Pub Date : 2022-11-02DOI: 10.1080/07494467.2022.2198830
Laura Emmery, I. Medić
There are several reasons why we decided to dedicate this double issue of Contemporary Music Review to the topic of Serbian musical identity. The concept of identity implies the existence of some individual or collective characteristic, or a feature, by which a certain person or social group is recognisable. Both ‘musical identity’ and ‘national identity’ are elusive, flexible, changeable, and context-dependent notions. The articles published in this issue help us consider whether, when, and under what conditions these two types of identities intersect and what type of musical works emerge from such overlaps. The example of Serbia is illustrative because this country, nested in the southeastern region of Europe, has changed its borders, names, and political systems several times since the beginning of the twentieth century, joining larger federations (monarchies or republics), only to later become independent again. These dynamic and still ongoing changes are the principal reason why the issue of national identities (in the plural) in Serbia, a continuously unstable region, is quite complex. Such volatility has inevitably affected all aspects of life in Serbia, including its cultural production. For composers of art music, these incessant changes have posed challenges in seeking to define, position, and identify themselves musically. The collection of articles in this double issue focuses on the complicated question of Serbian musical identity by examining the ways composers incorporate traditional and folk motives, narratives, and myths in their compositions, and how the syntheses of folk and ‘art’music idioms shape the composers’ cultural identity both within and beyond the borders of the country itself and the wider post-Yugoslav / Western Balkan region. Thus, the studies offer a historical, political, and socio-cultural Contemporary Music Review, 2022 Vol. 41, Nos. 5–6, 459–466, https://doi.org/10.1080/07494467.2022.2198830
{"title":"Serbian Musical Identity: An Introduction","authors":"Laura Emmery, I. Medić","doi":"10.1080/07494467.2022.2198830","DOIUrl":"https://doi.org/10.1080/07494467.2022.2198830","url":null,"abstract":"There are several reasons why we decided to dedicate this double issue of Contemporary Music Review to the topic of Serbian musical identity. The concept of identity implies the existence of some individual or collective characteristic, or a feature, by which a certain person or social group is recognisable. Both ‘musical identity’ and ‘national identity’ are elusive, flexible, changeable, and context-dependent notions. The articles published in this issue help us consider whether, when, and under what conditions these two types of identities intersect and what type of musical works emerge from such overlaps. The example of Serbia is illustrative because this country, nested in the southeastern region of Europe, has changed its borders, names, and political systems several times since the beginning of the twentieth century, joining larger federations (monarchies or republics), only to later become independent again. These dynamic and still ongoing changes are the principal reason why the issue of national identities (in the plural) in Serbia, a continuously unstable region, is quite complex. Such volatility has inevitably affected all aspects of life in Serbia, including its cultural production. For composers of art music, these incessant changes have posed challenges in seeking to define, position, and identify themselves musically. The collection of articles in this double issue focuses on the complicated question of Serbian musical identity by examining the ways composers incorporate traditional and folk motives, narratives, and myths in their compositions, and how the syntheses of folk and ‘art’music idioms shape the composers’ cultural identity both within and beyond the borders of the country itself and the wider post-Yugoslav / Western Balkan region. Thus, the studies offer a historical, political, and socio-cultural Contemporary Music Review, 2022 Vol. 41, Nos. 5–6, 459–466, https://doi.org/10.1080/07494467.2022.2198830","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46762255","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: 10.1080/07494467.2022.2151150
Ivana Petković Lozo
The focus of this study is on two works by Ivana Stefanović (b. 1948) that are part of the same experiential whole: The Road to Damascus, a travel prose, written between 1995 and 1999 and published in 2003, and A Landscape for Tape: The First Eastern Dream, composed in 2006. During her four-year stay in Syria, Stefanović listened to and became acquainted with the world of the East, which she wished to perpetuate, remember, enhance in her memory, and record forever. These two creative works constitute testimonies of the composer’s life in Syria—complementary ‘documents’ of un-distilled, preserved reality and its ‘proven substrate’. These works of art attest to the coexistence of external noise and sound vibrations, restlessness, constant movement, physical decay, inner silence, peace, spiritual life, and eternal space. Also, they are the result of two kinds of acoustic resonances that permeate each other: the noise that inhabits monumental and archaeological sites, carrying the aura of their erstwhile worlds through the centuries, and the silence of individual receptive responses, either directly to the sound/sounding of those locations or to its potential artistic transpositions. The Road to Damascus and The First Eastern Dream are a type of diptych of space and time, of eidetic imagery inscribed in the archetypal layer of consciousness bordering the unconscious, and polyphonic essays on the utopian coexistence of different worlds, which could only be realized by a dreamer.
