Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2228601
Eliot Britton, David Arbez, P. Hart, Kevin McPhillips
ABSTRACT Home Comfort Advisor is a collaborative composition for online choir, presented by the fictional corporation ‘Quigital’. This paper details the work's co-opting of corporate aesthetics, analysis, productivity, design strategies and their implications in musical language, collaboration, performer agency and audience reception. The resulting choir performance masquerades as an interactive online product launch, making unconventional analytical demands on individual choir members as singers, community members, distributed decision makers and content creators. To manage the logistical challenges presented by an interdisciplinary collaboration featuring 70 agents and a creative development team, linear approaches to composition were replaced by a modified iterative design loop. (Collaborative creation analysis (re)-interpretation interactive audience engagement: repeat/deploy:). More specifically, this paper examines emergent materials, structures and processes used to amplify collaboration. Home Comfort Advisor's deeply embedded corporate aesthetic and technological infrastructure reveals novel interactions between the score, text, code, design assets, analysist and performer. An analysis of the non-linear, collaborative relationships provides a model for creating similar data-driven, interdisciplinary collaborations. Quigital's manipulation of a mutually understood code hidden in plain sight approaches what Limor Shifman refers to as hypersignification. This cultivation of technologically amplified, collaborative metanarrative lies at the heart of Quigital's success and its ability to be both approachable, subversive and deeply disturbing.
{"title":"Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital","authors":"Eliot Britton, David Arbez, P. Hart, Kevin McPhillips","doi":"10.1080/07494467.2023.2228601","DOIUrl":"https://doi.org/10.1080/07494467.2023.2228601","url":null,"abstract":"ABSTRACT Home Comfort Advisor is a collaborative composition for online choir, presented by the fictional corporation ‘Quigital’. This paper details the work's co-opting of corporate aesthetics, analysis, productivity, design strategies and their implications in musical language, collaboration, performer agency and audience reception. The resulting choir performance masquerades as an interactive online product launch, making unconventional analytical demands on individual choir members as singers, community members, distributed decision makers and content creators. To manage the logistical challenges presented by an interdisciplinary collaboration featuring 70 agents and a creative development team, linear approaches to composition were replaced by a modified iterative design loop. (Collaborative creation analysis (re)-interpretation interactive audience engagement: repeat/deploy:). More specifically, this paper examines emergent materials, structures and processes used to amplify collaboration. Home Comfort Advisor's deeply embedded corporate aesthetic and technological infrastructure reveals novel interactions between the score, text, code, design assets, analysist and performer. An analysis of the non-linear, collaborative relationships provides a model for creating similar data-driven, interdisciplinary collaborations. Quigital's manipulation of a mutually understood code hidden in plain sight approaches what Limor Shifman refers to as hypersignification. This cultivation of technologically amplified, collaborative metanarrative lies at the heart of Quigital's success and its ability to be both approachable, subversive and deeply disturbing.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"22 - 46"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49553366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2191070
Jodie Rottle, Hannah Reardon-Smith
ABSTRACT We understand that our thinking and creating is always in company. By musicking with others, we situate ourselves amongst an entangled web of human, nonhuman, and more-than-human co-creators; to recognise these external and internal influences is to become a companion. Our concept of companion thinking stems from companion texts according to Sara Ahmed (2017. Living a Feminist Life. Durham, NC: Duke University Press), which may ‘prompt you to hesitate or to question the direction in which you are going, or they might give you a sense that in going the way you are going, you are not alone’ (16). Companionship implies with: In this paper, we discuss how companions are vital to our improvisatory music practices by considering the co-creative relationships in which we operate. we analyse our artistic research from our perspectives as performers and improvisers and consider the processes of making music with beyond-human entities. Instead of the human-focused concept of collaboration, we posit companionship as an approach to thinking-with and sounding-with the more-than-human, other-than-human, and nonhuman. Our former selves, experiences, environments, and nonhuman critters and objects are always-already part of our musicking practices and communities. Performance is thus ecological, political, and personal; it is through this lens that we analyse the entanglements of our varied communities and explore how this concept can stretch beyond a music practice, to consider what it means to engage in creative practice as migrant-settlers on stolen Aboriginal land. This paper includes an investigation of what it means to be a companion and a discussion of a practice-based case study in which we implement—or practice—companion thinking. As friends, collaborators, and companions to one another, we each present our individual concepts of companionship through our own improvisation practices, addressing themes of situatedness, response-ability, surprise, stumbling, curiosity, and unmastery. We then analyse the entanglements of our work in performance. This process of thinking, making, and doing in-company offers the opportunity to consider an intersection of analysis and performance through an improvisatory musical practice.
