Pub Date : 2022-01-02DOI: 10.1080/07494467.2022.2033568
R. Cook
What does it mean to say that a whale has a voice, that a whale sings? Why is it important to human beings to say that whales sing? On the one hand, the use of musical terms to describe cetacean vocalisation is a matter of convenience. On the other hand, the history of human reception of these sounds shows that the usage is a trace of a determination and a desire: a determination to portray cetaceans as intelligent, articulate creatures; a desire to know of what they sing, and perhaps to sing with them. In this paper, I interpret George Crumb’s Vox Balaenae as both a response to the voices of whales and as an elegy of sorts that acknowledges the incommensurability of cetacean and human voices. My interpretation is both historical and music-analytical, and begins by exploring the subtle and occasionally not-so-subtle campaign in the late 1960s and early 1970s by Scott McVay, Roger Payne, and others to marshal public support for a whaling ban and conservation, an effort that included supplying composers, Crumb among them, with tapes of humpback whale vocalizations. With this context in place, I show how—as in much of Crumb’s music—shifting referential pitch-class collections articulate the gulf between the cetacean song we hear but cannot sing, and human music to which we do not—and likely never will—know if whales are listening.
{"title":"Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae","authors":"R. Cook","doi":"10.1080/07494467.2022.2033568","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033568","url":null,"abstract":"What does it mean to say that a whale has a voice, that a whale sings? Why is it important to human beings to say that whales sing? On the one hand, the use of musical terms to describe cetacean vocalisation is a matter of convenience. On the other hand, the history of human reception of these sounds shows that the usage is a trace of a determination and a desire: a determination to portray cetaceans as intelligent, articulate creatures; a desire to know of what they sing, and perhaps to sing with them. In this paper, I interpret George Crumb’s Vox Balaenae as both a response to the voices of whales and as an elegy of sorts that acknowledges the incommensurability of cetacean and human voices. My interpretation is both historical and music-analytical, and begins by exploring the subtle and occasionally not-so-subtle campaign in the late 1960s and early 1970s by Scott McVay, Roger Payne, and others to marshal public support for a whaling ban and conservation, an effort that included supplying composers, Crumb among them, with tapes of humpback whale vocalizations. With this context in place, I show how—as in much of Crumb’s music—shifting referential pitch-class collections articulate the gulf between the cetacean song we hear but cannot sing, and human music to which we do not—and likely never will—know if whales are listening.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"4 - 29"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43391017","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 : 2022-01-02DOI: 10.1080/07494467.2022.2033571
Abigail Shupe
In this essay, I analyze how Crumb's Black Angels relates to the Vietnam War. I trace a history of this association through reviews of the piece's performances and shows that reviewers began connecting it with Vietnam after the American withdrawal and the end of the war in 1975. Through a comparison with Tim O’Brien's The Things They Carried ([1990] 1998. New York: Broadway Books), the analysis shows that listeners thematically connect aspects of Black Angels with the Vietnam War. Themes of blurriness, and unreliable narrator, trauma, and morality connect the texts. Using Lochhead's concept of musical things, and O’Brien's notions of happening-truth vs. story-truth, the analysis relates issues of musical structure to the novel to show how the piece conveys presence related to the Vietnam War.
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Pub Date : 2022-01-02DOI: 10.1080/07494467.2022.2033573
P. Lalitte
Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, as well as the tempo palette offer performers a high degree of freedom in their interpretation. Seven recorded performances of the work, covering a period of more than forty years (1975–2017) are compared according to the methods I developed during previous studies (Lalitte, Philippe. 2015. Analyser l’interprétation de la musique du XXe siècle. Une analyse d’interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris: Hermann; Lalitte, Philippe. 2018. “L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche.” In François-Bernard Mâche: Le poète et le savant face à l’univers sonore, edited by Geneviève Mathon and Marta Grabocz, 299–318. Paris: Hermann; Lalitte, Philippe, and Vincent Grepel. 2017. “Prêt-à-porter ou coupe sur mesure? Liberté et contraintes dans l’interprétation de la Sequenza III de Berio.” Filigrane 22.). The article sheds light on issues such as the fidelity to the score, the singularity of some interpretations, the impact of texture on the temporality of performance, and the potential effect of the number of musicians in the ensemble.
