The text interprets Svetlana Maraš's electroacoustic radiophonic composition Post-Excavation Activities (2020). The compositional principle, which the author calls the inversion of concrete music, and which includes work with sounds of digital origin whose purpose is to resemble found sound artifacts, has been compared with the imaginary archives. Following the intention of Svetlana Maraš to present the medium as a sounding compositional layer, an analysis was made of which sound objects in this work can be representationally determined and how they participate in the communicativeness of the work of music. The importance of radio as a medium was emphasized, but also the context of the Electronic Studio of Radio Belgrade in which the materials for the composition were created.
{"title":"New works the non-existent past of the distant future","authors":"Ana Gnjatović, Svetlana Maraš","doi":"10.5937/newso22059089g","DOIUrl":"https://doi.org/10.5937/newso22059089g","url":null,"abstract":"The text interprets Svetlana Maraš's electroacoustic radiophonic composition Post-Excavation Activities (2020). The compositional principle, which the author calls the inversion of concrete music, and which includes work with sounds of digital origin whose purpose is to resemble found sound artifacts, has been compared with the imaginary archives. Following the intention of Svetlana Maraš to present the medium as a sounding compositional layer, an analysis was made of which sound objects in this work can be representationally determined and how they participate in the communicativeness of the work of music. The importance of radio as a medium was emphasized, but also the context of the Electronic Studio of Radio Belgrade in which the materials for the composition were created.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123745454","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 work of an artist is related to society, politics, and ideology, which are important aspects of the context in which the work of art is created. The multi-layered relationship between art/music and society/politics can especially be seen when we consider neoclassicism, which was for decades after the Second World War in literature defined as a stylistic movement in the service of the ruling (totalitarian) regimes. Consequently, authors of neoclassical works were criticised for returning to tradition and order, and their works for reducing expressive means. Among them, the name of Italian composer Alfredo Casella stands out, whose works were criticised because of their alleged coherence with the aesthetic requirements of the regime. Starting from the hypothesis that neoclassicism is a modernist movement, I will examine the third period of Casella's work in the context of moderate modernism, as a third way between the aesthetic requirements of the regime and modernistic expression that was characteristic of the composers' earlier period.
{"title":"Moderate modernism as the third way in the opus of Alfredo Casella","authors":"Maša Spaić","doi":"10.5937/newso2055047s","DOIUrl":"https://doi.org/10.5937/newso2055047s","url":null,"abstract":"The work of an artist is related to society, politics, and ideology, which are important aspects of the context in which the work of art is created. The multi-layered relationship between art/music and society/politics can especially be seen when we consider neoclassicism, which was for decades after the Second World War in literature defined as a stylistic movement in the service of the ruling (totalitarian) regimes. Consequently, authors of neoclassical works were criticised for returning to tradition and order, and their works for reducing expressive means. Among them, the name of Italian composer Alfredo Casella stands out, whose works were criticised because of their alleged coherence with the aesthetic requirements of the regime. Starting from the hypothesis that neoclassicism is a modernist movement, I will examine the third period of Casella's work in the context of moderate modernism, as a third way between the aesthetic requirements of the regime and modernistic expression that was characteristic of the composers' earlier period.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123819477","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}
For the major part of contemporary composers, the main field of interest is electroacoustic music. On the one hand, the capabilities of classical instruments often no longer satisfy composers-they see more creative potential in music programming; on the other hand, this interest is driven by the composers' desire to have their composed works performed, the realization of which is much easier at the expense of technologies. These trends have clearly created a shortage of new sounds in instrumental music. It is important to maintain instrumental music and to make its existence suitable for the modern environment. To solve this problem, an upright piano "Zarya" was modified according to the principles of modern musical thinking and very topical ecomusicology into the piano called ModEkAl. The modified piano is a new type of piano constructed for the artistic research 'Has Piano Music Come to an End?' conducted by composer Eka Chabashvili and pianists Nino Jvania and Tamar Zhvania. The piano was modified according to Chabashvili's scheme which was enriched with the ideas of piano master Alexander Zirakashvili. The paper describes the modified instrument in detail, and introduces a new notation system designed exclusively for the ModEkAl.
