xexe-roce My3>1Ke: My3>1Ka' y CTapJ.1X EBlbaHa" y:KP03 xesencxv ncropniv, Kl-bVl)/(eBHOCT VI My3V1KY. CTy.1V1je VI otr.esn, beorpaz, KOCMOC, 1955, CTp.117-136.

GO t.ywaH Het..elbKOB>1n, "nC>1XOAOr>1ja A>1pCKOr crsapaxa-ucor axra" y: [lcnxosorn]« supcxorcTBapal-ba, 5eorpat.., VlK Feue KOHa, 1929, CTp. 19 (6eAewKa 16) >1 38-39 (6eAewKa 35).

61 0.: Etjen Surio, "Muzika i knjizevnost", "Muzika i plasticne umetnosti" y: Odnos mec1u umet­nostime, Sarajevo, 'Veselin Maslesa', 1958, CTp. 119-197, 199-253.

62 Max Dessoir, "Muzika i rnirnika" y: Estetika i opce nauka 0 umjetnosti, Sarajevo, IP 'VeselinMaslesa', 1963, CTp. 188-223.

63 0.: Umberto Eco: Otvoreno djelo, Sarajevo, IP 'Veselin Maslesa', 1965; .Strukturalna i seri­jalna misao" >1 "Muzieki kodovi" y: Kultura informacija komunikacija, Beograd, Nolit, 1973, CTp.325-345, CTp. 423--425; .Estetika muzike" y: Umetnost i /epo u estetici srednjeg veke, Novi Sad,Svetovi, 1992, CTp. 52-56; CVlM601l, beorpaz, Hapoaua Kt-b>1ra, 1995. Taxobe, d.: Edgar Kuns, DavidKreenbil, .Jnforrnacija kao mera strukture u muzici", Fred Atniv .Proces stohasticke kompozicije" iLeonard B. Mejer. "Znaeenje u muzici i teorija informacija", y: Umberto Eko (pr.), Estetika i teorijainformacija (zbornik). Beograd, Prosveta, 1977, CTp. 85-129, 133-143 >1173-195.

64 0.: Gvido Morpurgo-Taljabue, "Muzieki formalizam E. Hanslika i Kantova rnisao", "Sintaksai stilistika formalizma: Cimerman i Hanslik", "Muzieki formalizam" >1 .i: Brele i rnuzicko vrerne" y:Savremena estetika. Pregled, Beograd, Nolit. 1968, CTp. 63-67, 67-70, 185-191, 191-195.

65 Theodor W. Adorno, Fi/ozofJja nove muzike, Beograd, Nolit, 1968.

G6 Paul Hindemit, .Svesno percipiranje muzike", Beograd, Tteci program RB br. 1, 1969, CTp.293-297.

67 Petar Selem (pr.), Novi zvuk - izbor tekstova 0 suvremenoj glezbi, Zagreb, Nakladni zavodMH,1972.

68 Hans Hajne Stukensmit, "Nova muzika", Beograd, Treci program RB br. 22, 1974, CTp.339-512.

69 Zofija Lissa, Estetika g/asbe. Og/edi, Zagreb, Naprijed, 1977.

70 Eduard Hanslik, 0 tnuzick! lijepom, Beograd, BIGZ, 1977.

71 0.: Ivan Supicic, Elementi sociologi]e muzike, Zagreb, JAZU, 1964. >1 Estetika evropskeg/azbe. Povijesno-tematski espekti, Zagreb, JAZU, 1978.

72 Carls Rozen, Klasicni sti!. Hajdn, Mocart, Betoven, Beograd, Nolit, 1979.

97

HOBJ1 3BYK

73 0.: Suzan Langer, Filozofija u novom kljucu, Beograd, Prosveta, 1979; Problemi umetnosti.Oeset filozofskih predavanja, Nis, Gradina, 1990.

74 0.: Nikolaj Hartman, .Prednji plan i pozadina u neprikazivackim umetnostima", "Slojevirnuzickog del a", .Jstina u neprikazivackirn umetnostima", .Kornika u slikarstvu i muzici" y: Estetika,Beograd, BIGZ, 1979, CTp. 133-146, 232-250, 372-377, 532-535.

