How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources

IF 0.3 2区艺术学 0 MUSIC

Contemporary Music Review Pub Date : 2021-11-02 DOI:10.1080/07494467.2021.2022895

Nikola Komatović

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Abstract

The historical-biographical method takes precedence in the first part of this study, focusing on the analysis of the heterogeneous and changing context of Ljubica Marić’s (1909–2003) work throughout her long life, with an overview of the most up-to-date biographic and monographic literature on the subject. This study also describes the composer’s research of the Byzantine musical heritage in Serbia––namely, the system of religious chants known as the Octoëchos or the Book of Eight Tones. These analytical considerations aim to determine how conflicting creative tendencies came to be reflected in Marić’s works through an analysis of two pieces from her opus magnum: Oktoiha 1 [Octoïcha 1] for symphony orchestra (1958–59; rev. 1998) and Vizantijski koncert [Byzantine Concerto] (1959) for piano and orchestra, with an overview of the genesis of her musical language. The discussion of the two selected works is followed by a consideration of their critical reception when they premiered. Finally, the paper reflects on Ljubica Marić’s later works and her legacy today.

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古代人是如何成为先锋的？从当代资料的棱镜看卢比卡·马里奇（1909-2003）案

本研究的第一部分优先采用历史传记法，重点分析卢比卡·马里奇（1909-2003）漫长一生中作品的异质性和变化背景，并概述了有关该主题的最新传记和专著文献。这项研究还描述了作曲家对塞尔维亚拜占庭音乐遗产的研究，即被称为Octoëchos或《八音书》的宗教圣歌系统。这些分析考虑旨在通过分析Marić作品中的两首作品来确定冲突的创作倾向是如何反映在她的作品中的：交响乐团的Oktoiha 1[Octoïcha 1]（1958–59；1998年修订）和钢琴和管弦乐队的Vizantijski koncert[拜占庭协奏曲]（1959），并概述了她的音乐语言的起源。在对这两部精选作品进行讨论之后，还要考虑它们在首映时受到的批评。最后，本文对卢比卡·马里奇的后期作品及其今天的遗产进行了反思。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Contemporary Music Review MUSIC-

CiteScore

1.00

自引率

25.00%

发文量

期刊介绍： Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.