{"title":"Vojislav Voki kostiki在戏剧中的附带音乐:对戏剧《玛丽亚·斯图尔特》音乐的初步分析","authors":"Monika Novaković","doi":"10.5937/zbaku2311238n","DOIUrl":null,"url":null,"abstract":"Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"48 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Incidental music by Vojislav Voki Kostić in theater: Preliminary insights with an analytical review of the music for the play 'Maria Stuart'\",\"authors\":\"Monika Novaković\",\"doi\":\"10.5937/zbaku2311238n\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.\",\"PeriodicalId\":31481,\"journal\":{\"name\":\"Zbornik Radova Akademije Umetnosti\",\"volume\":\"48 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Zbornik Radova Akademije Umetnosti\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5937/zbaku2311238n\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Zbornik Radova Akademije Umetnosti","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5937/zbaku2311238n","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
考虑到沃伊斯拉夫·沃基·科斯季奇(Vojislav Voki kostiki)是一位对附带音乐(特别是在戏剧中)做出宝贵贡献的重要人物,他的作品和作品的文章和研究非常缺乏,本文旨在介绍科斯季奇的作品主体,并分析指导他为戏剧表演创作附带音乐的基本原则。本文提出的初步结论基于通过档案录像(Kosančićev Venac 7、Marija se Bori s Anđelima、Madam San Žen、Garderober、Marija Stjuart、Bekstvo、Kneginja od Foli Beržera、Valjevska Bolnica、Sabirni Centar、oevi i Oci和Ruženje Naroda u Dva Dela)观看戏剧所获得的经验,以及现有的一手和二手资料(作曲家自传、访谈、录音等)。因此,对作曲家的戏剧音乐的探索被视为迈向更全面研究的初步步骤,kostiki的工作保证。此外,本文简要讨论了与研究剧院附带音乐相关的挑战,特别是在接近科斯季奇音乐的情况下,由于档案材料的稀缺和与他的遗产的潜在继承人的有限接触。为了对科斯蒂奇的音乐作一个简明的分析回顾,本文简要介绍了席勒的文本,以促进对这部作品的分期的理解,并在上述演出的背景下解释科斯蒂奇的音乐。
Incidental music by Vojislav Voki Kostić in theater: Preliminary insights with an analytical review of the music for the play 'Maria Stuart'
Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.