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Music history and the historicist imagination: Revisiting Carl Dahlhaus and Leo Treitler 音乐史和历史主义者的想象:卡尔·达尔豪斯和利奥·特雷特勒重访
IF 0.1 Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.2298/MUZ1926015C
Žarko Cvejić
This text offers a discussion and reappraisal of the historical impact of the Prussian historical school in general and of historicism in particular, epitomised in the works of Leopold von Ranke and Johann Gustav Droysen, on the historiography of music, as diagnosed by Carl Dahlhaus and Leo Treitler in Foundations of Music History and Music and Historical Imagination, with special focus on the distinction between historicism and Treitler?s ?neopositivism?, its role and those of narrativity, aesthetics, and the work concept in music historiography.
本文提供了对普鲁士历史学派的历史影响的讨论和重新评估,特别是历史主义,集中体现在利奥波德·冯·兰克和约翰·古斯塔夫·德罗伊森的作品中,在音乐史学上,正如卡尔·达尔豪斯和里奥·特雷特勒在《音乐史基础》和《音乐与历史想象》中所诊断的那样,特别关注历史主义和特雷特勒之间的区别?年代neopositivism ?音乐史学中的叙事性、美学、作品观念等。
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引用次数: 0
Theories on socialist realism and socialist music culture in the 1960s in Hungary 1960年代匈牙利社会主义现实主义理论与社会主义音乐文化
IF 0.1 Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.2298/MUZ1926125R
Andras Ranki
In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: Jozsef Ujfalussy, Denes Zoltai and Janos Marothy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well.
在20世纪60年代,匈牙利关于音乐美学的出版物数量显著增加。主题、方法和观点的可变性是基于反斯大林主义政治的明确的意识形态重新排序的结果。到60年代中期,社会主义的经济基础和可持续性及其优化运行成为权力的关键问题,因此自然科学和社会科学在公共话语中的重要性增加。艺术不再仅仅被视为政治权力及其意图的例证。我关注的是这一时期三位国际公认的匈牙利学者所写的所谓创造性马克思主义对音乐美学的主要贡献:Jozsef Ujfalussy, Denes Zoltai和Janos Marothy。所选文本从理论角度进行分析,并在匈牙利文化政策及其作者的国家和国际职业生涯的背景下进行解释。
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引用次数: 0
Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography) Mokranjac on repeat:通过录音重申音乐经典(PGP-RTB/RTS唱片)
IF 0.1 Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.2298/muz1927221m
Biljana Milanović, Marija Maglov
Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.
从塞尔维亚/南斯拉夫唱片厂牌PGP-RTB/RTS发行的录音在20世纪的大部分时间里主导着贝尔格莱德广播电视/塞尔维亚广播电视的节目(虽然在本世纪有所下降)的假设开始,并且厂牌内做出的决定是关于哪些作曲家?作品将(反复)出现在其目录中,因此对塞尔维亚/南斯拉夫的整体音乐和媒体文化产生了重大影响,我们的目标是研究塞尔维亚音乐的核心作曲家史蒂文·斯托亚诺维奇·莫克兰雅克是如何在这个目录中表现出来的。研究方法主要基于对厂牌本身文档中收集的档案材料的分析,通过在线音乐数据库提供的录音数据,以及录音本身,同时依赖于音乐经典的理论概念,重点是表演经典。
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引用次数: 1
From great expectations to great disappointments: Petar Krstic’s contribution to the process of reforms of music education in interwar Yugoslavia (1918-1921) 从期望到失望:佩塔尔·克里斯蒂对两次世界大战期间南斯拉夫音乐教育改革进程的贡献(1918-1921)
IF 0.1 Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.2298/muz1927253v
Ivana Vesic
This paper deals with the activities of Petar Krstic in the domain of music education in the first years after the First World War and the constitution of the Kingdom of Serbs, Croats and Slovenes. As a long-serving director of the Serbian Music School, Krstic initiated various processes in order to modernize it and transform it into institution of higher level of music education. For that purpose he focused on the school?s internal reorganization and ?etatization?. As a result, Krstic prepared new school regulations and several draft s of legal texts and started negotiations with the authorities. Krstic?s ideas, plans and his undertakings concerning the reforms during the rule over the Serbian Music School/Music School in Belgrade will be discussed in detail together with their historical value.
本文论述了第一次世界大战后的头几年,佩塔尔·克里斯蒂在音乐教育领域的活动,以及塞尔维亚、克罗地亚和斯洛文尼亚王国的宪法。作为塞尔维亚音乐学校的长期主任,克里斯提发起了各种进程,以使其现代化,并将其转变为高等音乐教育机构。为了这个目的,他把重点放在了学校上?内部重组和公司化。因此,克里斯准备了新的学校规章制度和几个法律文本草案,并开始与当局谈判。侵袭吗?在贝尔格莱德塞尔维亚音乐学校/音乐学校的统治期间,他的思想、计划和他所做的改革将被详细讨论,以及它们的历史价值。
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引用次数: 0
New data, new methods? Sources on ladies’ salon orchestras in Europe, 1870-1918 新数据,新方法?1870-1918年欧洲女性沙龙管弦乐队资料
IF 0.1 Q4 Arts and Humanities Pub Date : 2019-01-01 DOI: 10.2298/MUZ1926041K
Nuppu Koivisto
This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies? orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.
