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Department of Musicology Faculty of Music

International Magazine for Music

40 Belgrade, II/2012 YU ISSN 0354-818X UDC 78:781(05) COBISS. SR-ID 80527367

International Magazine for Music 40 Belgrade, II/2012

Publisher: Department of Musicology Faculty of Music Kralja Milana 50, 11000 Belgrade

Editorial Board: Mirjana Veselinović-Hofman Ph.D. (Editor-in-chief) Vesna Mikić Ph.D. (Deputy editor-in-chief) Academician Dejan Despić Dragoslav Dević, Ph.D. Sonja Marinković, Ph.D. Nenad Ostojić, M.A. Ana Kotevska, M.A. Marcel Cobussen Ph.D. (The Netherlands) Pierre Albert Castanet Ph.D. (France) Chris Walton Ph.D. (South Africa/Switzerland) Eduardo R. Miranda Ph.D. (Brazil/UK) Nico Schüler Ph.D. (Germany/USA)

Cover design: Andrea Palašti

Secretary of the Editorial Board: Ana Gnjatović

Editorial Board and Office: Faculty of Music Kralja Milana 50, 11000 Belgrade E-mail: [email protected] www.newsound.org.rs

The magazine is published semestrally. The magazine is classified in ERIH – European Reference Index for the Humanities CONTENTS

COMPOSER SPEAKS

Tijana Popović Mlađenović, Blanka Bogunović, Ivana Perković NATURE VERSUS CULTURE – Interviews with composers ...... 5 Ivan Brkljačić ...... 7 Zoran Erić ...... 13 Ana Gnjatović ...... 18 Srđan Hofman ...... 23 Tatjana Milošević ...... 31 Marko Nikodijević ...... 36 Vladan Radovanović ...... 41 Svetlana Savić ...... 49 Ivana Stefanović ...... 53 Vladimir Tošić ...... 62 Miloš Zatkalik ...... 74

CORE ISSUE – New Sound A NOTE FROM THE EDITOR ...... 79 Sonja Marinković TWENTY YEARS OF THE COMPOSER SPEAKS SECTION IN THE NEW SOUND MAGAZINE (INTERVIEW AS A METHOD OF MUSICOLOGICAL RESEARCH) ...... 81 Vesna Mikić FROM STUDIES TO THEMATIC ISSUES – SYMPTOMS OF TRANSITION/MOBILITY OF THE INTERNATIONAL MAGAZINE FOR MUSIC NEW SOUND ...... 98 Mirjana Veselinović-Hofman SECTIONS NEW WORKS AND INTERPRETATIONS IN THE LAST TWENTY YEARS OF THE NEW SOUND MAGAZINE AS THE INDICATORS OF TWO IMPORTANT PRINCIPLES IN MUSICOLOGICAL WORK ...... 114 Nenad Ostojić VIEWS FROM THE ANALYTICAL ANGLE ...... 146 New Sound 40, II/2012

STUDIES Nikola Dedić PLEADING FOR UTOPIA: AMERICAN PASTORAL IN BOB DYLAN’S MUSIC ...... 161 Marija Masnikosa THE RECEPTION OF MINIMALIST COMPOSITION TECHNIQUES IN SERBIAN MUSIC OF THE LATE 20TH CENTURY ...... 181

NEW WORKS Robert Kirzinger ASPECTS OF DUALITY IN ALEKSANDRA VREBALOV’S MILEVA ...... 191

INTERPRETATIONS Arnold Berleant RUMINATIONS ON MUSIC AS AN EXEMPLARY ART ...... 201

ANALYSES Svetlana A. Mozgot ONTOLOGY OF SPACE IN CLAUDE DEBUSSY’S SHEET MUSIC 209

FESTIVALS AND SYMPOSIA Ivana Miladinović Prica THE 21st INTERNATIONAL REVIEW OF COMPOSERS – MUSICAL CONSTRUCTION SITE ...... 221

REVIEWS Jeff R. Warren REVIEW: Cobussen, Marcel, and Nanette Nielsen, Music and Ethics, Ashgate, 2012 ...... 229 COMPOSER SPEAKS

Article received on 13 February 2013 Article accepted on 4 March 2013 UDC: 78.071.1:929](047.53)

NATURE VERSUS CULTURE

Tijana Popović Mlađenović* University of Arts in Belgrade Faculty of Music Department of Musicology

In the jubilee fortieth issue of the International Magazine for Music New Sound, the section ‘Composer/Musicologist Speaks’, which, for all of twenty years has been following the ‘spoken’ word of contemporary music creators and writers, opens another avenue without disrupting the essence of the fundamental idea. Namely, unlike the usual concept, which includes a conversation with one composer or musicologist, this time, following joint research by Blanka Bogunović, Ivana Perković and the writer of these lines, a greater number of composers were asked the same set of questions, who, independently from one another, replied to them and authorized their integral responses for this ‘cel- ebratory’ issue of New Sound. The questions, which place music and music creation in the context of two great concepts – nature and culture, derive from the most broadly understood theoretical field which has been built by the notions of ‘nature’ and ‘culture’ in the course of history, and which has of late been vigorously re-actualized in the sense of reassessing the status and normativity of that binary and/or opposi- tional and/or dichotomous structure nature/culture.1 Theoretical positions which

* Author contact information: [email protected] 1 For more on this cf. e.g. studies by C. Lévi-Strauss (1949; 1958; 1973), J. Derrida (1978), P. Bourdieu (1979; 1992), B. Latour (1991; 2004), N. Evernden (1992), D. Haraway (1992), J. Butler (1993), W. Cronon (1996), K. Soper (1995), T. Eagleton (2000) etc.

5 New Sound 40, II/2012 regard the nature/culture dichotomy more like a historical construct than like the strict reflection of a division between the two spheres or states of existence as such,2 dispute and refute this opposition by exploring its historical roots and foundations, while some other theses prove that, in practice, it is not possible to cast off the conceptual and discursive structures this opposition brings. However, the intersection points which are revealed between the constructs of nature and culture, and which have always covertly threatened to ‘dissolve’ and break down the entire dichotomy, raise the issue of how, or in what manners, the ‘boundaries’ of these arguably continuous and connected structures can be re-thought. Since the authors of the contribution are two musicologists and a music psychologist, who strive to ‘deconstruct’, or at least to ‘interlock’ humanist, social and natural perspectives or divisions, the special challenge for them in this context was to put the ‘right’ questions to the composers, regarding the deliberation about their own musical creation, processes, states and positions in the space between nature and culture. On this occasion we extend our gratitude to all the creators, from the old- est to the youngest – Vladan Radovanović, Srđan Hofman, Ivana Stefanović, Vladimir Tošić, Zoran Erić, Miloš Zatkalik, Tatjana Milošević, Svetlana Savić, Ivan Brkljačić, Marko Nikodijević and Ana Gnjatović (all of whom, as it turned out, studied composition at the former Music Acad- emy in Belgrade, now Faculty of Music) on their responding to this unusual call and presenting the readership of New Sound with an extraordinary opportunity not only to look through ‘open windows’ into their private creative worlds, but also to enjoy the chance of setting up an imaginary dialogue on the issue of Nature vs. Culture.

2 For example, Latour’s standpoint that the fundamental structure of the modern society and discourse is the division between ‘undifferentiated material “nature”’ and ‘various human “cultures”’ led him, among other things, to the new notion of ‘natures-cultures’, which erases the meaning of all the distinctions between the ‘old’ notions of nature and culture. Furthermore, the deconstruction of the nature/culture dichotomy included the views of the ‘culturalists’ and ‘realists’, according to Soper, i.e. the distinction between ‘culturalism’ and ‘naturalism’, according to Eagleton.

6 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Tijana Popović Mlađenović, Blanka Bogunović, Ivana Perković

NATURE VERSUS CULTURE Interview with the composer Ivan Brkljačić

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Ivan Brkljačić: It seems to me that, if the history of human civilization did not take the course which we know today and still follow, music could indeed be seen separately as an exclusive ‘matter’ of nature. The natural in it are the laws of a musical system. Humankind throughout history has been approaching them ever more closely, then abandoning them, then revisiting them again, etc. The nature of music has existed simultaneously with the development of society, ever since its inception. And music, thanks to its laws, has remained practically unaltered all this time. However, the contexts in which music emerges, i.e. the multitude of reasons why and how it emerges, as well as the manners of its subsequent nurturing and preservation, suggest the inevitability of the cultural aspect, as a certain civilizational reference. In what ways human beings are capable of interpreting music in a particular combination of social and civilizational circumstances – this is directly related to the ‘matter’ of culture. I would say that, from the modern point of view, music must belong to both ‘matters’, placed somewhere in between, neither too close to nor too far from either of them. It lives its eternal life, in the way given to it, and humankind shapes it strictly in the measure it is allowed to.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? I. B.: I think that the nature of music is precisely what is real and exact, what can be fathomed and explained. But I also think that, although it might seem that a lot has already been comprehended, humanity must still invest great energy and effort to reach deep into the reality and exactitude of the nature of music. The culture of music, on the other hand, can be virtual and fictitious, but not only that. Culture too can be perceived through reality and exactitude, but outside the natural musical system. Within it, there is no place for culture.

7 New Sound 40, II/2012

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? I. B.: As I have already said, I think that the sense of music, or rather its essence, is in its nature. The meaning – or in other words, the explanation of what music provides for us – is related to culture, context, social circumstances, civilizational development, previous experience, etc.

4. Does music have greater need of a story, or the other way round? I. B.: It depends on its significance. Although music by its nature does not require a story, or is not related to a story at all, history has shown that some kind of story has always been right beside music. It is still much easier for humans to determine the meaning of music using extramusical devices, which, among other things, is a story. Purely musical means, taken from the natural system of music, in the manner of the fundamental operation of music, still do not make it possible for humankind to grasp and present its true meaning. Therefore people tell stories about music. All of this means that music, on the one hand, does not need a story at all, but on the other hand, human beings do. The result of this is that music is quite often needed by the very story a human wants to tell.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? I. B.: My work with sound resides in the cultural context at the turn of the millennium. The influences are related to the culture, motives as well, implementation especially. The nature of music is a ‘matter’ that, not long ago, I accepted as the absolute value, reconciled myself with its existence and I do not feel the need to tamper with it. The nature of my music is a part of the overall musical nature and it progresses side by side with my attempts at shaping it the way I think I should.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics, etc.) or performers, stimulating for your creativity? I. B.: The everyday context in which and for which I compose is crucial for my creation. Various acoustic and electronic media are the means, i.e. the consequence of a previously made decision about what I want or have to do.

8 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

8. How would you define your primary creative engine? I. B.: As the creative and critical attitude towards the given context which I occupy every day. I draw primary inspiration for creativity from what sur- rounds me.

9. Which kind of emotional drive steers your creative processes most often? I. B.: On the one hand, the emotional state of contentment very often prompts me to express myself creatively, while on the other hand, I have the need to talk by means of music when I (negatively) criticize someone or something.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? I. B.: I dealt with the nature of my own compositional process while I was writing Jinx for chamber ensemble (16 soloists). In five movements, I presented the analysis of the entire path that I usually travel when creating music. The movements’ titles are as follows: 1. Enthusiasm, 2. Idea, 3. Problem, 4. Process, 5. Hope.

11. Do frequency range and the rhythm of the sounds of nature (e.g. wind, waves, animal calls, the universe…) and culture (voices and sounds from the [urban] environment, appliances, popular music…) play any role (and if they do, what are they) in forming the musical material in your compositions? I. B.: In the works I have composed so far, I have used, in a certain sense, the influences of popular genres, to which I have always related as an inevitable influence of something that has been native to my ear practically since I was born, but which was not rejected by that ear (as the case was with some other genres). I never allow myself to veer off too far from the classical genre, because that would mean I am composing pop, which I have never wanted. But intertwining, taking over, flirting, the analysis of mutual boundaries, etc. has always been familiar and interesting to work with. In that respect, I sometimes

9 New Sound 40, II/2012 quite intentionally create music materials that resemble those from popular genres, yet sometimes I quite intentionally avoid them.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? I. B.: That depends on the actual materials. I am still not sure that I have a clear ‘recipe’ for forming my musical materials and their further treatment. I still approach each material as if it were the first I have ever written and I relate to it in the given context of the creative moment. This can involve a lot of external influences, which preferably are consciously accepted or dismissed. I have the impression that it is exactly this attitude towards materials and their further treatment that contributes to my compositional-poetical method being accessible from the aspect of aesthesia. But I usually leave that judgment to others.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? I. B.: In my opinion, it is impossible to ‘pollute’ the nature of music. It surely exists as a parallel reality and nothing can harm it. Acoustic polluters of culture are at every turn around us. No matter where you look, you can see them: television, radio, show business, the streets, the Internet, various institutions, etc. However, although they might be invisible at the moment, I claim that there are filters of acoustic polluters, which are positively more powerful than the polluters themselves and which will, in retrospect after a certain amount of time, discard what proves to be unworthy of civilization. These filters have always existed, and they do exist today.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? I. B.: The period around the 1950s has undoubtedly led to a certain culmination in the domain of musical creativity, as well as in the domain of the quality and meaning of musical expression. I am not completely sure whether it paved the way for euphony and structural richness because, in my opinion, they

10 have existed before. However, it is certain that this period caused severe reactions in the stylistic orientations of later composers and in musical performance, whilst the only right path was paved by various forms of new technologies in music.

16. If the ‘arrow of music history’ has lost its way, will the technology (of a musical material, among other things), and which one, be the force to initiate the future of music and close the gap between poetics and aesthesia (or perhaps it is happening already)? Actually, which compositional grammars, techniques and strategies today have prospects, in your opinion? I. B.: I am not sure how to answer this question. If everything were absurd and if there were no prospects, composers would have changed their occupation long ago. But, fortunately, that has not happened yet (at least not predominantly). By its quality, music today shows that we are living in some kind of echo of Post-Modernism, when someone is expected to take responsibility and initiate something new, thus reorienting the ‘arrow of music history’ in a new direction. This ‘new direction’ does not mean ‘the right path’, nor does it mean that what we are living on today is the wrong path – it is simply a new direction. The way I see it, we are currently living in, as D. Gostuški put it, a ‘boundary zone’, which in our present time has been going on for almost twenty years. The end of the previous and the beginning of the new might be very close, or we could wait a little longer for a few more generations to come of age. But undoubtedly, the new will come. What it will be, I do not know…

11 New Sound 40, II/2012 its own rules, causing a new adjustment. Of course, one should always keep in mind, even in the slightest measure, the target group for which the composed music is intended. Still, the most important, ultimately, is what is heard. All of the above leads to the conclusion that the survival of music is anyway unques- tionable.

