Theodor W. Adorno?s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky?s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more ?human?, i.e. meaningful and expressive, than Adorno could have even conceived. Additionally, an account is provided of some groundbreaking musical qualities that underpin the artistic value of Stravinsky?s music, which Adorno also contested.
{"title":"Ideology, humanness, and value. On Adorno’s Stravinsky","authors":"Markos Tsetsos","doi":"10.2298/muz2334095t","DOIUrl":"https://doi.org/10.2298/muz2334095t","url":null,"abstract":"Theodor W. Adorno?s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky?s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more ?human?, i.e. meaningful and expressive, than Adorno could have even conceived. Additionally, an account is provided of some groundbreaking musical qualities that underpin the artistic value of Stravinsky?s music, which Adorno also contested.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"87 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Igor Stravinsky?s philosophical and religious trajectory included transformative encounters with Catholic theologians and philosophers in the Paris of the 1920s and 1930s. The most important amongst these was Jacques Maritain, whose neoThomist philosophy applied to art was of significance to Stravinsky, and in particular through its application in the life and work of fellow Russian ?migr? composer Arthur Louri?. This article examines the relationship between Stravinsky and Maritain in terms of the larger philosophical and creative context of the period, also touching on the work of Louri? and Manuel de Falla, and discussing its ramifications in the work of Stravinsky himself.
{"title":"Stravinsky and Maritain: Philosophies of work","authors":"I. Moody","doi":"10.2298/muz2334033m","DOIUrl":"https://doi.org/10.2298/muz2334033m","url":null,"abstract":"Igor Stravinsky?s philosophical and religious trajectory included transformative encounters with Catholic theologians and philosophers in the Paris of the 1920s and 1930s. The most important amongst these was Jacques Maritain, whose neoThomist philosophy applied to art was of significance to Stravinsky, and in particular through its application in the life and work of fellow Russian ?migr? composer Arthur Louri?. This article examines the relationship between Stravinsky and Maritain in terms of the larger philosophical and creative context of the period, also touching on the work of Louri? and Manuel de Falla, and discussing its ramifications in the work of Stravinsky himself.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"33 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is devoted to Petar Bingulac?s critiques of choral music published in the magazine Misao - a total of twenty-four reviews, most of which are on cho?ral music and its performers. I discuss Bingulac?s selected reviews from the point of view of critical-analytical interpretation. One of the goals is to determine the author?s dominant method when writing reviews and to assess his role in Serbian music criticism, taking into account the context in which the selected writings were created. I also compare his reviews of choral music performances with the views of other prominent critics.
{"title":"Petаr Bingulac's music criticism in Misao magazine: Evaluations of Serbian choral music and its performers","authors":"Dina Vojvodic-Nikolic","doi":"10.2298/muz2334149v","DOIUrl":"https://doi.org/10.2298/muz2334149v","url":null,"abstract":"This article is devoted to Petar Bingulac?s critiques of choral music published in the magazine Misao - a total of twenty-four reviews, most of which are on cho?ral music and its performers. I discuss Bingulac?s selected reviews from the point of view of critical-analytical interpretation. One of the goals is to determine the author?s dominant method when writing reviews and to assess his role in Serbian music criticism, taking into account the context in which the selected writings were created. I also compare his reviews of choral music performances with the views of other prominent critics.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The high rank of Igor Stravinsky?s works (especially for ballet) prompts a discussion about the meaning of corporeality and dance in his output, a meaning that goes beyond Stravinsky?s historically-documented interest in ballet music. Thus, the encounter with Diaghilev and Nijinsky could be justified as immanently emanating from his own musical aesthetics and poetics. If dance seems for the composer to form an additional, immanent level of the music, the question of the aesthetic sense of reference to the body in Stravinsky?s music remains unan?swered. By attaining a ?mediated immediacy? (Helmuth Plessner) in his works, his ballet music manages to maintain a certain distance - objectifying, alienating - from subjective expression, without becoming abstract, and at the same time without losing the subjective and intersubjective bonds in which it is immersed. Through dance, Stravinsky not only strengthens the aspect of mediation in his music, but in a reflective not primitive practice, he also looks for the origins of aesthetic expression.
