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Issue No. 26

Composer Speaks

Svetlana Savić – THE NEW SOUND COOKBOOK BY DIETER KAUFMANN
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Dieter Kaufmann – WHOM THE TENTH MUSE KISSES. OR THE BIRTH OF ACOUSMATIC ART OUT OF THE SPIRIT OF MUSIC, OR THE BIRTH OF ACOUSMATIC ART OUT OF THE SPIRIT OF MUSIC
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Zdravko Blažeković – A BYZANTINIST OF SERBIAN ORIGIN. A CONVERSATION WITH MUSICOLOGIST MILOŠ VELIMIROVIĆ
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Jelena Novak – MUSIC ON HAVING TIME TO DISSAPEAR. CONVERSATION WITH COMPOSER IVAR FROUNBERG
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Core Issue

Andy Hamilton – THE CONCEPT OF ACOUSMATIC
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Nico Schüler – “ACOUSMATIC” AND BEYOND: ON OTTO LASKE’S RESEARCH ON MUSICAL PROCESSES
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Studies

Ana Stefanović – VOCAL LYRICISM OF DEJAN DESPIĆ
Abstract: Vocal output by Dejan Despic, created during more than fifty years, comprises six voluminous cycles for voice and piano (harpsichord): Adriatic Sonnets (1951-1954) to the poems from the similar cycle by Jovan Ducic, Dubrovnik Songbook (1989) to the poetry by Dubrovnik’s petrarcist, Ozone of the Homeland (1991) to the verses by Desanka Maksimovic, The Circle (1992) set to ancient Japanese poetry (translated by Miloš Crnjanski) and two cycles – Djulići (Flowers Blossomed) and Uveoci (Flowers Withered) (1995) to lyrical cycles by J. J. Zmaj. Emanating from the essential composer’s interest for poetry and poetic text, this output represents encircled and yet, diversified world in which composer came to the specific vocal-lyrical poetics. That poetics is marked by linking of poems into complex cyclical wholes that, based upon selected poetry, build unified sensible threads. They are driven by moods and emotions from the realm of “pure lyric”: melancholy, longing, nostalgia. Dejan Despic’s cycles are nuances of filled and coherent lyric panorama in which different poetry luminance is accompanied by the nuances of music language and style within the distinctly individual stylistic frame.
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Tatjana Marković – ROKSANDA PEJOVIĆ – SPIRITUS MOVENS OF SERBIAN MUSIC HISTORIOGRAPHY
Abstract: This study is written on occasion of two significant anniversaries of the leading Serbian national historiographer Roksanda Pejovic (Belgrade, 1929) - 75th birthday and 45th years of work. During this long period, on one hand, Roksanda Pejovic continued efforts of her professor, Stana Djuric-Klajn, musicologist who contributed the most to the establishing Yugoslav/Serbian musicology, and, on the other, she founded herself several new research areas. Very extensive Pejovic's musicological opus presents several intermingling lines: being also a historian of arts, author connected two fields in her iconography research. Besides, she is the author of the most significant Serbian music histories up to now as well as of several histories of European music. Special dedication to the questions of the nineteenth- and the first half of the twentieth-century national music historipgraphy, resulted in monumental surveys of music performing practice (ensembles and soloists as well as music institutions) and music writings. Moreover, in this frame, two monographs about musicologist Stana Djuric-Klajn and the most significant opera conductor in Yugoslavia/Serbia after World War II, Oskar Danon, are also precious contributions to the national historiography. On the basis of all mentioned Roksanda Pejovic's interests, the paper deals also with her own personal attitudes, evaluation conclusions, positivistic methodology.
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Interpretations