75 Klod Levi-Stros, "Uvertira" iz Mitologike I: Presno i pecerio, Beograd, Prosveta/BIGZ, 1980,CTp. 5-33.

76 Ivan Focht, Savremena estetika muzike. Petnaest teorijskih portreta, Beograd, Nolit, 1980.

77 Ernst Bloch, .Glesbe" y: 0 umjetnosti, Zagreb, Skolska knjiga, 1981, CTp. 147-196.

78 Misa Savic, Filip Filipovic (pr.), john Cage. Radovi / tekstovi 1939-1979. Iz60r, Beograd, SIC,1981.

79 Derek Kuk, jezik muzike, Beograd, Nolit, 1982.

80 Zak Atali, Buka. Ogledi 0 ekonomiji muzike, Beograd, 'Vuk Karadzic', 1983.

81 Leonard B. Mejer, Emocije i znecen]« u muzici, Beograd, Nolit, 1986.

82 Vladimir Iankelevic, Muzika i neizrecivo, Novi Sad, Knjiievna zajednica Novog Sada, 1987.

83 Ferucci Busoni, .Nacrt nove estetike glasbe", Zagreb, Zvuk br. 4 r 1989, CTp. 43-51 ~ "Nacrtnove estetike glasbe", Zagreb, Zvuk br. 5,1989, CTp. 51-59.

84 Mikel Difren, Oko i uho, Banjaluka, 'Glas', 1989.

85 lean-Francois Lyotard, "Adorno kao dave", Beograd, Oelo br. 1-3, 1989, CTp. 158-174.

86 Mari-Elizabet Disez, .Pokusaj episternoloskog pristupa osnovnim kriterijumima muzickogistrazivanja". Beograd, Ireci program RB br. 82-83, 1989, CTp. 289-296.

87 3a pasvveeau,e aaaurapzne ~,\~ excnepaveuraxue YMeTHoCT~ ~ MY3~Ke Llpyre noxosuue XXsexa 6~THa cy pa3MaTpal-ba Crediaua Mopaacxor y: Sumrak estetike, Banjaluka, 'Novi Clas'. 1990.0.: M~K'\OW Ca60Nll-1, Aeeurepse & neoeeenrepae, beorpae, Hapozua KI-b~ra, 1997.

88 Roman Ingarden, "Muzicko delo" y: Ontologija umetnosti. Studije iz estetike, Novi Sad,Knjiievna zajednica Novog Sada, 1991, CTp. 7-88.

89 Karl Dalhaus, Estetika muzike, Novi Sad, Knjiievna zajednica Novog Sada, 1992.

90 >Kl-1'\6ep Py)l(e, My311Ka 11 tpenc. Heupr je.dHe otuure teopnje O.dHOCa My311Ke 11 OnCe.dHYToCTl1,Cpewo«- Kapxoaua-Hosa Cas, V1K 30paHa Crojauoeuha, 1994.

91 Y nl-1Tal-bY cy HeK~ He3aHeMaplb~B~ LleTalbl-1: Zil Delez, Feliks Gatari, Sta je filozofija?, Cpew­CK~ Kapxoauu-Hosu Call, V1K 30paHa Crojauoauha. 1995, CTp. 241-244.

92 Boris de Slezer, Uvod u j. S. Baha. Ogledi iz tnuzicke estetike, Sremski Karlovci-Novi Sad, IKZorana Stojanovica, 1996.

93 Cf.: >Kepap >KeHeT: YMeTHI14KO .deAo. t1MaHeHTHoCT 11 TpaHCUeH.deHTHOCT, HOB~ Cae, CBeTo­B~, 1996; YMeTHI14KO .deAO. ECTeTCKa peseun]«, HOB~ Cas, CBeTOBl-1, 1998.

94 Y n~Tal-bY cy He3aHeMaplb~Be Maprl-1He, d.: Jacques Derrida, .Oponasanje" y: 0 gramatologi­ji, Sarajevo, 'Veselin Maslesa', 1976, CTp. 255-297; Zak Derida, .Ono sto snaga muzike ostavlja zasoborn", Beograd, Rec br. 51, 1998, CTp. 99-103.

