New Sound最新文献

{"title":"Melodic models and modelling: The fundamental system of knowledge acquisition in music","authors":"Gordana Karan","doi":"10.5937/newso22059011k","DOIUrl":"https://doi.org/10.5937/newso22059011k","url":null,"abstract":"In the pursuit of developing a fundamental understanding of terms, phenomena, rules and meanings in music, vital to the performance and interpretation of a musical work, it is necessary to apply a methodologically grounded system to the reading of a score that efficiently establishes a basis for understanding the musical content and contributes to the development of musical abilities and musicality more broadly. In the musical-pedagogical process, as part of the wider set of music disciplines (harmony, counterpoint, music forms, knowledge of music styles), the most crucial are the methods and systems of work which allow the reading of musical notation and the understanding of a musical piece to be generated and profiled. The system of models and modelling is a form of work about the perception and reception of a musical work composed on a musical model and the process of working with that model, i.e. modelling. The complexity of the system is reflected in the two sub-elements of modelling: the development of associative abilities by recalling the sound of the model, and gaining an automatic response to sound. Until now, work on models and modelling has been treated using a musical-pedagogical approach. In this study it is defined as a system which is applicable to the process of reading and interpreting a musical text, without being predicated on musical style or the tonal bases of music.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133929802","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}

{"title":"Kosta P. Manojlović and the teaching of liturgical singing","authors":"I. Perković, Biljana Mandić","doi":"10.5937/newso1901019p","DOIUrl":"https://doi.org/10.5937/newso1901019p","url":null,"abstract":"In this paper we deal with Kosta Manojlović's engagement in the field of church music education, especially within curricula of the Pravoslavno-bogoslovski fakultet [Faculty of Orthodox Theology] in Belgrade, aiming to answer two research question: one, regarding different aspects of Manojlović's work at the between 1923 and 1937, and the other, dealing with ways in which his writings on the Serbian Orthodox church music were affected by the historical, social, and cultural milieu of the interwar period. An analysis of Manojlović's teaching catalogues for the Faculty of Orthodox Theology between 1923/24 and 1936/37, showed three basic models in syllabus organisation: in his early teaching career, he was teaching two subjects \"Octoechos\" and \"History of Serbian Orthodox Church Singing Church Choral Music\" (in 1923/24); as mid-career teacher (between 1924/25 and 1934/35) he was teaching \"Octoechos\" and \"Strano pjenije\", while in the last years spent at the school Manojlović's teaching subjects were \"History of Church Music\" and \"Octoechos and General Chant\". However, the most important aspects of Manojlović's teaching philosophy are not available in syllabus of his courses. For that reasons, we turned to his published writings, having in mind his plans for introducing more research tools into curricula of the Faculty of Orthodox Theology. He advocated the introduction of scientific methods: in his opinion, this was the only acceptable and credible method for an academic approach to Serbian sacred music. Among many subjects in the field of Serbian Orthodox music, Kosta P. Manojlović wrote about the relevance of Serbian medieval literature, and he was one of the first authors who recognized the importance of this subject for expanding the horizon of otherwise modest knowledge of medieval music. We explain the ways in which some of his readings of the genre of žitije (vita), the life of a saint, were influenced by the discourse of svetosavlje and the idea of emphasizing the ethnic as part of the Christian, without taking into account the process of idealization, which is a canonical element of the genre of žitije. The picture of Kosta Manojlović's teaching practice presented in this article is generally more detailed and enriched with new data and analysis of certain aspects of his work. Unfortunately, it was not possible to follow the long-term effects of his interventions and actions at the Univerzitet u Beogradu [University of Belgrade] as the Faculty of Orthodox Theology was split from the University in 1952. Manojlović had the difficult task of building his career as a university teacher in an environment that was not always supportive of his efforts, especially when it came to his integration of research into teaching, but he did accomplish his task by integrating his knowledge, acting and being. His integration of research and practical work in the field of Serbian chant, even if we may not agree with all his conclusions, was visionary and is s","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130090450","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}

{"title":"Pedagogical work of Vesna Mikić","authors":"Adriana Sabo","doi":"10.5937/newso2055124s","DOIUrl":"https://doi.org/10.5937/newso2055124s","url":null,"abstract":"This paper focuses on the teaching work of Vesna Mikić, PhD (1967-2019), full professor at the Department of Musicology of the Faculty of Music in Belgrade. Considering that she was tied to this institution throughout most of her professional career, the paper will offer an outlook on the curricula of the subjects which she taught over the years, and an attempt to shed light on her approach to teaching and to the subject matter she taught. In addition, the paper will focus on her work as a mentor, and attempt to pinpoint a number of aspects that connected her work as a scholar, pedagogue and mentor.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127486531","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}

