New SoundPub Date : 1900-01-01DOI: 10.5937/newso2158053r
Valentina Radoman
{"title":"A new sound and anticipation of unimaginable reality: Sequenza III by Luciano Berio","authors":"Valentina Radoman","doi":"10.5937/newso2158053r","DOIUrl":"https://doi.org/10.5937/newso2158053r","url":null,"abstract":"This paper examines how composer Luciano Berio with his composition Sequenza III per voce femminile (1965/66) succeeded in exploring something that is reality behind reality through the unique treatment of artistic material, in this case musical and verbal, much like certain avant-garde artists. It is a search for something that listeners cannot see because of the complex psychological mechanism of the human organism and which is deeply covered by ideologies, spoken language, ideas and similar elements. It is what the painter Pit Mondrian refers to as \"the sublime reality\", for example. I employ naturalized components of psychoanalytic theory in this study, therefore the expressions \"reality behind reality\" or \"sublime reality\" are also related to the psychoanalytical term \"Reality\" according to Lacan. The purpose of this study is to demonstrate, using a specific musical example, how art, in this case musical art, can attain outcomes that have been attempted by researchers from other fields, artistic or scientific.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"31 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":"128282514","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}
New SoundPub Date : 1900-01-01DOI: 10.5937/newso2055239m
M. Marinković
{"title":"Melita Milin: Ljubica Marić: Composing as an act of creation, Institute of Musicology SASA, Belgrade, 2018","authors":"M. Marinković","doi":"10.5937/newso2055239m","DOIUrl":"https://doi.org/10.5937/newso2055239m","url":null,"abstract":"","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":"125815208","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}
New SoundPub Date : 1900-01-01DOI: 10.5937/newso1901139p
Ira Prodanov
{"title":"The return of the baroque: Concerto dragonese by Dragana Jovanović","authors":"Ira Prodanov","doi":"10.5937/newso1901139p","DOIUrl":"https://doi.org/10.5937/newso1901139p","url":null,"abstract":"That \"past is altered by the present as much as the present is directed by the past...\" (T. S. Eliot) is confirmed in Concerto Dragonese, a new piece by Dragana Jovanović, dedicated to the thirtieth anniversary of existence of the Camerata Academica Ensemble of the University of Novi Sad Academy of Arts. Composed as a typical concerto grosso, it reflects the theoretical foundations of French thinker Guy Scarpetta and the thoughts of American art historian Gregg Lambert on the return of Baroque to the very center of contemporary creative activity, but also into the very style of life that is today. This, however, does not deprive the piece from the 'Benjaminian aura', which allows it to communicate through various references to baroque masters and rhythms of contemporary popular genres of dances, film music and the like.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"24 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":"121888275","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}
New SoundPub Date : 1900-01-01DOI: 10.5937/newso2157019t
Marija Tomic
{"title":"Transposition of the myth of Pan's flute in Satirova svirala [La flûte de Pan] by Petar Konjović: Fantasy and ballad aspects","authors":"Marija Tomic","doi":"10.5937/newso2157019t","DOIUrl":"https://doi.org/10.5937/newso2157019t","url":null,"abstract":"In this paper we interpret the elements of the fantasy and ballad principle in Satirova svirala [La flûte de Pan] (1945) for solo flute written by Petar Konjović (1883-1970) from the point of view of the author's poetics and musical and non-musical analogies with Claude Debussy's (1862-1918) composition Syrinx (1913). Aspects of the fantasy principle are equally manifested when considering Satirova svirala as a unique musical entity that musicalizes the myth of Pan's flute, as well as in the context of its dramaturgical position, as being the central movement (Andante più sostenuto e molto rubato) in the five-movement Concert Suite for Wind Quintet. The variation principle, ballad-like 'narrativity' of the flute part, improvisational character, and rubato spaces of the Svirala's musical flow emanate the Other logic and \"free play\" inseparable from fantasy, resonating, at the same time, with the mythical narrative.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"41 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":"122554883","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}
New SoundPub Date : 1900-01-01DOI: 10.5937/newso2055023k
Jiří Kubíček
{"title":"From Kerman to Merzbow: Notes on the metamorphoses of music analysis at the turn of the millennium","authors":"Jiří Kubíček","doi":"10.5937/newso2055023k","DOIUrl":"https://doi.org/10.5937/newso2055023k","url":null,"abstract":"This paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focuses on the listener. Since the mid-twentieth century, electroacoustic music has been one of the areas where the use of traditional analysis was inconvenient. Since electroacoustic music began to lose its exclusive, academic character in the 1990s in relation with the development of computer technologies, the question of its interpretation and finding suitable listener strategies has kept coming to the fore. This paper shows the possibilities of approach to this music in relation to its specificities. The last part of the paper focuses on a specific example from one fringe genre: noise music, specifically the subgenre japanoise. In its peak period in the 1990s, this sound production was probably the furthest away from what is usually associated with the term music. Based on an analysis of a selected composition, the inadequacy of the traditional approach and certain alternatives to grasping such music will be demonstrated. The very end of the paper features some current results which relate to, or result from, the study's conclusions.","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"40 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":"123293879","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}
New SoundPub Date : 1900-01-01DOI: 10.5937/newso2056001s
Ksenija Stevanović
{"title":"The sound is my personal diary: Conversation with Svetlana Savić","authors":"Ksenija Stevanović","doi":"10.5937/newso2056001s","DOIUrl":"https://doi.org/10.5937/newso2056001s","url":null,"abstract":"","PeriodicalId":315139,"journal":{"name":"New Sound","volume":"68 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":"123372348","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}