95 0.: Teodor Adorno, .Disonance: 0 fetisu u muzici i regresije slusanja - Starenje novemuzike", Beograd, Tree" program RB br. 4, 1970, CTp. 240-285; Theodor W. Adorno, ,,0 problemuglazbene analize", Zaieb ,Zvuk br. 3, 1989, CTp. 29-40; "Teskoce u skladanju i u shvacanju noveglazbe" y: Danilo Pej vic (pr.), Nova filozofija umjetnosti, Zagreb, Nakladni zavod MH, 1972, CTp.134-160; Teoaop B. \LlOpHO, "rpa1)aHcKa onepa", 5eorpal>., MY3114KI1 ravac 6p. 1-2, 1997, CTp.54-58.

96 0.: Ivan Focht, "Sta je muzka", Beograd, Ireci program RB br. 16, 1973, CTp. 345-354; "Bitglasbe" y: Tajna umjetnosti, Zagreb, Skolska knjiga, 1976, CTp. 51-73; .Filozofija muzike" y: Filozofija

98

M. WyBaKOBl1n: ECTeTl1Ka My311Ke XX eexe y Cp611jl1

umetnosti, Beograd, Kolarcev narodni univerzitet, 1978, CTp. 145-155. Kpl-1H1KY <DOXTOBI-1X xoauen­unja eCTeTI-1Ke My31-1Ke 1-13BeO je llywaH ni\aBWa y: .Krltika Fochtovog neoformalizma u muzicko]estetici", Sarajevo, Zvuk br. 4, 1976, CTp. 55-63.

97 0.: Danko Grlic: .Autonornni iii drustveno uvjetovani razvoj muzike?" y: Filozofija umetnos­ti, Beograd, Kolarcev narodni univerzitet, 1978, CTp. 129-143; .Terneljni problemi estetike muzike"y: Estetika III. Smrt esietskog, Zagreb, Naprijed, 1978, CTp. 79-98; "Muzika" y: Estetika IV 5 onustranu esietike, Zagreb, Naprijed, 1979, CTp. 300-319; Friedrich Nietzsche, Zagreb, Naprijed 1-1Beograd, Nolit, 1988.

98 0.: Dragan M. lerernic, "Umetnost je cvece zla", .Nacionalno i internacionalno u umetnos­ti", "Dijalog 0 umetnosti i novcu", "Zapis 0 ukusu", "jedan smisao moderne umetnosti: umetnost kaoestetika na delu", "Tragicno - znak moderne urnetnosti", "Umetnost kao detinjstvo", "Vreme vrenjaiii 0 umetnickorn stilu naseg doba", .Urnetnost i antiumetnost" i .Drustveni poloza] urnetnika", y:Doba antiumetnosti. Savremeni problemi umetnosti i problemi savremene umetnosti, Beograd,Kultura, 1970, CTp. 7-13, 14-21, 27-34, 42-49, 61-65, 66-75,144-156,157-173,174-195,199-210.

99 0.: Milan Darnnjanovic, "Problem urnetnickog simbolizma u delu Suzane K. Langer", y:Nauka i filozofija /I (zbornik), Beograd, Institut drustvenih nauka, 1964, CTp. 211-265;.Fenomenoloska estetika" y: Strujanja u savremenoj esietici, Beograd, Univerzitet umetnosti uBeogradu, 1984, CTp. 69-70; "Muzika u Hartmanovom sistemu estetike", Novi Sad, Polja br. 212,1976, CTp. 3-5 (otijae.seuo KacHl-1je y: Milan Darnnjanovic, Ophoden]« sa tnnogostrukoscu. Filozofskieseji, Banjaluka, 'Novi Glas', 1990, CTp. 311-322); .Duhovni uspon i/ili 'ritarn' kulturnih opticaja",Beograd, Delo br. 9-10,1983, CTp. 22-28; "Veliki stil iii s one strane stila. jedan nacrt", Beograd,Delo br. 8-9, 1984, CTp. 72-78.

100 Milan Darnnjanovic, Mesto teorijskog rada u okviru univerziteta umetnosti, Beograd,Univerzitet umetnosti u Beogradu, 1976.