{"title":"A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana Stefanović","authors":"Ivana Petković Lozo","doi":"10.1080/07494467.2022.2151150","DOIUrl":"https://doi.org/10.1080/07494467.2022.2151150","url":null,"abstract":"The focus of this study is on two works by Ivana Stefanović (b. 1948) that are part of the same experiential whole: The Road to Damascus, a travel prose, written between 1995 and 1999 and published in 2003, and A Landscape for Tape: The First Eastern Dream, composed in 2006. During her four-year stay in Syria, Stefanović listened to and became acquainted with the world of the East, which she wished to perpetuate, remember, enhance in her memory, and record forever. These two creative works constitute testimonies of the composer’s life in Syria—complementary ‘documents’ of un-distilled, preserved reality and its ‘proven substrate’. These works of art attest to the coexistence of external noise and sound vibrations, restlessness, constant movement, physical decay, inner silence, peace, spiritual life, and eternal space. Also, they are the result of two kinds of acoustic resonances that permeate each other: the noise that inhabits monumental and archaeological sites, carrying the aura of their erstwhile worlds through the centuries, and the silence of individual receptive responses, either directly to the sound/sounding of those locations or to its potential artistic transpositions. The Road to Damascus and The First Eastern Dream are a type of diptych of space and time, of eidetic imagery inscribed in the archetypal layer of consciousness bordering the unconscious, and polyphonic essays on the utopian coexistence of different worlds, which could only be realized by a dreamer.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47846626","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: 10.1080/07494467.2022.2190238
Laura Emmery
Following the Yugoslav Wars of the 1990s and the subsequent international economic sanctions imposed against the Federal Republic of Yugoslavia that lasted until the early 2000s, a substantial number of Serbian composers emigrated to the United States. While this mass exodus of composers and academics had a devastating effect on Serbian cultural life, such a shift, enabled by globalisation and commodification of music, created an interest in Serbian music and culture with American audiences. That is, Serbian émigré composers who fled Yugoslavia during the war conflict conveyed their Serbian identity musically by incorporating certain folk elements. This article examines the unique ways in which select Serbian composers––Aleksandra Vrebalov, Milica Paranosic, and Natasha Bogojevich––integrated their Serbian/Yugoslav background within American multicultural society. More specifically, the article examines the effect of the infusion of Serbian motives in the works of these composers from the perspective of globalisation and commodification in the formation of their émigré Serbian musical identity.
{"title":"Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States","authors":"Laura Emmery","doi":"10.1080/07494467.2022.2190238","DOIUrl":"https://doi.org/10.1080/07494467.2022.2190238","url":null,"abstract":"Following the Yugoslav Wars of the 1990s and the subsequent international economic sanctions imposed against the Federal Republic of Yugoslavia that lasted until the early 2000s, a substantial number of Serbian composers emigrated to the United States. While this mass exodus of composers and academics had a devastating effect on Serbian cultural life, such a shift, enabled by globalisation and commodification of music, created an interest in Serbian music and culture with American audiences. That is, Serbian émigré composers who fled Yugoslavia during the war conflict conveyed their Serbian identity musically by incorporating certain folk elements. This article examines the unique ways in which select Serbian composers––Aleksandra Vrebalov, Milica Paranosic, and Natasha Bogojevich––integrated their Serbian/Yugoslav background within American multicultural society. More specifically, the article examines the effect of the infusion of Serbian motives in the works of these composers from the perspective of globalisation and commodification in the formation of their émigré Serbian musical identity.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48309326","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: 10.1080/07494467.2022.2203992
I. Ilic
In comparison to the (Western) European tradition, the development of music theory in Serbia has been quite short. Milan Milovuk’s works, dating from the 1860s, were the first published theoretical writings in Serbian. Nevertheless, this development was substantial, leading from basic music theory in Milovuk’s pioneering works to an interdisciplinary field of research that is fully integrated into today's global map of the discipline. Through this expansion, the status reconfiguration of music theory in Serbia took place from propaedeutics to an autonomous scientific field. However, the transformation of the discipline was not the subject of scientific research until recently. The questions about the nature of a musical-theoretical work, on what basis and with what convictions it is carried out, what kind of knowledge it produces, and what the impact of that knowledge is can be considered an exception in music theory writings in Serbian. Likewise, the legitimisation of certain types of musical-theoretical work about the discipline as a whole or its relevant parts has only recently become represented in our scientific literature. In this article, I investigate the reasons for the indicated epistemological certainty of music theory in Serbia and study the traces of its disciplinary legitimation in both diachronic (historical-developmental) and synchronic (theoretical–conceptual and methodological-epistemological) perspectives.