18. Do you see musical creation as a way of transcending the biological limits of a human life? I. B.: Absolutely yes. But it does depend on various combinations of circumstances. While we are alive, we can influence the way in which, generally speaking, our music is taken care of. After we die, it is in the hands of others. As long as it is in someone’s hands, it means that we remain alive too, through what we created.

19. In what ways and to what extent do biology and experience direct your creative processes? I. B.: I almost never think about that. Biology would certainly burden my creativity, and experience helps me in certain situations, and so I resort to it on occasion.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? I. B.: Actually no. I am more committed to trying to present the biological and cultural determinants of the compositional community I am a part of, together with other members, to other communities, in the best possible light.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? I. B.: Yes. As I have already said, this is related to the emotional state of contentment and the critical need to express what is happening around me. Dis- content, rage, disbelief, injustice, but also pleasure, an amorous moment or a joyful day have largely oriented my personal energy towards the initial materials, and consequently to shaping them into completed works.

12 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Zoran Erić

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Zoran Erić: The nature of music is in its power and beauty – in other words, in its content in the broadest sense. The culture of music is comprehended in the manner of it formalization or formulation, and in the meaning within the context of its presentation.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? Z. E.: I think it is the other way round. The nature of music should (mostly) be what is elusive and what cannot be retold in it. So, the nature of music is a fiction. The culture of music is what is exact and real in it.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? Z. E.: When we speak of the sense and power of music, we primarily think of its content, and we imply that it is its nature too. Culture formulates the musical content (the musical nature) and it is responsible (to a great extent) for its meaning.

4. Does music have greater need of a story, or the other way round? Z. E.: Music does not need a story if it tells a good story. When a story tells a good story, it does not need music. Therefore, music is more necessary for telling a good story, but a story is more necessary for music.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’?

13 New Sound 40, II/2012

Z. E.: It is certainly a realm where nature and culture cannot be differenti- ated and separated during the very act of creation. When everything is completed, it is very easy to determine what the nature, and what the culture of the musical substance is. 6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? Z. E.: To the utmost extent. There are some other stimulations too, but compared to the said ones, they are actually their derivatives.

8. How would you define your primary creative engine? Z. E.: As a need for the occasional articulation of the acoustic space that ‘resides’ in and around me.

9. Which kind of emotional drive steers your creative processes most often? Z. E.: It is indeterminate (the drive). What is determinate is just the need to reduce emotional tensions of various origins and intensities.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? Z. E.: Very simply. There is only one compositional process and only one good strategy that will turn the idea into a work (of art). The search for this compositional process and this strategy is a procedure worth describing or analyzing only when the outcome is indeed a work of art. At any rate, this happens when someone (other than the author) ascertains that the creative product is an artwork. Then everyone can recognize and state the procedures that led to it.

14 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) do, what are they) in forming the musical material in your compositions?

Z. E.: I start with a particular sound. I am not interested in its ‘identity’. I am interested in its features and the degree of compatibility with my acoustic presumptions in the case at hand. It is only important whether I hear what a certain sound will ‘do’ in the music which I create, and when. Everything else will appear in the form of a composition as the consequence of such a selection of the acoustic material.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? Z. E.: No answer.

13. Provided your music ‘absorbs’ them at all, in what way and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? Z. E.: As objects of observation, as globally accepted facts which, under changed circumstances and in a changed environment, can be disputed or proved. ‘Ready-made’ content is most advantageously quoted in its unnatural setting. It is best recognized in it, and there is also the possibility (usually an intention too) that such an absorbed meaning should be – reinterpreted. That is a good outcome. Then we create a milieu for global acceptance of ‘revised ready-made’.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? Z. E.: Polluters are always the same. They are universal although they sometimes change shape, so it is more difficult to spot them at once. When you poison nature, you have poisoned everything that could emerge from nature. For example – culture. We should not be exposed to these acoustic poisons at a tender age when our culture is being created and developed, because ‘the im- mune system’ is still underdeveloped and incapable of defending the organism from the incurable form of this disease. The environment in which I was living did not allow for this disease to represent any kind of danger for my musical (and my general, mental) health.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent?

15 New Sound 40, II/2012

Z. E.: No answer.

18. Do you see musical creation as a way of transcending the biological limits of a human life? Z. E.: No. Not at all and by no means.

19. In what ways and to what extent do biology and experience direct your creative processes? Z. E.: I take pains to not let them direct these processes at all. Both biology and experience are categories that should be consciously put aside (however and whenever possible) during the act of creation. This releases the creative process.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? Z. E.: I do not think they do. Or else I am not aware of it. I think that serious creativity always includes a code for erasing these determinants. However, they can (sometimes) be activated to a significant extent by circumstances.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? Z. E.: Such moments, periods and states are in the nature of every creation.

16 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

You cannot avoid them, they need not be resisted. You become aware of them when they pass and/or when someone points to them. In my case, they were marked by the social (political) upheavals in the country I lived in. These upheavals swooped down on the act of creation with such intensity and to such a degree that at some moments they governed it.

17 New Sound 40, II/2012

Interview with the composer Ana Gnjatović

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Ana Gnjatović: The matter of nature existing (only) through the matters of culture?

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? A. G.: I will go with mirrors.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? A. G.: I guess the sense is perceived through meaning, or we create sense by the meaning we ascribe or add to it. I do not know if certain music has power in itself and for itself, and I definitely cannot accept the utterly abused division into music that we react to with our gut, which thus has an effect, is sincere and powerful, and music we react to with our head, which thus has no proper effect, is cerebral and manipulative.

4. Does music have greater need of a story, or the other way round? A. G.: Music needs a story more. Story needs music most often just as a figure of speech, as the means of emotional marketing. Still, I think interdepen- dence is not something predetermined. The story is forced on music (the story not necessarily understood as a narrative, but as a kind of extramusical or super- musical reading, the adjunction of sense), either by the person writing it (creating, composing, performing) or by the person reading it (performing, listening) so that it could be understood, talked about, remembered.

18 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? A. G.: In the human breath (nature?) and in the word i.e. speech (culture?).

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? A. G.: The choice of instruments I write for encourages the creation and influences it largely, from the development of the very idea of the sound I want to achieve, to defining the expressive and technical possibilities of the apparatus, to thinking about the tradition of the use of that apparatus. The choice of performers I write for is often fictitious, and hence it remains in the domain of ideal representation. When the performer is known to me, I strive to find some mutual incentive.

8. How would you define your primary creative engine? A. G.: I do not know. Curiosity, self-importance, fascination, spite.

9. Which kind of emotional drive steers your creative processes most often? A. G.: First, being absorbed in play. While working – often nervousness, anxiety, impatience. In the final stages of composing – playfulness again.

19 New Sound 40, II/2012

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? A. G.: For example: I am looking at Klee’s drawings. I imagine a moving image, most often quite simple, a dynamic visual structure. Let us say, a series of parallel lines that pass through a surface. I add sounds to the lines and I add sounds to the surface. I decide which lines become reflected and which ones keep passing through the surface, where the surface yields and where it fractures. I try to conceive what I have not imagined. I try to conceive how the lines that penetrate become thinner and turn into strings of points, the lines that are reflected become curved and turn into spiral forms, to which, on the other hand, the said points stick and… I realize that my formal sections are poorly connected and that I lack the natural musical breath; for a moment I leave visual structures aside and start dealing with the acoustic ones. I struggle for a while and then I comprehend that my music is developing quite nicely if it indulges in the visually impossible.

11. Do frequency range and the rhythm of the sounds of nature (e.g. wind, waves, animal calls, the universe…) and culture (voices and sounds from the [urban] environment, appliances, popular music…) play any role (and if they do, what are they) in forming the musical material in your compositions? A. G.: Apart from wind, I am afraid that I seldom come across sounds of nature, or at least they seldom draw my attention. Voice and speech inspire me considerably and shape the materials I deal with. A particular phrase, pattern or idea borrowed from popular (or just any) music is sometimes, although not often, a convenient inducement, like a conversation topic. Other sounds I encounter mostly serve as remote or immediate associations; I use them as a kind of cliché (not so much while writing music, but rather when explaining what is written) without actually incorporating them into the musical material.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? A. G.: I think I deal with quite simple things, trite even. I try to follow the breath – the breath as the measure of a phrase, as the rhythm of interchange, breathing in and breathing out, as the natural flow of thinking, as the natural flow of speech. Also, in my music, I try to deal with relationships that I also deal with outside music – communication between two people, between one and many, with oneself.

20 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? A. G.: Various background noises, most of all those of electronic appliances, but not only those. I think I developed a need to change silence, as the background for acoustic events, for wide, static, tremulous acoustic drones, and yet to use silence not as an acoustic content but as a sound effect.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? A. G.: I think complicatedness is a historic euphemism for when various musical disciplines become specialized. The development of media has significantly contributed to the development of music (and, at the same time, left it slightly wondering about itself).

21 New Sound 40, II/2012

A. G.: The adaptation of the system, techniques and materials to contemporary conditions will not be required any time soon, but I am of the opinion that it is very desirable. Music as a social activity is becoming more and more anachronistic. As if it is growing into the result of satisfying imaginary, sup- posed social needs, instead into an echo of the society, of the environment in which and for which it is created.

18. Do you see musical creation as a way of transcending the biological limits of a human life? A. G.: I do not think it is important.

19. In what ways and to what extent do biology and experience direct your creative processes? A. G.: To be honest, I do not react to changes of weather and seasons, I often do not even realize whether I am cold or sleepy, and so my knowledge about biology and physiology and their influence on me does not extend far. The experience of previous creations and experience as everything that has been learned in the meantime – I most sincerely hope that it does influence my creativity.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? A. G.: Probably the biological ones, but they are unfathomable to me, and so I cannot (do not want to) pay attention to them consciously. Cultural ones – I hope not. I am not in favour of dividing creation into men’s and women’s writing. I am not ready to accept that my creation is stipulated by sex/gender.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? A. G.: I cannot pinpoint one decisive moment, or more, that defined or oriented my creative path in a certain way. I think that the content of music is coloured by all my experiences. I do not refuse the connection between the development of my music and the development of my being, but since I cannot view composing as an isolated activity, I cannot select clear examples of immediate interaction, either.

22 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Srđan Hofman

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Srđan Hofman: Sound exists as a natural, physical phenomenon – irrespective of whether a living creature can perceive it with its sense of hearing. The ability to perceive one part of that physical phenomenon, the ability to discern different sounds and to interpret the information about the environment conveyed by sound to human beings (and many other animal species), are also completely ‘a matter of nature’. Naturally, the building material of music is also sound. Thus, music could not be possible if there were no sound, no sense of hearing and no processing of acoustic information in the brain. But the intentional production of series of sounds organized in units that also made sense to other members of a group (clan, tribe…) took place within a particular culture. Music emerged, changed and developed its expressive means exclusively within a culture, primarily in two interrelated ways: a) human beings gradually mastered the skill of the precise ‘fabrication’ of sounds for their music (the ever more complex making of musical instruments, increasing adeptness at playing on them, the development of special vocal techniques); b) ‘permissible’ acoustic (tonal) content and formal principles underlying a musical tissue were established. I stress that here I take the notion of culture in its broadest possible sense: as the cumulative sum of confrontations and permeations in a complex interweaving of various historically conditioned and geographically located ‘traditional’ cultures, layers of subcultures present simultaneously in one place or in one social (national) community, as well as the rate of multicultural and tran- scultural processes.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other?

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S. H.: From my answer to the previous question, it can already be concluded that I see ‘the culture of music’ as completely real and exact. At the moment of performance, music is definitely not virtual, but an acoustic fact made by the creative effort of an individual within the given parameters of his or her culture and by breaking the boundaries of these parameters. The reception of music is an individual act, and maybe, to an extent, it does not coincide with the real content of the work, but besides the psychological characteristics and current mood of the listener, it is also conditioned by the culture (subculture) which the listener belongs to.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? S. H.: I think that culture is ‘responsible’ both for the sense and for the meaning of music. Thereby, the sense of music is permanently related to the culture of the time and the place where the work has come into being, while the meaning of that work can change or get lost during a migration to a geographically and/or chronologically different culture. However, the sense of a musical work can also be ‘lost in translation’ in another, fundamentally disparate culture. Although objectively present in a work, that sense will not be consciously understood by the recipients who are not capable of discovering the culture- conditioned ‘regularities’, unknown to them, which build that sense.

4. Does music have greater need of a story, or the other way round? S. H.: The context of this question does not specify what you imply by the notion of ‘story’: a literary form, the synopsis of a film or a theatre play, the summary of a book, the musicological analysis of a composition, an essay about a work, a critical review… Or do you simply mean the relationship between text and music in vocal and vocal-instrumental pieces written after a literary work, or in ‘programme music’? Not to mention the fact that the issue of the degree of that mutual need of music and story can also be projected to the ‘forces of attraction’ between the agents of the musical and extramusical ‘setting’ in general.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? S. H.: If we agree that music, in a certain sense, belongs both to nature and culture, then working with sound, with its appropriate parameters, procedures,

24 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) segments and functions, is inseparable from them. And within the scope of that, my acoustic milieu is mainly explorative.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? S. H.: Discovering the specific qualities of acoustic features of instruments, voices and their relationship, creating electronically generated sounds and the processing of ‘natural’ sounds of the environment – have a fundamental influence on shaping my musical ideas. In order to make compositional decisions, I even rely on imagining the act of performance of the (future) composition, most often including visualizations of certain musicians and their distinctive movements, or even the appearance and acoustics of a real concert hall in which I imagine them ‘perform’.

