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New Sound 48

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Issue No. 47

Composer Speaks

Vesna Mikić – (FOOT)NOTES ON MUSIC. An Interview with Kornelije Bata Kovač
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In Memoriam

Vesna Karin – OLIVERA VASIĆ (August 18, 1946 – October 28, 2015)
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Studies

Bojana Matejić – VERGEBLICHES WARTEN? BADIOU, EVENT, AND HUMAN EMANCIPATION IN MUSIC
Abstract: The polemic on waiting for human emancipation in music belongs to the modern aesthetic plane, where Adorno’s and Heidegger’s manuscripts occupy a specific place. However, while Heidegger’s ontology of the waiting implies waiting for the metaphysics of presence (Will), Adorno maintains that music should rather express “waiting in vain” (vergebliches Warten) by its spatio-temporal structuration, given that “after Auschwitz” philosophy with metaphysical assumptions is no longer possible. In the light of Adorno’s modern interpretation of waiting in vain, my aim is to examine Badiou’s conception of the Event-Subject in music. The thesis of this paper is that Adorno’s concept of waiting in vain expresses defeatism of the known (perseverance-of-self) – which, due to its own character of filled affect of disappointment, does not leave time-space for newness. On the trail of Badiou’s ontology of subtraction, I oppose the conception of affirmative, non-eschatological, chiliastic expectation (“surplus of waiting”) to the passive waiting in vain in music.
Keywords: Vergebliches Warten (“waiting in vain”), non-eschatological, chiliastic expectation, Event, Subject of music, Wagner, Adorno, Badiou.
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Dragana Stojanović – STRATEGIES OF WORKING WITH THE SONOROUS BODY: IDENTIFYING OTHER/NEW WRITING TECHNIQUES IN tHE FIElD OF BODILY SOUND EXPRESSION
Abstract: The issue of the entanglement and interdependence of corporeality and textuality in the process of creating writing attracts attention both in the field of sound and of semantic and bodily expression in sound. When the body is established in the process of semanticization (and re-semanticization), as a specific threshold of writing, the place and role of the sonorous body forms the focus of theoretical research in that discursive space. This text explores the body’s relational connection with writing, focusing on the always present transformative potential of speaking writing (again) as a consequence and condition of bodily expression in sound.
Keywords: the body, corporeality, textuality, writing, working with writing aloud.
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Mina Božanić – THE MUSICAL SPACE: A SKETCH FOR A BROADER MUSICOLOGICAL–SEEMIOTICAL DISCUSSION
Abstract: The subject of this paper is an examination of the analytical competences of musical semiotics and prolongation analysis applied to the organisation of the musical space in the music of the 20th century. By means of presenting one of the possible ways of organizing the musical space – the organisation of pitches and registers – one can derive the synthesis of Eero Tarasti’s semiotics of the musical space and certain segments of prolongation analysis. Starting from the assumption that the organisation of the musical space is the key determinant of the music of the 20th century (Masnikosa, 2010: 242), I will argue that the musical space has its ‘stronghold’ in the works of European high modernism. By confronting Tarasti’s model of the musical space with some segments of prolongation analysis (more precisely, with the theory of harmony by Olli Väisälä and tonal pitch spaces by Fred Lerdahl, with the addition of the theory of musical forces by Steve Larson), I will try to show how the organisation of the musical space can be implied in the analysis of Iannis Xenakis’s (1922–2001) work Metastaseis (1953/4).
Keywords: the musical space, the organisation of the musical space, Tarasti, prolongation analysis theory, Xenakis.
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Nikola Samardžić – THE JAZZ AVANT-GARDE IN THE AMERICAN ECONOMY
Abstract: Jazz originated and evolved in a free market economy and complex mutual relations with unregulated social conjuncture. Coping with social challenges during the Progressive era (1890-1920) contributed to the partial emancipation of marginalized groups; however jazz, in its first decades, remained directed to the general need for mass entertainment (the “jazz era” in the 1920s). The artistic development of jazz was therefore temporarily delayed during the economic crisis, Great Depression and the new recession of the late 1930s (1929-1938). The first movement in jazz that could be considered to be an art for art’s sake, while renouncing any populist elements, appeared in 1939 Coleman Hawkins’ Body and Soul recording. Market and social conditions for the emergence of the avant-garde began to mature only during the years after 1945, within a new business cycle in the US economy. The prosperous and conformist decade of the 1950s stabilized the middle class and directed general social preferences towards the benefits of higher education. European immigration from the inter-war period, and a new wave of immigration at the end of the Second World War enabled the growth of American universities in terms of quality and social influence. Universities recruited the jazz avant-garde audience, and supported other progressive art movements in the 1960s “decade of turbulence, protest, and disillusionment”. Thanks to market support, the jazz avant-garde managed to survive free of the influences of state institutions, as John Coltrane’s Love Supreme, often listed amongst the greatest jazz albums of all time, was sold in about 500,000 copies by 1970. A similar development, with the emergence of the baby-boom generation in the late 1960s, has contributed to the maturing of European avant-garde audiences and markets (ECM, 1969). The study will also examine avant-garde movements in relation to historical changes in economic and social disparities, from the thirties to the early 1970s.
Keywords: jazz avant-garde, economic trends, social differences, market, high education.
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Aleksandar Šarović – THE USES AND GRATIFICATIONS THEORY (IN THE CASE OF HOUSE MUSIC)
Abstract: The paper pays particular attention to teaching of Denis McQuail who considered that people are accessing the mass media with their needs, and focusing themselves in observing, listening, or reading, by complex of expectations or pursued gratifications. According to McQuail, the most important gratifications that are provided by media are: diversion, personal relationships, personal Identity and surveillance.
In the paper we will expose these effects, ie. uses and gratifications that music provides, in the case of house music. House music fits perfectly in the uses and gratifications theory which insists on the activity of creators, emitters and the recipients of the messages (the audience).
Keywords: mass media, human gratifications, the uses and gratifications theory, music, House music.
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New Works