101 Cpereu neTpOBl-1n, "My3I-1Ka" y: ECTeTl1Ka, Eeorpae, Yl-1roja urravna. 1996, CTp. 101-102.102 0 .: Milan Uzelac, .Procesualnost rnuzickog dela", .Apsolutna muzika" i .Atonalna muzika i

apsolutne urnetnosti" y: Uvod u estetiku (Predavanja iz estetike), Novi Sad, Akademija umetnosti 1-1Prometej, 1993, CTp. 141-143, 282-283, 283-284.

103 MI-1i\aH Ysexau, ECTeTl1Ka My311Ke I, HOBI-1 Can, <D1-1i\030epCKI-1 epaKYi\TeT 1-1 AKaneMl-1ja yMeTHo­CTI-1 y HOBOM Caay, 1998.

104 0 .: Eleonora Micunovic, "Misao i muzika Igora Stravinskog", noroBop Kl-b1-131-1 t-tropa C!pa­BI-1HCKOr, !v10je shvatanje muzike, Beograd, 'Vuk Karadzic', 1966, CTp. 127-131; "Utopija ZakaAtalija" y: Zak Atali, Buka. Ogledi 0 ekonomiji muzike, Beograd, 'Vuk Karadzic', 1983, CTp. 9-17;Bl-1neTI-1 1-1 .Racionalno i emocionalno u rnuzici", Beograd, Savremenik br. 7, 1959, CTp. 768-781.

105 llywaH najl-1H, "ni\ec 1-1 MY3I-1Ka" 1-1 ,,3ByK, TI-1WI-1Ha 1-1 cnoxoj", y: YHyTpawl-ba CBeTlloCT. <D11110­

soipu]« I1H411jcKe yMeTHOCTI1, HOBI-1 Can, CBeTOBI-1, 1996, CTp. 124-127, 127-131.106 0 .: 11I-1BHa ByKcaHoBl-1n, "ni\aTOH 1-1 MY3I-1Ka", Kparyjeaau. EpHOC, 1990, CTp. 69-72; "Ori\en

o 41-1Tal-bY cpyre: My31-1Ka - I-1CTopl-1ja - xepveseynuca", Eeorpaa, Kl-bI1:>KeBHa pe4 6p. 424, 1993, CTp.13; "Nemoguce knjige Fridriha Nicea" y: Nice i moderna estetika. Zbornik radova, Beograd, Estetickodrustvo Srbi]e, 1995, CTp. 123-131; 6apoKHI14yx y ceepeueno] cjJ1111030qJl1jl1: 6el-baMI1H, AL.OpHO,6110X, z.okropcxa nl-1CepTaUl-1ja, <D1-1i\030epCKI-1 epaKYi\TeT, beorpae. 1998.

107 Aucpuja CTojKOBl-1n, "ECTeTI-1Ka n030pl-1WHe 1-1 My31-14Ke YMeTHoCTI-1" y: Pa3BI1TaK cjJl1/1ococjJl1jey Cp6a 1804-1944, beorpas. Ci\OBO lby6Be, 1972, CTp. 508.

10811paraH M. jepeMl-1n, ECTeTl1Ka K04 Cp6a 04 cpesner eex« 40 CBeT03apa MapKoBl1na, Eeo­rpae, CAHY, 1989, CTp. 244-254.

109 MI-1i\aH PaHKOBl-1n, "ECTeTI-14Ka MI-1CaO 0 apXI-1TeKTypl-1, My3I-1UI-1, rpororparpaja", "ECTeTI-1Ka MY­31-1 xe", "ECTeTI-14Ka MI-1CaO MY3I-1KOi\Ora" 1-1 .Teopajcxa I-1cKycTBa I-1CTpa>KI-1Ba4a pa3i\1-141-1TI-1X yMeTHI-14­KI-1X BpCTa", y: rtcropn]e cpncxe eCTeTI1Ke, Beorpas. 3aBOnaa yu6eHI-1Ke 1-1 HaCTaBHa cpeacraa, 1998,CTp. 40, CTp. 39-40, 75-76, 119-122, 147-148.

99