Svetlana Savić – THE HISTORY OF FOUR SWEARWORDS. IVAN BRKLJAČIĆ: CUTTING EDGE
Abstract: The questions concerning humor, irony, grotesque, sarcasm and persiflage in music have inspired many musicological researches and discussions. How does Cutting Edge as a suite/cycle of curses fit into these issues? It seems that time has come for someone to deals with essential features of hither mentality. Is cursing good (sporadic) ventilation for accumulated dissatisfaction? If this should be judged by Cutting Edge then the result of such ventilation is aesthetically, as well as in technically excellent. The extra musical origin of music material and ways of music flow shaping are not crucial – energy, sharpness and wits of the piece will be experienced even without reading the author’s program note.
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Aleksandar Damjanović – SERBIAN MUSIC ON THE FESTIVAL OF EUROPEAN MUSIC IN FRANCE. March 8–13, 2005
Abstract: At The Festival of European Music which took place in March 2005 in Chalon, important town of French province Bourgogne, performers and audience attended the realization of Ivan Marković’s (a composer and pedagogue who has been living and working in France for over four decades) old time musical dream.
This year the theme was the music of Slavic peoples, with Serbia being given the place of honor. From March 8-13th cantata Vinea mea electa, Quartetto lirico by Ivan Markovic, Rosebud and cycle Five haiku songs by Rajko Maksimovic, Folksongs by Aleksandar Damnjanovic were performed at the scene of the Chalon Conservatory, as well as works of Janáček, Mokranjac, Shostakovich, Hristić, Bartók…The audience, saluting these peaces, was not indifferent to their artistic quality.
Different generation of composers (Ivan Markovic - Chalon, Rajko Maksimovic - Belgrade, Aleksandar Damnjanovic - Paris), living in three different cities for years, bear in their hearts, and some of them in music too - a spindle, a distaff, a smell of cherry...
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New Works

Vesna Mikić – SRĐAN HOFMAN: HADEDAS – PRESENTATION AND THREE DEVELOPMENTS FOR VIOLONCELLO AND PIANO: BACK TO THE FUTURE
Abstract: This paper deals with new piece by prominent Serbian composer Srđan Hofman who, for four past years, has been living in South Africa. So, the paper aims at specific “recovery” (through remembering) of data concerning Hofman’s output in order to place the Hadedas – Presentation and Three Developments for violoncello and piano (2005) in it, as well as at the specific “discovery” (again through remembering) of some new features of Hofman’s language, e.g. a turn to melody, use of some consonant intervals and tone centre, not previously present to that extent in Hofman’s pieces.
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Jelena Novak – A SYNTHETIC BREAKFAST IN A BATH. VLADAN RADOVANOVIĆ: A PRAYER BREAKFAST UNDER THE WINGS OF A WHITE ANGEL
Abstract: Vladan Radovanovic’s latest, site specific work - A Prayer Breakfast Under The Wings Of A White Angel - was premiered within 45th October Saloon, held during September and October 2004 in Belgrade. It exists both as performance and installation. Religious ritual, expected after experiencing the smell of incense, tasting of red vine and bread, introduction of the figure of white angel and angel’s song, was adjusted to the performativity of pure signs. Semiotic effects of the piece were cleaned from the ideology of religion, by the old Turkish bathroom, where it was performed. A Prayer Breakfast Under The Wings Of A White Angel establishes itself as a further problematization of media synthesis that author seeks for. However, Radovanovic’s open critique of the society is intriguing and new in his output.
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Asja Radonjić – IRENA POPOVIĆ: ZMIJSKI CAR KOJI JE POJEO SLONA (THE BOA CONSTRICTOR THAT ATE AN ELEPHANT)
Abstract: The paper deals with orchestral composition Zmijski car koji je pojeo slona by Irena Popović, performed on 13th International Review of Composers. Work is stylistically determined in framework of postminimalism and considered from analytical point of view. The research on the composition leads the author of the article to the conclusion that, although we are dealing with a student’s work which is, by its nature, limited from various technical aspects, Irena Popović rules the score with certainty and shows a clear and individual music expression, which makes her artistic poetics fresh and new, modern and contemporary, and at the same time impressionable, popular and familiar to professional as well as average amateur listener.
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Festivals and Symposia

