In this paper we interpret the elements of the fantasy and ballad principle in Satirova svirala [La flûte de Pan] (1945) for solo flute written by Petar Konjović (1883-1970) from the point of view of the author's poetics and musical and non-musical analogies with Claude Debussy's (1862-1918) composition Syrinx (1913). Aspects of the fantasy principle are equally manifested when considering Satirova svirala as a unique musical entity that musicalizes the myth of Pan's flute, as well as in the context of its dramaturgical position, as being the central movement (Andante più sostenuto e molto rubato) in the five-movement Concert Suite for Wind Quintet. The variation principle, ballad-like 'narrativity' of the flute part, improvisational character, and rubato spaces of the Svirala's musical flow emanate the Other logic and "free play" inseparable from fantasy, resonating, at the same time, with the mythical narrative.
在本文中，我们从作者的诗学和与克劳德·德彪西(1862-1918)的作品《Syrinx》(1913)的音乐和非音乐类比的角度来解释Petar konjoviki(1883-1970)为独奏长笛创作的Satirova svirala [La flte de Pan](1945)中的幻想和民谣原则的元素。当考虑到《Satirova svirala》作为一个独特的音乐实体，将潘的长笛神话音乐化，以及在其戏剧地位的背景下，作为五乐章管乐五重奏音乐会组曲的中心乐章(行板più sostenuto e molto rubato)时，幻想原则的各个方面也同样表现出来。Svirala的变奏原则，长笛部分的民谣式“叙事性”，即兴的性格，以及音乐流中的rubato空间，散发出与幻想不可分割的他者逻辑和“自由演奏”，同时与神话叙事产生共鸣。
{"title":"Transposition of the myth of Pan's flute in Satirova svirala [La flûte de Pan] by Petar Konjović: Fantasy and ballad aspects","authors":"Marija Tomic","doi":"10.5937/newso2157019t","DOIUrl":"https://doi.org/10.5937/newso2157019t","url":null,"abstract":"In this paper we interpret the elements of the fantasy and ballad principle in Satirova svirala [La flûte de Pan] (1945) for solo flute written by Petar Konjović (1883-1970) from the point of view of the author's poetics and musical and non-musical analogies with Claude Debussy's (1862-1918) composition Syrinx (1913). Aspects of the fantasy principle are equally manifested when considering Satirova svirala as a unique musical entity that musicalizes the myth of Pan's flute, as well as in the context of its dramaturgical position, as being the central movement (Andante più sostenuto e molto rubato) in the five-movement Concert Suite for Wind Quintet. The variation principle, ballad-like 'narrativity' of the flute part, improvisational character, and rubato spaces of the Svirala's musical flow emanate the Other logic and \"free play\" inseparable from fantasy, resonating, at the same time, with the mythical narrative.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"41 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":"122554883","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 paper examines how composer Luciano Berio with his composition Sequenza III per voce femminile (1965/66) succeeded in exploring something that is reality behind reality through the unique treatment of artistic material, in this case musical and verbal, much like certain avant-garde artists. It is a search for something that listeners cannot see because of the complex psychological mechanism of the human organism and which is deeply covered by ideologies, spoken language, ideas and similar elements. It is what the painter Pit Mondrian refers to as "the sublime reality", for example. I employ naturalized components of psychoanalytic theory in this study, therefore the expressions "reality behind reality" or "sublime reality" are also related to the psychoanalytical term "Reality" according to Lacan. The purpose of this study is to demonstrate, using a specific musical example, how art, in this case musical art, can attain outcomes that have been attempted by researchers from other fields, artistic or scientific.
本文探讨了作曲家卢西亚诺·贝里奥(Luciano Berio)的作品《Sequenza III per voce femminile》(1965/66)如何通过对艺术材料的独特处理，成功地探索了现实背后的现实，在这种情况下，音乐和语言，就像某些前卫艺术家一样。由于人类机体复杂的心理机制，它是对听众看不到的东西的一种寻找，这种寻找被意识形态、口语、思想和类似元素深深覆盖。例如，这就是画家皮特·蒙德里安(Pit Mondrian)所说的“崇高的现实”。我在这项研究中使用了精神分析理论的归化成分，因此“现实背后的现实”或“崇高的现实”的表达也与拉康的精神分析术语“现实”有关。本研究的目的是用一个特定的音乐例子来证明艺术，在这个例子中是音乐艺术，如何达到其他领域，艺术或科学研究人员已经尝试过的结果。
{"title":"A new sound and anticipation of unimaginable reality: Sequenza III by Luciano Berio","authors":"Valentina Radoman","doi":"10.5937/newso2158053r","DOIUrl":"https://doi.org/10.5937/newso2158053r","url":null,"abstract":"This paper examines how composer Luciano Berio with his composition Sequenza III per voce femminile (1965/66) succeeded in exploring something that is reality behind reality through the unique treatment of artistic material, in this case musical and verbal, much like certain avant-garde artists. It is a search for something that listeners cannot see because of the complex psychological mechanism of the human organism and which is deeply covered by ideologies, spoken language, ideas and similar elements. It is what the painter Pit Mondrian refers to as \"the sublime reality\", for example. I employ naturalized components of psychoanalytic theory in this study, therefore the expressions \"reality behind reality\" or \"sublime reality\" are also related to the psychoanalytical term \"Reality\" according to Lacan. The purpose of this study is to demonstrate, using a specific musical example, how art, in this case musical art, can attain outcomes that have been attempted by researchers from other fields, artistic or scientific.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"31 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":"128282514","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's aim is to interpret the political and social aspect of Elżbieta Sikora's (born 1943) two electronic works: Rapsodia na śmierć republiki (Rhapsody for the Death of the Republic, 1979) and Janek Wiśniewski, grudzień, Polska (Janek Wiśniewski, December, Poland, 1981-1982). In my paper, I show the two pieces as examples of the 'engaged music' (as Sikora herself called them). I consider the role of their titles, narration, the use of pre-recorded sounds and musical quotation, as well as the circumstances of their creation.