乔治·克鲁姆的《夏日夜晚的音乐》（Makrokosmos III，1974）是1945年后创作的第一部作品，使用了贝拉·巴托克在他的《双钢琴和打击乐奏鸣曲》中开创的同一合奏团。本文旨在探讨《夏日夜晚的音乐》表演中时间性与质感的关系。色彩和密度方面的高度多样化的纹理，以及节奏调色板，为表演者提供了高度的诠释自由度。根据我在之前的研究中开发的方法，对这项工作的七项记录表演进行了比较，这些表演涵盖了40多年（1975年至2017年）（Lalitte，Philippe，2015）。二十世纪音乐解释分析。联合国对Dix pièces的注册解释进行了分析，以了解György Ligeti的五大事件。巴黎：赫尔曼；拉利特，菲利普。2018年，“Sopiana pour flûte，钢琴和乐队de François Bernard Mâche。”在《François BernardMâche:Le poète et Le savant faceàL’univers sonore》中，由Geneviève Mathon和Marta Grabocz编辑，299–318。巴黎：赫尔曼；拉利特、菲利普和文森特·格雷佩尔。2017年。“Prêtà-porter ou coupe sur mesure？Libertéet contractes dans l’interpreétation de la Sequenceza III de Berio。”Filigrane 22.）。这篇文章揭示了一些问题，如对乐谱的保真度、一些诠释的独特性、质感对表演时间性的影响，以及合奏团中音乐家数量的潜在影响。
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Pub Date : 2022-01-02DOI: 10.1080/07494467.2022.2033569
Kristina L. Knowles
Despite a growing body of theoretical work on the music of George Crumb, surprisingly little has been said about his use of rhythm and metre, elements which are often more aurally accessible than complex pitch structures and which constitute a recognisable aspect of Crumb’s style. Much of Crumb’s output is characterised by a unique combination of metric ambiguity with clear and often recurrent rhythmic gestures whose use and juxtaposition creates varying levels of metricity. A significant portion of his music can then be situated in the middle of a spectrum that ranges from completely non-metrical to clearly metrical. The result is a unique rhythmic language that stringently avoids large-scale metrical structures but makes frequent use of localised metrical gestures and brief moments of metrical emergence. These rhythmic and metric structures are then used in different ways to create a range of temporal and formal effects. This paper focuses on the rhythmic and metric characteristics of motives from several pieces by George Crumb. Emphasis will be placed on a particularly interesting case in the final movement from Crumb’s Vox Balaenae, where the repetition and shifting musical context of a small set of rhythmic motives results in a process of metrical emergence and dissolution that contributes to the arch form of the piece.
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Pub Date : 2022-01-02DOI: 10.1080/07494467.2022.2033574
Yati Durant
The following discussion fragments between George Crumb (GC) and Yati Durant (YD), transcribed from audio or video recordings made between 2013 and 2018, took place at Crumb’s residence in Media, Pennsylvania. The conversations have been transcribed and edited for clarity without altering the original meanings. In the case of discussions on works or composers, these have been indicated in the section headings or are referred to directly in the interview dialogue.
{"title":"Interviews with George Crumb 2013–2018","authors":"Yati Durant","doi":"10.1080/07494467.2022.2033574","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033574","url":null,"abstract":"The following discussion fragments between George Crumb (GC) and Yati Durant (YD), transcribed from audio or video recordings made between 2013 and 2018, took place at Crumb’s residence in Media, Pennsylvania. The conversations have been transcribed and edited for clarity without altering the original meanings. In the case of discussions on works or composers, these have been indicated in the section headings or are referred to directly in the interview dialogue.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"108 - 126"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47856615","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 : 2021-11-02DOI: 10.1080/07494467.2021.2022895
Nikola Komatović
The historical-biographical method takes precedence in the first part of this study, focusing on the analysis of the heterogeneous and changing context of Ljubica Marić’s (1909–2003) work throughout her long life, with an overview of the most up-to-date biographic and monographic literature on the subject. This study also describes the composer’s research of the Byzantine musical heritage in Serbia––namely, the system of religious chants known as the Octoëchos or the Book of Eight Tones. These analytical considerations aim to determine how conflicting creative tendencies came to be reflected in Marić’s works through an analysis of two pieces from her opus magnum: Oktoiha 1 [Octoïcha 1] for symphony orchestra (1958–59; rev. 1998) and Vizantijski koncert [Byzantine Concerto] (1959) for piano and orchestra, with an overview of the genesis of her musical language. The discussion of the two selected works is followed by a consideration of their critical reception when they premiered. Finally, the paper reflects on Ljubica Marić’s later works and her legacy today.
