U radu se razmatra heterogena građa srpske umetničke muzičke baštine, pohranjena u Biblioteci Katedre za muzikologiju Filozofskog fakulteta u Ljubljani (Oddelek za muzikologijo, Filozofska fakulteta, Univerza v Ljubljani). Činjenice da je ova katedra trideset godina delovala u okvirima jugoslovenske federacije, pri čemu je bila i prva katedra u tadašnjoj državi s mogućnošću izvođenja doktorskih studija, navode na pretpostavke o bogatoj opskrbljenosti njenog bibliotečkog fonda građom koja pripada srpskoj muzičkoj kulturi. Na osnovu popisa i analize građe o srpskoj umetničkoj muzici, u radu se postojeći materijali razvrstavaju u tri odvojene zbirke: Muzikološku knjižnu zbirku, Notnu zbirku i Zvučnu zbirku. Kritičkim uvidom u svaku od njih, ukazuje se na potencijale ljubljanske muzikološke biblioteke, kao svojevrsne 'baze podataka' za upoznavanje ili istraživački pristup umetničkoj muzičkoj kulturi Srbije.
{"title":"Srpska umetnička muzika kao deo fonda Muzikološke biblioteke Filozofskog fakulteta u Ljubljani - opis i kritički osvrt","authors":"Milan Marinković","doi":"10.5937/newso2055001m","DOIUrl":"https://doi.org/10.5937/newso2055001m","url":null,"abstract":"U radu se razmatra heterogena građa srpske umetničke muzičke baštine, pohranjena u Biblioteci Katedre za muzikologiju Filozofskog fakulteta u Ljubljani (Oddelek za muzikologijo, Filozofska fakulteta, Univerza v Ljubljani). Činjenice da je ova katedra trideset godina delovala u okvirima jugoslovenske federacije, pri čemu je bila i prva katedra u tadašnjoj državi s mogućnošću izvođenja doktorskih studija, navode na pretpostavke o bogatoj opskrbljenosti njenog bibliotečkog fonda građom koja pripada srpskoj muzičkoj kulturi. Na osnovu popisa i analize građe o srpskoj umetničkoj muzici, u radu se postojeći materijali razvrstavaju u tri odvojene zbirke: Muzikološku knjižnu zbirku, Notnu zbirku i Zvučnu zbirku. Kritičkim uvidom u svaku od njih, ukazuje se na potencijale ljubljanske muzikološke biblioteke, kao svojevrsne 'baze podataka' za upoznavanje ili istraživački pristup umetničkoj muzičkoj kulturi Srbije.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"124 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":"128133208","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 interpretations of the choreographic aspects of different versions of the performance of the ballet The Ohrid Legend by Stevan Hristić. In the choreographies of this ballet, ballet vocabulary is combined with folklore motifs, using the principle of balletization of folklore. This choreographic approach has produced a pluralism of opinions on the ballet critical scene-from the modernization of folklore elements to views that the work still belongs to the traditional ballet choreographic structure. Pluralism of opinion provides an opportunity to open new approaches in the interpretation of the choreography itself. In this paper, an anthropological approach is treated, based on the intersection of different styles of play.
{"title":"The Legend of Ohrid: Reception of balletization of the dance tradition","authors":"Amra Latifić","doi":"10.5937/newso2158173l","DOIUrl":"https://doi.org/10.5937/newso2158173l","url":null,"abstract":"The paper discusses the interpretations of the choreographic aspects of different versions of the performance of the ballet The Ohrid Legend by Stevan Hristić. In the choreographies of this ballet, ballet vocabulary is combined with folklore motifs, using the principle of balletization of folklore. This choreographic approach has produced a pluralism of opinions on the ballet critical scene-from the modernization of folklore elements to views that the work still belongs to the traditional ballet choreographic structure. Pluralism of opinion provides an opportunity to open new approaches in the interpretation of the choreography itself. In this paper, an anthropological approach is treated, based on the intersection of different styles of play.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"232 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":"128620927","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 deals with the relations between the Kingdom of Serbia / Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia and Great Britain with special emphasis on their 'encounters' in the field of music and culture during the First World War and then between the two wars, which drew the two fairly mutually distant and insufficiently known 'worlds' closer. That music was an integral part of all major social and state events staged by the two countries at different moments and in different situations throughout the mentioned historical periods can be observed. The paper also shows that research into the role and significance of music in the relations between the two countries and its influence on them was continuously permeated, like a particular 'red thread' - which sublimated the most significant mutual effects of Serbian-British music relations in those times - by the creative work and enthusiasm of Oxford graduate Kosta Manojlović. There is no doubt that all this contributed to a more profound mutual understanding of these peoples and their countries.
