Marking the centenary of the death of Max Reger as an occasion for multiple (re)evaluations of the composer’s work and its output to the music of the German-speaking world and beyond presents an opportunity to direct the focus onto some new aspects of the composer’s and his environment’s connections to the broader musical contexts of his time. My article is related to one of Reger’s numerous students, the Serbian composer Milenko Paunovic (1889–1924), who was almost unknown, even in local music and musicology, until recent times. Some of my dozen studies about Paunovic will be referred later in this text. I will present some data which, although small in number, is valuable to the investigation of Reger’s and other Leipzig Conservatoire educator’s work. However, my main aim is to discuss some of Paunovic’s works in order to stress his connection to German-based compositional practice, to which he has been tied from his Leipzig studies. The given title of my paper also raises many questions related to the so-called peripheries of music, a complex issue that can be touched here only in several brief aspects.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:32309 |
| Date | 03 December 2018 |
| Creators | Milanovic, Biljana |
| Publisher | Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | English |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, doc-type:article, info:eu-repo/semantics/article, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
| Relation | urn:nbn:de:bsz:15-qucosa2-322867, qucosa:32286 |
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