Since the early 1980s, the crisis of Yugoslav society has been brought to public awareness through discussions in the mass media, both within Yugoslavia and outside of the country. But I tell you, Irinej, we are doomed by fate to be the East on the West, and the West on the East, to acknowledge only heavenly Jerusalem beyond us, and here on earth-no one. Some of us misunderstood our place in this clash of currents, so they cried that we belong to neither side, and others that we belong exclusively to one side or the other. The East thought that we were West, while the West considered us to be East. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.Īt first we were confused. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I.
The article describes the creative orientation of composers Miloje Milojević, Petar Konjović and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. Dr Mirjana Veselinović-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on issue No 24).
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