Contemporary Music Review最新文献_第10页

Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb 乔治·克拉姆作品中的尺度歧义与韵律手势

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033569

Kristina L. Knowles

{"title":"Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb","authors":"Kristina L. Knowles","doi":"10.1080/07494467.2022.2033569","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033569","url":null,"abstract":"Despite a growing body of theoretical work on the music of George Crumb, surprisingly little has been said about his use of rhythm and metre, elements which are often more aurally accessible than complex pitch structures and which constitute a recognisable aspect of Crumb’s style. Much of Crumb’s output is characterised by a unique combination of metric ambiguity with clear and often recurrent rhythmic gestures whose use and juxtaposition creates varying levels of metricity. A significant portion of his music can then be situated in the middle of a spectrum that ranges from completely non-metrical to clearly metrical. The result is a unique rhythmic language that stringently avoids large-scale metrical structures but makes frequent use of localised metrical gestures and brief moments of metrical emergence. These rhythmic and metric structures are then used in different ways to create a range of temporal and formal effects. This paper focuses on the rhythmic and metric characteristics of motives from several pieces by George Crumb. Emphasis will be placed on a particularly interesting case in the final movement from Crumb’s Vox Balaenae, where the repetition and shifting musical context of a small set of rhythmic motives results in a process of metrical emergence and dissolution that contributes to the arch form of the piece.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45803893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Interviews with George Crumb 2013–2018 乔治·克拉姆访谈2013-2018

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033574

Yati Durant

引用次数: 0

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

IF 0.4 2区艺术学

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

Nikola Komatović

引用次数: 0

The Cage Effect from a Serbian Perspective 塞尔维亚视角下的笼效应

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022891

I. Prica

{"title":"The Cage Effect from a Serbian Perspective","authors":"I. Prica","doi":"10.1080/07494467.2021.2022891","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022891","url":null,"abstract":"John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in Serbia from the 1970s to the present day, ranging from transpositions and re-mediations of his aesthetic positions and poetic moves, to identification with them. Particular attention is paid to the appropriation of Cage’s concepts of silence, indeterminism, and chance operations, as phenomena highlighting the maturing of receptive views of Cage in Serbian music, in relation to the oeuvres of the composers in the group Opus 4 (Miroslav Savić, Milimir Drašković, Miodrag Lazarov Pashu, and Vladimir Tošić) and Katarina Miljković. Also, Cage’s appearance with the Merce Cunningham Troupe at the Sixth Belgrade International Theatre Festival in 1972 is considered in the context of both cultural connections and the resonances of his impact on the Serbian and Yugoslav art scene.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42729551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction 塞尔维亚二十世纪和二十一世纪音乐先锋花园简介

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022884

Laura Emmery

{"title":"INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction","authors":"Laura Emmery","doi":"10.1080/07494467.2021.2022884","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022884","url":null,"abstract":"During the course of the twentiethand twenty-first centuries, Serbia underwent several major political and socio-economic reorderings, which had a tremendous impact on its cultural and musical life. The beginning of the twentieth century marks a significant development in all spheres of Serbian cultural life: the founding of cultural institutions (theatres, concert halls, and opera houses), the formation of professional orchestras and ensembles, and the establishment of music schools. Serbian composers during this period continued the romantic tradition. As Sonja Marinković observes, the development of Serbian music can be examined through three stages of romanticism: preromantic (1830s– 1880s), romantic (1880s–1914), and late-romantic, paving the road for modernism (until the 1950s) (Marinković 2008, 71). The most notable first-generation (romantic) composers were Josif Marinković (1851–1931) and Stevan Mokranjac (1856–1914), who among his other achievements recorded Serbian Orthodox church chants,Octoechos (or eight tones) in staff notation in 1908. The second generation of Serbian composers, who continued writing in the romantic tradition, included the ‘Belgrade School’ composers––Stanislav Binički (1872–1942), Petar Krstić (1877–1957), Milenko Paunović (1889–1924), and Vladimir D̵orde̵vić (1869–1938)––who honed their compositional skills at the leading music centres in Europe at the time, such as Munich, Prague, and Vienna. Right before the First World War, the works of three ‘giants’ of Serbian music––Petar Konjović (1883–1970), Stevan Hristić (1885–1958), and Miloje Milojević (1884– 1946)––started to appear. However, the impeding wars between 1912 and 1918 in which Serbia engaged, disrupted and abolished musical life in the country. Serbian cultural life flourished during the interwar period––Belgrade, the Yugoslav capital, became the cultural centre of the country, with the formation of a Contemporary Music Review, 2021 Vol. 40, Nos. 5–6, 471–481, https://doi.org/10.1080/07494467.2021.2022884","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44322309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Music in Vladan Radovanović’s ‘Art Synthesis’ Works 弗拉丹·拉多瓦诺维奇“艺术合成”作品中的音乐

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022887

Melita Milin

引用次数: 1

The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s 贝尔格莱德广播电台第三节目在20世纪60年代和70年代塞尔维亚前卫音乐的呈现、推广和扩展中的作用

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022885

I. Medić

引用次数: 2

Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music 21世纪塞尔维亚音乐中先锋派瓦解的两种模式

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022893

Mirjana Veselinović-Hofman

{"title":"Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music","authors":"Mirjana Veselinović-Hofman","doi":"10.1080/07494467.2021.2022893","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022893","url":null,"abstract":"To discuss Serbian twenty-first-century avant-garde music means to address two key phenomena: (1) the avant-garde’s position in postmodernism, which—established in its form in the mid-1970s—has persisted over the past two decades of the twenty-first century; and (2) a modification of that position, which has concurrently manifested itself in Serbian music since the late 1980s. The first phenomenon refers to the condition of treating the avant-garde in postmodernism, like any other style from the musical past, as devoid of its internal hierarchy and authentic being. More precisely, it has been treated as a ‘collection’ of artefacts, i.e. constitutive components, into which the avant-garde has been ‘disassembled’ or ‘dismantled’. The second phenomenon concerns a certain tendency to transcend that de-hierarchising impulse precisely by using postmodernist tools. Namely, it concerns the postmodernist ‘validation’ of indicators associated with various creative tendencies from the past, among them also some modernist concepts, including those that once qualified as avant-garde. In other words, in neither of those two instances does the avant-garde in Serbian twenty-first-century music exist the way it did before the advent of postmodernism, but instead becomes part of a phenomenon that I regard as postmodernist modernism.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47750353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century 伊万娜的三首弦乐四重奏Stefanović-Three二十世纪下半叶塞尔维亚音乐的各个方面

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022897

Srđan Teparić

引用次数: 1

The Polish School, Johann Sebastian Bach, and The Gospel According to St. John in an Avant-Garde Synergy: Music of Becoming (1965) by Serbian Composer Rajko Maksimović 波兰学派，约翰·塞巴斯蒂安·巴赫和福音根据圣约翰在一个前卫的协同作用:音乐成为(1965年)由塞尔维亚作曲家拉杰科·马克西莫维奇

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022894

Dragana Stojanović-Novičić

引用次数: 0