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Issue No. 34

A Word about Futurism

DIALOGUE MARINETTI – POLJANSKI
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Core Issue

Marjorie Perloff – 'THE FIRST FUTURIST MANIFESTO REVISITED'. Rett Kopi: Maniffesto issue: Dokumenterer Fremtiden (2007): 152-56.
Abstract: By ‘revisiting’ the First Futurist Manifesto this paper examines the contexts in which the Manifesto was written and published, as well as its rhetorical and poetical achievements. Contextualizing Manifesto’s propositions/key-words reveals why and how the actual utopian vision of the text was put aside and largely misapprehended due to the historical circumstances, which had also led to prolonged misinterpretations in reception of Manifesto/Marinetti.
Keywords: First Futurist Manifesto, Futurism, Marinetti, speed, war, exotic, city, machine, modernism, G. Stein, Marry Nettie.
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John Heymans – FROM HELMHOLTZ’S SENSATIONS OF TONE TO RUSSOLO’S ART OF NOISE
Abstract: In his groundbreaking treatise On the Sensations of Tone as a Physiological Basis for the Theory of Music, originally published in 1863, the German physicist and physiologist Hermann von Helmholtz explores the intersections within the domain of art, science and technology. He formulates a proto-psychoacoustical theory of hearing that he proves with the help of the polyphonic sirens and other measuring devices he developed. The new way of hearing proclaimed by Helmholtz significantly promoted the rise of early electronic music in the first two decades of the 20th century and more particularly Russolo’s concept of noise and the futuristic (electro)mechanical musical instruments resulting from this.
Keywords: physical acoustics, physiological acoustics, measuring devices, electromechanical music, Helmholtz, Russolo.
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Gergely Kertész, Ádám Ignácz – RUSSOLO AND HIS TECHNICAL UTOPIA
Abstract: In our paper we put forward a new perspective for classifying Russolo’s ’Art of Noise’ as a crucial stepping stone in the development of musical phraseology at the beginning of the 20th century. Since Russolo’s art is intimately related to the machine cult that was a focal topic in the ideology of the so called futurist movement, we are investigating the ways in which the theme of the machine was represented in different musical endeavours of that time.
By contrasting Russolo’s experimental art with others such as Leo Ornstein’s, we claim that Russolo’s approach can be regarded as a revolutionary semiotic turn from the iconic, mimetic language rooted in the romantic tradition to an indexical language that was a necessary step towards modern machine music. The later revolution that utilized the technical innovations of the time using instrument machines – and by doing so self-referentially realized the technological utopia – was not only foreseen by Russolo, but he participated in the endeavour to create them.
Keywords: futurism, Russolo, progressivism, utopia, semiotics, art of noise, machine-music.
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Dragana Stojanović-Novičić – WORK OF EDGARD VARÈSE AND ‘FUTURIST MUSIC’: AFFINITIES (AND DIFFERENCES)
Abstract: The author discusses a relation between Edgard Varèse and Futurism in music. Varèse rejected to be treated as a part of the Futurist movement. He was rather sure that Futurist musicians just wanted to imitate nature; but we have to have in mind that his approach to musical Futurism was much more based on what he read in press than on his live contact(s) with projects of Futurist composers. Anyway, he was a close friend of Luigi Russolo who, although an amateur in music, should be regarded as the most prominent Futurist musician. Varèse gave a talk at the presentation of some of Russolo’s instruments at a concert in Paris in 1929.
Keywords: Edgard Varèse, Futurism, Luigi Russolo, intonarumori, rumorarmonio, Arte dei rumori, Ferruccio Busoni, Filippo Tommaso Marinetti, Henry Cowell, Umberto Boccioni, machine.
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Diane L. Glazer – AMONG FRIENDS: ITALIAN FUTURISM COMES TO AMERICA
Abstract: The arrival and transformation of Italian Futurist ideas in the salon culture of New York City in the early and mid 20th century is investigated through an exploration of the friendship between the ‘first American Futurist’ painter, Joseph Stella and the composer, Edgard Varèse. Several key paintings by Stella and two Futurist visual works by Varèse as well as their writings and participation in the artistic community in New York City clarify the unique unfolding of Futurism in this milieu.
Keywords: Joseph Stella, Edgard Varèse, Futurism, America, Painting, Music.
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Vesna Mikić – ZENITISM: A POSSIBLE VIEW ON THE AVANT-GARDE RETREATS OF THE SOLITARY MODERNIST POETICS OF JOSIP SLAVENSKI
Abstract: Dealing with connections Josip Slavenski have had with the members of Zenthist movement, this paper addresses the already in depth debated issues of Slavenski’s modernism. Although the Slavenski’s contact with Zenithist was short and occasional, and not sufficiently documented, it could be argued that some crucial aspects of his poetics are analogous to those propagated by Zenithist. Through surveying their relations, correspondence, Zenithist’s notions of music, some of Slavenski’s pieces, their connection is reconstructed showing that when it is more obvious it renders some of Slavenski’s avant-garde gestures.
Keywords: Josip Slavenski, Ljubomir Micić, Branko Ve Poljanski, Zenithism, modernism, futurism.
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New Works

