Issue No. 45
Composer Speaks
Branka Popović – ENTR'ACTE – AN INTERVIEW WITH ZORAN ERIĆ
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Memories
Ivana Ognjanović, Marko Nikodijević – GORAN KAPETANOVIĆ: IN TRACES OD MEMORY/FLASHBACKS
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Studies
Marina Marković, Blanka Bogunović – KROJENJE IN SERBIAN CHANT: APPLICATION OF COGNITIVE STRUCTURAL MODELS OF IMPROVISATION
Abstract: Serbian chant, which was formed on the territory of the Metropolitanate of
Karlovci in the late 18th
century, has been transmitted primarily by oral tradition for a long
time, despite numerous attempts to make church melodies available for liturgical use byproducing miscellaneous collections. In the process of the oral transmission of the melodies belonging to the so-called short chant (i. e. less melismatic chant), hymns of the Osmoglasnik (Octoechos) serve as a basis for krojenje (literally: tailoring), which means
the adaptation of the melody to a text. Since the procedure of krojenje involves simultaneously detaching Osmoglasnik melodies from their original texts and attaching them to the
texts from other liturgical books without notation and realized orally, improvisation is an
inherent feature of the krojenje process. Improvisation is an integral part of the creative
procedure during the act of performing, even in cases when the musical work is not altogether created by improvisation, as is the case with hymns of contemporary Serbian chant.
The relation between krojenje and certain levels of creation, initiated our interdisciplinary
– musicological and psychological – research, with the aim of determining the structure
of the improvisational process in shaping the melodies in Serbian chant, based on the
analysis and application of musical-cognitive structural models.
Keywords: Serbian chant, Osmoglasnik, Octoechos, krojenje, structural cognitive models
of improvisation, musicology, cognitive psychology of music, interdisciplinarity.
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Bogumila Mirka – PLAYING WITH TIMES. POLISH SUR-CONVENTIONALISM OF THE 1980s
Abstract: When postmodernism reached the height of intensity in the 20th
century and
was attracting the attention of Euro-American artistic critics, Polish composers proposed
an alternative way of writing music. They invented the term “sur-conventionalism” as a
way to experiment with different musical conventions from past epochs. The aim of this
paper is to describe some examples of Polish sur-conventional music written by such
composers as Paweł Szymański, Stanisław Krupowicz and Paweł Mykietyn.
Keywords: Polish sur-conventionalism, pre-composition, musical conventions, play with
listener.
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Ivana Petković – THE WIDE-AWAKE SELF.
LUIGI NONO’S STAGE ACTION AL GRAN SOLE CARICO
D’AMORE AND ITS UTOPIAN REALITY
Abstract: The phenomenon of the wide-awake self, referring to that most tense level of
consciousness that emerges from an attitude of full attention to life and its demands, is
problematized in this work in the context of a quite specific composer’s script that, although belonging to the avant-garde circle of the Darmstadt generation, actualized the
issue of political and social engagement in the domain of music. Namely, the work of
Luigi Nono is interpreted as a sort of “composer’s metaphor of a contemporary, undogmatic engagement/acting in art and culture”, as the acting of the self in modo presenti, that
is, as participation in class struggle. I will attempt to find “traces” of that class struggle in
Nono’s choice of (musical) material itself, and, by extension, in his compositional technique, which Nono himself saw as a consequence of his choice of material, using his stage
action Al gran sole carico d’amore (1974) as an example.
Keywords: wide-awake self, Luigi Nono, Al gran sole carico d’amore, utopian reality,
updating history.
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Andrija Filipović – ZONES OF NON-COMMUNICATION: MUSIC AND THE
RELATIVE IMMANENCE OF CAPITALISM
Abstract: The goal of this paper is to show not what music is, but what music as a sort of
political practice can do in the age of contemporaneity. The age of contemporaneity is
defined by the relative immanence of capitalism, which is structured as a society of control on the level of the socius. On the one hand, capitalism consists of a certain number of axioms that enable the denumeration of flows, while, on the other, the society of control forges a connection between the capitalist axiomatic and the infra-individual levels of
every (in)dividual. In an ontological and epistemological framework structured like that,
art in general and music in particular create zones of non-communication that break affective connections between the infra-individual and the trans-individual in the form of
the axiomatic and society of control. With affective non-directionality, music produces a
space-time wherein different and new connections between affects may occur. Those affective connections are not exclusively tied to axiomatic denumeration, that is, the production of surplus value, but potentially to the production of surplus life.
Keywords: affect, non-directionality, music, immanence, capitalism.
