Arti musices, Vol. 52 No. 1, 2021.
Izvorni znanstveni članak
https://doi.org/10.21857/yq32oh2z29
Eva Sedak, Witness to the Crisis
Dalibor Davidović
orcid.org/0000-0001-8675-0512
; Muzička akademija Sveučilišta u Zagrebu, Zagreb, Hrvatska
Sažetak
The word »crisis« often appears in the writings of the Croatian musicologist Eva Sedak (1938–2017). In this study, based on the research of her literary heritage, it is shown that Eva Sedak’s thought about the crisis unfolds in the tension between two mutually exclusive meanings of the term, since the first meaning implies that everything is subjected to crisis, and the second that the crisis manifests itself precisely in relation to something that is considered to be beyond the crisis. The author shows that the field of tensions between two meanings appears in three characteristic contexts, which to some extent overlap. In the writings until the mid-1970s, Eva Sedak appeared as a kind of witness to the »crisis« into which fell, in her opinion, contemporary composition on the one hand and music criticism, on the other. In the second context, which began in the late 1970s, »crisis« was the term to describe the state of musical life in Croatia in past and present times, which, precisely because of its position in the »border area«, posed a challenge to musicological considerations. Finally, in the third context, outlined gradually but particularly strikingly in the late 1990s, the »crisis« emerged as an integral part of a historiographical conception capable of adequately responding to the »crisis« state of music in the »border area«. In this context, the notion of »crisis« gradually gives way to the notion of »deconstruction«.
Ključne riječi
Eva Sedak; crisis; musicology in Croatia; music criticism; historiography of music; national in music; deconstruction
Hrčak ID:
261039
URI
Datum izdavanja:
15.7.2021.
Posjeta: 942 *