{"title":"Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity","authors":"I. Ilic","doi":"10.1080/07494467.2022.2203992","DOIUrl":"https://doi.org/10.1080/07494467.2022.2203992","url":null,"abstract":"In comparison to the (Western) European tradition, the development of music theory in Serbia has been quite short. Milan Milovuk’s works, dating from the 1860s, were the first published theoretical writings in Serbian. Nevertheless, this development was substantial, leading from basic music theory in Milovuk’s pioneering works to an interdisciplinary field of research that is fully integrated into today's global map of the discipline. Through this expansion, the status reconfiguration of music theory in Serbia took place from propaedeutics to an autonomous scientific field. However, the transformation of the discipline was not the subject of scientific research until recently. The questions about the nature of a musical-theoretical work, on what basis and with what convictions it is carried out, what kind of knowledge it produces, and what the impact of that knowledge is can be considered an exception in music theory writings in Serbian. Likewise, the legitimisation of certain types of musical-theoretical work about the discipline as a whole or its relevant parts has only recently become represented in our scientific literature. In this article, I investigate the reasons for the indicated epistemological certainty of music theory in Serbia and study the traces of its disciplinary legitimation in both diachronic (historical-developmental) and synchronic (theoretical–conceptual and methodological-epistemological) perspectives.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43352217","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: 10.1080/07494467.2022.2162294
Tijana Popović Mladjenović
In order to focus our attention on compositional practices in 1960s Belgrade, it is necessary to point out that these practices developed in tandem with the latest modernist trends in European music. Serbian musical modernism after the Second World War bore the imprint of a special, original, and autonomous artistic achievement. In that sense, Petar Osghian was one of the composers who created their works using avant-garde techniques, while insisting that their musical language should retain direct expressive and communicative functions. These composers made choices that would emerge logically from the latent possibilities of the materials they worked with, but in doing so they constantly tried to rise to the level of the most advanced compositional practices of the time. In other words, they used a given musical material as a point of departure for structural manipulations and for a wide variety of possible modifications in the construction of a musical work. The result was a harmonious relationship between rationally defined structural elements and ‘irrational’ gestures in shaping their processes; both were of equal importance. This paper discusses this relationship through the analysis of Petar Osghian’s orchestral trilogy—Meditations, Silhouettes, and Sigogis.
{"title":"The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and Sigogis (1967)","authors":"Tijana Popović Mladjenović","doi":"10.1080/07494467.2022.2162294","DOIUrl":"https://doi.org/10.1080/07494467.2022.2162294","url":null,"abstract":"In order to focus our attention on compositional practices in 1960s Belgrade, it is necessary to point out that these practices developed in tandem with the latest modernist trends in European music. Serbian musical modernism after the Second World War bore the imprint of a special, original, and autonomous artistic achievement. In that sense, Petar Osghian was one of the composers who created their works using avant-garde techniques, while insisting that their musical language should retain direct expressive and communicative functions. These composers made choices that would emerge logically from the latent possibilities of the materials they worked with, but in doing so they constantly tried to rise to the level of the most advanced compositional practices of the time. In other words, they used a given musical material as a point of departure for structural manipulations and for a wide variety of possible modifications in the construction of a musical work. The result was a harmonious relationship between rationally defined structural elements and ‘irrational’ gestures in shaping their processes; both were of equal importance. This paper discusses this relationship through the analysis of Petar Osghian’s orchestral trilogy—Meditations, Silhouettes, and Sigogis.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49237147","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 : 2022-07-04DOI: 10.1080/07494467.2022.2087393
Eduardo Viñuela
Prosumers use sound and music as parodic tools to transform the meaning of the original content. These practices give rise to the audio-visual phenomena of videomemes—mash-ups, shreds, literal versions, … —which have become popular in everyday communication through social media. The selection of a particular piece, genre, or repertoire has social and political implications: it helps establish the position of the person making the selection in online networks and contributes to the negotiation of meaning and canons. Thus, both prosumers and consumers use musical videomenes as cultural artefacts in communication, configuring processes of mutual recognition and interacting in different ways in online communities. In this article, I analyse the circulation of contemporary music videomemes in social media. First, I contextualise the relevance of these amateur productions in the digital era. Then, I discuss the power of parody to reinforce and subvert discourses in this repertoire. Finally, I explore three categories of videomemes—covers, collisions, and shreds—analysing paradigmatic case studies in order to illustrate the most common processes in the creation and circulation of these productions.
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Pub Date : 2022-07-04DOI: 10.1080/07494467.2022.2087388
Annelies Fryberger, J. Besada, Zubin Kanga
Social media have been touted as many things: a force for democracy, an abettor of extremism, a place where elections and emotions can be manipulated, a place to find a job, a way to transform one ’ s life into a marketable product, a place to ease the sting of loneliness or to descend further into the abyss. Music is omnipresent on these platforms: it is made, shared, critiqued, manipulated for other ends. Contemporary composers and other actors in the contemporary music milieu are not immune to the effects of social media, and some actively use it to create an image for themselves, promote their work, or as a source of inspiration. Our aim with this issue is to look at the myriad ways social media have been taken up by actors in the contemporary music world.
