Ivan Jevtić’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre

• Main Author: Nikolić Olivera
• Format: Article
• Language: English
• Published: Serbian Academy of Sciences and Arts - Institute of Musicology of Serbian Academy of Sciences and Arts 2017-01-01
• Series: Muzikologija
• Subjects: Ivan Jevtić; concert ante works; Serbia; 20th century; tradition and its adaptation
• Online Access: http://www.doiserbia.nb.rs/img/doi/1450-9814/2017/1450-98141723219N.pdf
• ISSN: 1450-9814; 2406-0976

Our interest in the position and significance of the concert music of Ivan Jevtić in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtić comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new contemporary tendencies; the time of general stylistic turmoil; compositional techniques etc. The comparative analysis of three concerts: Concerto for Tuba, Cello Symphony and Concerto for Viola points to the basic elements of traditional heritage, his reshaping of this heritage, as well as the elements of modern musical expression in the works of this composer. The analyzed paths of a part of his entire oeuvre do not exemplify the complete development of the concert genre in the Serbian music of the second half of the 20th century but, alongside with other important aspects such as historical, aesthetic, technical etc. they assist us in a better understanding of the tendencies in the development of this genre in Serbia, but also of the tendencies in Serbian music after 1945.