'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region

A comparative ethnomusicological and philological analysis was made of the narrative song (ballad) field recording Tamo gore maglita planina, from the village of Mrča, Kopaonik mountain region, South Serbia. The song was sung by Sultana Savić (b. in 1903) whose birthplace is the nearby village of Št...

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Main Authors: Jovanović Jelena, Radić Prvoslav
Format: Article
Language:English
Published: Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts 2009-01-01
Series:Muzikologija
Online Access:http://www.doiserbia.nb.rs/img/doi/1450-9814/2009/1450-98140909153J.pdf
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spelling doaj-8be5795e31314024aa28cba1c5b5384b2020-11-25T00:59:56ZengSerbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and ArtsMuzikologija1450-98142009-01-012009915316410.2298/MUZ0909153J'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik regionJovanović JelenaRadić PrvoslavA comparative ethnomusicological and philological analysis was made of the narrative song (ballad) field recording Tamo gore maglita planina, from the village of Mrča, Kopaonik mountain region, South Serbia. The song was sung by Sultana Savić (b. in 1903) whose birthplace is the nearby village of Štava. Philological analysis revealed that the features of the song's language belong primarily to the Kosovo-Resava dialect type, with occasional influences from Prizren-Timok speech. The song's content shows its connection to old Balkan beliefs, partly personified by the shepherd mythological couple of Radoje (Vlašić Radule) and Janja. Ethnomusicological analysis provides numerous arguments (rudimentary monothematic form, refrain pause, tone row consisting of trichord, repetitiveness) to support the assumption that the song is a part of the archaic Balkan, Serbian and South Slavic ritual vocal tradition, formed, most probably, under the predominant influence of Dinaric rural vocal culture. These findings are also complementary to Jovan Cvijić's anthropogeographical remarks about the region where the song originates from. http://www.doiserbia.nb.rs/img/doi/1450-9814/2009/1450-98140909153J.pdf
collection DOAJ
language English
format Article
sources DOAJ
author Jovanović Jelena
Radić Prvoslav
spellingShingle Jovanović Jelena
Radić Prvoslav
'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
Muzikologija
author_facet Jovanović Jelena
Radić Prvoslav
author_sort Jovanović Jelena
title 'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
title_short 'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
title_full 'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
title_fullStr 'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
title_full_unstemmed 'Up there is a foggy mountain': An ethnomusicological-filological contribution on a traditional song from the Kopaonik region
title_sort 'up there is a foggy mountain': an ethnomusicological-filological contribution on a traditional song from the kopaonik region
publisher Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts
series Muzikologija
issn 1450-9814
publishDate 2009-01-01
description A comparative ethnomusicological and philological analysis was made of the narrative song (ballad) field recording Tamo gore maglita planina, from the village of Mrča, Kopaonik mountain region, South Serbia. The song was sung by Sultana Savić (b. in 1903) whose birthplace is the nearby village of Štava. Philological analysis revealed that the features of the song's language belong primarily to the Kosovo-Resava dialect type, with occasional influences from Prizren-Timok speech. The song's content shows its connection to old Balkan beliefs, partly personified by the shepherd mythological couple of Radoje (Vlašić Radule) and Janja. Ethnomusicological analysis provides numerous arguments (rudimentary monothematic form, refrain pause, tone row consisting of trichord, repetitiveness) to support the assumption that the song is a part of the archaic Balkan, Serbian and South Slavic ritual vocal tradition, formed, most probably, under the predominant influence of Dinaric rural vocal culture. These findings are also complementary to Jovan Cvijić's anthropogeographical remarks about the region where the song originates from.
url http://www.doiserbia.nb.rs/img/doi/1450-9814/2009/1450-98140909153J.pdf
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