SERBIAN BISHOPRIC OF TIMISOARA: ASPECTS OF CONTINUITY FROM CHURCH MUSIC'S POINT OF VIEW

Abstract

Medieval monophonic vocal practice in Serbian churches hasbeen transmitted exclusively orally, as has happened in recent history. Inthe second half of the 19th century, in accordance with the prevailingtendencies to favor everything that is supposed to represent the Serbiannation, the term srpsko narodno crkveno pojanje was officially adopted tosupport the chanting of the Serbian church. The Orthodox Bishop ofTimișoara Petar Petrovic (1786-1800) was one of the most learnedSerbian intellectuals of his time, an ardent supporter of Frenchencyclopedism and the Enlightenment. During his pastorate, in 1800 heopened the first clerical course for Serbian and Romanian priests in thediocese. As bishop of Timisoara, Samuilo Maširević was one of the patronsof the high school in Novi Sad and, as patriarch, he was the patron of thetheological high school in Karlovci. A man of great culture, patron of artsand education, he regularly participated in school exams in Christiansciences, music, history, philosophy and Latin. Influenced by the popularmelody or not, starting from Karlovci to other regions, including Timișoaraand Banat, the music that preoccupied Jerotej Mutibaric and KornelijeStankovic cannot be omitted when we want to create a complete image ofthe church singing from Banat.