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Melodic models and modelling: The fundamental system of knowledge acquisition in music 旋律模型与造型:音乐知识获取的基本体系
Pub Date : 1900-01-01 DOI: 10.5937/newso22059011k
Gordana Karan
In the pursuit of developing a fundamental understanding of terms, phenomena, rules and meanings in music, vital to the performance and interpretation of a musical work, it is necessary to apply a methodologically grounded system to the reading of a score that efficiently establishes a basis for understanding the musical content and contributes to the development of musical abilities and musicality more broadly. In the musical-pedagogical process, as part of the wider set of music disciplines (harmony, counterpoint, music forms, knowledge of music styles), the most crucial are the methods and systems of work which allow the reading of musical notation and the understanding of a musical piece to be generated and profiled. The system of models and modelling is a form of work about the perception and reception of a musical work composed on a musical model and the process of working with that model, i.e. modelling. The complexity of the system is reflected in the two sub-elements of modelling: the development of associative abilities by recalling the sound of the model, and gaining an automatic response to sound. Until now, work on models and modelling has been treated using a musical-pedagogical approach. In this study it is defined as a system which is applicable to the process of reading and interpreting a musical text, without being predicated on musical style or the tonal bases of music.
在追求对音乐中的术语、现象、规则和意义的基本理解的过程中,对音乐作品的表演和解释至关重要,有必要将一种基于方法的系统应用于乐谱的阅读,这种系统有效地为理解音乐内容奠定了基础,并有助于更广泛地发展音乐能力和音乐性。在音乐教学过程中,作为更广泛的音乐学科(和声、对位法、音乐形式、音乐风格知识)的一部分,最关键的是工作的方法和系统,它允许对乐谱的阅读和对音乐作品的理解产生和轮廓。模型和造型系统是一种工作形式,涉及对在音乐模型上创作的音乐作品的感知和接受,以及与该模型合作的过程,即建模。系统的复杂性反映在建模的两个子元素上:通过回忆模型的声音来发展联想能力,以及获得对声音的自动反应。到目前为止,关于模型和建模的工作一直是用音乐教学的方法来处理的。在本研究中,它被定义为一个适用于阅读和解释音乐文本过程的系统,而不以音乐风格或音乐的调性基础为前提。
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引用次数: 0
Kosta P. Manojlović and the teaching of liturgical singing 科斯塔·p·马诺伊洛维奇和礼仪歌唱的教学
Pub Date : 1900-01-01 DOI: 10.5937/newso1901019p
I. Perković, Biljana Mandić
In this paper we deal with Kosta Manojlović's engagement in the field of church music education, especially within curricula of the Pravoslavno-bogoslovski fakultet [Faculty of Orthodox Theology] in Belgrade, aiming to answer two research question: one, regarding different aspects of Manojlović's work at the between 1923 and 1937, and the other, dealing with ways in which his writings on the Serbian Orthodox church music were affected by the historical, social, and cultural milieu of the interwar period. An analysis of Manojlović's teaching catalogues for the Faculty of Orthodox Theology between 1923/24 and 1936/37, showed three basic models in syllabus organisation: in his early teaching career, he was teaching two subjects "Octoechos" and "History of Serbian Orthodox Church Singing Church Choral Music" (in 1923/24); as mid-career teacher (between 1924/25 and 1934/35) he was teaching "Octoechos" and "Strano pjenije", while in the last years spent at the school Manojlović's teaching subjects were "History of Church Music" and "Octoechos and General Chant". However, the most important aspects of Manojlović's teaching philosophy are not available in syllabus of his courses. For that reasons, we turned to his published writings, having in mind his plans for introducing more research tools into curricula of the Faculty of Orthodox Theology. He advocated the introduction of scientific methods: in his opinion, this was the only acceptable and credible method for an academic approach to Serbian sacred music. Among many subjects in the field of Serbian