{"title":"The joy of discovery: An interview with Anica Sabo","authors":"Iva Vuksanović","doi":"10.5937/newso2158037v","DOIUrl":"https://doi.org/10.5937/newso2158037v","url":null,"abstract":"","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131720048","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}

{"title":"Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin","authors":"Žarko Cvejić","doi":"10.5937/newso1901037c","DOIUrl":"https://doi.org/10.5937/newso1901037c","url":null,"abstract":"In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133633589","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}

{"title":"Jürgen Blume: Psalm 30 (2014)","authors":"Sa Park","doi":"10.5937/newso2157073p","DOIUrl":"https://doi.org/10.5937/newso2157073p","url":null,"abstract":"This article deals with Psalm 30 for four-part choir and organ (2014) by the German composer Jürgen Blume. It explores the musical elements that are used in the composition in order to examine the style of the composer. Since Blume's composition is not based on tonal harmonic function, this article uses set theory (prime form and the interval-class vector) in order to examine pitch organization and sonorities. Because Blume chose the genre sacred vocal work (Geistliches Konzert) for his composition, this article compares the form of Blume's composition with one of Heinrich Schütz's sacred vocal works, O süßer Jesu Christ, SWV 405.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121500527","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}

{"title":"Improvised music as socially engaged art: Poetics of Cardew and Rzewski","authors":"R. Mitrović","doi":"10.5937/newso1954109m","DOIUrl":"https://doi.org/10.5937/newso1954109m","url":null,"abstract":"In the light of the social turmoil in 1968, some composers have singled out advocating the greater involvement of musicians, i.e. music in the social movement. Cornelius Cardew and Frederic Rzewski, among others, believed that improvised music provides the opportunity for creating socially engaged art. However their concepts differed. While Cardew stayed with the idea of controlled improvisation, implemented through the Scratch Orchestra, Rzewski demanded completely free improvisation in his Parma Manifesto. In this paper I shall problematize the relationship of poetics behind the Scratch Orchestra and the Parma Manifesto in the light of the social situation of 1968, their crucial differences and their common idea of the democratization of avant-garde music.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125419303","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}

{"title":"Bouncing as a distinguishable structural feature of srpsko kolo: Aspects of identification and notation","authors":"Selena Rakočević","doi":"10.5937/newso1954019r","DOIUrl":"https://doi.org/10.5937/newso1954019r","url":null,"abstract":"Kolo or kolo u tri, as it is termed by scholars, is the most widespread dance genre in Serbia since World War II, which has been considered as a vital symbol of Serbian national identity in recent decades and, consequently, got the adjective srpsko (Serbian). The movement pattern of kolo has been notated in Rudolf Laban's kinetography many times by various researchers since the 1980s and its microstructural and formal shaping has been the subject of ethnochoreological analysis in Serbia. However, the performing and notational particularities of the stretching and bending leg movements, which affect the vertical motion of the center of gravity of the body - the socalled bouncing, that is its distinguishable characteristic, has not been discussed previously. This article, therefore, explores some aspects of the performance and notation of bouncing in srpsko kolo.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116846966","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}

{"title":"The Symphonic Concerto for piano and orchestra (1935) by Manolis Kalomiris: Reaffirming the national-ideal topos through the (old) western canon","authors":"Georgios Sakallieros","doi":"10.5937/newso1954068s","DOIUrl":"https://doi.org/10.5937/newso1954068s","url":null,"abstract":"Manolis Kalomiris's Symphonic Concerto for piano and orchestra (1935) consolidates the virtuosic piano performance and the complexity of romantic symphonic texture with the appearance of authentic Greek folk material, its westernized treatments, and symbolic self-references arising from the Greek National School principles. The work is critically examined through historical and analytical perspectives, aiming at a better understanding of the composer's aspirations expressing the indigenous artistic, cultural and political circumstances of the period when it was completed. Examples of the relative Greek and international \"concertante\" repertoire, from the late 19th to the mid-20th century, are also taken into comparative consideration.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"220 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114590749","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}

{"title":"(Re)positioning art music in contemporary traditional and digital mass media/radio context","authors":"Marija Karan","doi":"10.5937/newso2056049k","DOIUrl":"https://doi.org/10.5937/newso2056049k","url":null,"abstract":"This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134028750","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}