本文论述了音乐研究中有关宏观历史数据的问题。通过展示最近对欧洲女性的研究?我的目标是建立如何以有意义的方式使用大型数据集。首先,我将概述原始材料。其次,分析音乐会节目的方法将被严格评估。第三,将探讨可视化巡回演唱会的可能性。最后,将特别关注有关社会阶级和性别的问题。
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引用次数: 0
What does quantum music sound like and what would Pierre Boulez think of it? Super position (many worlds) by Kim Helweg (2017) 量子音乐听起来像什么?皮埃尔·布列兹会怎么看?Super position(多世界赛),Kim Helweg (2017)
IF 0.1 Q4 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.2298/muz1824079m
I. Medić, Jelena Janković-Beguš
Pierre Boulez (1925–2016) devoted a great deal of time and consideration to the relationship between the composer’s invention and performance media, in particular those related to the application of the latest technological breakthroughs and new instruments. Boulez’s famous essay “Technology and the Composer“ (1977/1986) proclaims his desire to widen the range of expressive means of art music by conquering new media. Boulez’s “vintage“ insights are here juxtaposed with a contemporary Quantum Music project (2015–2018), and with one particular piece written within this project: Super Position (Many Worlds) by Kim Helweg (2017), commissioned by the Institute of Musicology SASA and supported by the Danish Arts Foundation (Statens Kunstfond). At least two lines * This article was written for the project Quantum Music, co-financed by the EACEA within the programme Creative Europe (559695-CREA-1-2015-1-RS-CULT-COOP1). We have also received support from the Ministry of Culture and Information of the Republic of Serbia. Some parts of the research were conducted within the project Identities of Serbian Music Within Local and Global Contexts Traditions, changes, challenges (No 177004) financed by the Ministry of Education, Science and Technological Development of the Republic of Serbia. Jelena Janković-Beguš expresses her gratitude to Prof. Vesna Mikić for her valuable insights during the early stages of the conception of this paper. The piece Super Position (Many Worlds) by Kim Helweg (2017) was comissioned by the Institute of Musicology SASA and supported with a grant awarded by The Danish National Arts Foundation (Statens Kunstfond), https://www.kunst.dk/ 1 ivana.medic@music.sanu.ac.rs 2 jelenaforfree@gmail.com D O I https://doi.org/10.2298/MUZ1824079M U D C 78.071.1 БУЛ Е З П. 789.983.087.2
皮埃尔·布列兹(Pierre Boulez, 1925-2016)花了大量的时间和精力研究作曲家的发明与演奏媒介之间的关系,特别是那些与最新技术突破和新乐器的应用有关的关系。布列兹的著名论文《技术与作曲家》(1977/1986)表明,他希望通过征服新媒体来扩大艺术音乐的表现手段范围。在这里,布列兹的“复古”见解与当代量子音乐项目(2015-2018)并置,以及该项目中的一件特别作品:Kim Helweg的《Super Position (Many Worlds)》(2017),由SASA音乐学研究所委托,由丹麦艺术基金会(Statens Kunstfond)支持。*本文是为“量子音乐”项目撰写的,该项目由EACEA在“创意欧洲”项目(559695-CREA-1-2015-1-RS-CULT-COOP1)内共同资助。我们还得到了塞尔维亚共和国文化和新闻部的支持。研究的某些部分是在塞尔维亚共和国教育、科学和技术发展部资助的“地方和全球背景下塞尔维亚音乐的特征、传统、变化和挑战”项目(第177004号)内进行的。Jelena Janković-Beguš对Vesna mikiki教授在本文构思的早期阶段提供的宝贵见解表示感谢。作品《超级位置(多个世界)》(2017)受SASA音乐研究所委托,由丹麦国家艺术基金会(Statens Kunstfond)资助,https://www.kunst.dk/ 1 ivana.medic@music.sanu.ac.rs 2 jelenaforfree@gmail.com D O I https://doi.org/10.2298/MUZ1824079M U D C 78.071.1 БУЛ Е З П。789.983.087.2
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引用次数: 0
Synthesis and analysis of sounds developed from the Bose-Einstein condensate: Theory and experimental results 从玻色-爱因斯坦凝聚发展的声音的合成和分析:理论和实验结果
IF 0.1 Q4 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.2298/muz1824095n
Dragan Novković, Marko Peljevic, Mateja Malinovic
Two seemingly incompatible worlds of quantum physics and acoustics have their meeting point in experiments with the Bose-Einstein Condensate. From the very beginning, the Quantum Music project was based on the idea of converting the acoustic phenomena of quantum physics that appear in experiments into the sound domain accessible to the human ear. Th e fi rst part of this paper describes the experimental conditions in which these acoustic phenomena occur. Th e second part of the paper describes the process of sound synthesis which was used to generate fi nal sounds. Sound synthesis was based on the use of two types of basic data: theoretical formulas and the results of experiments with the Bose-Einstein condensate. Th e process of sound synthesis based on theoretical equations was conducted following the principles of additive synthesis, realized using the Java Script and Max MSP software. The synthesis of sounds based on the results of experiments was done using the MatLab so ft ware. Th e third part or the article deals with the acoustic analysis of the generated sounds, indicating some of the acoustic phenomena that have emerged. Also, we discuss the possible ways of using such sounds in the process of composing and performing contemporary music.
