New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061021l

Biljana Leković, Sanela Nikolić

{"title":"The Web 2.0 social media as a space for the creation of classical music experiences in the time of the pandemic: The case of the Belgrade Philharmonic Orchestra","authors":"Biljana Leković, Sanela Nikolić","doi":"10.5937/newso23061021l","DOIUrl":"https://doi.org/10.5937/newso23061021l","url":null,"abstract":"This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must remain present in whatever tools and formats an art institution presents itself. Various tactics of using social media tools were the opportunity to position classical music from the art of performance into a system of mediated and information-distributed culture along with the development of participatory turn as a wider audience engagement in classical music through producing social media user-generated content. The orchestra's use of social media during the time of the pandemic reflects several ways of changing classical music practice: connecting to new audiences in new ways, moving out of the concert hall, redefining the community relevance of a classical music institution, and initiating paths for collaboration between performers and the audiences.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134884847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Examining the 'hyper' status of Varèse's 'prism' 审视var<e:1>“棱镜”的“超”状态

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061119i

Tijana Ilišević

引用次数: 0

Augmented sonic reality: Underneath for hyperorgan by Jasna Veličković 增强的声音现实:由Jasna veli<e:1> koviki设计的hyperorgan的底层

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061085m

Ivana Miladinović-Prica

引用次数: 0

Chinese painting theory as an Inspiration: Vladimir Trmčić's two music creations on Chinese painting 中国画理论的启示:弗拉基米尔·特姆<e:1>奇对中国画的两次音乐创作

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061040z

Yuanning Zhang

引用次数: 0

The oeuvre of Isidora Žebeljan: A survey, classification, specificities, and significance (II) 伊西多拉的全部作品Žebeljan:调查、分类、特点和意义(二)

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061139c

Borislav Čičovački

引用次数: 0

Enacting musical maquettes: A cognition-inspired compositional approach 演奏音乐模型:一种受认知启发的作曲方法

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061184h

Kenrick Ho

引用次数: 0

Foley gesture: Towards a theory of acousmatic foley Foley手势:走向声学Foley理论

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061060p

Sara Pinheiro

{"title":"Foley gesture: Towards a theory of acousmatic foley","authors":"Sara Pinheiro","doi":"10.5937/newso23061060p","DOIUrl":"https://doi.org/10.5937/newso23061060p","url":null,"abstract":"The research project \"Acousmatic Foley\" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the \"sonorous object\". For this purpose, the research builds on two lines of thought: the \"son-en-scène\" and the \"mise-en-son\". Firstly, the \"son-en-scène\" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, \"mise-en-son\" sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the \"sonorous object\", that of an \"intentional unit\". In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez's semiotic distinction, towards an experience of \"acousmatic foley\".","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134884554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Being fascinated with musical space-time: Piano works by Branka Popović (Solitude: Self reflections, Within a dense molecular cloud and From Rayleigh to Mie) 沉醉于音乐时空:勃兰卡·波波维奇钢琴作品(《孤独:自我反思》、《在密集的分子云中》、《从瑞利到米》)

New Sound Pub Date : 2023-01-01 DOI: 10.5937/newso23061097b

Mina Božanić

引用次数: 0

Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century 20世纪最后几十年和21世纪初拉脱维亚作曲家新浪漫主义交响音乐中的民间音乐引用和典故

New Sound Pub Date : 2020-07-19 DOI: 10.5937/newso2055213k

Janis Kudins

{"title":"Folk music quotations and allusions in Latvian composers' neo-romantic symphonic music in the last decades of the 20th century and early 21st century","authors":"Janis Kudins","doi":"10.5937/newso2055213k","DOIUrl":"https://doi.org/10.5937/newso2055213k","url":null,"abstract":"This article focuses on the one specific question about folk music quotations and allusions in the symphonic music of Latvian composers in the last third of the 20th century (from the 70s) and the early 21 st century. Several Latvian composers (e.g. Romualds Kalsons, Pēteris Butāns, Pēteris Vasks, Pēteris Plakidis, Juris Karlsons) in their NEO-romantic symphonic works reflects interesting cases of Latvian folk music quotation, quasi quotation or allusion. Overall these are cases that show the composer's ability to actively use and create a similarity with Latvian folk music. However, this aspect raises the following questions. What kind of local (Latvian) traditions regarding folk music use (in general) are represented by Latvian composers? Why, at the end of the 20 th century and the early 21st century, have several composers continued to use folk music quotations or create folk music allusions? What symbolizes the folk music quotations and allusions in the context of the postmodern period's characteristic musical aesthetic and stylistics? It is hoped that this analysis will provoke a fruitful exchange of views on this question from different aspects.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123543939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Musicological discourse of Vesna Mikić (1967-2019): Characteristics, effects, and achievements 维斯纳·米基奇的音乐学话语(1967-2019):特征、效果和成就

New Sound Pub Date : 2020-07-19 DOI: 10.5937/newso2055139l

Biljana Leković

引用次数: 0

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