7. In which dimensions of nature and/or culture do you ‘read’ the intensity of your own compositional intuition and/or irrational creative actions? Namely, which determinants of nature and of culture, respectively, are crucial for you in the process of musical imagination and creation? S. H.: Creating sounds, processes within them and ‘responses’ to them is conditioned and limited by the natural laws of acoustics and psychoacoustics. The human ability to perceive the complex interweaving of textural layers rich in acoustic information is also ‘naturally’ limited, although it can be developed by exercise. What do we hear as the sum, once we are no longer able to hear the elements constituting that sum? For how long can we pay close attention while listening, if we require relaxation caused by the simplification of the texture and the dilation of musical time, static moments…? These are some questions I try to answer both intuitively and experimentally, both rationally and irrationally, and which are, in my opinion, ‘determinants of nature’ in the process of my musical creation. The content, the meaning of the music I compose is conditioned by the totality of the music which I am familiar with and which I listen to; it is in a certain relationship with the compositional procedures of various composers whose works I have analyzed in my life; it is influenced by ideas developed in other arts, etc. Regarding the culture I belong to, it is certain that impulses from its segments which are close to me, yet which I do not even think about while composing, influence my compositional decisions in an irrational way.

8. How would you define your primary creative engine?

25 New Sound 40, II/2012

S. H.: It is difficult to define the ‘primary one’. Sometimes I am motivated by my personal experience of an artwork (a painting, sculpture, verse, film scene), which I try to reconstruct in the domain of sound, sometimes by an ambiance sound, or a sound event I hear, or an instrumental combination (when I have a ‘predetermined’ ensemble)… Sometimes, a musical idea or a ‘motivic’ core induces me to fashion a musical tissue…

9. Which kind of emotional drive steers your creative processes most often? S. H.: If I possess such a dominant drive at all, I am not aware of it.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? S. H.: I usually start with a vague vision of the future composition’s contours, but while working on it, the musical material itself opens a space to me for different structuring, for new ideas… For example, ‘accompanying’ layers, which I build around the skeleton material in order to create acoustic information that is distinctive, complex and polished to a high gloss, sometimes strike me as possible ‘main’ layers, capable of evolutionary development.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? S. H.: It might be fashioning acoustic layers of substantial duration which, beside conceivable complexity and micro-changes in their structures, can ap-

26 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) pear to be a single unified acoustic field which is easily perceived. Secondly, it is the reduction of harmonic, melodic and rhythmic material to a handful of basic ‘motives’ that in some shape are repeated throughout the composition.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? S. H.: I sometimes employ musical patterns that might, due to their frequent use, be defined as ready-made. These patterns – highly stylized and differently illuminated, although still partly recognizable – play the role of reference to some other (extramusical) meaning which we anticipate, but do not fully comprehend.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? S. H.: Acoustic ‘polluters’ can be loud noises of traffic, construction sites, sports grounds, etc. which disturb concentrated work, thinking, conversation, sleep… Loud (or even quiet) music can also pollute the space around which it spreads – and this can be just any kind of music, provided it is not performed (broadcast) to be listened to consensually by a group of people in a given period of time, but rather imposed as an acoustic background. Using music as a décor, whose role is to contribute to creating a ‘pleasant’ ambiance – or as an agreeable acoustic sensation to accompany drudgery or some other activity – pollutes, however, the culture of listening, because it implies paying superficial attention to music, or even a complete lack thereof. To meet this assignment, music turns into a music industry that must adapt its content, structure and form to the manner of consuming it. On the other hand, to maximize the profit, it must incite in the consumer the strongest possible need for its products, with the ‘guarantee’ that their use will not require the excessive expenditure of ‘quality’ time and intellectual energy. The differences between an industrial product and an artisan product, as well as between the respective products of design, applied art and fine art are clear. Regarding music, however, under the umbrella-notion of culture and art in our midst during the last two decades, the boundaries between amateurism and professionalism, between show business and artistry, between an industrial product and a work of art have been erased. This led to the pollution of the perception and reception of the works of artistic music, and the contribution of cultural policies, schools, printed and electronic media to this process is certainly not negligible.

27 New Sound 40, II/2012

The consequence of the described situation is a serious deficiency in the material and organizational support of the society to performing and recording new works of artistic music. The influence of this state of affairs to my creation made me give up composing for large ensembles.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? S. H.: The complexity of avant-garde music in the period you mention, which sometimes surpassed the capacity of human beings (the performer and the listener, and even the composer) to perceive and follow the events in a musical tissue, raised the issue of what the limits are which music – in order to remain an art that can be heard, comprehended and experienced as an intentionally organized acoustic event – cannot afford to exceed. However, precisely this ‘overflow’ over the boundaries of sonorities which a composer, while working on a composition, can imagine, relying on the experience acquired by the sense of hearing – and which is caused by the serial technique, aleatory music or electronic equipment – permits the discovery, in a practical way, of where those boundaries actually are and how far they can be extended. Thus, the post-avant- garde composers, drawing from what they already heard, had an opportunity to search for paths towards functional structural richness and some new kind of euphony.

S. H.: I do not think that music has gotten lost in some ‘gap between poetics and aesthesia’: good music is being created even today and exists in the most diverse manifestations. Gifted creators choose, consciously or not, musical materials and compositional procedures that are familiar to them, natural, the easiest to express with, and conceivably the best suited to communicate with the kind of listeners who matter to them. And if they are interested in what sort of music has prospects in the sense of ‘what will be the trend in music in a few years’, they should follow the developments in visual arts. New orientations in visual arts, which have been drawing media attention, have usually, at least so far, anticipated occurrences in music.

28 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

17. Are adaptations of the compositional system, techniques and materials to contemporary conditions indispensable for the ‘survival’ of music, and how are they implemented? In that respect, to what extent is ecological adjustment between a stimulus and the mental ability of perception necessary for a compositional system and stylistic traits to be perceived as comprehensible and effective? S. H.: The life of every human being follows its course in the conditions that are contemporary for him or her, though these ‘conditions’ are defined by the culture (and subculture) that this person belongs to. We do not choose the historical period, or the social class, or the culture, or the place where we grow up, yet all of that is an integral part of our personality. Thus, certain adaptations to the conditions in which a composer creates are completely natural, probable and involuntary, and at the same time individually ‘faceted’. Every art, including music, is limited by the properties of the human senses and our mental capabilities. If it exceeds them – it becomes absurd. The ‘transposition’ of a Bach fugue to the ultrasonic range (which is technically feasible) or a complete blackout in a room where Rembrandt’s paintings are exhibited would make these works non-existent for the listener/viewer. On the other hand, sensory acuity differs from person to person, as well as perceptive and reason- ing abilities. Experience and specific advance knowledge are also necessary to comprehend and experience a work of art. Without them, the ‘compositional system’ cannot be perceived, be it a complex Renaissance polyphony, Wag- nerian web of leitmotifs, the way of ‘reading’ Haydn in Prokofiev’s Classical Symphony, or the serial technique. The adjustment you speak of is definitely necessary, but the questions remain against what kind of listener it is gauged, and whether the work contains a layer which is ‘the first’, and effective, in spite of the work being ‘incomprehensible’ for the majority of listeners.

18. Do you see musical creation as a way of transcending the biological limits of a human life? S. H.: No, I do not.

19. In what ways and to what extent do biology and experience direct your creative processes? S. H.: Biology probably influences my creative process in a certain way which eludes me, while experience helps me tremendously to avoid ‘ticking over’ while working, and to recognize if the time is right to abandon the implementation of an idea.

29 New Sound 40, II/2012

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? S. H.: I do not think so.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? S. H.: University studies, i.e. the condensed time of the most intense learn- ing and adoption of the most diverse knowledge, is nevertheless the origin of developmental processes in my compositional creation, of its changes and the ever increasing complexity of its orientations. The content of my music is coloured by my personal listening experience, related both to musical works and to disorganized, ‘random’ sound.

30 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Tatjana Milošević

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Tatjana Milošević: Nature in music can be viewed only as substance. The matter of culture in music is, in the broadest sense, musical theory i.e. speaking about music. Music is primarily a matter of culture, because a bird does not recognize its chirruping as music, but human culture does.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? T. M.: The real and the exact also belong to culture. Culture reveals reality and exactitude in music as their nature.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? T. M.: At any rate, only the culture. The nature is ‘non-rhetorical’; it has no meaning whatsoever, and music can explain itself and its own products only through rhetorical knowledge. Only culture has the ability of self-explaining.

4. Does music have greater need of a story, or the other way round? T. M.: Music does not need story at all.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? T. M.: No answer.

31 New Sound 40, II/2012

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? T. M.: Until recently, ensembles/instruments were not relevant stimulations for my creativity, because I would always start by composing thematic material on the piano or in a short score. The exceptions are compositions where the ensemble is predetermined. The choice of appropriate medium that will be best suited for the thematic material is normally the second stage of my composing. However, sometimes a new musical idea was initially inspired by the acoustic possibilities of a certain ensemble of instrument, but I would very soon deviate from it, more or less. A certain timbre can initiate the creative process, but that is definitely not a rule in my case.

8. How would you define your primary creative engine? T. M.: The need to research/shape/substantiate musical contents.

9. Which kind of emotional drive steers your creative processes, most often? T. M.: Only the positive emotional drives, e.g. the feeling of contentment. As a rule, negative emotions hold me back, both in life and in creativity.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? T. M.: – The musical idea. – Researching its potentials (partitioning into segments, analysis of its components and possibilities of creating interference with other musical ideas, or between its segments). – Determining its authenticity (whether it directly follows from something that already exists or just generally… if it is a reference to some known poetic, composition etc., it is no reason at all for me to give up, just the need to become aware of its affiliation, ‘locality’).

32 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

– Work on the thematic material derived from the initial musical idea, and which includes its formal shaping as the exploration of its possible manifestations in the background, middle ground and foreground of the composition. – Orchestration.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? T. M.: The ways of lending recognition to a musical material are guided by the particular inherent characteristics of the material itself and it is almost impossible to ‘choose’ a certain manner of ‘shaping’ in order to increase accessibility of any kind.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? T. M.: Among the genres in the category of musical ‘ready-made’ cultural goods, I have used blues and jazz, with the intention of creating a kind of ‘genetic splice’ of popular and artistic music by synthesizing them with my own music. Apart from the desire to experiment with various musical parameters and to either find or dispute ‘the new’, this creative ambition also stems from the consciously present aspiration to achieve better communication with the audience.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? T. M.: If ‘polluters’ denote what is harmful, then we can speak only of the violation of the decibel limit. I think that ‘harmful’ in art does not exist. Soci-

33 New Sound 40, II/2012 ologists of culture have spoken about ‘kitsch’ and ‘trash’, but nowadays these notions rather belong to an antiquated philosophical jargon, while in fact they have lost their meaning. The contemporary school of thought dismisses them, and rightly so. After ‘camp’ it is impossible to speak of ‘kitsch’.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? T. M.: No answer.

6. If the ‘arrow of music history’ has lost its way, will the technology (of a musical material, among other things), and which one, be the force to initiate the future of music and close the gap between poetics and aesthesia (or perhaps it is happening already)? Actually, which compositional grammars, techniques and strategies today have prospects, in your opinion? T. M.: Almost all known compositional strategies have prospects if they cooperate with the musical content they substantiate, except for the twelve-tone technique that, I would say, completely eliminates all authenticity.

18. Do you see musical creation as a way of transcending the biological limits of a human life? T. M.: Cause and consequence are exchanged in this question, because an awareness of ‘transcending the biological limits of a human life’ can be reached only through creation. As the Gnostics claim, it is necessary to transcend the corporeal and material status to reach an idea.

19. In what ways and to what extent do biology and experience direct your creative processes? T. M.: Certain contemporary philosophers claim that experience is ‘de- stroyed’ and replace that notion with ‘recollection’. Reality today is so ‘fragmented’ that it cannot admit ‘experience’ as we have known it until recently.

34 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

If ‘biology’ denotes parameters such as ‘age’ or ‘health’, I still have had no opportunity to become aware of changes that would serve as the ground for comparison. Experience (recollection) shows that great works have often been created in spite of biology. Would Beethoven be a better composer if he did not become deaf?

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? T. M.: Sex and gender (by ‘gender’ I understand ‘heritage’) undoubtedly influence my creation. However, everything influences creation and it is impossible to tell what, when and to what extent. I would like to remind you of a witty remark by Laurence Sterne, who said that ‘a writer is not the same before and after shaving’.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? T. M.: Certain ‘moments in my life’ that influenced and ‘coloured’ my creation probably exist, but they are so varied and intertwined with other influences, often in the domain of the unconscious, that it is very difficult to recognize and define them.

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Interview with the composer Marko Nikodijević

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Marko Nikodijević: The representation of nature is already a matter of culture. Thus music is also a matter of culture.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? M. N.: Communicating vessels that govern each other. A harmonic series is a physical fact. Without a musical context – only a physical fact.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? M. N.: I am not sure that music ‘in itself’ exists. To paraphrase Bojana Cvejić, music is the ‘rhetoric of figures of speech’, i.e. of predetermined lexical, syntactical, structural units. Maybe I am just an obsolete post-structuralist who, outside language and the social conditions of language, does not see the forest for the trees.

4. Does music have greater need of a story, or the other way round? M. N.: The story seems to me to be a later-stage symptom in the development of music. Its original sense of a ritual is, provisionally put, its ‘nature’. After poetry stops and before metaphysics begins.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? M. N.: Given my dealing with algorithmic music, sound synthesis, live electronics – it is in digital reality. But that also means in sampling – therefore,

36 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) the inexhaustible acoustic reality of the entire recorded history of music and non-European musical cultures. In the sense of a primary aesthetic milieu, my music originates from techno and techno-aesthetics.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? M. N.: They stimulate as much as they limit. And in a limited space, everything is the ability of the imagination (though not a necessity, unfortunately). However, access to the European performing elite and continuous collaboration with it is an immense motivation, and the spectacular development of digital technology in the last decade is a boundless composing ground.

8. How would you define your primary creative engine? M. N.: Techno.

9. Which kind of emotional drive steers your creative processes, most often? M. N.: No answer.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? M. N.: As being oriented towards searching for the right sound – not in the essentialist sense of obsolete aesthetic notions about an original genius from the late 1800s, but in the sense that all compositional processes are subordinated

37 New Sound 40, II/2012 to the quest for a unique acoustic reality (whose one parameter, apart from the acoustic aura, is its conceptual orientation). Digital technology is just a tool that makes it possible either to fathom the depths of a sound structure or to create a kind of organized acoustic structure which surpasses the possibilities of immediate sound imagination. Too many composers are limited either by imagining the score, or by their own improvisational technique at the piano, or by front- end use of digital technology.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? M. N.: In the same way as every sample. We must keep in mind that for the first time in history, thanks to digitalization and the Internet, literally the entire archive of history is at our disposal. In that respect, the attitude towards such a ‘Borgesian’ archive of the world is one of my preoccupations: roughly speaking, only now is Post-Modernism technologically possible.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? M. N.: I am not sure whether the very idea about polluting culture/nature with sounds is a mere self-delusion of some circles in high culture after the shift of public attention towards some parts of popular culture. Imagining silence is sometimes more important than actual silence. After all, everyone who spent 20 minutes in an isolation booth knows how frightening silence can be.