{"title":"Companion Thinking in Improvised Musicking Practice","authors":"Jodie Rottle, Hannah Reardon-Smith","doi":"10.1080/07494467.2023.2191070","DOIUrl":"https://doi.org/10.1080/07494467.2023.2191070","url":null,"abstract":"ABSTRACT We understand that our thinking and creating is always in company. By musicking with others, we situate ourselves amongst an entangled web of human, nonhuman, and more-than-human co-creators; to recognise these external and internal influences is to become a companion. Our concept of companion thinking stems from companion texts according to Sara Ahmed (2017. Living a Feminist Life. Durham, NC: Duke University Press), which may ‘prompt you to hesitate or to question the direction in which you are going, or they might give you a sense that in going the way you are going, you are not alone’ (16). Companionship implies with: In this paper, we discuss how companions are vital to our improvisatory music practices by considering the co-creative relationships in which we operate. we analyse our artistic research from our perspectives as performers and improvisers and consider the processes of making music with beyond-human entities. Instead of the human-focused concept of collaboration, we posit companionship as an approach to thinking-with and sounding-with the more-than-human, other-than-human, and nonhuman. Our former selves, experiences, environments, and nonhuman critters and objects are always-already part of our musicking practices and communities. Performance is thus ecological, political, and personal; it is through this lens that we analyse the entanglements of our varied communities and explore how this concept can stretch beyond a music practice, to consider what it means to engage in creative practice as migrant-settlers on stolen Aboriginal land. This paper includes an investigation of what it means to be a companion and a discussion of a practice-based case study in which we implement—or practice—companion thinking. As friends, collaborators, and companions to one another, we each present our individual concepts of companionship through our own improvisation practices, addressing themes of situatedness, response-ability, surprise, stumbling, curiosity, and unmastery. We then analyse the entanglements of our work in performance. This process of thinking, making, and doing in-company offers the opportunity to consider an intersection of analysis and performance through an improvisatory musical practice.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"82 - 99"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49329895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2225887
Timothy Roth
This article outlines analytical methods for preparing and interpreting Karlheinz Stockhausen’s sextet Mikrophonie I (1964) for tam-tam and electronics. Would-be performers of this work face significant accessibility issues: Stockhausen’s recommended equipment—especially the electronic filter used to process the tam-tam’s sound—is extremely rare. These issues often necessitate performers finding alternative solutions for equipment. Mikrophonie I is one of several works for live electronics that have become increasingly difficult to program, due to the obsolescence of the technology required to perform them. Performers often reconstruct the necessary electronics digitally, using software such as Max/MSP. Wetzel [(2006). “A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence.” Organised Sound 11 (3): 273–284. https://doi.org/10.1017/S1355771806001555] describes a three-stage model for this reconstructive process that foregrounds the need for performer-led analysis. Using Mikrophonie I as a case study, I expand on Wetzel’s model to navigate the reconstruction through two main analytical perspectives: the prioritisation of sound or process. These methods are then applied to my realisation process of Mikrophonie I. I describe the process of constructing a digital filter in Max/MSP based on a patch created by Christopher Burns [(2002). “Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music.” Journal of New Music Research 31 (1): 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104] and compare different interface options for using the filter in performance. Referring to previous recordings by the Stockhausen Ensemble (1965) and the percussion ensemble red fish blue fish (2014), I show how creative interpretations can help ensembles overcome the perceived shortcomings of their available tam-tam. Beyond the specifics of reconstructing the technology required for performing Mikrophonie I, this article underlines the indispensability of analysis for performers who specialise in works with obsolescent technology.