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Views
Aleksandra Kovač – MUSICAL POSTCARDS OF OUR TIME. A Personal Look at the Importance of Original Pop Songs Written
for Mainstream Films
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Branka Radović – THE 2014 MOKRANJAC DAYS
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Interpretations
Rade Pantić – “THE HERO’S VOICE LET US FOLLOW, MAY TITO LEAD US”:
AN INTERPRETATION OF THE PHENOMENON OF SONGS
ABOUT TITO BASED ON THE THEORY OF IDEOLOGICAL
INTERPELLATION
Abstract: This article offers an interpretation of songs about Josip Broz Tito based on the
theory of the ideological interpellation of individuals into subjects, which was first formulated by Louis Althusser and then expanded by Rastko Močnik. The first part of the essay
is a brief summary of Althusser’s and Močnik’s respective theories of ideology, ideological
interpellation, and the participation of ideological mechanisms of identification in the processes of the reproduction of social systems and class domination. These theories are then
applied to songs about Tito as a case study, attempting to explain the mechanisms whereby
these songs produced the “Tito effect” as an instance of identifying with “the subject supposed to know”, which interpellated the subjects of socialist Yugoslavia. Two cycles of
songs about Tito are singled out, in an attempt to reveal the different modes whereby they
produced the effect of ideological interpellation and simultaneously trace the effects of
these interpellation processes in the mechanisms of reproducing the Yugoslav state at two different historical junctures. Finally, using the concept of “the subject supposed to believe”, I will try to explain the popularity of these songs today and the mechanisms of
identifying with them at a time when they no longer produce the effect of domination.
Keywords: Louis Althusser, Rastko Močnik, Josip Broz Tito, ideology, ideological inter
pellation, identification, Yugoslavia, Marxism, psychoanalysis.
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Analysis
Miloš Zatkalik – TELEOLOGICAL STRATEGIES OF NONTONAL MUSIC:
THE CASE OF MILAN MIHAJLOVIĆ
Abstract: Two basic strategies enable non-tonal music to be goal-oriented. One is to establish a referential sonority that would serve as the goal of musical motion. While both
this sonority and the processes that steer the music flow towards it may be created contextually, in many compositions the referential role is performed by chords that approximate the harmonic series. The other strategy establishes as the goal the exhaustion of a
given set of entities: most commonly the use of all pitch classes of the chromatic collection, but also other elements, such as all intervals, all possible transpositions of the giventone collection etc. Both strategies are well instantiated in the composition Eine kleine
Trauermusik by Milan Mihajlović. There is also a teleological aspect of this composition
that transcends pure musical analysis and is explicable in terms of music as a metaphorical representation of life processes.
Keywords: nontonal music, teleology, prolongation, pitch hierarchy, completion, Milan
Mihajlović.
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New Works
Jelena Novak – VIVIER REENACTED: SINGING BEYOND MASCULINE
Abstract: Vivier: A Night Report is a kind of poetical archive of musical details, protocols, experiences, concepts, memories, fears, desires and sorrows connected to Canadian
composer Claude Vivier’s (1948-1983) unusual destiny. All characters from Marko
Nikodijević’s opera originate from Vivier’s life and works but they are re-indexed, or
reenacted differently. The countertenor voice of Vivier is what primarily makes him different from all the rest of the characters. Even it could be claimed that the rest of the voices
are dominated by Vivier’s vocal presence on stage. Vivier stands as symbol for minority, queer, vulnerable. During his short life he was trying to get his own voice, voice as the
personification of freedom and possibility to be heard. Finally he gets vivid, imaginative
opera in which both his physical and personified voices are shining by creativity that his
art emanate. He gets his singing voice, and he finally gets heard.
Keywords: Claude Vivier, opera/postopera, voice-gender relation.
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Research and Tradition
Jernej Weiss – ANTON FOERSTER'S GORENJSKI SLAVČEK: SLOVENIA’S
FIRST NATIONAL OPERA?
Abstract: Particularly at the end of the 19th
century, the constantly rising Slovenian national consciousness saw a great opportunity in theatre and opera, which became the
centre of a national movement with which the young bourgeoisie identified. Gorenjski
slavček (The Nightingale of Upper Carniola), an operetta by Anton Foerster, one of the
leading Czech composers in Slovenia, was staged for the first time in Ljubljana in 1872
by the Dramatic Society and, after being adapted for the operatic stage in 1896, soon became the most popular and most frequently performed Slovenian stage-music composition. This warm reception led the Slovenian bourgeoisie of that time to believe that
Gorenjski slavček could become the first Slovenian national opera.