38 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? M. N.: I do not know if one can speak of the gradation of euphony and structural richness from the historical aspect. That would require the synchrony of the entire history of music (which is, in itself, a very interesting concept).

16. If the ‘arrow of music history’ has lost its way, will the technology (of a musical material, among other things), and which one, be the force to initiate the future of music and close the gap between poetics and aesthesia (or perhaps it is happening already)? Actually, which compositional grammars, techniques and strategies today have prospects, in your opinion? M. N.: I do not belong to the circle of mournful composers and I think that the ‘downfall’ of music is an eternal mirage – even Adorno, Brahms, Schubert wrote about it. If we go further back in time, we would probably come across the downfall of music since the moment when music started to separate from a ritual and became an authored work. It is a thankless task to predict the future, and also the best way to be wrong. I believe that great potential lies in the possibilities of digital technology – starting with computer-aided composing, acousmatic music, live electronics, to the global library of history preserved on the World Wide Web. Regarding that, I think that in the coming age of hyperinformation, the strategy of processing a huge amount of data will be a part of some compositional technique of the present and the future. As a listener, I am most interested in poetics that are exterritorial.

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18. Do you see musical creation as a way of transcending the biological limits of a human life? M. N.: Only in terms that a certain work of music will become a part of the collective memory once its creators are gone, but that is a very small part of music. Admittedly, maybe a new time is coming when we will also find out more about the less known music practices of previous ages, non-European music traditions, etc. To what extent it will become a part of the collective canon, I do not know, given that the very idea of the collective canon is obsolete.

19. In what ways and to what extent do biology and experience direct your creative processes? M. N.: No answer.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? M. N.: Surely, but I do not believe I can ‘become aware’ of this part of my own existence.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? M. N.: The moments of gradual (or sudden) crystallization and conceptual clarity within agglomerated ‘sediments of experience’.

40 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Vladan Radovanović

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Vladan Radovanović: This question necessarily includes the historical dimension, as well as the issue of origin: was it nature or culture that caused the emergence of the first organized sounds? Although this might resemble the apo- ria about the chicken and the egg, it is clear that the first cause cannot be culture, because in that case the issue moves further back in the past about which it is still impossible to learn anything more. We are left with the possibility of rationalistic assumption about some moment long ago, when only the prerequisites existed: the appropriate human sense and the impulse for demonstration. Then, it is more likely that the emitting of some voices and the excitation of sounds occurred accidentally, with the desire to repeat that experience, while it is not probable that the first ‘deviser’ of sounds previously had some ‘idea’ about their organization. Therefore, I believe that nature should be ‘credited’ with the inception of that tentative music, and later, while the formation of culture is in full swing – this is the impression drawn from my own introspection – nature still provides and develops the categorical psychological prerequisites: musical abilities, complementary abilities to carry out intentions and decisions, propensities, while culture offers various ways of coding and the patterns of acoustic structures. Since the effects of nature and culture are categorical, they cannot be compared either quantitatively or qualitatively.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? V. R.: Here the term ‘nature’ is used in a different meaning from above. The notion of the nature of music here includes the general, permanent and essential characteristics of music, conceptual determinants that might be a part of the definition of music. In my opinion, the more some phenomenon is con- ceptualized, the less it exists in reality. Music really exists only when we listen

41 New Sound 40, II/2012 to a certain musical work, i.e. when the work exists in the mode of ‘becoming a sound’. Hence, since the nature of music is in a state of notion, music there exists generally instead of really – or if you like: it exists fictively, but in the meaning of being imagined. However, in the case of the nature of music, this notion certainly refers to music itself. The culture of music is also in the state of notion, but – since its quintessence is the nurturing, cultivation and improvement of a phenomenon – it is a notion that does not concern music directly, but rather its furtherance. Thus, in relation to music, it is intermediary and even more generalized, and so it does not seem appropriate to me to view the nature and the culture of music as a metaphor of two mirrors that reflect each other.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? V. R.: First of all, I find it problematic that music should really exist when it exists either ‘in itself’ or ‘for itself’. I cannot know anything about its existence in the capacity of musica mundana, or in the world of ideas. In fact, when it is not sounding and does not exist really – it can exist only in the mode of possibility, in an improper form, as a collection of conditional markings or signal traces, but even as such it represents only a possibility of music ‘for us’. All the more so, when it really exists in its acoustic state, it exists only as music ‘for us’. I do not know what distinctions you make between ‘sense’ and ‘meaning’ – for me, the first relationship between the sign (I do not adhere to Saussure!) and the signified is more general because it suggests very general terms: permanence, temporality, process, infinity, motion, constancy, etc. Meaning as a relationship between the sign and the signified includes species concepts that are more concrete. Finally, it seems that here you use the term ‘nature’ perhaps in the third meaning: as something given, something that we come upon, that is not made by humans. Be that as it may, I would say that nature involuntarily ‘offers’ phenomena that we can ‘devise’, and culture offers phenomena already devised, but which can also be revised.

4. Does music have greater need of a story, or the other way round? V. R.: I accept your personification tentatively, but I do not know what you are referring to: whether to the story and music as the media of single-media arts, or as simultaneous components of a multimedia art. I shall answer as if it were the former. I do not think that they can do anything with one another. The

42 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) story can fully survive without music, and even if it needed music – it could only mention it, instead of fundamentally dealing with it because (tone) music is untellable. As for (tone) music – even if it needed a story for some reason, it cannot tell it because it is incapable of transmitting meanings through tones.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? V. R.: The acoustic ‘milieu’ of creation, in the sense of space populated with phenomena related to my musical (tone) work, is an immense imaginary museum of music under the wing of culture. Also, to a lesser extent, another milieu consists of natural scenes, especially cosmic ones, which sometimes through synaesthesia are transformed into sonorities.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? V. R.: It is beyond doubt that certain sound sources in some cases stimulate my creativity. In principle, I know that a similar stimulus can originate from a performer too, but personally I did not have such experiences.

8. How would you define your primary creative engine? V. R.: My primary creative engines are the existence of the pinnacle of musical culture and the inspiration that in a predominantly spontaneous manner engenders audisions (acoustic phantasms).

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9. Which kind of emotional drive steers your creative processes, most often? V. R.: As far as I can self-comprehend it, the only emotional cause of initiating a creative process is when the ‘fused’ manifestation of sound and emotion is initialized internally. F. T. Vischer wrote something similar about this.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? V. R.: Since my music is rarely commissioned, I leave the initialization of the process of music creation mostly to impulsiveness and spontaneity. The process usually begins by an audision and by looking for its correspondences in the acoustic material. Audisions sometimes occur even in later stages of the realization of the work – almost without the influence of the conative sphere of my mind – and they are bypassed by ‘attentive listening’, i.e. by striving to ‘hear’ what the previous sonority requires as the follow-up. These effects are at the same time intertwined with the intentions and decisions to lend a certain ‘appearance’ to the structure.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? V. R.: This question fundamentally relates to my ‘adjustment’ of a musical structure to other people’s sensory perception and feeling (aisthesis). I care very deeply if my music affects another human being, but I think I should attempt nothing to make my music (which might, though not necessarily, be recognized as the representative of my compositional-poetical method) accessible from the aspect of aesthesia.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music?

44 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

V. R.: My (tone) music (as well as any music other than musique concrète) is incapable of ‘absorbing’ any non-musical meanings, and it is very resilient to the goods of ‘ready-made’ culture. Admittedly, as I have already said, it perhaps can absorb the non-musical scenes of the cosmos, but it cannot transmit them to others. I personally can experience this absorption taking place, but it is quite unlikely that the others too can have the same ‘readout’.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? V. R.: The ultimate acoustic ‘polluters’ are artificial sounds whose presence and duration cannot be chosen. The noises of large facilities, the incessant safety signals of automobiles (more boring than repetitive music) and, most of all, torturous pounding – I suppose that kind of subcultural music is called ‘techno’ – coming from a multitude of vehicles. These sounds affect my creation only inasmuch as they prevent me from ‘hearing’ my own music.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? V. R.: The increasing complexity of a musical structure is, most of the time, directly proportional to the increase of structural abundance, and inversely proportional to euphony. However, not everything is so symmetric and straight- forward. According to my feeling, the degree of cacophony (as the opposite of euphony) also depends on the timbre of the sound source, on the presence of the overtones with the frequency ratio of 7:1 or 9:1 to the fundamental, and on intensity. Thus, for me, a minor second produced by two trumpets is more caco- phonic than eleven minor seconds played by violins.

45 New Sound 40, II/2012 tory’ go astray in any respect, ‘lose their way’, sink into crisis. The tendency to see ‘ends’ and crises everywhere and every so often is probably influenced by Hegel’s model of events and values, which already from the first failed to hold true – in the viewpoint of the state system of the Junkerist Prussia as an ideal, or in the aspect of Hegel’s absolute idealism being the last ‘most developed, richest’ philosophy, or that art ‘in its highest vocation’ remains only ‘a thing of the past’. This model failed to hold true later as well, in its applications to the ‘end’ of opera, to the end of art based on formal features, which is definitely followed by conceptual art, etc. Undoubtedly, everything that came into being will meet its end, but that end will occur when the phenomenon itself becomes exhausted, and not when all the Hegels, Adornos, Olivas and Kosuths say so. Finally, I am not in the least concerned about those changes in spiritual creation and art which are initiated by the authors themselves, whereas I am deeply concerned by the changes that are artificially directed from centres of power based on profit and, even more deeply, on making the culture ‘grey’ in order to gain control over the human masses in multiple ways. In that respect, as one of the consequences, artistic music, individuality and diversity are in danger of being swallowed by popular subculture.

17. Are adaptations of the compositional system, techniques and materials to contemporary conditions indispensable for the ‘survival’ of music, and how are they implemented? In that respect, to what extent is ecological adjustment between a stimulus and the mental ability of perception necessary for a compositional system and stylistic traits to be perceived as comprehensible and effective? V. R.: Three questions in one. I could answer the first one affirmatively. Probably, by ‘contemporary conditions’ you imply publicly suggested attributes of constructing an acoustic structure that, with or without a textual manifesto, are offered by a group of creators almost at the same time. But, it seems to me that this is not so much an adjustment of the general compositional system to the said conditions, but rather that a certain larger number of composers adjusts the systems they have been using to the newly-suggested systems of a few distinguished composers. This adjustment occurs in various forms: through discursive statements about the goals and purposes of the proposed changes in sound; by increasing the complexity or simplification of some or all of the properties of an acoustic structure; by introducing new sound sources (if possible); by excluding the most important constituent of music – the sound – while retaining the name of music, etc. As for the third sub-question, I have not quite understood the role of ‘ecological adjustment’ in comprehending compositional systems.

46 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

18. Do you see musical creation as a way of transcending the biological limits of a human life? V. R.: My state as a being in its entire range – from cellular to global consciousness, from sensory to mental, to spiritual – is certainly determined by its biological nature. In a certain sense, this biological nature yields limitations, too, but also the desire to overcome those limitations. Of course, I have been thinking that the improved biological foundation – a better musical ear, absolute memory, higher intelligence – would perhaps allow me to create works of music that would satisfy me even more, but this catching up would never end. In another sense, it is certain that, from the aspect of permanence, creative results can be perceived as phenomena that endure beyond a human lifetime.

19. In what ways and to what extent do biology and experience direct your creative processes? V. R.: If by ‘biology’ you mean inherited abilities and inclinations – I do not have a reliable answer to that. I do not even know if I have a way to estab- lish which influence is predominant: heritage or experience. Maybe neither of these factors predominates absolutely, but instead their influences interchange.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? V. R.: I might be able to answer this question if I underwent a sex change, so that I could assess what it is like to create as a person of one sex as opposed to the other.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? V. R.: There are several such moments. In 1946, I heard Grieg’s Piano Concerto in A minor and definitely decided against being a pianist in favour of becoming a composer. That is to say: composer too, since I also intended to become a painter. In 1951, I saw some of Schönberg’s and Webern’s scores that, for a short while, bewitched me with their graphic appearance, and in 1952, I heard Bartók’s Sonata for Two Pianos and Percussion and Music for Strings and I realized I was off course. Ever since, I have had no doubts about the mode in which music resides, and so graphic notation, which appeared later, could not sway me. The approach to music which I consider my true path was conceived at that time. Under the influence of Stravinsky, I deviated from that path for

47 New Sound 40, II/2012 a short period, in 1954–1956, towards Neoclassicism (which in 1955 I called ‘polymusic’), only to start ‘listening for’ ‘my own’ music in 1957–1958 – now without any external influences. This music – if we are talking about ‘musical music’, not metamusic – I compose to this day. I have no personal experiences that would ‘colour the content of music I create’ – my music is the only experience I have that is related to it. Since music is not – as Jankélévitch put it – ‘ineffable’, but rather – as Jankélévitch did not put it – ‘untellable’, it is also impossible for me to say anything about my ‘musical music’ that would be a sufficient basis for recognizing it. I can only give a few short and approximate structural specifications and describe the effects of my own music on myself. My music is maximalist. It works with all the parameters of sound, equally. The very structure, on average, is complex and based on the principle of the change of the frequency of non-repeating sounds and on hyper-polyphony, whereas I began to nurture hyper-polyphony in 1958, completely irrespective of any organized method of sound mass music, or even micro-polyphony. The effect of my music lies between ‘sacral’ and ‘cosmic’. These determinatives, or sound tribes (stated in my text Spektar zvuka [Spec- trum of Sound] published in 1960 in the Danas magazine), transcend style: Bach’s Three-Part Invention in F Minor and Stravinsky’s Symphony of Psalms also have a sacral effect on me.