本文旨在解读Elżbieta Sikora(生于1943年)的两部电子作品:《Rapsodia na śmierć republiki》(《共和国之死狂想曲》，1979)和《Janek Wiśniewski, grudzieze, Polska》(Janek Wiśniewski, December，波兰，1981-1982)的政治和社会层面。在我的论文中，我将这两首曲子作为“投入音乐”的例子(Sikora自己也这么称呼它们)。我考虑他们的标题，叙述，使用预先录制的声音和音乐引用的角色，以及他们的创作环境。
{"title":"Reflecting upon freedom in two electroacoustic works by Elżbieta Sikora","authors":"Dominika Micał","doi":"10.5937/newso2157111m","DOIUrl":"https://doi.org/10.5937/newso2157111m","url":null,"abstract":"The text's aim is to interpret the political and social aspect of Elżbieta Sikora's (born 1943) two electronic works: Rapsodia na śmierć republiki (Rhapsody for the Death of the Republic, 1979) and Janek Wiśniewski, grudzień, Polska (Janek Wiśniewski, December, Poland, 1981-1982). In my paper, I show the two pieces as examples of the 'engaged music' (as Sikora herself called them). I consider the role of their titles, narration, the use of pre-recorded sounds and musical quotation, as well as the circumstances of their creation.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"301 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":"128622578","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":"Melita Milin: Ljubica Marić: Composing as an act of creation, Institute of Musicology SASA, Belgrade, 2018","authors":"M. Marinković","doi":"10.5937/newso2055239m","DOIUrl":"https://doi.org/10.5937/newso2055239m","url":null,"abstract":"","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":"125815208","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 paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focuses on the listener. Since the mid-twentieth century, electroacoustic music has been one of the areas where the use of traditional analysis was inconvenient. Since electroacoustic music began to lose its exclusive, academic character in the 1990s in relation with the development of computer technologies, the question of its interpretation and finding suitable listener strategies has kept coming to the fore. This paper shows the possibilities of approach to this music in relation to its specificities. The last part of the paper focuses on a specific example from one fringe genre: noise music, specifically the subgenre japanoise. In its peak period in the 1990s, this sound production was probably the furthest away from what is usually associated with the term music. Based on an analysis of a selected composition, the inadequacy of the traditional approach and certain alternatives to grasping such music will be demonstrated. The very end of the paper features some current results which relate to, or result from, the study's conclusions.
{"title":"From Kerman to Merzbow: Notes on the metamorphoses of music analysis at the turn of the millennium","authors":"Jiří Kubíček","doi":"10.5937/newso2055023k","DOIUrl":"https://doi.org/10.5937/newso2055023k","url":null,"abstract":"This paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focuses on the listener. Since the mid-twentieth century, electroacoustic music has been one of the areas where the use of traditional analysis was inconvenient. Since electroacoustic music began to lose its exclusive, academic character in the 1990s in relation with the development of computer technologies, the question of its interpretation and finding suitable listener strategies has kept coming to the fore. This paper shows the possibilities of approach to this music in relation to its specificities. The last part of the paper focuses on a specific example from one fringe genre: noise music, specifically the subgenre japanoise. In its peak period in the 1990s, this sound production was probably the furthest away from what is usually associated with the term music. Based on an analysis of a selected composition, the inadequacy of the traditional approach and certain alternatives to grasping such music will be demonstrated. The very end of the paper features some current results which relate to, or result from, the study's conclusions.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"40 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":"123293879","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":"The sound is my personal diary: Conversation with Svetlana Savić","authors":"Ksenija Stevanović","doi":"10.5937/newso2056001s","DOIUrl":"https://doi.org/10.5937/newso2056001s","url":null,"abstract":"","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"68 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":"123372348","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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