The lecture examines the impact of ideology on Byzantine musicology, focusing specifically on the status of church art during the socialist period in the former Yugoslavia. Particular emphasis is placed on scholarly discourses concerning the medieval chanting tradition — both Byzantine and Serbian — which, in accordance with Communist ideology, were promoted in the works of the first generation of Serbian Byzantine musicologists.

The scientific methodology adopted at the time, based on the principles of the Monumenta Musicae Byzantinae (MMB) and largely devoid of insights from Greek musicological scholarship (especially from the mid-1970s onwards), gave rise to a series of deeply flawed assumptions and enduring stereotypes. The re-examination of these so-called “scientific canons” began in Serbia during the 1990s, following the dissolution of Yugoslavia. This new intellectual climate created the conditions for a critical reassessment of a number of long-standing taboos, including musicological questions on which a broad consensus had already been established between Eastern (primarily Greek) and Western (especially Copenhagen-based) scholars. These issues include the interpretation of neumatic notation, the revision of earlier transcriptions, the understanding of modal systems, and the implications of the Chrysanthine Reform (the so-called “New Method” of the early nineteenth century), among others. Although many of these questions have been clarified through subsequent research, some of the earlier assumptions continue to persist within Serbian musicological circles, despite compelling evidence to the contrary.

https://teams.microsoft.com/meet/396809668086407?p=geDKIq0GopEjo49Guv

ID da Reunião: 396 809 668 086 407

Código de acesso: p2Bb7o84