{"title":"How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources","authors":"Nikola Komatović","doi":"10.1080/07494467.2021.2022895","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022895","url":null,"abstract":"The historical-biographical method takes precedence in the first part of this study, focusing on the analysis of the heterogeneous and changing context of Ljubica Marić’s (1909–2003) work throughout her long life, with an overview of the most up-to-date biographic and monographic literature on the subject. This study also describes the composer’s research of the Byzantine musical heritage in Serbia––namely, the system of religious chants known as the Octoëchos or the Book of Eight Tones. These analytical considerations aim to determine how conflicting creative tendencies came to be reflected in Marić’s works through an analysis of two pieces from her opus magnum: Oktoiha 1 [Octoïcha 1] for symphony orchestra (1958–59; rev. 1998) and Vizantijski koncert [Byzantine Concerto] (1959) for piano and orchestra, with an overview of the genesis of her musical language. The discussion of the two selected works is followed by a consideration of their critical reception when they premiered. Finally, the paper reflects on Ljubica Marić’s later works and her legacy today.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"40 1","pages":"681 - 698"},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47639072","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 : 2021-11-02DOI: 10.1080/07494467.2021.2022891
I. Prica
John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in Serbia from the 1970s to the present day, ranging from transpositions and re-mediations of his aesthetic positions and poetic moves, to identification with them. Particular attention is paid to the appropriation of Cage’s concepts of silence, indeterminism, and chance operations, as phenomena highlighting the maturing of receptive views of Cage in Serbian music, in relation to the oeuvres of the composers in the group Opus 4 (Miroslav Savić, Milimir Drašković, Miodrag Lazarov Pashu, and Vladimir Tošić) and Katarina Miljković. Also, Cage’s appearance with the Merce Cunningham Troupe at the Sixth Belgrade International Theatre Festival in 1972 is considered in the context of both cultural connections and the resonances of his impact on the Serbian and Yugoslav art scene.
{"title":"The Cage Effect from a Serbian Perspective","authors":"I. Prica","doi":"10.1080/07494467.2021.2022891","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022891","url":null,"abstract":"John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in Serbia from the 1970s to the present day, ranging from transpositions and re-mediations of his aesthetic positions and poetic moves, to identification with them. Particular attention is paid to the appropriation of Cage’s concepts of silence, indeterminism, and chance operations, as phenomena highlighting the maturing of receptive views of Cage in Serbian music, in relation to the oeuvres of the composers in the group Opus 4 (Miroslav Savić, Milimir Drašković, Miodrag Lazarov Pashu, and Vladimir Tošić) and Katarina Miljković. Also, Cage’s appearance with the Merce Cunningham Troupe at the Sixth Belgrade International Theatre Festival in 1972 is considered in the context of both cultural connections and the resonances of his impact on the Serbian and Yugoslav art scene.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"40 1","pages":"595 - 625"},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42729551","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 : 2021-11-02DOI: 10.1080/07494467.2021.2022884
Laura Emmery
During the course of the twentiethand twenty-first centuries, Serbia underwent several major political and socio-economic reorderings, which had a tremendous impact on its cultural and musical life. The beginning of the twentieth century marks a significant development in all spheres of Serbian cultural life: the founding of cultural institutions (theatres, concert halls, and opera houses), the formation of professional orchestras and ensembles, and the establishment of music schools. Serbian composers during this period continued the romantic tradition. As Sonja Marinković observes, the development of Serbian music can be examined through three stages of romanticism: preromantic (1830s– 1880s), romantic (1880s–1914), and late-romantic, paving the road for modernism (until the 1950s) (Marinković 2008, 71). The most notable first-generation (romantic) composers were Josif Marinković (1851–1931) and Stevan Mokranjac (1856–1914), who among his other achievements recorded Serbian Orthodox church chants,Octoechos (or eight tones) in staff notation in 1908. The second generation of Serbian composers, who continued writing in the romantic tradition, included the ‘Belgrade School’ composers––Stanislav Binički (1872–1942), Petar Krstić (1877–1957), Milenko Paunović (1889–1924), and Vladimir D̵orde̵vić (1869–1938)––who honed their compositional skills at the leading music centres in Europe at the time, such as Munich, Prague, and Vienna. Right before the First World War, the works of three ‘giants’ of Serbian music––Petar Konjović (1883–1970), Stevan Hristić (1885–1958), and Miloje Milojević (1884– 1946)––started to appear. However, the impeding wars between 1912 and 1918 in which Serbia engaged, disrupted and abolished musical life in the country. Serbian cultural life flourished during the interwar period––Belgrade, the Yugoslav capital, became the cultural centre of the country, with the formation of a Contemporary Music Review, 2021 Vol. 40, Nos. 5–6, 471–481, https://doi.org/10.1080/07494467.2021.2022884
