20世纪60年代贝尔格莱德创作实践的现代主义身份:Petar Osghian的《沉思录》(1962年)、《剪影》(1963年)和《西格斯》(1967年)

IF 0.3 2区 艺术学 0 MUSIC
Tijana Popović Mladjenović
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引用次数: 0

摘要

为了将我们的注意力集中在20世纪60年代贝尔格莱德的作曲实践上,有必要指出,这些实践是与欧洲音乐中最新的现代主义趋势同步发展的。第二次世界大战后的塞尔维亚音乐现代主义具有独特、独创和自主的艺术成就。从这个意义上说,Petar Osghian是使用先锋技术创作作品的作曲家之一,同时坚持他们的音乐语言应该保留直接的表达和交流功能。这些作曲家从他们所创作的材料的潜在可能性中做出了合乎逻辑的选择,但在这样做的过程中,他们不断努力提升到当时最先进的作曲实践的水平。换句话说,他们使用给定的音乐材料作为出发点,进行结构操作,并在音乐作品的结构中进行各种可能的修改。其结果是,合理定义的结构要素与塑造其过程的“非理性”姿态之间存在着和谐的关系;两者同等重要。本文通过对奥斯吉安的管弦乐三部曲——《沉思》、《剪影》和《叹息》的分析,来探讨这种关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and Sigogis (1967)
In order to focus our attention on compositional practices in 1960s Belgrade, it is necessary to point out that these practices developed in tandem with the latest modernist trends in European music. Serbian musical modernism after the Second World War bore the imprint of a special, original, and autonomous artistic achievement. In that sense, Petar Osghian was one of the composers who created their works using avant-garde techniques, while insisting that their musical language should retain direct expressive and communicative functions. These composers made choices that would emerge logically from the latent possibilities of the materials they worked with, but in doing so they constantly tried to rise to the level of the most advanced compositional practices of the time. In other words, they used a given musical material as a point of departure for structural manipulations and for a wide variety of possible modifications in the construction of a musical work. The result was a harmonious relationship between rationally defined structural elements and ‘irrational’ gestures in shaping their processes; both were of equal importance. This paper discusses this relationship through the analysis of Petar Osghian’s orchestral trilogy—Meditations, Silhouettes, and Sigogis.
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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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