Orthodox music, Kosta P. Manojlović wrote about the relevance of Serbian medieval literature, and he was one of the first authors who recognized the importance of this subject for expanding the horizon of otherwise modest knowledge of medieval music. We explain the ways in which some of his readings of the genre of žitije (vita), the life of a saint, were influenced by the discourse of svetosavlje and the idea of emphasizing the ethnic as part of the Christian, without taking into account the process of idealization, which is a canonical element of the genre of žitije. The picture of Kosta Manojlović's teaching practice presented in this article is generally more detailed and enriched with new data and analysis of certain aspects of his work. Unfortunately, it was not possible to follow the long-term effects of his interventions and actions at the Univerzitet u Beogradu [University of Belgrade] as the Faculty of Orthodox Theology was split from the University in 1952. Manojlović had the difficult task of building his career as a university teacher in an environment that was not always supportive of his efforts, especially when it came to his integration of research into teaching, but he did accomplish his task by integrating his knowledge, acting and being. His integration of research and practical work in the field of Serbian chant, even if we may not agree with all his conclusions, was visionary and is s
在本文中,我们处理科斯塔·马诺伊洛维奇在教堂音乐教育领域的参与,特别是在贝尔格莱德的Pravoslavno-bogoslovski fakultet[东正教神学院]的课程中,旨在回答两个研究问题:一篇是关于马诺伊洛维奇在1923年至1937年间作品的不同方面,另一篇是关于他关于塞尔维亚东正教教堂音乐的作品是如何受到两次世界大战期间历史、社会和文化环境的影响的。对马诺伊洛维奇1923/24至1936/37年间正教神学院教学目录的分析显示了教学大纲组织的三种基本模式:在他早期的教学生涯中,他教授两门科目“八世纪”和“塞尔维亚东正教教堂歌唱教堂合唱音乐的历史”(1923/24);作为职业生涯中期的教师(1924/25年至1934/35年),他教授“八世纪曲”和“斯特拉诺pjenije”,而在学校的最后几年,马诺伊洛维奇的教学科目是“教会音乐史”和“八世纪曲和一般圣歌”。然而,马诺伊洛维奇教学哲学中最重要的方面并没有体现在他的课程大纲中。出于这个原因,我们转向了他发表的著作,并考虑到他计划在东正教神学院的课程中引入更多的研究工具。他主张采用科学方法:在他看来,这是对塞尔维亚神圣音乐进行学术研究的唯一可接受和可信的方法。在塞尔维亚东正教音乐领域的许多主题中,Kosta P. manojloviki写了关于塞尔维亚中世纪文学的相关性,他是第一批认识到这一主题对扩大中世纪音乐知识范围的重要性的作者之一。我们解释了他对žitije (vita)类型的一些解读方式,圣人的生活,受到svetosavlje的话语和强调民族作为基督教一部分的想法的影响,而没有考虑到理想化的过程,这是žitije类型的典型元素。本文介绍的科斯塔·马诺伊洛维奇的教学实践总体上更加详细,并通过对其工作某些方面的新数据和分析进行了丰富。不幸的是,由于东正教神学院于1952年从贝尔格莱德大学分离,他的干预和行动的长期影响无法追踪。作为一名大学教师,马诺伊洛维奇在一个并不总是支持他努力的环境中建立自己的职业生涯是一项艰巨的任务,特别是当他将研究融入教学时,但他确实通过整合他的知识,行动和存在来完成他的任务。他在塞尔维亚圣歌领域的研究和实际工作的结合,即使我们可能不同意他的所有结论,是有远见的,仍然是一个有效的和最受欢迎的方法。
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引用次数: 0
Pedagogical work of Vesna Mikić Vesna mikiki的教学工作
Pub Date : 1900-01-01 DOI: 10.5937/newso2055124s
Adriana Sabo
This paper focuses on the teaching work of Vesna Mikić, PhD (1967-2019), full professor at the Department of Musicology of the Faculty of Music in Belgrade. Considering that she was tied to this institution throughout most of her professional career, the paper will offer an outlook on the curricula of the subjects which she taught over the years, and an attempt to shed light on her approach to teaching and to the subject matter she taught. In addition, the paper will focus on her work as a mentor, and attempt to pinpoint a number of aspects that connected her work as a scholar, pedagogue and mentor.
本文主要介绍贝尔格莱德音乐学院音乐系正教授维斯纳·米基奇博士(1967-2019)的教学工作。考虑到她在职业生涯的大部分时间里都与该机构联系在一起,这篇论文将对她多年来所教的科目的课程进行展望,并试图阐明她的教学方法和她所教的主题。此外,本文将重点关注她作为导师的工作,并试图找出她作为学者,教师和导师工作的一些方面。
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引用次数: 0
The joy of discovery: An interview with Anica Sabo 发现的乐趣:对安妮卡·萨波的采访
Pub Date : 1900-01-01 DOI: 10.5937/newso2158037v
Iva Vuksanović
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引用次数: 0
Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin 南斯拉夫两次世界大战之间的音乐批评对技术的焦虑:斯坦尼斯拉夫·维纳弗与沃尔特·本雅明的对话
Pub Date : 1900-01-01 DOI: 10.5937/newso1901037c
Žarko Cvejić
In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.
