“The music is highly eclectic, and it should be approached accordingly”: Voice in Jug Markovic's compositions

IF 0.2 0 MUSIC
B. Radovanović
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引用次数: 0

Abstract

Music for voice holds a special place in the opus of Serbian composer Jug Markovic. In all of his pieces, Markovic maintains a type of care for the vocal part that distinguishes him in the context of Serbian art music, and, at the same time, puts him on the international map of contemporary composers who work with voice in non-traditional ways. This is reflected in his intention to diversify performing techniques and vocal styles, in the detailed instructions regarding technique and scenic gesture, and in the use of technological means in vocal performance and manipulation of sound. In this paper, I investigate the expansion of vocal and bodily expression via performing techniques and new technologies, and address the issues of autonomy, agency, and responsibility of composer and vocal performer, in order to determine the characteristics and different factors of eclecticism in Markovic?s vocal music.
“音乐是高度兼收并蓄的,它应该被相应地对待”:Jug Markovic作品中的声音
声乐音乐在塞尔维亚作曲家沃格·马尔科维奇的作品中占有特殊的地位。在他的所有作品中,马尔科维奇都对声乐部分保持着一种关注,这使他在塞尔维亚艺术音乐的背景下脱颖而出,同时,他也以非传统的方式与当代作曲家合作。这体现在他对表演技巧和声乐风格的多样化意图上,体现在对技巧和手势的详细说明上,体现在对声乐表演和声音操纵的技术手段的运用上。在本文中,我研究了通过表演技巧和新技术来扩展声音和身体的表达,并探讨了作曲家和声乐表演者的自主性、能动性和责任问题,以确定马尔科维奇?声乐。
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
CiteScore
0.20
自引率
0.00%
发文量
5
审稿时长
12 weeks
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