Page 446 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 446
glasbene migracije: stičišče evropske glasbene raznolikosti
poser who left Yugoslavia for France in 1978, at the age of 20, and has stayed
in his country of choice ever since. After his studies at the National Con-
servatory in Paris, he has made careers in composition, conducting and as
director of conservatories. Although being exposed to different avant-garde
trends in contemporary music, especially French, from the very beginning
of his life in the new country he felt the need to keep alive his connections
with Serbian cultural heritage. In a number of his works he, thus, intro-
duced some elements of traditional Serbian music, both folk and church,
which he united symbolically by combining their characteristic features. In
that way, a dialogue between cosmopolitanism, with its universalistic basis,
and the composer’s attachment to his nation of origin has been established.
Keywords: cosmopolitanism in music, rooted cosmopolitanism, national
identity in art music
Andrej Misson
The migration of musical ideas
The author begins with a theoretical discussion about the terminology of
the migration of musical ideas and about the phenomenon itself. Ideas mi-
grate through time and space, and musical ideas are no different. They can
enter music from other fields as external migration, immigration and em-
igration, or circulate within music as internal migration. The notion of the
idea is an old one, already well established. One of the leading thinkers
about ideas was Plato. A simple conception of the idea is as something that
is the consequence of the higher forms of intellectual activity. Its philosoph-
ical, ontological conception goes much deeper. The history of ideas is inter-
esting, and it is also possible to formulate a history of musical ideas – as pre-
sented briefly here. Migration in the field of music is also briefly discussed.
This essentially takes place both through the migration of musicians (al-
though today musical ideas can also circulate independently of their au-
thors) and, above all, as a result of publications, recordings and modern
information and communication technologies. In the second part of the ar-
ticle, the author presents some concrete examples of the migration of musi-
cal ideas, for the most part melodic ideas, from the fields of folk music, se-
rious music, church music, jazz and popular music. The article also touches
on polystylism and the hybrid mixing of ideas, stereotypes and unwanted
musical ideas. The dissemination of musical ideas could also be facilitated
by memes. In the age of the internet, the migration of ideas is global, wide-
spread and simple. Ideas frequently and quickly change owners. According
444
poser who left Yugoslavia for France in 1978, at the age of 20, and has stayed
in his country of choice ever since. After his studies at the National Con-
servatory in Paris, he has made careers in composition, conducting and as
director of conservatories. Although being exposed to different avant-garde
trends in contemporary music, especially French, from the very beginning
of his life in the new country he felt the need to keep alive his connections
with Serbian cultural heritage. In a number of his works he, thus, intro-
duced some elements of traditional Serbian music, both folk and church,
which he united symbolically by combining their characteristic features. In
that way, a dialogue between cosmopolitanism, with its universalistic basis,
and the composer’s attachment to his nation of origin has been established.
Keywords: cosmopolitanism in music, rooted cosmopolitanism, national
identity in art music
Andrej Misson
The migration of musical ideas
The author begins with a theoretical discussion about the terminology of
the migration of musical ideas and about the phenomenon itself. Ideas mi-
grate through time and space, and musical ideas are no different. They can
enter music from other fields as external migration, immigration and em-
igration, or circulate within music as internal migration. The notion of the
idea is an old one, already well established. One of the leading thinkers
about ideas was Plato. A simple conception of the idea is as something that
is the consequence of the higher forms of intellectual activity. Its philosoph-
ical, ontological conception goes much deeper. The history of ideas is inter-
esting, and it is also possible to formulate a history of musical ideas – as pre-
sented briefly here. Migration in the field of music is also briefly discussed.
This essentially takes place both through the migration of musicians (al-
though today musical ideas can also circulate independently of their au-
thors) and, above all, as a result of publications, recordings and modern
information and communication technologies. In the second part of the ar-
ticle, the author presents some concrete examples of the migration of musi-
cal ideas, for the most part melodic ideas, from the fields of folk music, se-
rious music, church music, jazz and popular music. The article also touches
on polystylism and the hybrid mixing of ideas, stereotypes and unwanted
musical ideas. The dissemination of musical ideas could also be facilitated
by memes. In the age of the internet, the migration of ideas is global, wide-
spread and simple. Ideas frequently and quickly change owners. According
444