{"title":"Eco-piano ModEkAl","authors":"Eka Chabashvili, Nino Jvania, T. Zhvania","doi":"10.5937/newso22059050c","DOIUrl":"https://doi.org/10.5937/newso22059050c","url":null,"abstract":"For the major part of contemporary composers, the main field of interest is electroacoustic music. On the one hand, the capabilities of classical instruments often no longer satisfy composers-they see more creative potential in music programming; on the other hand, this interest is driven by the composers' desire to have their composed works performed, the realization of which is much easier at the expense of technologies. These trends have clearly created a shortage of new sounds in instrumental music. It is important to maintain instrumental music and to make its existence suitable for the modern environment. To solve this problem, an upright piano \"Zarya\" was modified according to the principles of modern musical thinking and very topical ecomusicology into the piano called ModEkAl. The modified piano is a new type of piano constructed for the artistic research 'Has Piano Music Come to an End?' conducted by composer Eka Chabashvili and pianists Nino Jvania and Tamar Zhvania. The piano was modified according to Chabashvili's scheme which was enriched with the ideas of piano master Alexander Zirakashvili. The paper describes the modified instrument in detail, and introduces a new notation system designed exclusively for the ModEkAl.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127945681","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}
During a Creative Fusion residency at the Cleveland Museum of Art in 2018, composer Aleksandra Vrebalov was inspired by the Byzantine icon the Virgin Eleousa and shortly after composed the piece Antennae. This paper presents the semantic relationship between the icon and various signs which are selected and combined to structure the musical piece. It is argued the composer uses signs based on their acoustic qualities and communicational potential, and embraces the postmodern technique of quotation to depict the religious doctrine of Love and Suffering, Life and Death, or more generally speaking, Connection and Disconnection as the title itself suggests.
{"title":"Play of signs in antennae by Aleksandra Vrebalov","authors":"Nataša Crnjanski","doi":"10.5937/newso2157039c","DOIUrl":"https://doi.org/10.5937/newso2157039c","url":null,"abstract":"During a Creative Fusion residency at the Cleveland Museum of Art in 2018, composer Aleksandra Vrebalov was inspired by the Byzantine icon the Virgin Eleousa and shortly after composed the piece Antennae. This paper presents the semantic relationship between the icon and various signs which are selected and combined to structure the musical piece. It is argued the composer uses signs based on their acoustic qualities and communicational potential, and embraces the postmodern technique of quotation to depict the religious doctrine of Love and Suffering, Life and Death, or more generally speaking, Connection and Disconnection as the title itself suggests.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133528589","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 radiophonic work, A Large Stone, due to the synergy of various acoustic elements, calls for an imaginary play of listening and stimulates the further artistic development of interdisciplinary. The focus is on listening, on the perception of sound, and unlike the musical part, the radiophonic effect is reduced to the auditory aspect, since there is no (note) record that we can use. On the one hand, the sound is the one that is elusive, on the other hand, words, i.e. language, tends to 'root' and define. Ivana Stefanović through the drama text of Ljubomir Simović enters into a dialogue with a significant and semantically very rich topic in which the focus is on the patriarchal system and the oppression of the woman. Ivana Stefanović extends the boundaries of this subject and transmits it to the relationship between a man and a woman, both in the past and today and in the treatment of the test, guided by the laws of radiophony, points to the symbolic conflict of two human beings. A Large Stone is a work of eclectic structure that consists of the most diverse sounds and sounding - speech, non-verbal treatment, musical and literary quotes, originally composed music segments, sounds of a certain and unspecified pitch from an acoustic source, or electronically generated, or concrete, ambient sounds. The listener in contact with the A Large Stone, part of the hybrid structure, becomes an active receiver, who (re)creates the work and writes a new meaning to it. Ivana Stefanović through the sound tells her vision of today's Hasanaginica. Hasanaginica becomes She, and Hasan -aga becomes He, two principles and two lonelinesses. There are two subjects of the modern age lost in the demands that society permanently imposes on all of us. In my opinion, radiophony is a very intense artistic expression that requires the listener to stand, to concentrate on the sound, to only one source of sensory stimulus, which in the modern age is almost unimaginable. Sound that tells stories, if we listen carefully, can say a great deal, and the radiophonic works by Ivana Stefanović are always topical stories that tell a great deal through the sound and sounding.