{"title":"@Newmusic #Soundart: Contemporary Music in the Age of Social Media","authors":"Annelies Fryberger, J. Besada, Zubin Kanga","doi":"10.1080/07494467.2022.2087388","DOIUrl":"https://doi.org/10.1080/07494467.2022.2087388","url":null,"abstract":"Social media have been touted as many things: a force for democracy, an abettor of extremism, a place where elections and emotions can be manipulated, a place to find a job, a way to transform one ’ s life into a marketable product, a place to ease the sting of loneliness or to descend further into the abyss. Music is omnipresent on these platforms: it is made, shared, critiqued, manipulated for other ends. Contemporary composers and other actors in the contemporary music milieu are not immune to the effects of social media, and some actively use it to create an image for themselves, promote their work, or as a source of inspiration. Our aim with this issue is to look at the myriad ways social media have been taken up by actors in the contemporary music world.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47756938","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 : 2022-07-04DOI: 10.1080/07494467.2022.2087377
Giulia Accornero
Over the past decade, the viral circulation of the acronym ASMR (Autonomous Sensory Meridian Response) has brought a new sensation and audiovisual genre to the attention of the internet-connected world. This phenomenon has attracted the interest of contemporary music composers, who have begun using the term ASMR as a shorthand for a broader theoretical category that involves the assemblage of a specific sound quality, its aisthesis, and a range of compositional, performance, and recording techniques through which they are manipulated. Based on interviews with eight living composers (Carola Bauckholt, Chaya Czernowin, Andrew Harlan, Ole Hübner, Neo Hülcker, Allan Gravgaard Madsen, Morten Riis, and Charlie Sdraulig), I argue that the term ASMR is used as a shorthand to invoke the ‘intimate zone’. As one of the four zones of human interaction formalised by anthropologist Edward T. Hall in his theory of proxemics, the intimate zone emerges from the ways in which space, the sensorium, and one’s sense of self mould each other. After deconstructing the nature of ASMR as an autonomous galvanic response, and combining the framework of proxemics with that of ‘cultural techniques’, I articulate the ways in which the composers use the term ASMR to speak about features of past contemporary art music as well as their current work. I then describe the strategies employed in their compositions to engage the intimate zone and divide them into two main categories. The first involves calibrating the perceived proximity of the audience to the sound object, while the second involves manipulating the space in which this interaction occurs.
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Pub Date : 2022-07-04DOI: 10.1080/07494467.2022.2087389
J. Besada
It is not unusual nowadays to attend a concert of contemporary music in which live performers and video projection are juxtaposed or truly interact. Internet video-sharing platforms and social media contribute to shape the way these materials are filmed and presented to the audience. My paper focuses on two composer-performers dealing with these kinds of technologies and audiovisual logics: Brigitta Muntendorf and Óscar Escudero. I pay attention to their respective pieces Public Privacy #1: Flute Cover (2013) and Custom #1 (2016). Beyond the inconsequential coincidence of a hashtag in their titles, some similar aspects of their creative processes are found, from the compositional conception to the interaction with performers for personalising the videos. I particularly consider theoretical elements of memetics for a diachronic observation of several creative choices. Finally, I evaluate the impact of participatory culture in the gestation of these pieces.
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Pub Date : 2022-07-04DOI: 10.1080/07494467.2022.2087445
Zubin Kanga
In March 2020, the COVID-19 pandemic had spread internationally, resulting in governments shutting down concert halls, theatres, and other performance spaces. In this environment, the livestreamed performance flourished, with many musicians embracing the medium, performing to online audiences from their own homes via a variety of social media platforms. Whereas many major performing arts organisations created livestreams that attempted to emulate existing paradigms of concert films, many experimental musicians found ways of subverting these conventions, creating new works that could only have been created during these lockdowns. This article gives an overview of these experimental approaches, documenting the major types of ‘lockdown music’ observed across the international experimental music scene, and exploring their play with the relationships between sound and vision, and with the perception of online liveness. The article then examines a particular case study co-created by the author and composer Damian Barbeler. All My Time is an interdisciplinary work that draws on many of these games of diegesis and syncresis. The pianist duets with an unseen pianist in another country, household appliances become chamber partners with synthesisers, gin bottles are transformed into complex percussion instruments: image and sound seem incompatible, but the audience cannot tell which is live. By documenting the important body of work created during 2020–2021, the article explores how these online performances have expanded the possibilities of interdisciplinary music and the experience of liveness online, forming a basis for a continuing examination of the long-term legacy of ‘lockdown music’.
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