Milena Medić – THE SUMATRAIST SECRET OF COUNT SAVA VLADISLAVIĆ’S GREAT DREAMING: THE ANAMORPHOSIC AIM OF THEATRICAL DOUBLING, THE EX-CENTRED OBSERVER, AND THE REGENERATIVE POWER OF COLLECTIVE MEMORY
Abstract: In her discussion of Melanholični snovi grofa Save Vladislavića (The Melancholy Dreams of Count Sava Vladislavić), an opera by Serbian composer Svetislav Božić, the author begins by discussing the composer’s operatic allusion to anamorphosis, an architecture and painting technique, in both of its application modes (the perspectival and the catoptric). The trans-media and temporal conversion of this visual tool into the aspect of staged drama is notable in the theatrical procedure of reflective doublings of roles/characters and production of visual syntactic parallelisms, which deepen semantic relations between otherwise unrelated personages and events from various but important layers of Serbian cultural and intellectual history (Nemanjić, Nikola Tesla, Count Sava Vladislavić). The logic of unclose similarity and borderline contact relates anamorphosis to a special way of ordering the imagery of dreams, whereby the symbolic interiority of a hidden image, the mysterious pattern of sense, may be penetrated only by finding the correct viewing angle. In its longing for the obscure, anamorphosic focalization counts on the ex-centred spectator’s capacity to approximate the remote and relate the unrelated. In that sense, shaping the Count’s great dreaming by means of a polyphony of oneiric subjects and states and a heteroglossia of remote contexts and other people’s stories and lyrical contemplations suggests Sumatraism as a chronotope, as the idea that there is universal connectedness and harmony in the world. The idea of Sumatraist connections informs both the understanding of the opera libretto’s inter-textuality (along the lines of the quotation-collage form of the cento, the literary genre) and the arc of association that the composer draws in harmonic-motivic terms as well, in order to produce a special nexus of music-dramatic narration and presentation. In that Sumatraist inter-textual nexus, other people’s stories and lyrical contemplations, qua manifestations of a collective consciousness, are deepened by means of a collectively unconscious (archetypal) perspective of a mythical, allegorical, and phantasmagorical dance-pantomime procession, as yet another oneiric form, whose typical Dionysian sequence, intoxicatio-phalophoria-sparagmos, affirms not only the theatrical model of anamorphosic doubling and Sumatraist connections, but also a unique theme in this operatic narrative – transcending sacrifice, tribulation, and death in a foreign land by means of the regenerative power of collective (historical and cultural) memory.
Keywords: Svetislav Božić, opera of oneiric states, anamorphic perspective, Sumatraism, collective memory.
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Research and Tradition

Eudjen Cinc, Jasmina Čolić – ROMANIAN COMPOSERS’ SPIRITUAL CREATIVITY IN THE 20th CENTURY – MUSICAL HAGIOGRAPHY OF THE ORDEAL OF A SOCIETY
Abstract: The spiritual music creativity of Romanian composers in the 20th century underwent numerous phases, between their zenith and despair, due to societal events specific for all of eastern Europe in the past century. Despite the fact that this creativity, in essence, expresses the tradition of the East, and does not seek to minimize its Byzantine roots, many composers, especially in the second half of the 20th century, left aside the elements of these aesthetics and directed their creative focus towards new creative tendencies. This work reviews the works based on spiritual topics by 20th century Romanian composers, from the first decades, including the years of Communist government, till the days when they set out on a postmodern creative course, and it presents the names of the majority of composers who dedicated their works to the worship of the Almighty, analyzing thoroughly the information found at the Union of Composers and Musicologists of Romania in Bucharest.
Keywords: spiritual repertoire, vocal music, instrumental music, stages pieces of a spiritual character.
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Reviews

Katrin Stöck – Jelena novak: Postopera. Reinventing the Voice-Body, Ashgate 2015
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Marija Maglov – Sanela Nikolić: Avangardna umetnost kao teorijska praksa: Black Mountain College, Darmštatski internacionalni letnji kursevi za novu muziku i Tel Quel [Avant-garde art as theoretical practice: Black Mountain College, Darmstadt International Summer Courses for New Music and Tel Quel] Belgrade: Faculty of Music, 2015. (Monographic Series, Tempus Project inMusWB, VIII), ISBN 978-86-88619-60-8. 337 pages
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Nikola Pejčinović – The 11th festival Koncerti mladih autora – KoMA (Young Authors’ Concerts)
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Nikola Pejčinović – The 24th International Review of Composers
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Marija Dumnić – Back to the Future: Popular Music and Time (18th Biennial IASPM Conference in Campinas, 2015)
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Defended Doctoral Theses

Nataša Dimić – Аспекти великог појања у контексту српске православне црквене музике (The Aspects of Great Chant in the Context of Serbian Orthodox Church Music)
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