塞尔维亚视角下的笼效应

IF 0.3 2区 艺术学 0 MUSIC
I. Prica
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引用次数: 1

摘要

约翰·凯奇是20世纪音乐、表演和视觉艺术实验范式的关键人物和主要倡导者,是冷战期间检验社会主义国家文化开放程度的参考点。他的影响以各种形式出现在塞尔维亚音乐和艺术中,主要是在扩展媒体,表演艺术和音乐极简主义领域。本文讨论了从20世纪70年代至今,塞尔维亚对约翰·凯奇作品的接受,从他的美学立场和诗歌动作的换位和重新调解,到对它们的认同。特别关注凯奇的沉默,不确定性和机会操作的概念,作为塞尔维亚音乐中凯奇接受观点成熟的现象,与Opus 4(米罗斯拉夫·萨维奇,米利米尔Drašković, Miodrag Lazarov Pashu和弗拉基米尔Tošić)和Katarina miljkovovic的作曲家的作品有关。此外,凯奇与Merce Cunningham剧团在1972年第六届贝尔格莱德国际戏剧节上的亮相也被认为是在文化联系和他对塞尔维亚和南斯拉夫艺术界影响的共鸣的背景下进行的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Cage Effect from a Serbian Perspective
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.
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
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.
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