TERMINOLOGICAL AND GENRE DISTINCTION: THE ADAPTATION OF SERBIAN FOLK SONGS FOR SOLO VOCALS AND PIANO

Abstract

Since its onset up to the times of the Second World War, together with the development of the solo singing, the Serbian art music yielded a large number of compositions comprising the adaptations of the solo folk songs accompanied by piano. Although the latter display solo tendencies, they originate from the folk music sample, thus deviate from the genre and could be referred to as a distant “relative”, sharing the same roots. Since the times of Kornelije Stanković till nowadays, no universal terminology for the compositions in question has been established, nor have they been given the appropriate attention as to the genus and genre distinctions. The number and the distribution of the composition in the works of Serbian composers suggest the need to highlight the issue, as well as to define their status in the science and theory of music.