1935年底,在巴黎,流亡的德国犹太哲学家沃尔特·本雅明完成了他著名的“艺术论文”的第一版,《技术可复制时代的艺术作品》。在那篇文章中,本雅明欢迎艺术中“光环”的丧失,独特的、原创的、真实的、美学自主的艺术作品的神秘性、准宗教品质,由于工业规模的艺术品大规模复制的出现,特别是在摄影和电影的新艺术中,使得许多“光环”艺术的准宗教品质过时了。本雅明对此表示欢迎,因为这与他的左翼、反法西斯的政治议程是一致的,他希望“光环”的丧失将使艺术走向政治化,共产主义(或者,无论如何,本雅明)对法西斯主义政治审美化的回应。同年,也就是1935年,在当时南斯拉夫王国的首都贝尔格莱德,塞尔维亚裔犹太诗人、知识分子、文学和音乐评论家斯坦尼斯拉夫·维纳弗(Stanislav Vinaver)写了一篇题为《机械音乐》(mehanika muzika)的文章。在他的文章中,Vinaver关注了技术复制在音乐中的出现及其对音乐的影响,而这一艺术在很大程度上被本杰明所忽视。与他更著名的同时代人不同,维纳弗对无线电和留声机唱片的新技术感到震惊,并意识到它们不仅对传统音乐的负面影响,对传统的原声乐器的现场表演,而且对有机生命的总体影响,用一种由非人性化技术浪潮带来的机械替代品来取代它。维纳弗的观点可能是由他对塞尔维亚和南斯拉夫文学和音乐中的现代主义的热情拥护所塑造的,这不仅在mehanika muzika中很明显,而且在他的一般批评中也很明显。两个更重要的因素可能是法国哲学家亨利·柏格森的影响,他曾是维纳弗在索邦大学的教授,他对思想和艺术创造力的直觉的评价,以及维纳弗对音乐的怀旧观点,认为音乐是唯一真实的和自我参考的艺术,这种观点让人想起早期德国浪漫主义者对音乐的重新概念,如e.t.a.霍夫曼、f.w.j.谢林和亚瑟·叔本华。后来被德国音乐理论家爱德华·汉斯里克、英国散文家沃尔特·佩特和维纳弗自己的现代主义英雄阿诺德Schönberg等不同的人物采纳和阐扬。具有讽刺意味的是,尽管维纳弗在很大程度上认同本雅明的左派政治,但他并没有看到音乐的机械复制有如此积极的潜力,也许,这只是人类在全面战争中走向自我毁灭的另一个标志,在审美化的技术和工具理性的翅膀上,不再为人类服务,而是与人类对立。
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引用次数: 0
Jürgen Blume: Psalm 30 (2014)
Pub Date : 1900-01-01 DOI: 10.5937/newso2157073p
Sa Park
This article deals with Psalm 30 for four-part choir and organ (2014) by the German composer Jürgen Blume. It explores the musical elements that are used in the composition in order to examine the style of the composer. Since Blume's composition is not based on tonal harmonic function, this article uses set theory (prime form and the interval-class vector) in order to examine pitch organization and sonorities. Because Blume chose the genre sacred vocal work (Geistliches Konzert) for his composition, this article compares the form of Blume's composition with one of Heinrich Schütz's sacred vocal works, O süßer Jesu Christ, SWV 405.
本文讨论了德国作曲家约尔根·布卢姆(j rgen Blume)为四部分合唱团和管风琴(2014)创作的诗篇30。它探讨了在作曲中使用的音乐元素,以检查作曲家的风格。由于Blume的作曲不是基于调性和声函数,因此本文使用集合理论(素数形式和音程类向量)来检查音高组织和音度。由于布卢姆选择了神圣声乐作品(Geistliches Konzert)作为他的创作体裁,本文将布卢姆的作品形式与海因里希·施茨的神圣声乐作品《O s ßer Jesu Christ, SWV 405》进行比较。
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引用次数: 0
Improvised music as socially engaged art: Poetics of Cardew and Rzewski 作为社会参与艺术的即兴音乐:卡德鲁和热夫斯基的诗学
Pub Date : 1900-01-01 DOI: 10.5937/newso1954109m
R. Mitrović
In the light of the social turmoil in 1968, some composers have singled out advocating the greater involvement of musicians, i.e. music in the social movement. Cornelius Cardew and Frederic Rzewski, among others, believed that improvised music provides the opportunity for creating socially engaged art. However their concepts differed. While Cardew stayed with the idea of controlled improvisation, implemented through the Scratch Orchestra, Rzewski demanded completely free improvisation in his Parma Manifesto. In this paper I shall problematize the relationship of poetics behind the Scratch Orchestra and the Parma Manifesto in the light of the social situation of 1968, their crucial differences and their common idea of the democratization of avant-garde music.