{"title":"Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I","authors":"Timothy Roth","doi":"10.1080/07494467.2023.2225887","DOIUrl":"https://doi.org/10.1080/07494467.2023.2225887","url":null,"abstract":"This article outlines analytical methods for preparing and interpreting Karlheinz Stockhausen’s sextet Mikrophonie I (1964) for tam-tam and electronics. Would-be performers of this work face significant accessibility issues: Stockhausen’s recommended equipment—especially the electronic filter used to process the tam-tam’s sound—is extremely rare. These issues often necessitate performers finding alternative solutions for equipment. Mikrophonie I is one of several works for live electronics that have become increasingly difficult to program, due to the obsolescence of the technology required to perform them. Performers often reconstruct the necessary electronics digitally, using software such as Max/MSP. Wetzel [(2006). “A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence.” Organised Sound 11 (3): 273–284. https://doi.org/10.1017/S1355771806001555] describes a three-stage model for this reconstructive process that foregrounds the need for performer-led analysis. Using Mikrophonie I as a case study, I expand on Wetzel’s model to navigate the reconstruction through two main analytical perspectives: the prioritisation of sound or process. These methods are then applied to my realisation process of Mikrophonie I. I describe the process of constructing a digital filter in Max/MSP based on a patch created by Christopher Burns [(2002). “Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music.” Journal of New Music Research 31 (1): 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104] and compare different interface options for using the filter in performance. Referring to previous recordings by the Stockhausen Ensemble (1965) and the percussion ensemble red fish blue fish (2014), I show how creative interpretations can help ensembles overcome the perceived shortcomings of their available tam-tam. Beyond the specifics of reconstructing the technology required for performing Mikrophonie I, this article underlines the indispensability of analysis for performers who specialise in works with obsolescent technology.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"61 - 81"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48836957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2191066
Tamara Yasmin Quick
ABSTRACT Musicians and sound designers appear with increasing frequency on the cast lists of contemporary theatre productions. They develop music during the rehearsal process, making it an almost indispensable part of theatrical productions—in the form of songs or instrumental music, produced live on stage in the performative process as a theatrical action, or digitally pre-produced. As part of the staging concept, these musical outputs have a direct impact on the scenic realisation of a play. Contrasting the abundance and relevance of contemporary theatre music (especially in the German-speaking world), is its paucity in academic discourse. This paucity begets a lack of analytical tools to sensitively engage with this creative artistic practice. This article summarises the appeal of, and the challenges inherent in, the analysis and interpretation of current theatre music and proposes a rethinking of theatre music from its status as incidental music to a specific quality as relational music (Roesner [2019]. Theatermusik. Analysen und Gespräche. Berlin: Theater der Zeit), since theatre music as a contemporary artistic practice demands to be analysed in terms of its theatrical and performative impact on a theatre production. As a result of this characteristic scenic component of current theatre music I present a triangulated system of analysis, comprising performance analysis, ethnographic rehearsal analysis and practice as research against the backdrop of scholarly discourse on ‘music as performance’ (Cook [2014]. Beyond the Score: Music as Performance. Oxford / New York: Oxford University Press; Auslander [2004]. “Performance Analysis and Popular Music: A Manifesto.” Contemporary Theatre Review 14: 1–13; Small [1998]. Musicking: The Meanings of Performing and Listening. Music, Culture. Hanover: Wesleyan University Press / University Press of New England).
摘要音乐家和声音设计师越来越多地出现在当代戏剧作品的演员名单上。他们在排练过程中发展音乐，使其成为戏剧制作中几乎不可或缺的一部分——以歌曲或器乐的形式，在表演过程中作为戏剧动作在舞台上现场制作，或数字预制作。作为舞台概念的一部分，这些音乐输出对戏剧的场景实现有着直接的影响。与当代戏剧音乐（尤其是在德语世界）的丰富性和相关性形成对比的是，它在学术话语中的匮乏。这种匮乏导致缺乏敏感地参与这种创造性艺术实践的分析工具。本文总结了当前戏剧音乐分析和诠释的吸引力和内在挑战，并提出了对戏剧音乐的重新思考，从其作为附带音乐的地位到作为关系音乐的特定品质（Roesner[2019]。Theatermusik。Analysen und Gespräche。Berlin:Theater der Zeit），因为戏剧音乐作为一种当代艺术实践，需要从其对戏剧作品的戏剧和表演影响的角度进行分析。由于当前戏剧音乐的这种特征性的风景成分，民族志排练分析和实践作为“音乐即表演”学术话语背景下的研究（Cook[2014]。超越乐谱：音乐即表演。牛津/纽约：牛津大学出版社；Auslander[2004]。《表演分析与流行音乐：宣言》。《当代戏剧评论》14:1-13；Small[1998]。音乐：表演和聆听的意义。音乐，文化。汉诺威：卫斯理大学出版社/新英格兰大学出版社）。