{"title":"Historical contributions to the study of Serbian-British relations in the field of music and culture from 1914 to 1941","authors":"Dimitrije Mlađenović","doi":"10.5937/newso2055091m","DOIUrl":"https://doi.org/10.5937/newso2055091m","url":null,"abstract":"The paper deals with the relations between the Kingdom of Serbia / Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia and Great Britain with special emphasis on their 'encounters' in the field of music and culture during the First World War and then between the two wars, which drew the two fairly mutually distant and insufficiently known 'worlds' closer. That music was an integral part of all major social and state events staged by the two countries at different moments and in different situations throughout the mentioned historical periods can be observed. The paper also shows that research into the role and significance of music in the relations between the two countries and its influence on them was continuously permeated, like a particular 'red thread' - which sublimated the most significant mutual effects of Serbian-British music relations in those times - by the creative work and enthusiasm of Oxford graduate Kosta Manojlović. There is no doubt that all this contributed to a more profound mutual understanding of these peoples and their countries.","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":"130024680","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 article examines Sophie Stone's composition Amalgamations (2016), an extended duration work for solo organ. Pattern is explored in the form of both the notation and performance of the piece. The notation comprises verbal and graphic notation, with many possible combinations of instructions resulting in sustained sounds and silence. Amalgamations is non-linear and non-teleological. Tim Ingold's notion of "wayfaring" provides a way of understanding how a performer may negotiate the notation. Due to the improvisatory and aleatoric elements of the piece, each performance will be different. Numerous types of silences will result from performances of Amalgamations and the experience of these silences are different and are determined by the sounds surrounding them.
{"title":"Pattern, form and silence in Amalgamations, an extended duration work","authors":"Sophie Stone","doi":"10.5937/newso1901149s","DOIUrl":"https://doi.org/10.5937/newso1901149s","url":null,"abstract":"The article examines Sophie Stone's composition Amalgamations (2016), an extended duration work for solo organ. Pattern is explored in the form of both the notation and performance of the piece. The notation comprises verbal and graphic notation, with many possible combinations of instructions resulting in sustained sounds and silence. Amalgamations is non-linear and non-teleological. Tim Ingold's notion of \"wayfaring\" provides a way of understanding how a performer may negotiate the notation. Due to the improvisatory and aleatoric elements of the piece, each performance will be different. Numerous types of silences will result from performances of Amalgamations and the experience of these silences are different and are determined by the sounds surrounding them.","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":"122523088","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}
Universal soldier (1964), Soldier Blue (1970), and The War Racket (2017) represent some of Buffy Sainte-Marie's most prominent anti-war songwriting, where she demonstrates her poietic process as an artist and activist. Considering her anti-war utterance, I will analyze these selected songs and place them in Buffy Sainte-Marie's work as an activist and performer. Additionally, I intend to interpret her musical production through semiotics and hermeneutics that center her contemporary voice as an artist of First Nations descent. By charting the contemporary landscape of her work in both the 1960s to 1970s and the 2000s, I will seek relationships between the process of representation (of the feminine and indigenous identities) and assimilation (mainstream music and the media) within her anti-war utterance.
{"title":"The anti-war voice of Buffy Sainte-Marie","authors":"Almeida de","doi":"10.5937/newso2158161f","DOIUrl":"https://doi.org/10.5937/newso2158161f","url":null,"abstract":"Universal soldier (1964), Soldier Blue (1970), and The War Racket (2017) represent some of Buffy Sainte-Marie's most prominent anti-war songwriting, where she demonstrates her poietic process as an artist and activist. Considering her anti-war utterance, I will analyze these selected songs and place them in Buffy Sainte-Marie's work as an activist and performer. Additionally, I intend to interpret her musical production through semiotics and hermeneutics that center her contemporary voice as an artist of First Nations descent. By charting the contemporary landscape of her work in both the 1960s to 1970s and the 2000s, I will seek relationships between the process of representation (of the feminine and indigenous identities) and assimilation (mainstream music and the media) within her anti-war utterance.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"156 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":"122615796","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 aim of this paper is to analyse Ana Gnjatović's work, Arachne's Dream, written for piano and live electronics. The work premiered in 2019 on the initiative of Nataša Penezić, a pianist to whom this work has been dedicated. Based on the idea of the sound realization of a spider web phenomenon (within an electronic medium), I will try to analyse the development path and the creation process this piece undergoes, by taking into account the extra-musical impulses as a source of inspiration. Apart from the web motif itself, taken as the basic motif which is further developed throughout the piece, the author's inspiration also stems from other models (which remain in close connection with the web phenomenon), from the ancient Greek myth of a weaver called Arachne, and Kafka's work "The Metamorphosis", to Roland Barthes' "The Pleasure of the Text". All of these 'threads' create a foundation for further music/ sound representation, based upon the interaction between an electronic part, and the pianist's actions.