48 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Svetlana Savić

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Svetlana Savić: It is certainly more a matter of nature, by its origin and structure, but it has become an indispensable matter of culture through ever increasing mass presence.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? S. S.: Mirrors are powerful tools, especially if they are curved ☺.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? S. S.: This power is the undeniable responsibility of the one who creates the music, and that person is the product of nature and culture. The sense and meaning of music can be the subject of a game, manipulation, experiment, provocation, of the unconscious or superconscious mind of the creator. All the other connotations are another game, manipulation, experiment, provocation…

4. Does music have greater need of a story, or the other way round? S. S.: Neither the story nor music require a supplement, nor do they have to interpret each other. It is a matter of human nature and free will to join them or put them in a counterpoint.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’?

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S. S.: My ‘milieu’ is the tone, its nature, potential, accords and rhythms. That would be nature. What comes from culture is an incentive for a tone: archetype, association, word…

8. How would you define your primary creative engine? S. S.: The need for sound and action.

9. Which kind of emotional drive steers your creative processes, most often? S. S.: Excitement, delight, joy.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? S. S.: The process is never the same, because each composition is new and has unique challenges, demands and problems. Phases do exist and they vary in duration. Sometimes an abnormally long and ‘barren’ phase is followed by one that flies by, smoothly and effortlessly. There are no strategies, there is decision-making at important moments, where one decision rules out all the others and leads to a new crossroad, with new decisions…

50 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? S. S.: Sounds of machines and certain radio and TV stations. I try not to ignore them.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? S. S.: No answer.

S. S.: No answer.

18. Do you see musical creation as a way of transcending the biological limits of a human life?

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S. S.: No, just as a beautiful and exciting ‘private enterprise’. I used to have a more romantic idea about that, especially while absorbing Berdyaev’s The Meaning of the Creative Act ☺. Back then, I used composing to fight the fear of death, to call various religions and witchdoctors for help, to meditate, to follow the symbols of nature and man…

19. In what ways and to what extent do biology and experience direct your creative processes? S. S.: I can watch and think ‘from afar’ and ‘from near by’, in turns; I can feel the worth; I can know when to ‘let go’ or abandon.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? S. S.: No answer.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? S. S.: The experiences of love and nostalgia, death, ‘near death’, fears and exaltation.

52 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

Interview with the composer Ivana Stefanović

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Ivana Stefanović: I feel that music is very close to its primeval source, to its archaic origins established without the human presence. But music itself, it began with humankind/culture. Even when it is highly elaborated, music retains the memory of the nature of impulsiveness, of urges, primordial energies, pressure striving to be released, to cry, to utter. Some more recent theories (Mithen) speak of music as pre-linguistic communication, which would mean that we sang before we spoke. Music begins by the articulation of voice, breath, breathing in and out, i.e. by life itself. The whistle, string, hammer, or animal skin stretched over a reso- nator, a membrane, percussion – those are extensions of the hand and the voice. Later, this elementary principle was reinterpreted, transmuted into new stylized, elaborated forms. Knowledge, technique and skill were nurtured, new means were sought, the philosophy of art emerged – and that is what we might call the cultural dimension. The natural-natural turns into the elaborated-natural. And another thing: music has two more properties. First, it is always functional. Since the very beginning, it has served a purpose. Communicational pre-linguistic systems were intended to conquer, seduce, to send a message, to attract or repel, to manipulate. The other property of music is that it is also a ‘pleasure cake’. One can do without it. Although nowadays it might seem that music is more a cultural than a natural phenomenon – it never loses its first, initial affiliation. Nature is a generic name for music.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? I. S.: I do not know why, but I do not recognize words such as ‘real’ and ‘exact’ in relation with what is natural in music. Tone is real, frequency and intensity are real, even exact, measurable, but I still prefer to connect other terms with the nature of music. For me, the attributes of the natural would be: elusive,

53 New Sound 40, II/2012 sensitive, fluctuating, instinctive, inevitable… The same goes for the cultural you describe as ‘virtual, fictitious’. I almost wish I could replace these terms. But it is certain that the nature of music cannot do without form, technique, comprehending, interpretations… and I ascribe all of those to culture.

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? I. S.: Let us go with other agents. If I understood the question correctly, then the answer would be as follows: In the periods of music history when technique and knowledge overpow- ered instinct, the ‘cultural layer’ was the one which occasionally would take over, absorb, ‘eat up’ the meaning, and sometimes even successfully conceal and camouflage the lack thereof. But even then the sense is there, inside, in the work, when it radiates what you call ‘power in itself’, nature is still easy to recognize. Emotionality, mysteriousness, elusiveness… are part of music’s natural being. The individual power of a creator’s talent is what generates the power of the work ‘in itself’. 4. Does music have greater need of a story, or the other way round? I. S.: Now I am much more at home. Dramaturgy (a story) is immanent to music. What would become of perfect sound structures if they were not bound by a dramatic element? If it is not out of place to present one’s own poetic and apply it to the general philosophy of music, then I would say that music has more and more need of a story. Or it is in dire need of it again. Since it is increasingly turning into a derivative of a complex cultural process, music is increasingly attached to a narrative, to a statement, it is (again) approaching other related domains of the mind (literature, the word, the textual, the visual, the pantomimic, the image, the theatrical, the pictorial…) Not because music cannot (could not) survive on its own, but because the code of the times replaces or redirects the complexity of the purely musical to multimedia stratifications and complexity. But something similar also occurred in the 16th, 18th and 20th centuries. Therefore, nothing new, apart from technique and technology.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’?

54 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

I. S.: If we speak of my true creative milieu, it is better described by the question what is it, rather than where is it. Thus, wherever it might be, it is completely quiet. Quiet, but not empty. It is something like Democritus’s union of the empty and the full. And ‘wherever there is a void, there must also be a space surrounding it’, says Leonardo, and I feel that this space must be pretty quiet. By preserving a quiet milieu, I preserve my basic motive – or possibly even the only motive – for creation. Now, in which moment does that space/milieu start to fill, and with what…? That is another matter. But that which is filling it – sound – is not in my case too far from its contradiction.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? I. S.: For me, just as for many other composers, performers are very important, inspirational, stimulating. They assign an occasional task or present a solution, they pull towards something in their characters and artistic features. It is a sort of synergy, in which the performers need not participate willingly, or they even may be unaware of how important they are in the incentive to create. To paraphrase Marina Abramović: the artist is present, the performers are present, with all their singularities and merits. And sometimes this is quite enough for an idea to sparkle.

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Self-perception is one thing, but to attempt disclosure of the unconscious is quite another. We already know too much (even about ourselves), and feel too little. The things we could find in our unconscious!

8. How would you define your primary creative engine?

I. S.: To create. To give birth. To build. To invent something that does not exist and has not existed. The motivating phenomenon of the ‘blank page’ and the process of filling that page. In the end, the page filled by the idea gains a form, an identity (title, opus, number… whatever) and, most importantly, the possibility to communicate and ‘live’ its own life. It seems so simple, but it is not.

9. Which kind of emotional drive steers your creative processes, most often?

I. S.: Self-sensation. I feel like conscious drop of water in an ocean. Or as a ‘smart’ grain of sand in a boundless desert. This feeling involves something slightly mystical, though it later does not get imprinted onto the work, it cannot be heard in the music – or so I think.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)?

I. S.: I fantasize about something; it is a state on the brink of a dream or something similar. I let it overwhelm me. Is it an idea? It often is, but not always. Sometimes it is just a state: an intellectual-emotional uterus, tepid water, mental levitation, shutting off… I have mastered this technique well. Only later I wonder: And what is it that I have to say? And how shall I say it? This happens at the beginning. When the idea appears and conquers, then I can ‘wake up’ and assume the position of the Egyptian scribe. The idea compels one to create form and lasts for as long the process continues. And it is never the same – not only the idea, but the process too. But what almost always is the same is the need to travel the path from the vague state of an idea to the end in the shortest possible time, and then to go back to elaborate the details. Most often it happens so. And sometimes it is completely different. At the end, after this process of ‘work in progress’ is completed, not much is left of what I have planned, or something entirely different emerges. Like Picasso: while I am drawing a head, a horse appears.

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11. Do frequency range and the rhythm of the sounds of nature (e.g. wind, waves, animal calls, the universe…) and culture (voices and sounds from the [urban] environment, appliances, popular music…) play any role (and if they do, what are they) in forming the musical material in your compositions? I. S.: Although I admire that procedure, I have never tried to follow Mes- siaen and transpose natural sounds (birds chirruping) to musical instruments. After all, he is still unsurpassed at it. And I would not repeat that. I am interested in the acoustic document, the sound archive. Therefore, even without Messiaen’s or anyone else’s compositional experience, I help myself with the sounds of wind, waves, appliances, as well as all kinds of other quotations as if they were served on a tray. I reach out, pick out a few, and take them. Real sounds are, on the one hand, musical materials which, in a context with all the other elements or all by themselves, create various semantic formulas, symbols which are easy or hard to decode. But this other thing, the sounds being documents, that is what really interests me, this fact really attracts me to them. And only sometimes, rarely, I reach out and intervene in a documentary sound.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? I. S.: Is it accessible from the aspect of aesthesia at all? I am not quite sure about it, although I wish it was. If we assume it is, communication is the goal of what is unconscious in us. It wants to talk without making a confession, to uncover itself without getting trite. Then it chooses a form – it uses the secret language of art. If there is something accessible in a certain work of mine (the method is not in the offer), then it happens because I do not hesitate to use commonplace solutions from the emotional range. Nor do I avoid using what has already been seen, ‘the known’. By a combination of unfortunate circumstances, today we have found ourselves in an age which is bad for the arts. I am referring to the absolute victory of the music industry which contains a lot of rejects, too much junk, and whose elements are all ‘known’ and repeated many times in a banal way. But I write music in the face of all that. Therefore I prescribed to myself ‘a small measure of things’: small forms, a bit of the already-seen, all that accompanied by small ambitions… I write only for ‘the little party in the corner’ – provided they have not left already – and I do not know to whom I am dis-

57 New Sound 40, II/2012 patching my bottle with the message. It is enough to approach a single human being and win their understanding. Nothing more than that. Nor less.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? I. S.: Do you think that anyone recently has managed to contrive anything new? I do not. If we take things with a grain of humour and irony, then the second-hander1 nature of music, even mine, is a quite widespread phenomenon. Some use patterns of ‘haute couture’, others of ‘Chinese make’. Some crib from others, others crib from themselves. A good forensic musicologist would easily find various ‘ready-made’ residues. The only question is whether they are well and successfully hidden. Maybe everything has been said in music, and so nowadays there is nothing left but ‘fashion’ patterns (…Bach, Mahler, Debussy, Xenakis, Göbbels… just a short selection of the influential ones, but it could be much longer), which have been deposited over the centuries of the ‘cultured’ history of music. And one question always crops up: Who influenced you the most? But it surely does not mean that I dispute this old/new thing. Not at all. It means that a few successful combinations of ‘the old’ already result in ‘the new’.

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? I. S.: I have already said that my creation is not purist and that, as an author, I quite consciously live in my failing world. Garbage is all around us, we live in visible and invisible dumps, but we have grown used to it, to a scandal- ous extent. I could not say what the ultimate is: insoluble radioactive waste, inexplicable quantities of plastic bags, or acoustic pollution. Which one of them will degrade first? In spite of everything, I believe in the subversive resilience of art. Because of its connection with the unconscious, not the other way round. And it does not seem to me that the world began with us. Still less, that it will end with us. It will not. Some kind of cleanup will eventually happen.

1 The composer is alluding to the ensemble Secondhanders, who in 2011 performed her work Duboki do. For more on the ensemble cf. the website http://www.secondhanders.net (Transla- tor’s note.)

58 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? I. S.: Beyond any doubt. And what you call ‘complicatedness’ proved to be, in many a form and many a case, quite a miserable simplicity. Now we are witnessing the come back of consonance. Euphony is back. (Do we all remember how we laughed in the late 1980s when it peeped from the works of some composers? And how we laughed even more at those who never gave up on it!) The philosophical issue of euphonic consonance has now been actualized. It must be read in a new code. The modern age is an age of many currents and phenomena. And there are more and more of them. They are ever more diverse and ever more simultaneous. Neither the music nor the audience who follow these ‘streams’ have any common ground. Yet, in no way does this put back the aesthetic function of music.

59 New Sound 40, II/2012 see? From the remains of excessive, self-sufficient academicism, new simplicity emerges relieved of excessive academicism. Therefore, I do not say that some young people will not witness some great resurrection of music. But of which one/ones? Everything is changing so rapidly right now, and we take ourselves too seriously.

18. Do you see musical creation as a way of transcending the biological limits of a human life? I. S.: You mean death? No, I am not interested at all in anything after. I am interested in right now. Right now and right here. For me, even ‘later’ has been ‘now’ for a long time. I want to hear the angels from above right now. If you mean whether I expect my music to outlive me – the answer is the same.

19. In what ways and to what extent do biology and experience direct your creative processes? I. S.: The creative process is ludus. If I were not playing, I would not create. Experience is built into that process. But, you surely understand that playing, although not a form of behaviour common in maturity, i.e. old age, is nevertheless allowed. I will not say that, in time, the creative process becomes easier, because that would not be entirely true, but with experience, ludus gets different. Acquiring experience is difficult, but carrying the acquired experience is pleasant. Though… I do not rely on experience much. Curiosity and looking for something different usually win.

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? I. S.: I think that, in most cases, without the information on the first page of the score and the name written on the front cover, one could hardly recognize the author’s sex and the gender of the musical work. I shall not even think about the gender values of a work. That is a matter for analysis. Whether the gender is ‘heard’ or not – I do not know and I am waiting to be told by those who observe the works, listen to them, analyze and write. And whether I will be listening when they tell me that – who knows? I sometimes deal with a female subject or subjects (Tumačenje sna [Inter- pretation of the Dream], Ona [She]) because these are my subjects, and hence they become the subject of the work, its content. In these cases, my gender position openly influences itself, engages in introspection, reassesses itself. But

60 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) the issue of female sensibility, difference, gender particulars need not coincide with the author’s gender. Tumačenje sna, I believe, could have been written by a man.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? I. S.: I am very sensitive to social situations and circumstances. Personal life has never entered my music, in any way, but the changes in the social environment have, very much so. At one moment, I was simply burst- ing with the need to communicate, to ‘converse’ directly with whoever was listening, the need to associate through all the walls which were being raised and built around us, and that feeling is still in effect, or even growing stronger. Although I do not need great personal communication, as a social being, and even artistic one, I cannot stand to be denied the right to culturological and artistic communication.

