Pavao Markovac was a musicologist, publicist, critic, political agitator, organizer, and a prominent member of the so-called Croatian left intelligentsia between the two World Wars. His extremely rich political and artistic work within the labor movement regularly, however, remained outside the narrow focus of scholarly debates. To illustrate, Nataša Leverić Špoljarić in the text “Pavao Markovac (1903–1941) – a musical enlightener between two world wars (on the 80th anniversary of his death)” (sic!) almost completely bypasses this part of his work, citing it only as a biographical episode, while other aspects of his work are elaborated in more detail. The reasons for omitting this key aspect still wait to be investigated, but it would not seem wrong to attribute them to historical revisionism, which casts a shadow on many fields and many depictions of left-wing artists and cultural workers of the interwar period. In different encyclopedic entries about Markovac there is only a remark that he wrote about music from a Marxist perspective, which does not show the width, complexity and intertwining of his journalistic, political and artistic work, based on the Marxist tradition. This text does not pretend to completely fill this gap, but to re-initiate the debate introduced by Markovac himself, which is, in short, on Marxist interpretations of music, its production, reception and, finally, it’s role in the society.
Preberi več “Domagoj Kučinić: Pavao Markovac in “delavska glasba”: ni za koncertne dvorane, ampak za srečanja in izlete”Mojca Kovačič – Creating Atmospheric Coherence through Commemorative Rituals, Singing Partisan Songs, and Rehearsed (Ustvarjanje atmosferske koherentnosti skozi komemorativne rituale, petje partizanskih pesmi in vadeni afekt)
V reviji Narodnja umjetnost je objavljen članek Mojce Kovačič, Creating Atmospheric Coherence through Commemorative Rituals, Singing Partisan Songs, and Rehearsed Affect (https://hrcak.srce.hr/267009), ki predstavlja vidike afektivne atmosfere v kontekstu obeleževanja dogodkov druge svetovne vojne v postsocialistični Sloveniji. Poseben poudarek je na vlogi partizanskih pesmi pri vzpostavljanju odnosov med preteklostjo in sedanjostjo, ki je obravnavana z vidika izkušenj pevcev podeželskega pevskega zbora. Individualne pripovedi so razkrile notranjo dinamiko doživljanja vsakega pevca med petjem partizanskih pesmi ter vlogo, ki jo imajo pri tem kolektivni spomin, preteklost, zgodovina, politika in osebne pripovedi. Izkušnje pevcev so tudi podlaga za preizpraševanje konceptov koherence v okviru teorije afektivnih atmosfer.
Martin Pogačar – A microphone in a chandelier: How a secret recording sparks mnemonic imagination and affect (Mikrofon v lestencu: Kako skrivni posnetek sproža spominsko imaginacijo in afekt)
V reviji Memory Studies je bil objavljen članek Martina Pogačarja, »A microphone in a chandelier: How a secret recording sparks mnemonic imagination and affect«, v katerem preučuje posnetek stare slovenske zborovske pesmi, Lipa zelenela je, iz časa fašistične okupacije leta 1941. Pri tem posnetek analizira kot temproalni predmet, ki poganja afektivne mnemozgodovine; modulira individualne in kolektivne izkušnje, pričakovanja in interpretacije; in spodbuja mnemonično imaginacijo. Pogačar razpravlja zgodovinskem ozadju pesmi ter tehnični zgodovini posnetka ter, na podlagi tega, o afektivnosti pesmi v nastopih v živo v primerjavi z posredovano izkušnjo v YouTubu. Članek tako prispeva k razumevanju večplastnosti preteklosti in k debatam o preučevanju glasbe in spomina ter zgodovini medijskih tehnologij v kontekstu postsocialističnega spomina.