量子物理学和声学两个看似不相容的世界在玻色-爱因斯坦凝聚的实验中有了他们的交汇点。从一开始,量子音乐项目就基于将实验中出现的量子物理声学现象转化为人耳可接触到的声音域的想法。本文的第一部分描述了这些声学现象发生的实验条件。论文的第二部分描述了声音合成的过程,该过程是用来产生最后的声音。声音合成是基于两类基本数据的使用:理论公式和玻色-爱因斯坦凝聚的实验结果。基于理论方程的声音合成过程遵循加性合成原理,利用Java Script和Max MSP软件实现。利用MatLab软件对实验结果进行声音合成。文章的第三部分是对产生的声音进行声学分析,指出了一些已经出现的声学现象。同时,我们也讨论了在创作和演奏当代音乐的过程中使用这些声音的可能方式。
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引用次数: 3
The quantum vibes of atoms and ichthyosaurs 原子和鱼龙的量子振动
IF 0.1 Q4 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.2298/MUZ1824051M
K. Mølmer
The quantum mechanical description of microscopic phenomena treats minuscule particles as waves and explains why atoms and molecules absorb and emit radiation at particular frequencies. This article reviews the physical theory of waves and discusses similarities between atoms and musical instruments. In particular, it describes how we may identify new musical scales and harmonies and play atomic music by translating and scaling the frequencies in the atomic world to the audible spectrum.
微观现象的量子力学描述将微小粒子视为波,并解释了原子和分子以特定频率吸收和发射辐射的原因。本文回顾了波的物理理论,并讨论了原子和乐器之间的相似之处。特别是,它描述了我们如何识别新的音阶和和声,以及如何通过将原子世界的频率转换和缩放到可听的频谱来演奏原子音乐。
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引用次数: 3
Composing with Quantum Information: Aspects of Quantum Music in Theory and Practice 利用量子信息作曲:量子音乐的理论与实践
IF 0.1 Q4 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.2298/MUZ1824061H
Kim Helweg
Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science – to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
量子音乐是一个研究项目的标题,它为研究艺术与科学之间的关系提供了一个机会——准确地说,是音乐与量子物理学之间的关系。这个想法是为受量子力学理论启发的音乐创作和乐器创造一个创新工作的平台。进一步的发展被小心翼翼地交到项目的不同成员手中,他们有不同的能力,如声音设计、物理、音乐现场表演、作曲、灯光设计和音乐学。在这方面,我既履行了作曲家的角色和兴趣,也代表了表演艺术(舞蹈和表演)。我参与的目的是展示音乐和科学之间的合作如何在总体上导致不同功能方法的发展,并为音乐和表演艺术的艺术思维提供一个新的视角。这篇文章是作为艺术研究的一部分而写的,其中提出的想法、陈述和结论应被理解为与创造性工作直接相关。但事实上,我也希望这篇文章能够为听众、音乐学家、音乐家和其他表演艺术家提供以一种新的方式接近音乐的灵感。
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引用次数: 3
The politicization of music during the period of totalitarian rule in Bulgaria (1944-1989) 保加利亚极权统治时期(1944-1989)音乐的政治化
IF 0.1 Q4 Arts and Humanities Pub Date : 2018-01-01 DOI: 10.2298/MUZ1825179D
S. Dermendzhieva
: Since this is a phenomenon of recent times, the significance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. This paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the field of cultural studies, promoting a multidisciplinary approach in several fields. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century.
由于这是最近才出现的现象,在保加利亚极权统治时期(1944-1989),音乐政治化的意义仍未得到探讨。本文主要研究保加利亚的政治制度、音乐生活和保加利亚作曲家的地位之间的相互作用。最近在文化研究领域出现了许多书籍、文章、会议和博士论文,促进了几个领域的多学科方法。对这一充满活力的时期的一种新方法将澄清保加利亚音乐文化在20世纪的整体发展。
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引用次数: 0
期刊
Muzikologija-Musicology
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