{"title":"Posthuman 'transformation' inside/on the Web Ana Gnjatović: Arachne's dream for piano and live electronics","authors":"Biljana Leković","doi":"10.5937/newso2158117l","DOIUrl":"https://doi.org/10.5937/newso2158117l","url":null,"abstract":"The aim of this paper is to analyse Ana Gnjatović's work, Arachne's Dream, written for piano and live electronics. The work premiered in 2019 on the initiative of Nataša Penezić, a pianist to whom this work has been dedicated. Based on the idea of the sound realization of a spider web phenomenon (within an electronic medium), I will try to analyse the development path and the creation process this piece undergoes, by taking into account the extra-musical impulses as a source of inspiration. Apart from the web motif itself, taken as the basic motif which is further developed throughout the piece, the author's inspiration also stems from other models (which remain in close connection with the web phenomenon), from the ancient Greek myth of a weaver called Arachne, and Kafka's work \"The Metamorphosis\", to Roland Barthes' \"The Pleasure of the Text\". All of these 'threads' create a foundation for further music/ sound representation, based upon the interaction between an electronic part, and the pianist's actions.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"230 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":"134026047","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 article offers a discussion of …and I need a room… (2013), a piece for large chamber ensemble by Serbo-Canadian composer Ana Sokolović (Ana Sokolović), inspired by songs by the former Belgrade rock band Ekatarina Velika (EKV, Ekatarina Velika, EKV; "Catherine the Great"). Dedicated to the 1980s urban generations of former Yugoslavia, the work occupies a unique place in its author's oeuvre, by virtue of opening, on the one hand, a world of memory concerning her own youth, and relaying, on the other hand, a message about the large amount of cultural capital that the music of EKV commands and, furthermore, about all that it represents for her. The composer's existential bond with the music made by one of former Yugoslavia's most influential rock acts informs her own creative procedures in this piece, actualizing the postmodernist principle of play, which in fact results in voiding the work's referential material of meaning by means of a procedure that simulates working in the medium of electronic music.
文章讨论了塞尔维亚裔加拿大作曲家Ana sokoloviki (Ana sokoloviki)为大型室内乐合奏创作的作品《and I need a room》(2013)，灵感来自前贝尔格莱德摇滚乐队Ekatarina Velika (EKV, Ekatarina Velika, EKV;《叶卡捷琳娜大帝》)。这部作品献给了前南斯拉夫80年代的城市一代，在作者的作品中占有独特的地位，一方面，它开启了一个关于她自己青年时代的记忆世界，另一方面，它传递了一个关于EKV音乐所掌握的大量文化资本的信息，此外，关于它对她来说所代表的一切。这位作曲家与前南斯拉夫最有影响力的摇滚乐队之一的音乐之间的存在联系，在这首曲子中体现了她自己的创作过程，实现了后现代主义的游戏原则，这实际上导致了通过模拟电子音乐媒介的工作过程来消除作品的参考材料的意义。
{"title":"Like in the old days: Concerning the piece …and I need a room to receive five thousand people with raised glasses… or …what a glorious day, the birds are singing 'halleluiah'…by Ana Sokolović","authors":"Ivana Miladinović-Prica","doi":"10.5937/newso2055201m","DOIUrl":"https://doi.org/10.5937/newso2055201m","url":null,"abstract":"The article offers a discussion of …and I need a room… (2013), a piece for large chamber ensemble by Serbo-Canadian composer Ana Sokolović (Ana Sokolović), inspired by songs by the former Belgrade rock band Ekatarina Velika (EKV, Ekatarina Velika, EKV; \"Catherine the Great\"). Dedicated to the 1980s urban generations of former Yugoslavia, the work occupies a unique place in its author's oeuvre, by virtue of opening, on the one hand, a world of memory concerning her own youth, and relaying, on the other hand, a message about the large amount of cultural capital that the music of EKV commands and, furthermore, about all that it represents for her. The composer's existential bond with the music made by one of former Yugoslavia's most influential rock acts informs her own creative procedures in this piece, actualizing the postmodernist principle of play, which in fact results in voiding the work's referential material of meaning by means of a procedure that simulates working in the medium of electronic music.","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":"129068466","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}
Monographs on composer may considerably diverge from one another, depending on their authors' fundamental views concerning the way and extent to which biographical data should be used in relation to music analysis. So as not to lapse into mere music Biographik, a monograph should encompass the life and works of its subject in a complementary way-with all the necessary contextualization - and bring them into a meaningful relationship in a well thought-out and critical manner. That ideal goal should be pursued, although usually the result is a more or less successful hybrid of a biography and music analysis.