{"title":"Corporeality and dance in the music of Igor Stravinsky","authors":"Iakovos Steinhauer","doi":"10.2298/muz2334085s","DOIUrl":"https://doi.org/10.2298/muz2334085s","url":null,"abstract":"The high rank of Igor Stravinsky?s works (especially for ballet) prompts a discussion about the meaning of corporeality and dance in his output, a meaning that goes beyond Stravinsky?s historically-documented interest in ballet music. Thus, the encounter with Diaghilev and Nijinsky could be justified as immanently emanating from his own musical aesthetics and poetics. If dance seems for the composer to form an additional, immanent level of the music, the question of the aesthetic sense of reference to the body in Stravinsky?s music remains unan?swered. By attaining a ?mediated immediacy? (Helmuth Plessner) in his works, his ballet music manages to maintain a certain distance - objectifying, alienating - from subjective expression, without becoming abstract, and at the same time without losing the subjective and intersubjective bonds in which it is immersed. Through dance, Stravinsky not only strengthens the aspect of mediation in his music, but in a reflective not primitive practice, he also looks for the origins of aesthetic expression.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"86 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The complex authorship of Stravinsky?s Poetics of Music, as a result of the collaboration between the Russian composer himself, the composer and critic Alexis Roland-Manuel and the Russian ?migr? thinker Pierre Souvtchinsky, has been well established by now. This article traces the latter?s contribution to Stravinsky?s book moving beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky?s ideas on music and time. The Poetics will thus intriguingly emerge as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of Eurasianism, the Russian ?migr? intellectual and political movement, with which Souvtchinsky was closely associated.
{"title":"Revisiting Stravinsky’s poetics of music: The Souvtchinsky connection","authors":"Katerina Levidou","doi":"10.2298/muz2334045l","DOIUrl":"https://doi.org/10.2298/muz2334045l","url":null,"abstract":"The complex authorship of Stravinsky?s Poetics of Music, as a result of the collaboration between the Russian composer himself, the composer and critic Alexis Roland-Manuel and the Russian ?migr? thinker Pierre Souvtchinsky, has been well established by now. This article traces the latter?s contribution to Stravinsky?s book moving beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky?s ideas on music and time. The Poetics will thus intriguingly emerge as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of Eurasianism, the Russian ?migr? intellectual and political movement, with which Souvtchinsky was closely associated.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the studies and collections of folk songs and tales that formed the main source of inspiration for Igor Stravinsky during the Russian period of his work. To do this, I begin with a brief analysis of the evolution of folkloristics mainly during the 19th century and the construction of science with clearer, mainly national and patriotic goals and methods, as well as the use of folk literature and poetry by the artists of the time. It was in this field that Stravinsky was active, although in the case of his own modern approach, it is difficult to answer whether the motivations were clearly national or not.
{"title":"Sakharov, Kireevsky, Afanasyev and others: Stravinsky in the context of Russian folkloristics","authors":"Stamatis Zochios","doi":"10.2298/muz2334019z","DOIUrl":"https://doi.org/10.2298/muz2334019z","url":null,"abstract":"This article focuses on the studies and collections of folk songs and tales that formed the main source of inspiration for Igor Stravinsky during the Russian period of his work. To do this, I begin with a brief analysis of the evolution of folkloristics mainly during the 19th century and the construction of science with clearer, mainly national and patriotic goals and methods, as well as the use of folk literature and poetry by the artists of the time. It was in this field that Stravinsky was active, although in the case of his own modern approach, it is difficult to answer whether the motivations were clearly national or not.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Igor Stravinsky?s late style is usually considered in terms of the works? structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky?s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer?s own statements.