Marija Nikolić – WHAT IS HIDDEN BETWEEN THE ACTS? Entr’acte, фарса-епизода за оркестар [Entr’acte, farce-episode for orchestra] by Zoran Erić
Abstract: The text discusses the latest work by Zoran Erić, Entr’acte (Između činova), farce-episode for symphony orchestra. Starting from perception of the work’s morphological aspects – from the structure of the materials and their relationships, to the dramaturgical tissue, to the author’s note to the work – we wanted to discover what is really hidden between the acts, and whether the composition which, in the author’s words, should be ‘performed between some more important things surrounding it’, can and may outshine ‘the main event’.
Keywords: Between the Acts, Zoran Erić, theatre, ostinato layer, sound vignettes, fragmentary structure, neutrality, between, farce-episode.
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Ivana Miladinović Prica – MILICA ĐORĐEVIĆ: ZVEZDOZNANČEVA SMRT – SKAMENJENI ODJECI EPITAFA U ŠUTNUTOM KRISTALU VREMENA I & II [THE DEATH OF THE STAR KNOWER – PETRIFIED ECHOES OF AN EPITAPH IN A KICKED CRYSTAL OF TIME I & II]
Abstract: This work is dedicated to the analysis of the diptych Zvezdoznančeva smrt – skamenjeni odjeci epitafa u šutnutom kristalu vremena I & II [The Death of the Star Knower – Petrified Echoes of an Epitaph in a Kicked Crystal of Time] by Milica Đorđević (1984), which the Arditti quartet premiered at the contemporary music festival Ars Musica 2009 in Brussels. Special attention was given to contemplating of the organization of music flow and the problem of the difference between the immanent characteristics of the work and the work as a perceived object, that is, the way in which it is received by interpreter/listener. Analysis of the applied composing methods shows that the observation of sound events largely depends on the music context.
Keywords: Milica Đorđević, string quartet, sonority, sound saturation, music time, music perception.
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Interpretations

Ana Kotevska – MUSICA FUTURISTA/THE ART OF NOISES. SALON LTMCD 2401
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Vesna Mikić – MUSICA FUTURISTA – THE ART OF NOISES. MUSIC AND WORDS FROM THE ITALIAN FUTURIST MOVEMENT 1909–1935, INCLUDING ORIGINAL RECORDINGS BY MARINETTI/RUSSOLO/PRATELLA (SALON LTMCD 2401, 2006)
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Views

Mirjana Veselinović-Hofman – ON RETHINKING THE RELATIONSHIP BETWEEN SPIRITUALITY AND MUSIC. Marcel Cobussen: Tresholds...
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Reviews

Ivana Perković – Kornelije Stanković, Sabrana dela: klavirska muzika – knjiga prva (2004) i Sabrana dela: Pesme za glas i klavir, muški i mešoviti hor – knjiga druga (2007) [Kornelije Stanković, Complete Works: Piano Music – Volume One (2004) and Complete Works: Songs for Voice and Piano, Male Choir and Mixed Choir – Volume Two (2007)]
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Pienickowski Robert – Dragana Stojanović-Novičić: Oblaci i zvuci savremene muzike [Clouds and Sounds of Contemporary Music]
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Jasmina Čubrilo – Vidosava Golubović, Irina Subotić, ZENIT: 1921–1926, Belgrade, 2008. Publisher: Narodna biblioteka Srbije/Institut za književnost i umetnost, Belgrade/SKD Prosvjeta, Zagreb; ISBN 978-86-7035-182-0; 532 pages; summaries in English
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Dragoslav Dević – DIMITRIJE O. GOLEMOVIĆ, PJEVANJE UZ GUSLE [SINGING WITH GUSLE]. Belgrade, Srpski genealoški centar, 2008 (Belgrade, Čigoja štampa). ISBN 978-86-83679-48-5, 206 pages
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Marina Marković – Ivana Perković Radak: Od anđeoskog pojanja do horske umetnosti, Srpska crkvena horska muzika u periodu romantizma (do 1914. godine), FMU, Beograd, 2008
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Ostojić Nenad – Sonja Marinković: Metodologija naučnoistraživačkog rada u muzikologiji / Methodology of scientific research work in musicology, Fakultet muzičke umetnosti, Belgrade + Matica srpska, Novi Sad, 2008
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Valentina Radoman – Vesna Mikić: Lica srpske muzike – neoklasicizam, Fakultet muzičke umetnosti, Katedra za muzikologiju, Belgrade, 2009
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Stefanija Leon - Tatjana Marković: Stil (I) - istorijske i analitičko-teorijske koordinate, Monografije, broj 7, Fakultet muzičke umetnosti, Katedra za muzikologiju, Beograd, 2009
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Mirjana Zakić - Dimitrije O. Golemović: Krstivoje, Društvo za očuvanje srpskog folklora 'Gradac', Valjevo, 2009
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