The crucial meaning of the performative context for the protocol music genre

Considering the fact that music is »neutral« in its original form and something we all share, it gets its connotation only when performed with a specific background, having a role in

various situations or becoming part of the collective memory. In an example from WWII, given by Jessica Gienow-Hecht 9, a decorated US pilot had supposedly refused to bomb a city, in which Beethoven was born and educated. In reference to music as a universal

language, Kathleen M. Higgins 9 is of the opinion that we all, regardless our differences and the diversity of our music, sound human.

In the first place, protocol music needs to be performed in certain objective circumstances (location, music cast, etc.) for being able to impact the listener. Furthermore, the intensity of its message is substantially defined by the context in which it is being performed. The term context should be understood as a social, emotional or ambiental category which has the capacity to determine the quality of the musical experience.

A very indicative example of the stated theory can be a musical piece originally performed by an Oberkrainer musical band. The chosen musical example can reach into entirely different emotional range of the listener if it's being performed in the Oberkrainer context (typical

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musical cast, instruments, outfit of the performers and environment) in comparison with a situation, in which just the music itself is being extracted and installed into an entirely different context, for example a state celebration. In such case, the originally »mocking«

character of the musical piece transforms into something entirely different, perhaps even solemn and glamorous as the context of state celebrations actually is 2.

In certain cases, it is not the ceremonial that dictates the music, but the other way around, which means that certain music can become some sort of »parastatal protocol element« in certain circumstances. A picturesque example of the above is the Slovenian »local patriotic«

song Vstajenje Primorske². This composition is considered a sort of unofficial anthem among the people of the Primorska region and often evokes stronger emotions than the official national anthem, as the audience often stand up when it is played, place their right hand on their hearts and sing the lyrics in unison. As Felicity Laurence 9 states, music can be a strong instrument of propaganda. Primarily in such cases as the above mentioned composition, caution is needed so patriotism does not turn into nationalism, political incitement or a way of dividing people.

In the context of sports, which (this applies very much to Slovenia) can unify a nation, the danger of misuse for propaganda is slightly smaller. The song Slovenija gre naprej³ for instance, became an informal anthem of the Slovenia national football team. The song still evokes feelings of unity and patriotism in its most positive form.

6. Conclusion

Music in the function of or as a protocol element represents one of the building blocks of an individual protocol event or ceremonial. It is music that cannot exist by itself and cannot fulfill its function by itself, but has its practical function and conveys a message only within the protocol framework. Therefore, its artistic value can only be discussed within its context.

At the same time, it is music that is absolutely and inseparably tied to the event; it is subject to the event in a way and supports it. After all, fanfares cannot truly exist without a ruler and there in no real point in state celebration without an audience.

References

1. Kušej NG, Glasba kot protokolarni element, Protokol. 2016. Muzikološki zbornik. 2021;

53:267-268, http://bos.zrc-sazu.si/cgi/a03.exe?name=sskj_testa&expression=

protokol&hs=1.

2. Kušej NG, Glasba kot protokolarni element. Master's degree thesis. Ljubljana, Filozofska fakulteta, Oddelek za muzikologijo, 2016.

2 The song »Vstajenje Primorske,« was set to music and adapted by Rado Simoniti in 1968 for the celebration of the 25th anniversary of the general rebellion in the Primorska region at the fall of fascism.

3 The song »Slovenija gre naprej« was written in 2000 by Zoran Predin, Peter Lovšin and Vlado Kreslin for the European football championship in Belgium and the Netherlands.

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3. MMC RTV Slovenija. 2013a. »Foto: “Naj živi kralj!” Viljem Aleksander je ustoličen.«

Accessed on 10 June 2021, https://www.rtvslo.si/svet/foto-naj-zivi-kralj-viljem-aleksander-je-ustolicen/307797.

4. A State of Trance. 2013. »King and Queen of The Netherlands surprise Armin van Buuren.« Accessed on 10 June 2021, http://www.astateoftrance.com/news/king-and-queen-of-the-netherlands-surprise-armin-van-buuren/.

5. 24ur.com. 2013. »Nizozemska kljub kritikam ostaja pri pesmi za ustoličenje kralja.«

Accessed on 10 June 2021, http://www.24ur.com/ekskluziv/zanimivosti/nizozemska-kljub-kritikam-ostaja-pri-pesmi-za-ustolicenje-kralja.html.

6. MMC RTV Slovenija. 2015. »Foto: Koncert v predsedniški palači – za bobni pa Borut Pahor.« Accessed on 10 June 2021,

http://www.rtvslo.si/zabava/druzabna-kronika/foto-koncert-v-predsedniski-palaci-za-bobni-pa-borut-pahor/362775.

7. Kolenc T, Od Godbe ljudske milice do protokolarnega orkestra: 50 let delovanja Policijskega orkestra. 1999, Ministrstvo za notranje zadeve, Urad za javno varnost, Ljubljana.

8. Kušej NG, Private archive of the amployee of the Protocol of the Republic of Slovenia.

9. Ahrendt R, Ferraguto M, Mahiet D, . 2014. »Introduction.« In Music and Diplomacy from the Early Modern Era to the Present, edited by Rebekah Ahrendt, Mark Ferraguto and Damien Mahiet, 1–16. New York: Palgrave Macmillan.

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The role of painting in the life and works of Fyodor Mikhailovich Dostoevsky Prelovšek Anita*

*anita.prelovsek@gmail.com Abstract

This article, as a contribution to the bicentenary of the birth of Fyodor Mikhailovich

Dostoevsky, describes the way in which the art of painting was important for the writer’s life, mentioning his favourite paintings and describing how they and the art of painting in general are reflected in his works. Especially during the years he spent abroad, Dostoevsky was a regular visitor to art galleries. In St Petersburg, he frequently went to the Ermitage and visited exhibitions of new works by Russian painters. He also published two articles containing his critical opinions about exhibitions he visited in Russia. In its last part, the article briefly quotes some modern examples of painting or drawing relating to the life and work of Dostoevsky.

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157 1. Introduction

Dostoevsky admired all forms of art, included painting. He was a regular visitor to the Ermitage and attended the exhibitions of paintings organized every year in the Academy of Arts in St Petersburg, where he was informed about new works by the most important Russian painters. He expressed his opinions about exhibitions in two articles, published in his Diary of a Writer. During his stays abroad (1867-71), he was a keen patron of galleries in European cities such as Dresden, Basle, Florence, Venice and Bologna. He had his favourite painters and paintings which he never tired of seeing again and again. He retained the impressions that examples of the visual art made on him and used them to depict some of the characters, scenes, feelings and philosophical ideas in his novels and short stories. In some of his works he also makes explicit mention of certain paintings.

2. Dostoevsky’s favourite paintings and their place in his works