{"title":"Expressiveness in Stravinsky’s late works","authors":"C. Flamm","doi":"10.2298/muz2334059f","DOIUrl":"https://doi.org/10.2298/muz2334059f","url":null,"abstract":"Igor Stravinsky?s late style is usually considered in terms of the works? structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky?s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer?s own statements.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music for voice holds a special place in the opus of Serbian composer Jug Markovic. In all of his pieces, Markovic maintains a type of care for the vocal part that distinguishes him in the context of Serbian art music, and, at the same time, puts him on the international map of contemporary composers who work with voice in non-traditional ways. This is reflected in his intention to diversify performing techniques and vocal styles, in the detailed instructions regarding technique and scenic gesture, and in the use of technological means in vocal performance and manipulation of sound. In this paper, I investigate the expansion of vocal and bodily expression via performing techniques and new technologies, and address the issues of autonomy, agency, and responsibility of composer and vocal performer, in order to determine the characteristics and different factors of eclecticism in Markovic?s vocal music.
{"title":"“The music is highly eclectic, and it should be approached accordingly”: Voice in Jug Markovic's compositions","authors":"B. Radovanović","doi":"10.2298/muz2334111r","DOIUrl":"https://doi.org/10.2298/muz2334111r","url":null,"abstract":"Music for voice holds a special place in the opus of Serbian composer Jug Markovic. In all of his pieces, Markovic maintains a type of care for the vocal part that distinguishes him in the context of Serbian art music, and, at the same time, puts him on the international map of contemporary composers who work with voice in non-traditional ways. This is reflected in his intention to diversify performing techniques and vocal styles, in the detailed instructions regarding technique and scenic gesture, and in the use of technological means in vocal performance and manipulation of sound. In this paper, I investigate the expansion of vocal and bodily expression via performing techniques and new technologies, and address the issues of autonomy, agency, and responsibility of composer and vocal performer, in order to determine the characteristics and different factors of eclecticism in Markovic?s vocal music.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"723 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores aspects of Stravinsky?s influence on some key composers of the Francophone post-war avant-garde, namely Pierre Boulez, Jean Barraqu?, Hen?ri Pousseur and Michel Philippot. While Messiaen, Boulez and Barraqu? build on Stravinsky?s rhythmic innovations, Pousseur focuses on the sonic complexity of the Russian composer?s scores. Boulez and Philippot praise Stravinsky?s unique instrumental groupings and later Boulez finds in certain of Stravinsky?s scores a renewed source of musical form, as well as the structural coherence afforded by Stravinsky?s use of pitch polarity.
{"title":"Stravinsky and the post-war generation in France: Aspects of influence","authors":"E. Campbell","doi":"10.2298/muz2334069c","DOIUrl":"https://doi.org/10.2298/muz2334069c","url":null,"abstract":"This article explores aspects of Stravinsky?s influence on some key composers of the Francophone post-war avant-garde, namely Pierre Boulez, Jean Barraqu?, Hen?ri Pousseur and Michel Philippot. While Messiaen, Boulez and Barraqu? build on Stravinsky?s rhythmic innovations, Pousseur focuses on the sonic complexity of the Russian composer?s scores. Boulez and Philippot praise Stravinsky?s unique instrumental groupings and later Boulez finds in certain of Stravinsky?s scores a renewed source of musical form, as well as the structural coherence afforded by Stravinsky?s use of pitch polarity.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study is to contribute to the discussion of how the character of physical body movements conveys expression and affects the creation of a musical work. The primary focus of this phenomenological study is on kinesthetic gestures or body movements which pianists use in their performances in order to create the musical-poetic content in a corporeal performing form. The main discussion is concentrated on the analysis of movements that emanate from the characteristics of the piano technique, particularly of technical elements in the piano sonatas by Ludwig van Beethoven.
{"title":"Performative gestures in Beethoven’s piano sonatas","authors":"Marija Dinov","doi":"10.2298/muz2334133d","DOIUrl":"https://doi.org/10.2298/muz2334133d","url":null,"abstract":"The purpose of this study is to contribute to the discussion of how the character of physical body movements conveys expression and affects the creation of a musical work. The primary focus of this phenomenological study is on kinesthetic gestures or body movements which pianists use in their performances in order to create the musical-poetic content in a corporeal performing form. The main discussion is concentrated on the analysis of movements that emanate from the characteristics of the piano technique, particularly of technical elements in the piano sonatas by Ludwig van Beethoven.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68540724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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