{"title":"The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre","authors":"Tamara Yasmin Quick","doi":"10.1080/07494467.2023.2191066","DOIUrl":"https://doi.org/10.1080/07494467.2023.2191066","url":null,"abstract":"ABSTRACT Musicians and sound designers appear with increasing frequency on the cast lists of contemporary theatre productions. They develop music during the rehearsal process, making it an almost indispensable part of theatrical productions—in the form of songs or instrumental music, produced live on stage in the performative process as a theatrical action, or digitally pre-produced. As part of the staging concept, these musical outputs have a direct impact on the scenic realisation of a play. Contrasting the abundance and relevance of contemporary theatre music (especially in the German-speaking world), is its paucity in academic discourse. This paucity begets a lack of analytical tools to sensitively engage with this creative artistic practice. This article summarises the appeal of, and the challenges inherent in, the analysis and interpretation of current theatre music and proposes a rethinking of theatre music from its status as incidental music to a specific quality as relational music (Roesner [2019]. Theatermusik. Analysen und Gespräche. Berlin: Theater der Zeit), since theatre music as a contemporary artistic practice demands to be analysed in terms of its theatrical and performative impact on a theatre production. As a result of this characteristic scenic component of current theatre music I present a triangulated system of analysis, comprising performance analysis, ethnographic rehearsal analysis and practice as research against the backdrop of scholarly discourse on ‘music as performance’ (Cook [2014]. Beyond the Score: Music as Performance. Oxford / New York: Oxford University Press; Auslander [2004]. “Performance Analysis and Popular Music: A Manifesto.” Contemporary Theatre Review 14: 1–13; Small [1998]. Musicking: The Meanings of Performing and Listening. Music, Culture. Hanover: Wesleyan University Press / University Press of New England).","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"47 - 60"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48830023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2227507
Hannah Davis-Abraham
ABSTRACT This paper examines how performer decisions regarding musical pacing and expressive timing can shape the communication of affective states in a musical work, through a case study of Angst (Ho, Alice Ping Yee. 2000. Angst. Canadian Music Centre), composed by Alice Ping Yee Ho and premiered by soprano Janice Jackson. Described by Ho as a ‘reaction to the myth of the inferiority of women’, this work for solo soprano ‘express[es] the fear and anxiety that women encounter’. Angst includes fluctuating time signatures, long-held notes of varying durations, and recurring motives that enter at unpredictable times, which, when combined, can complicate a listener's ability to discern consistent metre and/or predict future musical events. Using a video recording of Angst, I examine how Jackson's performance conveys the anxiety expressed by the protagonist. I draw on Danuta Mirka's adaptation (Mirka, Danuta. 2009. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791. Oxford: Oxford University Press) of Ray Jackendoff's parallel multiple-analysis model for determining metre (Jackendoff, Ray. 1991. “Musical Parsing and Musical Affect.” Music Perception 9 (2): 199-230), David Huron's theory of musical expectation (Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press), and Austin Patty's pacing scenarios (Patty, Austin T. 2009. “Pacing Scenarios: How Harmonic Rhythm and Melodic Pacing Influence Our Experience of Musical Climax.” Music Theory Spectrum 31 (2): 325-367), and I expand on this work by discussing the affective impact of pacing. I suggest that Jackson's performance of Ho's score creates a confounding listening experience that reflects the work's themes of anxiety, fear, and realisation of power.
{"title":"Pacing, Performance, and Perception in Alice Ping Yee Ho’s Angst","authors":"Hannah Davis-Abraham","doi":"10.1080/07494467.2023.2227507","DOIUrl":"https://doi.org/10.1080/07494467.2023.2227507","url":null,"abstract":"ABSTRACT This paper examines how performer decisions regarding musical pacing and expressive timing can shape the communication of affective states in a musical work, through a case study of Angst (Ho, Alice Ping Yee. 2000. Angst. Canadian Music Centre), composed by Alice Ping Yee Ho and premiered by soprano Janice Jackson. Described by Ho as a ‘reaction to the myth of the inferiority of women’, this work for solo soprano ‘express[es] the fear and anxiety that women encounter’. Angst includes fluctuating time signatures, long-held notes of varying durations, and recurring motives that enter at unpredictable times, which, when combined, can complicate a listener's ability to discern consistent metre and/or predict future musical events. Using a video recording of Angst, I examine how Jackson's performance conveys the anxiety expressed by the protagonist. I draw on Danuta Mirka's adaptation (Mirka, Danuta. 2009. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791. Oxford: Oxford University Press) of Ray Jackendoff's parallel multiple-analysis model for determining metre (Jackendoff, Ray. 1991. “Musical Parsing and Musical Affect.” Music Perception 9 (2): 199-230), David Huron's theory of musical expectation (Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press), and Austin Patty's pacing scenarios (Patty, Austin T. 2009. “Pacing Scenarios: How Harmonic Rhythm and Melodic Pacing Influence Our Experience of Musical Climax.” Music Theory Spectrum 31 (2): 325-367), and I expand on this work by discussing the affective impact of pacing. I suggest that Jackson's performance of Ho's score creates a confounding listening experience that reflects the work's themes of anxiety, fear, and realisation of power.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"4 - 21"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41877347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2225888
Jessica Stearns
ABSTRACT In his indeterminate works that he refers to as ‘alternatively notated scores’, Christian Wolff grants the performer decision-making powers. This notation includes symbols known as coordination neumes, which instruct the performers when to begin and end a sound event in relation to the sounds around them, and produce game play between performers. Scholars have discussed the interactive nature of Wolff’s scores but have not addressed the procedure of reading the notation in performance and how it impacts the game play inherent in these works. I argue that the most fruitful approaches indeterminate music is to examine the experience of performing pieces. Gestalt psychology’s Principles of Organisation offer one means of understanding these works from the performers’ perspectives. When applied to two of Wolff’s alternatively notated scores, For 5 or 10 Players and For 1, 2, or 3 People, as an analytical approach, Gestalt principles reveal a conflict between the temporal spacing that the notation’s visual elements imply and the temporal spacing in performance as a result of the pieces’ ludic nature. Uncovering these features adds a new dimension to the analytic discussion of Wolff’s music and furthers our understanding of the processes involved in performing his scores and indeterminate music.
{"title":"Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives","authors":"Jessica Stearns","doi":"10.1080/07494467.2023.2225888","DOIUrl":"https://doi.org/10.1080/07494467.2023.2225888","url":null,"abstract":"ABSTRACT In his indeterminate works that he refers to as ‘alternatively notated scores’, Christian Wolff grants the performer decision-making powers. This notation includes symbols known as coordination neumes, which instruct the performers when to begin and end a sound event in relation to the sounds around them, and produce game play between performers. Scholars have discussed the interactive nature of Wolff’s scores but have not addressed the procedure of reading the notation in performance and how it impacts the game play inherent in these works. I argue that the most fruitful approaches indeterminate music is to examine the experience of performing pieces. Gestalt psychology’s Principles of Organisation offer one means of understanding these works from the performers’ perspectives. When applied to two of Wolff’s alternatively notated scores, For 5 or 10 Players and For 1, 2, or 3 People, as an analytical approach, Gestalt principles reveal a conflict between the temporal spacing that the notation’s visual elements imply and the temporal spacing in performance as a result of the pieces’ ludic nature. Uncovering these features adds a new dimension to the analytic discussion of Wolff’s music and furthers our understanding of the processes involved in performing his scores and indeterminate music.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"42 1","pages":"114 - 130"},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41659993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/07494467.2022.2189355
Jelena Janković-Beguš
In this article, I analyse the creative opus by the Serbian composer and academician Vlastimir Trajković (1947–2017) through the lens of his ‘tributes’ to several of his favourite composers and musicologists, including Maurice Ravel, Claude Debussy, Olivier Messiaen, and Manuel de Falla. However, Trajković also made a conscious effort to include at least two Serbian musical figures in this ‘Pantheon’ of greats: his own grandfather, Miloje Milojević (1884–1946), whose modernist and decidedly ‘antiromantic’ style, strongly influenced by impressionism, had a profound impact on Trajković’s own stylistic choices, and Dragutin Gostuški (1923–1998), whose seminal book Vreme umetnosti [The Time of Art] influenced Trajković’s entire poetics. I argue that Trajković built his own artistic identity with the ultimate goal of honouring his ‘heroes’, while also aiming to broaden the affirmation and acknowledgment of Serbian art music, recognising it as a constitutive element of European musical legacy.