Considering the overall image of Foerster's Gorenjski slavček in music history and the
social and political issues of the time when it was written, the composition seems more
like a warm and rather undemanding expression of intimacy than a national opera in the
true sense of the word. For adequate aesthetic consideration, it is therefore necessary to understand the opera primarily as a document of its time and the circumstances of its origin, in all its simplicity and naivety. Although from today’s perspective the opera does not
attain an above-average standard and so could not be successful on foreign opera stages,
it is still interesting because of the specific role it played as a national agitator in the period
discussed.
Keywords: Anton Foester, Gorenjski slavček, opereta, opera, remakes, Hilarion Benišek.
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Meri Kumbe – MUSIC IN ALBANIA THROUGH THE MEDIUM OF PAPER
MUSICAL MANUSCRIPTS
Abstract: The aim of this paper is to present the musical Byzantine manuscripts, kept in
the Central State Archive of Albania. It particularly focuses on the historical importance
they had in the evolution of religious music in Albania and Albanian music per se, whilst
providing important information related to the specificity of names and other music elements. This paper also focuses on the characteristics of these “papers”, and “papers” in
general, published through the medium of paper, from papers (article, essay, study) as a
“text”.
Keywords: Musical manuscripts, Albania, Byzantine music, musical notation, ectophonetic notation.
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Romana Ribić – THE STRUCTURE, CONTENTS, AND SIGNIFICANCE OF
PERIODICALS IN THE HOLDINGS OF THE LIBRARY
OF THE FACULTY OF MUSIC IN BELGRADE
Abstract: This paper presents the structure, contents, and significance of Yugoslav, Serbian, and foreign journals on music and other topics (literature, pedagogy, library science
and IT, culture, art in general) in the holdings of the Library of the Faculty of Music in
Belgrade. This collection constitutes a large section of the overall holdings of the Library.
The paper discusses current, less current, and archived periodicals and focuses on the most
frequently used Serbian and foreign, mainly scholarly, music journals, with their impact
factor (IF) measured in the last two years. Also, the paper details the Library’s acquisition
policy, processing treatment of the journals (in its book inventory, card catalogue, and
classical alphabetic catalog), and the Library’s inadequate storage facilities.
Keywords: Music Faculty Library, periodicals, structure, content, processing, acquisition
policy, storage.
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Reviews
Milica Gajić – Mirjana Živković: Interakcija
muzike i vremena, zbirka tekstova
[Interaction of Music and Time:
Collected Writings].
Belgrade: Faculty of Music, 2014.
396 pp. ISBN 978-86-88619-45-5
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Nadežda Mosusova – Vladimir Jovanović: Kamerna opera
Madlenianum [The Madlenianum Chamber Opera]
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Selena Rakočević – Нице Фрациле
Трагом античких метричких
стопа – компаративна
етномузиколошка проучавања
[Nice Fracile, In the Footsteps of Ancient Metrical Feet – Studies in
Comparative Ethnomusicology].
“Alumni” Edition
Academy of Arts,
University of Novi Sad
Novi Sad, 2014
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Ivana Ilić – Vladimir Tošić: Vokalni kontrapunkt
renesanse [Renaissance Vocal
Counterpoint]. Belgrade: Faculty of
Music, 2014. 371 pp.
ISBN 978-86-88619-52-3].
Музика за клавир [Piano Music].
Belgrade: Faculty of Music, 2014; 204
pp. ISBN 979-0-802022-04-1].
Музика за клавир [Piano Music], CD
[Belgrade: Faculty of Music, 2014.
ISBN 978-86-88619-53-0]
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Adriana Sabo – Snimci svetovne horske muzike.
Imaginarni muzej Mokranjčevih dela [Recordings of Secular Choral Music. Imaginary Museum of Moranjac's Works]. Enriko Josif, kamerna muzika [Enriko Josif, Chamber Music].
Srpska muzika za klavir. Ženske priče [Serbian Music for Piano. Women's
Stories]. Balkan Bolero. Chamber
Music of Isidora Žebeljan.
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Festivals and Symposia
Branka Popović – The 23rd International Composers’
Review
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Dunja Njaradi – Fourth Symposium of the ICTM
Study Group on Music and Dance
in Southeastern Europe
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Radoš Mitrović – Gaudeamus Muziekweek, Utrecht,
10–14 September 2014
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Defended Theses
Anica Sabo – Испољавање симетрије у музичком
облику – питања методологије
анализе [The Manifestation of Symmetry in
Musical Form – Issues in Analytical
Methodology]
Summary of Doctoral Dissertation
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Jelena Arnautović – Музички фестивали у Србији
у првој деценији 21. века
као места интеркултуралних
дијалога [Serbian Musical Festivals in the
2000s as Sites of Intercultural
Dialogues]
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