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Interview with the composer Vladimir Tošić

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Vladimir Tošić: No matter what, music is primarily a matter of culture. In nature, there is no music in the strict sense. Only human beings, with their general and musical education, are capable of creating music. Music is the very refined combination and organization of an acoustic material, even when it is taken directly from nature as a concrete sound. We can very clearly see that music is definitely a matter of culture if we look at what kind of music is listened to by particular social groups and members of various nations in different parts of the world. The higher the educational level, the more refined the music selected for listening. The idea that anyone can listen to artistic music and that it can affect them in its own right, is utterly utopian. A certain education is necessary to reach the level of listening to artistic music.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? V. T.: The nature of music is very exact and based on clear physical and mathematical laws which are relatively easy to define. However, the roots of music are extremely irrational and immeasurable, so they cannot and never will be explained. The very core of the creation of a musical work is utterly inexplicable. No one will ever be able to clarify how the initial idea for composing a particular work of music comes into being. Even when some composers think they know why they have written particular compositions, those explanations are highly subjective and usually not true. The inception of an idea is a miracle of birth as such. However, everything else in the compositional process must be rational. The organization of the materials, choice of instruments, application of certain techniques, etc., must not be irrational. This part of creation requires knowledge, and a lot of it, and knowledge is the consequence of a certain culture and upbringing in a broader sense.

62 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

3. If a piece of music has power ‘in itself’ and ‘for itself’, is nature principally ‘responsible’ for its sense, and culture for its meaning, or vice versa? Or does it involve some other ‘agents’? V. T.: If music has power – and unfortunately, this is statistically still very rare – it stems from nature which is tremendously finely filtered through the medium of the composer, who is, in turn, inevitably a part of some culture. Various cultures produce various kinds of music, without a doubt. Furthermore, culture is necessary for recognizing a musical work, whereas different cultures are needed for understanding and experiencing different kinds of music. For example, European and Eastern music necessitate, or rather require, the appropriate cultural preparation without which one cannot fully comprehend the ‘language’ of particular music.

4. Does music have greater need of a story, or the other way round? V. T.: Music must not tell any kind of story. This has been attempted count- less times in the course of history, and naturally, it is still attempted today, but all of these attempts ended badly. Music is the only art that is abstract by nature and acts in its own right; hence it does not need any verbal supplement to es- tablish communication. All the other arts originated from concrete premises and evolved to abstraction over time. By including storytelling, music is degraded. I feel very sorry for schoolchildren who are urged to recognize in a certain work what the composer described! This is the most fallacious approach to introducing children to artistic music and it should be abandoned (even forbidden) right away. On the other hand, a story cannot do without music. Film, drama, com- mercials, etc. can no longer function without music, at all. However, this often reduces music to the level of cultivated noise which has no aesthetic value whatsoever and represents a mere acoustic background or a useless decoration. Nine times out of ten, such applied music can be composed by almost anybody who has a computer, as well as a modicum of talent and musical education. It is exactly what has been happening, because nowadays the majority of directors do not care about the quality of music at all, but only for the production rate and price of such an acoustic backdrop. Therefore, today such music is written almost exclusively by semi-skilled amateurs instead of educated composers. Some thirty years ago, the situation in this domain was completely different: film music was written by educated composers and performed by professional orchestras, which lent a completely different quality, weight and significance to this music.

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5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? V. T.: In the cultural sense, my music originated from the European tradition and there is no doubt about it. However, it shares a sizable common ground with the music of the East, primarily in the treatment of time. Time in my music is much closer to the Indian notion of that parameter instead of the European. The number of music events per unit of time is far smaller than in the European music. This is music of longer durations, compared to the material it deals with. Hence, absolute durations are not enormous (although it happened in my early works), but the time is less packed. Between the two opposite treatments of musical time – eternity compressed into an instant (e.g. Webern) and an instant extended to eternity (e.g. Indian ragas) – I committed to the latter, by my nature and not by choice.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity? V. T.: Above all, I create for live performers and a live audience – which is to say, a concert audience. I believe that a concert is one of the most delicate spiritual experiences possible for a human being. The transfer of emotions from the composer by means of the performers to the audience is a divine process which cannot be compared or replaced by anything. This interchange and in- duction of spiritual energy is one the most beautiful moments in the musical profession. Listening to music using various reproduction devices is nowadays inevitable, naturally, but in no way and to no extent can it substitute the experience of a successful concert. Physical sound carriers (as the ugly expression goes) are fantastically useful, but they give a petrified, unvarying sound of a composition, which is contrary to the nature of music. A musical work is a living thing which, as a phoenix, comes to life and dies with every new performance, while at a concert, before us, an entire short life unfolds with its vagaries, and that is the main source of its vitality and uniqueness. Regarding instruments, I just love to colour one and the same composition in different hues. There is an established tradition in my creation to adapt almost every work for different instruments and ensembles. I mostly write for piano, flute, strings and orchestra, but I have also made dozens of arrangements for other instruments and atypical combinations. I devoted some time to electronics 25 years ago, when it was a novelty and when expectations were running high, but not today. Electronics, in essence,

64 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) did not bring any particularly new qualities in general, or even excessively different sounds. A skilful orchestrator can produce more or less everything that electronic instruments are capable of, in the sense of timbre, if anyone at all sets out to do that. A different timbre by itself cannot elevate a musical work to some higher level. Bach’s music sounds equally good on various instruments, even electronic ones. On the other hand, a heap of electronic devices on stage often does not produce any kind of spiritual experience. As usual, it is necessary to keep everything in perspective, even the use of electronic instruments. Besides, a recorded electronic work is always precisely the same, and there is no charm of a live performance. This is boring and lifeless to me and so I no longer deal with it. Using live electronics makes slightly more sense, because the charm of live performance is somewhat preserved, if one does not overdo it. However, we are often witnesses of acoustic pollution by computers and electronics, which, unfortunately, do not produce the appropriate creative acoustic result.

7. In which dimensions of nature and/or culture do you ‘read’ the intensity of your own compositional intuition and/or irrational creative actions? Namely, which determinants of nature and of culture, respectively, are crucial for you in the process of musical imagination and creation? V. T.: I am highly influenced by slow natural processes: the change of seasons, the change of day and night, the change of cyclones and anticyclones, etc. Continuous evolutionary processes are something that is deeply imbedded in my music, and without them it would not be recognizable. In a way, culture is the ability to start one’s personal work from the highest level reached by a certain profession at the time. It takes a lot of knowledge and effort to determine that level, because it is not exactly as obvious, defined and profiled as one might think. If you start from the next-to-highest level, you will usually not get far because you will keep discovering things that are already known. Most creators do not succeed in solving this problem and they follow the beaten paths of the past, because it is so much easier, more comfortable, and it yields faster results in a society which is generally always a little late. It is always easier to embrace something that resembles what we already know than to make an effort, i.e. acquire some new knowledge, and to set sail for new acoustic realms. In that respect, avant-garde is a completely wrong term, although naturally quite inevitable today. Because one cannot go ahead of one’s own time: that is impossible. All imagination is based precisely on the current moment. Therefore, what we call avant-garde, and what certainly does always exist, are just rare human beings who are synchronous with their own time! All

65 New Sound 40, II/2012 the rest are lagging behind the time they live in, more or less, depending on the level of education. Only the most educated and the most talented live in the current moment, and the others are behind them in varying degrees, like cars behind a locomotive. Unfortunately, small countries are always very late behind the large centres, so they in fact live in the past (just see how much time it takes for everyday fashion in a large centre to reach the periphery!). Then what can one say about cultural processes, which are far slower and much more complex? Before the concentric circles of culture reach smaller communities, they become quite changed, or even deformed – as in the game of Chinese whispers. We are witnesses to the Bologna Process which has undergone fundamental alterations since the time it came in touch with our environment. To live in a small country yet to be synchronous with the time is an extremely difficult task which can only be solved by the strongest and the most talented, but at any rate the most educated people.

8. How would you define your primary creative engine? V. T.: I cannot describe it because it has been simply given to me in a certain way. As the writer Pavle Ugrinov put it, ‘zadat život’ [‘given life’]. We are all born with a sum of particular characteristics that are the result of a complex genetic interplay. The unsolvable mystery of creation is located precisely in that sharing of genes, which determine our main characteristics. Therefore, a creative engine is obtained by the very act of being born. You either have it or you do not, and it cannot be learned or acquired. The creative engine is like an earthquake – it lurks in your gut, waiting. It appears, completely uninvited and without announcement, when it is least expected. It can be dormant for days, months, even years, but if we have it, the earthquake will inevitably happen, at some point. Nothing is sadder than someone who wants to be creative. There are many things that one can learn, practice, compensate by hard work, but if the fundamental creative impulse which shakes us at some moment is absent, the whole thing is hopeless and it always yields miserable results. Therefore, I do not know when and why, but occasionally I get shaken by that earthquake and I have to work, even if I am not at all in the mood to, and would rather be resting or having fun.

9. Which kind of emotional drive steers your creative processes most often? V. T.: I cannot say that there is a particular emotion or situation which prompts me to work. I do not think that one must write merry music when one is content and sad music when one is cheerless. That interrelation is far more complex. Just as we carry various germs that never make us ill in our whole

66 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) life, we also carry a lot of creative charge which, by virtue of some trigger, is released at some moment and comes to light, seemingly without any cause or reason that would be clear to us. In my case, the only kind of regularity is that, in one way or another, I accumulate creative energy during the summer, and it is spontaneously released in the winter. In that respect, my personal creative sine wave is very readily noticeable.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)?

V. T.: The beginning of creation is a mystery and it will forever be. Let me be clear: I do not see any divine hand in that, just a combination of attributes we inherit in some ways which are (maybe fortunately) still unknown to us. If this process could be explained, it would be easy to write some kind of handbook, or a ‘cookbook’, for composing, and anyone could do it. However, luckily, it is impossible, and creativity will always be the privilege – or fate, depending on one’s viewpoint – of talented individuals. The specific quality of my compositional process is perhaps the fact that, from the very beginning, I already have an idea about the entire composition. Therefore, instead of moving from note to note, I have a vision of the whole piece. In that respect, I often compose sections at random, knowing already what will happen in between. Of course, this idea is only global, at first without the fine points, and during composing it undergoes changes in the details, the duration proportions, instrumentation, etc., but it retains the initial vision to the end.

V. T.: Nature has a great influence on my life. Thus, natural movements in general – most of all wind and waves – most certainly define the tissue of my music. Naturally, not directly – I do not imitate these sounds nor I am interested in doing so – but in some derived, figurative layer. The processes in my compositions are musical analogues of the processes in nature, but they are definitely not their musical simulation. The gradual change of day and night, the gradual rise of waves at sea and their disappearance, the gradual strengthening of the wind and its dying away, etc. are kinds of processes which I use in my com-

67 New Sound 40, II/2012 positions, too. Thus, they mostly have a global arch-shaped symmetry with the gentle, continuous increase and decrease of all the musical parameters – similar to a natural event. The influence of popular music, in some of my compositions, is manifested by the prominence of rhythm and the use of percussion. Primordial music probably originated from rhythm and, for a long time, it was the main vehicle of a musical work. However, artistic music at some point renounced this important element, almost completely. In most of the traditional ensembles, percussion is completely absent or is used quite sporadically. In my opinion, it is a serious mistake because rhythm is one of the basic driving forces in music. In that respect, I sometimes quite consciously use very pronounced rhythmic patterns with prominent percussion.

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? V. T.: In my case, there is no dilemma whatsoever. The main defining factor of my art is the reduction of musical materials and procedures. It is, therefore, a conscious holding back from the abundance of possibilities and focusing on a small number of chosen developmental forces of a musical work. The main characteristics of my creation are the musical process stemming from repetitiveness, and these principles make it possible and easier for the listener to fathom my music. They are the conditio sine qua non of my work. Without processes and repetitiveness, my music would not be what it is. Of course, the selection of acoustic material, keys and modes, etc. is also important, but without the evolutionary tissue, typical of all my composition, the results would be completely different. By ‘process’ I mean an artistic algorithm which, once set at the beginning of the composition, determines its global course from which it can no longer deviate. This continuous, evolutionary development of all the musical parameters is the most distinctive feature of my works.

13. Provided your music ‘absorbs’ them at all, in what ways and with what goal do conceivable various (non-)musical ‘ready-made’ cultural goods and meanings function in your music? V. T.: We are all part of the time we live in and we cannot escape all kinds of influences. But at this point, I really cannot determine what these influences would be in my creation. Nevertheless, if they do exist, I believe that they are very small.

68 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? V. T.: Without any hesitation, the ultimate polluter for me is the television. The aggression of the image in every possible shape and at every possible moment most definitely destroys imagination. And without imagination, neither the individual nor humankind has prospects. Imagination is humanity’s most powerful tool, or even weapon, in fighting against natural forces. An imagina- tive person leads the world forward. However, music accompanied by an image, a film, a commercial, a drama, in an elevator or a store, etc., increases entropy, and music is no longer effective. And television leads on in this negative effect and has the most ominous share. Radio and books develop one’s imagination, whereas the television image makes it uniform and obliterates it. Of course, the image is and can be creative, there is no question about that, but the problem is in the manner and quantity of images needlessly used always and everywhere. This kind of image leads to Pavlovian conditioning. When you hear certain music, you immediately see the accompanying image, too. Children nowadays recognize a particular music by the film or the video in which they have heard it, and they can no longer detach themselves from that image. It is a kind of synaesthetic rape: you hear the music involuntarily, whether you want to or not, and you see what someone forces you to see. And this is usually catastrophic and has nothing to do with a particular kind of music. It is just pasted to an image so as to distinguish this music, usually bad, by means of a possible visual shock, from some other music, usually also bad, with just one and completely non-artistic goal – to sell it better. Music has became goods, in the worst possible sense, and the most atrocious kind of enticing packaging is employed to single out this music from the competition and to impose it on the potential buyer. Since (bad) music is no longer effective on its own, it is necessary to supplement it visually with a lot of absurdly chosen, diversified action and por- nography, which altogether indeed pollutes our cultural space to the utmost.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? V. T.: If ‘euphony’ means ‘a pleasing sound’, in the broadest sense, I believe that the avant-garde around the 1950s caused the comeback of the pleasing sound, however strange that might appear. This avant-garde was an immensely important and inevitable period in the development of contemporary music, but it was also a period which led to the final break-up between the audience and the composers. Simply, that type of music, for the most part, could not be appre- ciated by the listener. In response to that, another kind of avant-garde emerged,

69 New Sound 40, II/2012 trying to create yet another new music after who knows how many attempts, but one which the audience would listen to – and strangely enough, they succeeded. This was the inception of musical minimalism which, beyond any doubt, led to the emergence of new, different, but at the same time, agreeable music. The audience embraced this style without any reservations, but curiously enough, or perhaps quite expectedly, the musical establishment put up fierce resistance. It is easier to hide the lack of talent in something that is repelling and incomprehensible than in a sound which is transparent and acoustically acceptable. Steve Reich, Philip Glass, Michael Nyman and other minimalist authors restored music to the audience, who gladly accepted their work after the period of ‘grey’ and lifeless sound. Venues are full when they perform with their ensembles, and the sales of their CDs are sometimes comparable to those of popular music.

