In this paper, parts of the memoir literary works from the second half of the nineteenth century are presented as important sources for the research of Serbian traditional church chant. The testimonies on church music from diaries, memoirs and autobiographical notes by famous Serbian writers, statesmen and politicians, namely Jovan Subotic, Jakov Ignjatovic, Milan Savic, Milica Stojadinovic Srpkinja, Todor Stefanovic Vilovski, Vladimir Jovanovic and Kosta Hristic, were analyzed. Those writings bring to light a time when church chant was appreciated as an important part of the spiritual, folk heritage and had an important role in everyday culture of Serbian people both in the Habsburg Monarchy and in the Principality and Kingdom of Serbia. The authors wrote about musical skills of chanters from clerical, church circles and about the practice of chanting among school teachers. They also described different kinds of musical performances of church chant among laymen and children. These sources testify to writers? general and musical education and experiences, to their environment and its relation to the aesthetics of spiritual folk tradition. This paper also analyzes sources in the context of the history and theory of literature, having in mind the authors? commentary techniques and narrative style. Those issues are discussed in relation to the poetics of romanticism, Biedermeier and realism in Serbian literature. [Projekat Ministarstva nauke Republike Srbije, br. 177004: Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi]

This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances), new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyze the narrative style of these articles. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges]

Српско народно црквено појање представља традиционално литургијско појање Српске православне цркве с основама у грчкој средњовековној музичкој традицији и српском народном певању. Утврђено je највероватније током 18. и почетком 19. века. У овом периоду неговано је на наслеђеним основама, посебно у фрушкогорским манастирима и богословским и световним школама на подручју Карловачке митрополије. Деценијама је преношено искључиво усменим путем. Нотни и звучни записи ове појачке праксе, како они из 19. и с почетка 20. века, тако и новији, сведочанство су живе музичке традиције у оквиру Српске православне цркве, до данас сачуване у препознатљивим варијантама. Ослањајући се на опште дефиниције нематеријалног културног наслеђа као живог, динамичног и виталног наслеђа и облика националне имовине, те на препознавање истог у усменој традицији, језику, песмама, некомпонованој традиционалној музици, у овом раду ћемо указати на значај српске црквене музике као облика нематеријалног културног наслеђа. Посебно упориште проналазимо у чињеницама да примери из целог света потврђују значајан статус религијске музике на Унесковој (Репрезентативној) листи нематеријалног наслеђа човечанства, као и да се на Листи елемената нематеријалног културног наслеђа Републике Србије налазе различити примери традиционалних световних музичких пракси. Указујући на значај српског црквеног појања као сегмента српског културног и духовног идентитета, истаћи ћемо не само „етнички“, већ и глобални карактер ове црквено-музичке традиције.

Contemporary trends, lifestyle, directions of thinking and acting in different areas of interest of people, are reflections of today’s literature. Therefore, literature as it is today, through its narrative, provides a true picture of social opportunities in a direct, concise and hyperrealistic way. Given the broader picture of society with all available means in terms of access to information, movement, global opportunities, thаn a complete profile of modern man can be made both as an individual and as a member of the planetary community of human society. The Renaissance period was marked by the advent of the printing press, and today it is an internet platform for accessing various topics and data, as is literature in its traditional form. By drawing a parallel between these two periods, we will look at the basic features of thought that influenced the culture of one as well as the culture of the other or modern period through the analytical-descriptive method.

Hamlet is well-known as the most famous tragedy written by William Shakespeare. This dramatic work has, throughout the centuries, lead numerous writers, poets, literary-critics and philosophers to think about universal issues of life, human nature, love, loyalty and friendship. Hamlet has not just been the subject of discussion from the point of view of the theory of literature and human psychology and philosophy, it has also directly inspired the creation of many artistic works. One of those works which forms the main subject-matter of this paper is the almost unknown music for Hamlet by Enriko Josif. Enriko Josif was an extraordinary figure, a versatile artist and thinker, almost a kind of philosopher. In his opinion and in accordance with his inner feeling, art was a matter of divine creation first of all. He admired those artists who dealt with difficult issues of life in their works of art and William Shakespeare was to him one of the most prominent among them. In general terms, we have highlighted certain general points about Josif’s views on an artist’s life and work and have presented our notions about his piece. Specifically, we have tried to point out personal views that Josif held about Hamlet, as well as the most important features of Josif’s music, which are broadly in accordance with the literary, ethical, philosophical and theological critical tradition surrounding this masterpiece