Miodrag A. Vasiljevic (1903-1963) was given a unique opportunity to span two
great developmental stages in the history of Serbian ethnomusicology,
occurring in the middle of the 20th century. The first of them was between
the two World Wars, the stage in which Serbian musical folklore became
Vasiljevic?s life passion and in which he accomplished his early professional
achievements. In the next stage, which started after World War II, he reached
the zenith of his creation in slightly less than twenty years, setting new
standards of the discipline, and providing fundamental directions for his
successors, thereby immeasurably enlarging the corpus of collected material.
Due all of these revolutionary innovations from the post-war period,
Vasiljevic is rightly considered to be not only the founder of modern Serbian
ethnomusicology, but also the first person in Serbia worthy of being called
an ethnomusicologist in the full sense of the word. Of the numerous results
by which Vasiljevic permanently indebted his people, the most pronounced does
not belong to the category of pioneering endeavours, but is manifested in his
melographic opus - an achievement which even today has not been surpassed in
Serbia in terms of its span, scope and value. Such great productivity in
recording resulted from the fact that Vasiljevic had been devoted to
melography from his childhood, and most intensely from 1932 to the end of his
life. The exact number of examples which Vasiljevic transcribed directly in
the field before 1951 and those which he recorded on a tape-recorder after
that time is still unknown, since many of them are still unavailable to the
public, but it can be assumed that there are several thousand melodies in
total. Among them are 3,198 which have already been published. That precious
corpus of Vasiljevic?s available material is contained in twelve collections
(the largest number ever regarding any collector in Serbia so far), issued
from 1950 to 2009. The first four collections offer comprehensive material
from Kosmet, Sandzak, Macedonia and the region of Leskovac, and they were
edited by Vasiljevic himself during the last ten years of his life or so.
Posthumous publications were devoted to Montenegro, Vojvodina, Resava and
various parts of central Serbia, as well as to the repertoires of the famous
singer Hamdija Sahinpasic (1914/16-2003) from Sandzak, and gypsy female
singer Malika Jeminovic Kostana (1872?-1945) from the vicinity of Vranje.
Until now there have still not been any comprehensive studies on Vasiljevic?s
ethnomusicological activity, although there are valuable articles. In these,
Vasiljevic?s melographic contribution is usually emphasised much more than
his scientific one, which is much more modest in its scope. Since the
existing writings mostly deal with collections published during his life,
this paper results from the intention to give a complete picture of the
material, so all Vasiljevic?s collections were critically considered
according to the chronology of their publication. Each of the publications
emerged to witness to both Vasiljevic as a field worker and to some of the
important stages of his own ethnomusicological development. The last part of
the text focuses on the fact that a decline in production of
ethnomusicological collection publications has been evident in Serbia over
the last few decades. Nowadays, this negative trend is conditioned by two key
reasons. One is the perfected and easily available technology of digital
audio recording and the copying of sound recordings. The second is reflected
in the general developmental orientation of the discipline.
Kina na Dolnym Śląsku: rekonesans historyczny