鉴于1968年的社会动荡,一些作曲家特别提倡音乐家更多地参与社会运动,即音乐。Cornelius Cardew和Frederic Rzewski等人认为即兴音乐为创造社会参与艺术提供了机会。然而,他们的概念不同。当Cardew坚持通过Scratch管弦乐队实现有控制的即兴创作时,Rzewski在他的《帕尔马宣言》中要求完全自由的即兴创作。在本文中,我将根据1968年的社会形势,他们的关键差异和他们对前卫音乐民主化的共同想法,对Scratch Orchestra和Parma Manifesto背后的诗学关系提出问题。
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引用次数: 0
Bouncing as a distinguishable structural feature of srpsko kolo: Aspects of identification and notation 弹跳作为srpsko kolo的一个可区分的结构特征:识别和符号方面
Pub Date : 1900-01-01 DOI: 10.5937/newso1954019r
Selena Rakočević
Kolo or kolo u tri, as it is termed by scholars, is the most widespread dance genre in Serbia since World War II, which has been considered as a vital symbol of Serbian national identity in recent decades and, consequently, got the adjective srpsko (Serbian). The movement pattern of kolo has been notated in Rudolf Laban's kinetography many times by various researchers since the 1980s and its microstructural and formal shaping has been the subject of ethnochoreological analysis in Serbia. However, the performing and notational particularities of the stretching and bending leg movements, which affect the vertical motion of the center of gravity of the body - the socalled bouncing, that is its distinguishable characteristic, has not been discussed previously. This article, therefore, explores some aspects of the performance and notation of bouncing in srpsko kolo.
Kolo或Kolo u tri,如学者所称,是自第二次世界大战以来塞尔维亚最普遍的舞蹈类型,近几十年来一直被认为是塞尔维亚民族身份的重要象征,因此得到了形容词srpsko(塞尔维亚语)。自20世纪80年代以来,各种研究人员多次在鲁道夫·拉班(Rudolf Laban)的活动摄影术中记录了kolo的运动模式,其微观结构和形式形成一直是塞尔维亚民族舞蹈学分析的主题。然而,伸展和弯曲腿的动作的表演和符号的特殊性,影响身体的重心的垂直运动-所谓的弹跳,这是它的可区分的特征,没有讨论之前。因此,本文将探讨srpsko kolo中弹跳的性能和符号的一些方面。
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引用次数: 0
The Symphonic Concerto for piano and orchestra (1935) by Manolis Kalomiris: Reaffirming the national-ideal topos through the (old) western canon 马诺利斯·卡罗米里斯的钢琴与管弦乐交响协奏曲(1935年):通过(旧的)西方经典重申了民族理想的主题
Pub Date : 1900-01-01 DOI: 10.5937/newso1954068s
Georgios Sakallieros
Manolis Kalomiris's Symphonic Concerto for piano and orchestra (1935) consolidates the virtuosic piano performance and the complexity of romantic symphonic texture with the appearance of authentic Greek folk material, its westernized treatments, and symbolic self-references arising from the Greek National School principles. The work is critically examined through historical and analytical perspectives, aiming at a better understanding of the composer's aspirations expressing the indigenous artistic, cultural and political circumstances of the period when it was completed. Examples of the relative Greek and international "concertante" repertoire, from the late 19th to the mid-20th century, are also taken into comparative consideration.
马诺利斯·卡罗米里斯的钢琴和管弦交响协奏曲(1935年)结合了精湛的钢琴演奏和浪漫主义交响乐结构的复杂性,采用了正宗的希腊民间材料,其西化的处理方法,以及源于希腊国家学派原则的象征性自我参考。这部作品通过历史和分析的角度进行了批判性的研究,旨在更好地理解作曲家的愿望,表达了他完成时当地的艺术、文化和政治环境。从19世纪末到20世纪中期,相对的希腊和国际“协奏曲”曲目的例子也被纳入比较考虑。
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引用次数: 0
(Re)positioning art music in contemporary traditional and digital mass media/radio context (重新)在当代传统和数字大众媒体/广播环境中定位艺术音乐
Pub Date : 1900-01-01 DOI: 10.5937/newso2056049k
Marija Karan
This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.
本文讨论、实现并提出当代大众传媒广播话语背景下艺术音乐在传统和数字/互联网格式下的表现和处理问题。本文认为,理解高雅文化和艺术音乐的内容是听众社会文化进步的关键,它一方面蕴涵着艺术音乐作品创作者的清晰观点,另一方面蕴涵着接受者(即听众)的体验。在这种情况下,传统和数字大众媒体必须继续作为音乐创作的主要传播者/媒介。通过广播艺术音乐的棱镜,发现当代(元)大众媒体的运作类型和方式,以及大众/媒体文化元素的接受对听众的影响。批判-分析-诠释的方法对广播艺术音乐现象进行解读,有助于研究音乐作为大众媒介话语的关键参数对受众的影响。
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引用次数: 0
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New Sound
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