{"title":"A sound tale about the symbolic conflict between two human beings: Meanings and soundings of language in Veliki kamen: A radiophonic poem by Ivana Stefanović","authors":"Marija Torbica","doi":"10.5937/newso1901119t","DOIUrl":"https://doi.org/10.5937/newso1901119t","url":null,"abstract":"The radiophonic work, A Large Stone, due to the synergy of various acoustic elements, calls for an imaginary play of listening and stimulates the further artistic development of interdisciplinary. The focus is on listening, on the perception of sound, and unlike the musical part, the radiophonic effect is reduced to the auditory aspect, since there is no (note) record that we can use. On the one hand, the sound is the one that is elusive, on the other hand, words, i.e. language, tends to 'root' and define. Ivana Stefanović through the drama text of Ljubomir Simović enters into a dialogue with a significant and semantically very rich topic in which the focus is on the patriarchal system and the oppression of the woman. Ivana Stefanović extends the boundaries of this subject and transmits it to the relationship between a man and a woman, both in the past and today and in the treatment of the test, guided by the laws of radiophony, points to the symbolic conflict of two human beings. A Large Stone is a work of eclectic structure that consists of the most diverse sounds and sounding - speech, non-verbal treatment, musical and literary quotes, originally composed music segments, sounds of a certain and unspecified pitch from an acoustic source, or electronically generated, or concrete, ambient sounds. The listener in contact with the A Large Stone, part of the hybrid structure, becomes an active receiver, who (re)creates the work and writes a new meaning to it. Ivana Stefanović through the sound tells her vision of today's Hasanaginica. Hasanaginica becomes She, and Hasan -aga becomes He, two principles and two lonelinesses. There are two subjects of the modern age lost in the demands that society permanently imposes on all of us. In my opinion, radiophony is a very intense artistic expression that requires the listener to stand, to concentrate on the sound, to only one source of sensory stimulus, which in the modern age is almost unimaginable. Sound that tells stories, if we listen carefully, can say a great deal, and the radiophonic works by Ivana Stefanović are always topical stories that tell a great deal through the sound and sounding.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122371169","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}
Lola Astanova is a professional Uzbek-American pianist who resorts to controversial performance practices in line with neo-globalist trends. Thus, her extravagant musico-visual "spectacles" are recognisable by an excessive emphasis on female sexuality and the absence of a highly aestheticised, contemplative piano sound. This paper aims to explore how the ideological and interpretive strategies of this un-conventional artist are imbued with the erotic capital and patriarchal power relations of the modern consumer society. A selection of publicly available performances by Astanova has been made, most of which are presented to the audience in the form of video clips. The focus is understandably on Astanova's interpretations of classical music, whose prosaic elements of eroticism and overdramatising musical narration are primarily, but not exclusively, intended for the ear of a patriarchally interpellated listener.
{"title":"Ideological aspects of erotic capital and patriarchal power relations in the visual interpretations of Lola Astanova","authors":"Rastko Buljančević","doi":"10.5937/newso2158098b","DOIUrl":"https://doi.org/10.5937/newso2158098b","url":null,"abstract":"Lola Astanova is a professional Uzbek-American pianist who resorts to controversial performance practices in line with neo-globalist trends. Thus, her extravagant musico-visual \"spectacles\" are recognisable by an excessive emphasis on female sexuality and the absence of a highly aestheticised, contemplative piano sound. This paper aims to explore how the ideological and interpretive strategies of this un-conventional artist are imbued with the erotic capital and patriarchal power relations of the modern consumer society. A selection of publicly available performances by Astanova has been made, most of which are presented to the audience in the form of video clips. The focus is understandably on Astanova's interpretations of classical music, whose prosaic elements of eroticism and overdramatising musical narration are primarily, but not exclusively, intended for the ear of a patriarchally interpellated listener.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124534661","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 text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.