16. If the ‘arrow of music history’ has lost its way, will the technology (of a musical material, among other things), and which one, be the force to initiate the future of music and close the gap between poetics and aesthesia (or perhaps it is happening already)? Actually, which compositional grammars, techniques and strategies today have prospects, in your opinion? V. T.: Only what returns to the origins of music has prospects, and that is primarily agreeability. Writing something that no one will ever want to hear has no longer any sense, at all. However, this new path must not lead to banaliza- tion. It is necessary to build a new sound and a new acoustic organization, but so that music remains agreeable. Everything else is doomed, especially in the age of aggressive popular music which lures young people already from the infant nursery and follows their every step until they die, so aggressively that most people do not have any kind of choice. Since my earliest days as a composer, I have advocated this view and tried to apply it in practice. Even when my opus was utterly avant-garde for this environment, my goal was unfailingly to create new, different music, but which had to be agreeable. This was no easy path, but in time it brought some results. After the first phase of my avant-garde works, which were very strictly minimalist, I achieved a certain synthesis of avant-garde procedures and acceptable sound, that in the 1990s led to the second phase in my creation and the works such as Varial, Dual, Fisija [Fission], Trial etc., which have been intensively performed around the world. Retaining all the postulates from my previous work, I added to my music a necessary dose of agreeability, which was extremely important for further progress.

17. Are adaptations of the compositional system, techniques and materials to contemporary conditions indispensable for the ‘survival’ of music, and how are they

70 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78) implemented? In that respect, to what extent is ecological adjustment between a stimulus and the mental ability of perception necessary for a compositional system and stylistic traits to be perceived as comprehensible and effective? V. T.: The way of life is certainly changing. Whether for the better or for the worse, that is a big question, but it is most certainly changing. Hence, artistic music and its techniques and manifestations must inevitably change. It is hard to say how exactly, but if composers live synchronously with their time – that is to say, if they are avant-garde, as I have said earlier – they quite unconsciously find ways of adapting their music and their techniques to the new times. If they do not spend their lives ‘sklopljenih očiju i skrštenih ruku’ [‘with eyes closed and sitting idly by’], as Milan Rakić said, if their eyes are open, if they embrace life in all of its aspects, openly and without prejudice – there is no doubt that they will find the right path.

18. Do you see musical creation as a way of transcending the biological limits of a human life? V. T.: I really do not. Of course, works – but only the good ones – outlive their authors and provide them with some existence after the biological end. However, to create on this impulse is utterly absurd. I believe that true creative minds never choose their occupation, but that the occupation chooses them. Therefore, they did not decide to do it: they have to do it – to write, compose, paint etc., whether they want to or not. I do not compose because I planned it (in fact, I never even planned it – my first major was civil engineering), but because music is simply present in my being during the day, and it wakes me up sometimes at night too, even when I am not in a particular mood for work. If this need is genuine, one cannot escape it. If something is left behind a creator, that is great, but even if it is not, the true artist had a fulfilling and good life, which is more than enough in its own right, even when it entails many everyday difficulties and troubles. The need to create is simply incorporated in some people and they produce works quite naturally, just like they breathe or walk, without thinking about whether anyone needs their works or not, whether they will outlive them or not. This need is the spiritus movens which cannot be escaped and which brings fulfilment and happiness to the individual even when the work causes a lot of trouble in everyday life.

19. In what ways and to what extent do biology and experience direct your creative processes? V. T.: It seems to me that the passing of the years, i.e. this aspect of biology, in my case did not lead to a decline in creativity, or the need and desire to

71 New Sound 40, II/2012 work. My work rate is precisely the same as it has always been, and new ideas and projects keep emerging in my head. The chronic lack of the necessary time and conditions to carry it all out poses more of a problem. Biology has led to a natural decline regarding the need to reach the public. After a certain number of years of public activity, the pronounced need to present one’s work to the public ‘right this instant’ is replaced by a greater and more relaxed enjoyment in the act of creation itself, and the response of the public gradually loses its significance. Experience, i.e. a specific knowledge, facilitates the technical aspect of working because there are fewer unknown elements, and new situations are easier to handle. But of course, there is also the danger of repeating oneself, which must be avoided at all costs. 20. Do the biological and cultural determinants of your sex/gender influence your creation and how? V. T.: In a very individual way, my biological properties have definitely influenced my work. The orientation towards nature and natural laws is certainly reflected indirectly in my compositions. The number of events per unit of time, development, the absence of sudden contrasts, slow evolutionary processes, etc. – this is all the result of my inner biological rhythm, which is, in turn, subject to natural laws that greatly influence my life. However, I do not believe that the cultural particulars of the environment I come from have significantly influenced my work. What I do and how I do it has not emanated at all from the tradition of this environment. On the contrary, what I do has been mostly foreign to this community, because it belongs to a more open and more liberal approach to music which strongly jarred with the dominant developments in Serbian music during the 1970s, when I was forming my style. Regarding sex, the situation in music so far has been pretty much unidirec- tional. The vast majority of composers have been men, and so it was simply impossible to ascertain any conceivable differences in the compositional approach – so-called ‘men’s writing’ and ‘women’s writing’. There have been more and more women composers in the last few decades, but I think the number, for the time being, is still too small to draw the relevant conclusions about the influence of sex on the compositional approach. However, it is quite obvious that the number of women in the musical profession is increasing by the day, so in some foreseeable future such conclusions will be drawn. 21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create?

72 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

V. T.: I do not believe that what one would call the ‘crucial moments in life’ have existed in and steered my creation, in the concrete sense. I believe that every creation is, first and foremost, a question of a deep and very gradual evolution which results in overall changes of the creative framework and guidelines. Hence, my creation also displays a very clear development based on principles that have been prominent ever since my very first works. To be honest, it is possible, even relatively easy, to perceive a transition into a new phase of my creation, around 1990. This, of course, coincided with everything that happened in our country at that time. However, I do not believe that this is in any direct way related to these events, or that these events influenced my work. I think that something simply ripened at the time, as a consequence of continuous evolution, something that was not immediately connected with the events that took place back then, but it obviously coincided with them. What could perhaps be mentioned as an important steering element in my work is related to the moment when I started creating and to the environment at the time. The middle of the 1970s was a very creative time in Belgrade, where a group of very active people were gathered at the same time in the same place. That certainly must have influenced me, to some extent. However, I do not think that this interaction influenced the main guidelines of my work, which would, I believe, be fundamentally the same in New York or London, but it did lead to certain compositions and projects, which most certainly could not have come about in another place, or in the company of some other people.

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Interview with the composer Miloš Zatkalik

1. In your opinion and in the broadest sense, what in music is a matter of nature, and what of culture? In that respect, is music more a matter of nature or of culture? Miloš Zatkalik: Creators must hold on to their right to experiment with various attitudes towards the relationship between nature and culture, in an abstract or speculative sense, as well as in their own creative practice. The only sensible answer would nevertheless suggest some kind of balance.

2. Is the nature of music that which is real and exact, and the culture of music – what is virtual and fictitious? Or are they two mirrors that reflect each other? M. Z.: I am not sure what is real or exact in music, and what is fictitious or virtual.

4. Does music have greater need of a story, or the other way round? M. Z.: Far from it that I deny the possibility of music having a story and a story having music, but I do not see that they need each other.

5. Metaphorically speaking, in what realm of nature and/or culture does your work with sound ‘reside’? Where would you ‘locate’ your true acoustic creative ‘milieu’? M. Z.: I do not understand the question.

6. To what extent and in which ways are certain instruments/voices (so-called classical/acoustical, electronic devices, live electronics etc.) or performers stimulating for your creativity?

74 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

M. Z.: I could claim more confidently that there are certain instruments which are not stimulating to me, at all, and for which I have never had a desire to write. Apart from that, as a person inclined to hedonistically relishing a sound as such, I certainly find some instruments more inspirational than others, though it need not necessarily be an issue of an individual instrument; it can be broader, involving certain combinations, or on the contrary, narrower, where certain registers, playing techniques, ways of producing sound may have a stimulating effect.

8. How would you define your primary creative engine? M. Z.: Different engines in different situations. If I receive a commission which someone is prepared to pay for, more sublime illusions about a creative engine are not exactly necessary.

9. Which kind of emotional drive steers your creative processes most often? M. Z.: The answer to this would be similar to the previous one, with the following addition: if I happened to be experiencing strong emotions, I would hardly feel the need to set about composing at those precise moments.

10. How would you describe/present/analyze your compositional process (the relationship between the musical idea and structure; the most common compositional strategies…)? M. Z.: It is impossible to give a unique answer to this question. During my career as a composer, I naturally experienced changes in my compositional process. There is also a need – I assume it is quite expected for a composer – to experiment with the very process of composing: e.g. to write a work where everything will be ‘without putting too fine a point on it’, or to write something relying solely on one’s inner hearing, etc. etc. To the extent of my capability to describe the process of working on a particular and current composition, it might look like this: two starting points from different domains, but acting simultaneously from the very beginning – one is the sound of the violoncello, the piano and some ‘jingling’ instruments (bells, celesta?), and the other is the idea

75 New Sound 40, II/2012 that the composition will certainly have several movements, but not exceed- ing six or seven minutes in total duration (though I really cannot be sure about where this idea has come from). In the next moment, I clearly see the particular character of the beginning, the way the first minute of music ‘should’ sound like (again, with no explanation why in this exact way). This results in an awareness of what timbres I need, and thus I come up with the final instrumental ensemble. The first movement is written almost ‘by itself’, and so is the beginning of the second one. At this moment, I feel a certain hesitation, a reluctance to sit down and produce a rough version of the ideas that have begun to shape up; therefore I start turning them over in my mind continually for days, delaying the moment when I will actually begin to write them down. This moment nominally depends on some other pressing duties, although I cannot guarantee that the lack of time is the only reason. Note: This composition was performed almost a year ago. I do not know if this is important, but nevertheless the compositional process was and is just like I sketched it, including the procrastination in putting the ideas down on paper.

11. Do frequency range and the rhythm of the sounds of nature (e.g. wind, waves, animal calls, the universe…) and culture (voices and sounds from the [urban] environment, appliances, popular music…) play any role (and if they do, what are they) in forming the musical material in your compositions? M. Z.: One could hardly imagine that the abundance of sounds surrounding us would not influence the formation of musical material, or even broader, the attitude towards music. The use, however, of such sounds in my case is never conscious, intentional, nor does it call forth such associations in the majority of the audience from whom I have received feedback. In retrospect, even if I would be willing to recognize such influences, it seems that they could rather be qualified as influences ‘at second hand’, influences of other composers who based their materials on such a content – e.g. Varèse in the domain of sounds of an urban environment (and with the additional reservation that a composer is usually not the best person to be interviewed on the subject ‘Whose/what influences can be recognized in your work?’).

12. What are the primary ways of shaping the musical material that, in your opinion, contribute to your compositional-poetic method being accessible from the aspect of aesthesia? M. Z.: Assuming it is really accessible? Accessible to whom? Does that accessibility depend primarily on the manner of shaping? I am not sure that I could define any sort of compositional-poetical method of my own.

76 Popović Mlađenović, T., Bogunović, B., Perković, I.: Nature Versus Culture (5–78)

14. In your opinion, what are the ultimate acoustic ‘polluters’ of culture or nature? Does that influence your creation and how? M. Z.: Those who really want to understand my answer should travel by bus from Belgrade to Banja Luka twice a month.

15. Did the complexity/complicatedness of music around the 1950s pave the way for euphony and structural richness? If it did, to what extent? M. Z.: I think that complexity, almost by definition, had to lead to some structural richness (which I assume is not considered a synonym for worth). I would less readily agree that this is related to euphony.

77 New Sound 40, II/2012 respect, I do not see it as an issue of the survival of music: these processes are regular. Only the survival of individual works or composers can be in question. Adaptations in what way? The composer must inevitably create in a state of a peculiar tension between the need to be different, unique, to do something that nobody has done, and the realization (or feeling) that, if one is out of tune with the times or stands aloof from relevant developments, then one is in danger not only of being rejected, but also of creating products that are unauthentic, fake – a sort of forgery, one might say.

18. Do you see musical creation as a way of transcending the biological limits of a human life? M. Z.: Biological? Hm…

19. In what ways and to what extent do biology and experience direct your creative processes? M. Z.: ‘Biology’ here means: the biological properties of the human species, my individual biological properties, the natural world, biology as a science? The syntagm ‘biology and experience’ means: biology is equal to experience; biology is on one side and experience on the other; experience in biological phenomena?

20. Do the biological and cultural determinants of your sex/gender influence your creation and how? M. Z.: If someone compellingly demonstrates that to me, I might even believe that they do.

21. Are there any key moments in your life, or periods that steered your musical creation? What kinds of personal experiences ‘colour’ the content of music you create? M. Z.: There have been such moments – some of them I may not even be aware of – but I do not see any correlation between types of experiences and my creation.