{"title":"Building a Personal Artistic Identity as a Tribute to One’s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’","authors":"Jelena Janković-Beguš","doi":"10.1080/07494467.2022.2189355","DOIUrl":"https://doi.org/10.1080/07494467.2022.2189355","url":null,"abstract":"In this article, I analyse the creative opus by the Serbian composer and academician Vlastimir Trajković (1947–2017) through the lens of his ‘tributes’ to several of his favourite composers and musicologists, including Maurice Ravel, Claude Debussy, Olivier Messiaen, and Manuel de Falla. However, Trajković also made a conscious effort to include at least two Serbian musical figures in this ‘Pantheon’ of greats: his own grandfather, Miloje Milojević (1884–1946), whose modernist and decidedly ‘antiromantic’ style, strongly influenced by impressionism, had a profound impact on Trajković’s own stylistic choices, and Dragutin Gostuški (1923–1998), whose seminal book Vreme umetnosti [The Time of Art] influenced Trajković’s entire poetics. I argue that Trajković built his own artistic identity with the ultimate goal of honouring his ‘heroes’, while also aiming to broaden the affirmation and acknowledgment of Serbian art music, recognising it as a constitutive element of European musical legacy.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"560 - 589"},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59477289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/07494467.2022.2151155
Melita Milin
The archaicizing ‘Byzantine thread’ in Serbian art music since the 1950s has proven to be an important one, although it has not been represented by a large number of works. Composers of such works aimed at creating a spiritually-infused atmosphere emanating from evocations of medieval times, and they achieved this goal by employing various modernist techniques. Those composers regarded the culture of Byzantium not only as a metaphor for spirituality and the inscrutable past but also used it as a means of self-identification, not least because Byzantine identity was of broader scope than national identity. Most of the Serbian composers who belonged to that thread, even if only with a handful of works, used melodic fragments either from medieval Serbian and Byzantine church chant or from Serbian present-day chant with roots in the Byzantine tradition, but which were subject to change after the fall of Byzantium. In this article, the ‘Byzantine thread’ in Serbian art music is socially and culturally contextualised.
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Pub Date : 2022-11-02DOI: 10.1080/07494467.2022.2152207
I. Lindstedt
While the so-called Polish School of the 1960s has received considerable attention in musicological literature, there has been little consideration to date of how this phenomenon might relate to the avant-garde music of other European countries, particularly those on the eastern side of the Iron Curtain. Although there has been much debate about how to define and evaluate the ‘Polish School’, the question of its impact has largely focused on emphasising the significance of its institutional basis, represented by the Warsaw Autumn Festival, as well as on aesthetic matters. This article considers a number of issues relevant to Polish avant-garde compositional devices and offers an insight into Serbian new music of the 1960s through an examination of Rajko Maksimović’s Tri haiku for two female choirs & 23 instruments (1967) as a case study. The aim is to assess how these presumed ‘Polish School’ influences contributed to the overall and detailed musical design of Tri haiku, as well as how their creative reception led to the emergence of a highly individual character in this composition, contributing to the shaping of the identity of Serbian avant-garde music at that time. The conceptual and analytical tools proposed by Józef M. Chomiński’s theory of musical sonology will be used for this purpose.
虽然20世纪60年代所谓的波兰学派在音乐学文学中受到了相当大的关注，但迄今为止，很少有人考虑到这种现象与其他欧洲国家，特别是铁幕东部国家的前卫音乐之间的关系。尽管关于如何定义和评估“波兰学派”一直存在很多争论，但其影响的问题主要集中在强调其制度基础的重要性上，以华沙秋季节日为代表，以及美学问题。本文考虑了与波兰前卫作曲设备相关的一些问题，并通过对Rajko maksimovovic为两个女性合唱团和23种乐器(1967)的三俳句(Tri haiku)的研究，作为一个案例研究，提供了对20世纪60年代塞尔维亚新音乐的洞察。目的是评估这些被认为是“波兰学派”的影响如何对三俳句的整体和详细的音乐设计做出贡献，以及他们的创造性接受如何导致这一作品中高度个性化的特征的出现，有助于塑造当时塞尔维亚前卫音乐的身份。由Józef M. Chomiński的音乐声学理论提出的概念和分析工具将用于此目的。
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Pub Date : 2022-11-02DOI: 10.1080/07494467.2022.2152217
I. Medić
This article is an extract from my ongoing investigation of the destinies of Serbian composers who have emigrated since the early 1990s, a period that was marked by the dissolution of the Socialist Federal Republic of Yugoslavia and the ensuing wars when hundreds of thousands of professionals left the country and settled all over the world. Such a massive ‘brain drain’ has had a devastating impact on many professional realms in the entire former-Yugoslav region. Thus far, I have located more than seventy Serbian composers who currently live and work abroad, a significant number for such a small country. In this article, I focus on the professional and personal trajectories of several composers who have managed to establish successful careers in various Western European countries. A recent monograph by Elena Dubinets, Russian Composers Abroad: How They Left, Stayed, Returned (Bloomington: Indiana University Press, 2021), serves as my discoursive ‘counterpoint’.
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