The beginnings of Byzantine musicology in Serbia: Achievements and impasses

Abstract

The paper presents the circumstances in which musicological medievalism emerged in Serbia after the Second World War as a separate discipline within the research projects of the newly founded Institute of Musicology of the Serbian Academy of Sciences. It focuses on the contributions of three first musicologists medievalists: Miloš Velimirović, Stojan Lazarević and Dimitrije Stefanović. It outlines the conditions under which these researchers adopted the methodological principles of the Western musicological school - Monumenta Musicae Byzantinae - which were current at the time but soon became outdated. In light of the disagreements among Western and Greek scholars regarding the approach to the interpretation of the development of neumatic notation immediately before and after the fall of Byzantium, the paper also shows the personal scholarly credo and interests of certain Serbian researchers, as well as their (un)willingness to adopt and even present new knowledge and trends to the wider academic community.

Keywords

• serbian musical medievalism
• byzantine musicology
• neum notation
• monumenta musicae byzantinae
• miloš velimirović
• stojan lazarević
• dimitrije stefanović
• institute of musicology of the serbian academy of sciences (sas)/serbian academy of sciencesand arts (sasa)