{"title":"Ivan Brkljačić: Love!: Saxophone concerto","authors":"Asja Radonjić","doi":"10.5937/newso2056065r","DOIUrl":"https://doi.org/10.5937/newso2056065r","url":null,"abstract":"The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116164298","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}
{"title":"Music beyond human: A conversation with Michel van der Aa","authors":"J. Novak","doi":"10.5937/newso2055007n","DOIUrl":"https://doi.org/10.5937/newso2055007n","url":null,"abstract":"","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121873010","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 paper discusses the composition 14:30 for two pianos by Branka Popović as a kind of postmodern game of "musical chronos" (Igor Stravinsky). Deliberation of aesthetic-poetic issues and attitudes of the composer concerning musical time and time in general, as well as an analytical-interpretative consideration of 14:30 are intended to point out the complexity of the problem to which this work essentially refers in its title: on the multiplicity of meanings of one 'section', 'fragment' of a time, which can be realized by different compositional-technical means and experienced in different ways. Given the predominant application of minimalist techniques, traditional ways of shaping, as well as procedures that resonate with expressionism, the possible narrower stylistic positioning of the work within postmodernism is also pointed out.
{"title":"14:30 by Branka Popović: A game of \"musical chronos\"","authors":"Milena Lazarević","doi":"10.5937/newso2157053l","DOIUrl":"https://doi.org/10.5937/newso2157053l","url":null,"abstract":"The paper discusses the composition 14:30 for two pianos by Branka Popović as a kind of postmodern game of \"musical chronos\" (Igor Stravinsky). Deliberation of aesthetic-poetic issues and attitudes of the composer concerning musical time and time in general, as well as an analytical-interpretative consideration of 14:30 are intended to point out the complexity of the problem to which this work essentially refers in its title: on the multiplicity of meanings of one 'section', 'fragment' of a time, which can be realized by different compositional-technical means and experienced in different ways. Given the predominant application of minimalist techniques, traditional ways of shaping, as well as procedures that resonate with expressionism, the possible narrower stylistic positioning of the work within postmodernism is also pointed out.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131236054","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}
During the first two decades of new millennium Serbian frula playing has been transformed from traditional to neotraditional practice, grew from aural to digitally mediated musical expression and shifted from a relative continuity with the past to specific revivalistic tendencies. The mode of learning of the music has also transformed from aural transmission and memorization without a teacher to combined tutoring and learning via listening to digitally available sources. This paper traces the modes of learning of folk aerophone frula throughout the twentieth century and up to the present, and moreover analyzes how the relation of the teacher and the pupil, although being a recent invention in frula practice, serves as a counterbalance to the mediatized way of learning (of) music.
{"title":"'Roots in the age of Youtube': Old and contemporary modes of learning/teaching in Serbian frula playing","authors":"Iva Nenić","doi":"10.5937/newso2056028n","DOIUrl":"https://doi.org/10.5937/newso2056028n","url":null,"abstract":"During the first two decades of new millennium Serbian frula playing has been transformed from traditional to neotraditional practice, grew from aural to digitally mediated musical expression and shifted from a relative continuity with the past to specific revivalistic tendencies. The mode of learning of the music has also transformed from aural transmission and memorization without a teacher to combined tutoring and learning via listening to digitally available sources. This paper traces the modes of learning of folk aerophone frula throughout the twentieth century and up to the present, and moreover analyzes how the relation of the teacher and the pupil, although being a recent invention in frula practice, serves as a counterbalance to the mediatized way of learning (of) music.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134190736","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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