{"title":"塞尔维亚视角下的笼效应","authors":"I. Prica","doi":"10.1080/07494467.2021.2022891","DOIUrl":null,"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":0.3000,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"The Cage Effect from a Serbian Perspective\",\"authors\":\"I. Prica\",\"doi\":\"10.1080/07494467.2021.2022891\",\"DOIUrl\":null,\"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\":0.3000,\"publicationDate\":\"2021-11-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Contemporary Music Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/07494467.2021.2022891\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Contemporary Music Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/07494467.2021.2022891","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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.
期刊介绍:
Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.