Jean Christensen – NORDIC MUSIC DAYS 2004: A RECKONING
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Asja Radonjić – THE 29TH DAYS OF MACEDONIAN MUSIC
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Tatjana Marković – MUSIC BIENNALE ZAGREB. ISCM WORLD MUSIC DAYS. Zagreb, 15–24 April 2005
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Reviews

Romana Ribić – DŽEREMI JUDKIN: MUZIKA U SREDNJOVEKOVNOJ EVROPI (JEREMY YUDKIN: MUSIC IN MEDIEVAL EUROPE), translated from english by Ivana Perković, Belgrade, Klio, 2003 (687 pages, 95 musical examples, 68 ilustrations)
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Marijana Kocić – IVANA PERKOVIĆ RADAK: MUZIKA SRPSKOG OSMOGLASNIKA IZMEDJU 1850. I 1914. GODINE (MUSIC OF THE SERBIAN OCTOËCHOS BETWEEN 1850 AND 1914). Faculty of Music, Belgrade, 2004 (201 pp.)
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Miško Šuvaković – QUESTIONS ABOUT MUSICOLOGY – THE BOOK BY JELENA NOVAK: DIVLJA ANALIZA: FORMALISTIČKA, STRUKTURALISTIČKA I POSTSTRUKTURALISTIČKA RAZMATRANJA MUZIKE (A WILD ANALYSIS: FORMALISTIC, STRUCTURALIST AND POST-STRUCTURALIST EXAMINATIONS OF MUSIC)
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Ivana Stamatović – DRAGANA JEREMIĆ-MOLNAR, ALEKSANDAR MOLNAR: MIT, IDEOLOGIJA I MISTERIJA U TETRALOGIJI RIHARDA VAGNERA: PRSTEN NIBELUNGA I PARSIFAL (MYTH, IDEOLOGY AND MYSTERY IN RICHARD WAGNER’S TETRALOGY: THE RING OF THE NIBELUNG AND PARSIFAL). Belgrade, Zavod za udžbenike i nastavna sredstva, 2004, pp. 476. ISBN 86-17-12158-0
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Snežana Nikolajević – ROKSANDA PEJOVIĆ: MUZIKA MINULOG DOBA (MUSIC OF TIMES PAST). Belgrade, Portal, 2004
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Ivana Vuksanović – ROKSANDA PEJOVIĆ: PISANA REČ O MUZICI U SRBIJI, KNJIGE I ČLANCI (1945-2003) (THE WRITTEN WORD ON MUSIC IN SERBIA, BOOKS AND ARTICLES /1945-2003/). Faculty of Music, Belgrade, 2005
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CD reviews

Selena Rakočević – DIMITRIJE GOLEMOVIĆ: NARODNA MUZIKA PLAVA I GUSINJA. MUSLIMANSKA TRADICIJA PLAVA (THE FOLK MUSIC OF PLAV AND GUSINJE. THE MUSLIM TRADITION OF PLAV). Published by Musical Academy of Cetinje, 2003
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Ana Kotevska – NADA KOLUNDŽIJA, piano – CONTEMPORARY MUSIC. Guarnerius, 2005
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New Sound CD No. 26

1. Dieter Kaufmann: O Santa Acusmatica: La Mer (I - Fevrier), electroacoustic piece
2-6. Dejan Despić: Vernal Songs Op.167, for soprano, flute and piano
7. Vladan Radovanović: The Music Component for Synthetic Installation. A Prayer Breakfast Under the Wings of a White Angel, electroacoustic music
8-11. Srđan Hofman: Hadedas – presentation and three developments, for violoncello and piano
12-15. Ivan Brkljačić: Cutting Edge, for flute, piano and saxophone
3-8. Svetlana Savić: Re-versio 1-6