Issue No. 37

Igor Radeta – INTERVIEW WITH KRZYSZTOF PENDERECKI
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Mirjana Veselinović-Hofman – AIR, GROUND AND WATER OF A CAPITAL OF SILENCE IVANA STEFANOVIĆ’S RADIOPHONIC EPIC POEM METROPOLA TIŠINE / STARI RAS [METROPOLIS OF SILENCE / OLD RAS]
Abstract: In her creative opus, Ivana Stefanović uncovers the sounds of the natural environment, in their full richness and stratified connotations. The ambiant sounds she uses, have a special meaning in her work, particularly when they act poetically and aesthetically as designators, functionalized as aspects of silence. And even more so when they demonstrate a culturological, archaeological dimension of silence. This text examines the interference of the silence of a historical and cultural ambiance with the inner, perceptional silence of a personal artistic meditation, which is pointed out by Ivana Stefanović’s radiophonic epic poem Metropola tišine / Stari Ras (1992).
Keywords: Ivana Stefanović, Stari Ras, silence, samples, acoustic signposts, acousmatic sound, object, radiophonic processing.
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Bogumila Mika – NOVELTY IN POLISH MUSIC AVANT-GARDE DISCUSSIONS IN THE LATE 1960s AND EARLY 1970s
Abstract: In this paper, I aim to describe the ongoing discussion in the late 1960s and early 1970s on the pages of the Polish musical press concerning the category of ‘novelty’. This appellation, the consequence of progress, together with experiments in the main value of modernity, lost its meaning with the passage of time, as a result of reintroducing, in newly composed pieces, the heritage and traditional values. Outstanding Polish critics, in their articles raised the issues of the function of avant-garde art, of its new relation to the listener, of creative experimentation, all of which constitute the category of ‘novelty’.
Keywords: avant-garde in art, novelty, experiment, innovations, serialism, aleatorism, happening, relation between composer and listener
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Alexandros Charkiolakis – THE WAR REQUIEMS BY BENJAMIN BRITTEN AND DMITRI KABALEVSKY: A STORY OF DIFFERENCES
Abstract: In this paper we aim to compare the War Requiem by Dmitri Kabalevsky and the War Requiem by Benjamin Britten, mainly in terms of political ideology. We will suggest a different approach concerning the creation of the Kabalevsky’s work as a direct answer to the West and we will try to compare the two pieces in terms of poetical text and the use of children’s choir.
Keywords: pacifism, Soviet Union, Second World War, requiem, secular.
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Anna Scott – REINTERPRETING MICHAEL MUSGRAVE AND BERNARD D. SHERMAN’S PERFORMING BRAHMS: EARLY EVIDENCE OF PERFORMANCE STYLE
Abstract: Part review, part reinterpretation, this article places Michael Musgrave and Bernard D. Sherman’s brilliant 2003 compendium of essays entitled Performing Brahms: Early Evidence of Performance Style, within the context of today’s burgeoning field of practice-led research into historical Brahms performance. In spite of ever-expanding interest in historically-informed performance practices, the piano music of Johannes Brahms continues to endure a degree of negligence – perhaps because modern ears have yet to acclimatize to the sounds of the early recorded evidence. While this volume goes a long way towards the editors’ stated goal of reinvigoration of Brahmsian performance, some of the contributors’ suspicious attitudes towards late 19th/early 20th century performance styles are also laid bare – leaving modern performers more aware than ever of the historical evidence, yet too afraid to tackle it head-on at their instruments. Nearly a decade later, Performing Brahms remains both the most authoritative volume of collected writings on the subject, and a potent reminder that today’s Brahmsian pianist-researcher must continue to paddle upstream when trying to approach a more historically-informed style of Brahms performance.
Keywords: Brahms, piano, historically-informed performance, performance history, performance criticism, historical performance.
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Vesna Mikić – FROM (LISTENING TO) MOVING MIRRORS TO (LISTENING THROUGH/IN) MIRRORS IN MOTION – SRĐAN HOFMAN: LOOKING AT THE MIRRORS OF ANISH KAPOOR FOR TWO AMPLIFIED HARPS AND LOGIC PRO SOFTWARE
Abstract: The paper analyses and interprets Srđan Hofman’s electroacoustic piece Looking at the Mirrors of Anish Kapoor for two amplified harps and Logic Pro software (2010). This interpretation is based upon the concept of remediation, introduced by Bolter and Grusin in 1999 and further developed by Lev Manovitch (2001) as a way of understanding the co-existence and interdependence of old and new media. This concept enables further exploration of the issues raised by the Hofman’s piece, since it was inspired by Anish Kapoor’s installation Mirrors (Guggenheim Museum – Bilbao, 2010), one of them being possible remediation of visual into acoustic.
Keywords: Srđan Hofman, Anish Kapoor, electroacoustic music, remediation, Serbian contemporary music.
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Euđen Činč – MELODY AS AN ELEMENT OF STUDY OF FOLK MUSIC INFLUENCE ON ROMANIAN BANAT CHURCH SINGING
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Ivana Miladinović Prica – MUSIC AND THEATRE. The 19th International Review of Composers, Belgrade, 19–23 November 2010
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Stefan Cvetković – KoMA ’7 FESTIVAL
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Mirjana Veselinović-Hofman – FANTASY AND MUSICAL THINKING. TIJANA POPOVIĆ MLAĐENOVIĆ: Procesi panstilističkog muzičkog mišljenja [Processes of Pan-Stylistic Musical Thinking]. Belgrade, Department of Musicology, Faculty of Music Art, Musicological Studies Series – Dissertations, Vol. 2, 2009, 533
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Sonja Marinković – Manja Radulović Vulić: Muzička kultura Crne Gore (XIII-XV vijek) [Music Culture of Montenegro (XIII-XV Centuries)]. CANU, Podgorica, 2009, 480
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Madalina Diaconu – REDISCOVERING HARMONY AND ENGAGEMENT. ARNOLD BERLEANT’S ENVIRONMENTAL AND SOCIAL AESTHETICS. Arnold Berleant Sensibility and Sense. The Aesthetic Transformation of the Human World. Exeter: Imprint Academic, 2010. Collection St Andrews Studies in Philosophy and Public Affairs. ISBN 978184540 0767 (pbk); 978184540 1733 (cloth), 232 p.
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Nice Fracile – Bartók Béla: Szerb népzenei gyüjtése Fonogramok a Bánátból 1912. Szerb zenei hagyományok I. [Collection of Phonographic Recordings of Serbian Folk Music from Banat, 1912. Legacy of Serbian Folk Music I]. Compact Disc digital audio + CD extra TM, R – e – DISC 101. Budapest: Vujicsics Association, Eredics Gábor, 2004
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Issue No. 37

Composer Speaks

Studies

Interpretations

New Works

Research and Tradition

Festivals and Symposia

Reviews

CD Reviews