{"title":"INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction","authors":"Laura Emmery","doi":"10.1080/07494467.2021.2022884","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022884","url":null,"abstract":"During the course of the twentiethand twenty-first centuries, Serbia underwent several major political and socio-economic reorderings, which had a tremendous impact on its cultural and musical life. The beginning of the twentieth century marks a significant development in all spheres of Serbian cultural life: the founding of cultural institutions (theatres, concert halls, and opera houses), the formation of professional orchestras and ensembles, and the establishment of music schools. Serbian composers during this period continued the romantic tradition. As Sonja Marinković observes, the development of Serbian music can be examined through three stages of romanticism: preromantic (1830s– 1880s), romantic (1880s–1914), and late-romantic, paving the road for modernism (until the 1950s) (Marinković 2008, 71). The most notable first-generation (romantic) composers were Josif Marinković (1851–1931) and Stevan Mokranjac (1856–1914), who among his other achievements recorded Serbian Orthodox church chants,Octoechos (or eight tones) in staff notation in 1908. The second generation of Serbian composers, who continued writing in the romantic tradition, included the ‘Belgrade School’ composers––Stanislav Binički (1872–1942), Petar Krstić (1877–1957), Milenko Paunović (1889–1924), and Vladimir D̵orde̵vić (1869–1938)––who honed their compositional skills at the leading music centres in Europe at the time, such as Munich, Prague, and Vienna. Right before the First World War, the works of three ‘giants’ of Serbian music––Petar Konjović (1883–1970), Stevan Hristić (1885–1958), and Miloje Milojević (1884– 1946)––started to appear. However, the impeding wars between 1912 and 1918 in which Serbia engaged, disrupted and abolished musical life in the country. Serbian cultural life flourished during the interwar period––Belgrade, the Yugoslav capital, became the cultural centre of the country, with the formation of a Contemporary Music Review, 2021 Vol. 40, Nos. 5–6, 471–481, https://doi.org/10.1080/07494467.2021.2022884","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"40 1","pages":"471 - 481"},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44322309","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 : 2021-11-02DOI: 10.1080/07494467.2021.2022887
Melita Milin
Vladan Radovanović (Serbian Cyrillic: Владан Радовановић, b. 1932) is an intriguing creative figure––a composer and a visual artist, author of literary prose as well as a poet, passionately striving to bring together all of those artistic disciplines into his personal and original approach to synthesising art. Right from the very beginning of his creative work, Radovanović systematically explored the possibilities of expressing himself in different individual arts. At the same time, he was particularly attracted to the idea of extending the limits of art, as well as to various modalities of synthesising them. Since both of those trajectories in Radovanović’s creativity began in his early youth, which he kept developing throughout his life, one may surmise that this was his long-term plan, and that these were strategies that simultaneously developed in multiple directions. This article provides a concise survey of the main trajectories in Radovanović’s accomplishments in monomedia and polymedia arts, focusing on an analytical discussion of the artist’s approach to music in his ‘Art Synthesis’ works.
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Pub Date : 2021-11-02DOI: 10.1080/07494467.2021.2022885
I. Medić
This article details the various activities at the Third Program of Radio Belgrade that contributed to the presentation, promotion, and expansion of ‘new music’ in Serbia (then a constituent republic of the SFR Yugoslavia) during the 1960s and 1970s. These activities ranged from the foundation of the first professional Electronic Studio in Serbia in 1972 to the organisation of concerts by soloists and ensembles, mostly from abroad, specialising in performing the most advanced contemporary music at the time. Moreover, the music broadcast on the Third Program inspired the most adventurous Serbian composers to embark on mastering the newest compositional techniques and the latest technologies of that time. My aim is to discuss the numerous ways in which the Third Program contributed to the development and flourishing of the avant-garde music scene in Serbia.
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