{"title":"Monographs on composers as a musicological genre","authors":"Melita Milin","doi":"10.5937/newso2056092m","DOIUrl":"https://doi.org/10.5937/newso2056092m","url":null,"abstract":"Monographs on composer may considerably diverge from one another, depending on their authors' fundamental views concerning the way and extent to which biographical data should be used in relation to music analysis. So as not to lapse into mere music Biographik, a monograph should encompass the life and works of its subject in a complementary way-with all the necessary contextualization - and bring them into a meaningful relationship in a well thought-out and critical manner. That ideal goal should be pursued, although usually the result is a more or less successful hybrid of a biography and music analysis.","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":"123551574","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 composer and violist Szilárd Mezei has made a significant, decades-long contribution to contemporary music in the national and international contexts. Although his artistic approach can be linked to the musical universe of György Szabados, an author who became one of the most influential creative figures in the Central European cultural space during the 1970s and 1980s, Mezei is a special phenomenon on the local music scene. With his ensemble mostly comprising prominent Novi Sad musicians, Mezei has a large number of discographic achievements to his credit in the space between composition and improvisation. Mezei divided his compositional opus into genre corpora of chamber and orchestral music, of which the review of chamber music is the subject of research in this paper.
{"title":"Chamber music of Szilárd Mezei and diferentiated congruence in its composing layers (I)","authors":"Nemanja Sovtić","doi":"10.5937/newso2158008s","DOIUrl":"https://doi.org/10.5937/newso2158008s","url":null,"abstract":"The composer and violist Szilárd Mezei has made a significant, decades-long contribution to contemporary music in the national and international contexts. Although his artistic approach can be linked to the musical universe of György Szabados, an author who became one of the most influential creative figures in the Central European cultural space during the 1970s and 1980s, Mezei is a special phenomenon on the local music scene. With his ensemble mostly comprising prominent Novi Sad musicians, Mezei has a large number of discographic achievements to his credit in the space between composition and improvisation. Mezei divided his compositional opus into genre corpora of chamber and orchestral music, of which the review of chamber music is the subject of research in this paper.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"118 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":"124573712","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}
That "past is altered by the present as much as the present is directed by the past..." (T. S. Eliot) is confirmed in Concerto Dragonese, a new piece by Dragana Jovanović, dedicated to the thirtieth anniversary of existence of the Camerata Academica Ensemble of the University of Novi Sad Academy of Arts. Composed as a typical concerto grosso, it reflects the theoretical foundations of French thinker Guy Scarpetta and the thoughts of American art historian Gregg Lambert on the return of Baroque to the very center of contemporary creative activity, but also into the very style of life that is today. This, however, does not deprive the piece from the 'Benjaminian aura', which allows it to communicate through various references to baroque masters and rhythms of contemporary popular genres of dances, film music and the like.
{"title":"The return of the baroque: Concerto dragonese by Dragana Jovanović","authors":"Ira Prodanov","doi":"10.5937/newso1901139p","DOIUrl":"https://doi.org/10.5937/newso1901139p","url":null,"abstract":"That \"past is altered by the present as much as the present is directed by the past...\" (T. S. Eliot) is confirmed in Concerto Dragonese, a new piece by Dragana Jovanović, dedicated to the thirtieth anniversary of existence of the Camerata Academica Ensemble of the University of Novi Sad Academy of Arts. Composed as a typical concerto grosso, it reflects the theoretical foundations of French thinker Guy Scarpetta and the thoughts of American art historian Gregg Lambert on the return of Baroque to the very center of contemporary creative activity, but also into the very style of life that is today. This, however, does not deprive the piece from the 'Benjaminian aura', which allows it to communicate through various references to baroque masters and rhythms of contemporary popular genres of dances, film music and the like.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"24 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":"121888275","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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