78 CORE ISSUE – New Sound

A NOTE FROM THE EDITOR

With this latest issue, the International Magazine for Music New Sound enters the musicological stage for the fortieth time, thus marking the twentieth anniversary of its activity.1 Having that in mind, and with regard to the practice of publishing thematic issues, which has grown from sporadic and often non- explicit into (since No. 30) regular and explicit, given that each autumn issue is conceived thematically – the Editorial Board decided to devote this issue to the magazine itself as the subject. At first, one might think that this kind of examination of what has been done with the ideas, levels and achievements in publishing New Sound, is simply an instance of this magazine dealing with itself, which would not interest a wider readership, especially abroad. However, the manner in which the

1 International Magazine for Music New Sound was launched in Belgrade at the end of 1992, and the first issue was published in 1993. For the first five years, i.e. until 1998, it was published by SOKOJ (Savez organizacija kompozitora Jugoslavije [Union of Yugoslav Com- posers’ Organizations]). Since 1998 to 2009 it was published by MIC–SOKOJ (Muzički in- formativni centar [Music Information Centre]), but the co-publisher of the issues No. 30 (II/2007), 31 (I/2008) and 32 (II/2008) was the Department of Musicology of the Faculty of Music in Belgrade, which in 2009 fully assumed the role of the publisher. The magazine’s character has been international from the very beginning, although its international Editorial Board was formalized in 1999. Since the first issue, New Sound has been published bilingually, in English and Serbian languages (as Međunarodni časopis za muziku Novi Zvuk), with two issues per year and, depending on the means, with a compact disc accompanying each issue. The discs contain recordings of musical content dealt with in the appropriate issues of the magazine. Since No. 33, the New Sound is printed only in English, and the Serbian version is uploaded on the Web.

79 New Sound 40, II/2012

Editorial Board conceived this introspection of New Sound is significant for at least two reasons. On the one hand, it complies with over three decades of musicology’s intense self-assessment, and on the other, by relying on the results achieved in the individual sections, it concretely presents the contribution of the magazine to the affirmation of contemporary music – most of all Serbian – as well as contemporary musicology. Thus, this issue retains all the main sections of the magazine, but the content of each one of them is preceded by a paper speaking about that section. These are not simple lists of what has been done, but rather the critical analyses of the results, or possibly perceptions of certain tendencies or problem dimensions that, over the course of twenty years of activity in these sections, have formed in them, but also between them – dimensions which are, as such, possible to identify and consider after the same amount of time. From that viewpoint, the activity of these sections indirectly reveals the issues, practice, but also the trouble which musicological magazines of the same type generally experience in performing their professional and social functions. Thus, for example, an item on an individual section of New Sound, which is also published in that section, together with the papers that constitute its content (say, a paper on genuine studies printed in the magazine precedes the contributions in the Studies section, etc.), in fact implies the issues related to the appropriate types of items in musicological magazines generally. In that way, the musicological presentations of a musicological item, exemplified by various genres of musicological papers within the magazine – acquire a broader meaning too. In that respect, the Edito- rial Board’s idea about New Sound as the subject of its jubilee issue is actually a symbolic reference to the existing and always necessary meta-musicological practice. At the same time, by means of such a concept and structure of the issue, New Sound as the research theme of New Sound points to all the forms of the magazine’s contribution in providing material for the history of contemporary Serbian music, but also the history of musicology that deals with that music. Because, in a critical manner, New Sound preserves and analyzes, col- lects and describes, re-systematizes and classifies, explains and interprets an abundance of information. All of it is an indispensable source of material not only for an ‘objectivist’, historical review of endeavours and developments in contemporary Serbian music in its relevant context – that of Europe and the world – but also for diverse, thematically individualized problem research. And in no less an extent, for an insight into the historical or problem studies of musicological tendencies and approaches to the problem areas of music, particularly contemporary. M. V. H.

80 Article received on 30 September 2012 Article accepted on 01 October 2012 UDC: 78:303.621.33 ; 050.489NEW SOUND

TWENTY YEARS OF THE COMPOSER SPEAKS SECTION IN THE NEW SOUND MAGAZINE (INTERVIEW AS A METHOD OF MUSICOLOGICAL RESEARCH)

Sonja Marinković* University of Arts in Belgrade Faculty of Music Department of Musicology

Abstract: This paper presents analyses of the texts published in the Composer Speaks section in the New Sound magazine, on the occasion of the twentieth anniversary of its continual publishing. It sums up the achieved results, and classifies the collected materials, with special emphasis on methodology issues concerning the status of the interview as a scientific method, indicating its importance in musicological research. The most significant results are viewed from this perspective, drawing attention to the value of the contributions achieved in the research of Serbian music and the development of Serbian musicology. Key words: Novi Zvuk, New Sound, Serbian music, musicology, methodology, interview Апстракт: У раду се анализирају текстови објављивани у рубрици Реч композитора у часопису Нови Звук, а поводом двадесете годишњице његовог континуираног из- лажења. Сумирају се постигнути резултати, класификује прикупљени материјал, а посебна пажња посвећује се методолошким питањима у вези са статусом интервјуа као научног метода, те његовог значаја за музиколошка истраживања. Из тог угла сагледавају се најзначајнији резултати и указује се на вредност оствареног допри- носа истраживањима српске музике и развоју српске музикологије. Кључне речи: Нови Звук, српска музика, музикологија, методологија, интервју

* Author contact information: [email protected] The paper was written within the project Identiteti srpske muzike u svetskom kulturnom kon- tekstu [Identities of Serbian Music in the World Cultural Context] by the Department of Musicology of the Faculty of Music in Belgrade, supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia, under Reg, No. 177019

81 New Sound 40, II/2012

In the New Sound magazine, the Composer Speaks section1 was conceived as one of the regular sections, published in almost every issue of the review,2 and the number of contributions published in the 38 issues of the magazine is impressive – fifty three. The concept of the section was not rigid and various texts were included. Most of them are interviews with the authors, most often the musicologist interviewing the composer, but the dynamics of this section are also enriched by various exceptions to this rule. Thus, in Issue No. 7, the authorial contribution by Ana Kotevska was published in the form of an imaginary interview with Miloje Milojević (1885–1946): an article which simulates the form of the interview, but actually uses Milojević’s texts published on various occasions in the contemporary press or in personal correspondence, in order to present, in an original way, both the biographical elements and the author’s opinion on numerous topical issues, among which the most prominent are his relation towards his predecessors, as well as towards tradition, contemporaries, and modernism.3 Several dialogues with original concepts were also published. In Issue No. 9, ‘Interview in a Mirror’ by Vladan Radovanović represents an excellent illustration of the author’s avant-garde position.4 In Issue No. 13, the mutual interviews of Zoran Erić and Miloš Petrović were published, in which the authors exchanged the roles of the interviewer and the interviewee, in dealing

1 The title of the section has been generally constant – Composer Speaks – but it varied four times: once as The Ethnomusicologist Speaks (Issue No. 6, interview with Dragoslav Dević), and three times as The Musicologist Speaks (Issues Nos. 29, 33 and 35, interviews with David Fallows, Ana Kotevska and Marija Bergamo respectively), while in No. 31 it had a subtitle which specifies the nature of the published text: ‘The Composer and his Performer’ – an interview with Katarina Miljković and Nada Kolundžija. In Issue No. 26, in which four texts were published, including the interview with the Byzantologist Miloš Velimirović, this article was not singled out separately, but the whole section was titled The Composer Speaks. The fields of theory and pedagogy were also covered, but they were presented as intertwined with composing, which was particularly obvious in the interviews with Vlastimir Peričić, Dejan Despić and Mirjana Živković, but also with Stanojlo Rajičić and Srđan Hofman, while the creative personality of Dimitrije Golemović integrates the ethnomusicologist and the composer. 2 Issues Nos. 16 and 32 did not include this section, since they were conceived as thematic and had a number of contributions whose volume significantly exceeded the usual standard of the review (No. 16, dedicated to the 2000th anniversary of Christianity, in one volume comprised the Serbian and the English version of the review – 302 pages in total; No. 32, dedicated to the ballad, 300 pages). 3 Ana Kotevska, ‘Miris moderne slobode, Imaginarni razgovor sa Milojem Milojevićem’ [‘The Smell of Modern Freedom, an Imaginary Interview with Miloje Milojević’], 7, 1996, 5–14. 4 Vladan Radovanović, ‘Intervju u ogledalu’ [‘Interview in a Mirror’], 9, 1997, 5–12.

82 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97) with the thematic issue, dedicated to jazz and popular music.5 Issue No. 31 published the specific diary entries by the composer and the performer – Katarina Miljković and Nada Kolundžija – conceived as the answers to the ‘theme of the day’ (given in the subtitle: ‘Šta nas čini nervoznim’ [‘What Makes us Nervous’], ‘Zašto se bavimo muzikom’ [‘Why We Are in Music’], ‘Komunikacija’ [’Com- munication’], and so on). The text partly shows the elements of the dialogue, and partly resembles a double monologue: it presents the auto-poetic comments or the thoughts on key topics about the relationship of the performer and the author.6 Issue No. 34, which was dedicated to the 100th anniversary of the Futurist Manifesto, published a reprint of the text from Zenit (37, November–December 1925): a note on the conversation of one of the founders of Zenitism, Branko Ve Poljanski (who is also the author of the text) with Marinetti, Depero, Pram- polini and the two ladies (the last three were ‘included’ in the conversation only through the description of the dialogue and the attention of listeners!), which took place in Paris, on the occasion of Marinetti’s discourse on the proximity of futurism and fascism.7 On two occasions, more comprehensive authorial texts were published in the Composer Speaks section. Issue No. 23, after a short introductory item by musicologist Zorica Makević, a certain In memoriam text dedicated to Ljubica Marić, presents the reprint of Marić’s discourse when being inducted into the Serbian Academy of Sciences and Arts, (titled ‘Monotematičnost i monolitnost oblika fuge’ [‘Monothematism and the Monolithism of the Fugue Form’]), as well as the excerpts from the author’s ‘Tablice’ [‘Tablets’], the composer’s autopoetic and poetic writings. In Issue No. 26, the interview which Svetlana Savić conducted with Dieter Kaufmann8 is followed by his comprehensive theoretical work Whom the Tenth Muse kisses, or the Birth of Acousmatic Art out of the Spirit of Music, as his theoretical contribution to the theme of the issue – acousmatics.9

5 Miloš Petrović, ‘Ovo nije igra u kojoj se može dobiti ili izgubiti. Intervju sa Zoranom Erićem’ [‘This is not a game in which one can win or lose. An Interview with Zoran Erić’], 13, 1999, 9–13; Zoran Erić, ‘Onome ko leti ne trebaju krila. Intervju sa Milošem Petrovićem’ [‘He who flies does not need wings. An Interview with Miloš Petrović’], 13, 1999, 15–21. 6 Kompozitor i njegov izvođač: Katarina Miljković i Nada Kolundžija, 12 dana [The Com- poser and His Performer: Katarina Miljković i Nada Kolundžija, 12 days], 31, 2008, 5–17. 7 REČ O FUTURIZMU: Povodom stote godišnjice Manifesta futurizma, Dijalog Marineti – Poljanski, [A WORD ON FUTURISM: On the Occasion of the 100th anniversary of the Futurism Manifest, a dialogue Marinetti – Poljanski], 34, 2009, 1–6. 8 Svetlana Savić, ‘Novi zvučni recepti Ditera Kaufmana. Razgovor sa kompozitorom’ [‘New Sound Recipes by Dieter Kaufmann. Interview with the Composer’], 26, 2005, 27–32. 9 Diter Kaufman, ‘Koga ljubi deseta muza ili rođenje akuzmatične umetnosti iz duha muz-

83 New Sound 40, II/2012

Still, most texts were published in the form of an interview, and that is the reason why the results should be viewed in the context of a broader methodological discourse on the role, technique, characteristics, and importance of the interview and questionnaire in musicological research.

The interview as a method of scientific/musicological research We can accept the definition that ‘razgovor i upitnik spadaju u grupu postu- paka pomoću kojih se prikupljaju iskustvena izvorna obaveštenja koja se st- varaju radi specifičnih potreba i ciljeva naučnog istraživanja’ [‘the interview and the questionnaire belong to the group of procedures of gathering the original empirical information made for the purpose of the specific needs and aims of scientific research’]10. Thus, in the methodology of sociology, Vojin Milić quotes them as the most important research methods, much more flexible than observation, since the use of the scientific interview and questionnaire actively creates original scientific information about man and society. He observes that, without them, most of the information would never have come into being, or at least would not have been expressed in a constant and systematic form. From this perspective, the interviews published in New Sound can be considered as valuable material for the history of Serbian music.11 Therefore, it is important to analyze the key methodological issues concerning the conception of the interview. The interview reveals past experiences and the view into the future, as well as the internal world of the subject, which cannot be achieved by scientific observation. It discerns the value system (of the subject of the interview, some group or organization), describes the beliefs, emotions, behaviour, formal and informal roles of individuals, places and sites of certain events, meetings and conflicts, as well as stories.12 The interview as a technique is also used in quantitative and qualitative research, and, besides the humanities in which it is most often used, it is also applied in clinical, psychiatric and psychological research. There is, however, ike’ [‘Dieter Kaufmann: Whom the Tenth Muse Kisses or the Birth of Acousmatic Art out of the Spirit of Music’], 26, 2005, 33–39. 10 Vojin Milić, Sociološki metod (treće izdanje) [Sociological Method (third edition)], Bel- grade, Zavod za udžbenike, 1996, 479. 11 Individual interviews could certainly not be qualified as ‘constant and systematic activities’, but, when the interviews are conceived as a permanent concept of editorial policy, they acquire a new significance. The contribution of the Composer Speaks section is considered exactly from this aspect. 12 Cf. Vojin Milić, op. cit.

84 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97) a fundamental difference between the interview in quantitative and qualitative research. The former typically reveals the facts concerning the interests of the interviewer, and the latter reveals the position of the subject of the interview – pointing out what is relevant and important to him – while quantitative research primarily investigates the negative. Qualitative research necessitates comprehensive and diverse answers, while quantitative prefers short and concise re- plies. The interviews in qualitative research can be conducted during several meetings, while in quantitative research, with the exception of longitudinal research, interviews are, as a rule, conducted only once.13 Methodologically, in conceiving interviews, one should aspire to achieve the meaningful completeness of the information as well as the standardization of the process of collecting it, in order to provide relatively uniform and mutually comparable data.14 It is also necessary that the sample should be methodi- cally chosen. It is in these segments that the role of the editorship is particularly stressed, in the choice of the subject and the interviewer, and the aspiration towards the standardization of the interview form, together with the particular importance of the decision by the Editorial Board of New Sound that the interview should be preceded by short, encyclopaedic, bio-bibliographical information about the author, which should give very complete and precise data about his work and creation. This was not the standard from the beginning. Of the three interviews published in the first issue, only the interview of Katarina Tomašević with Stanojlo Rajičić had an introductory note.15 In Issue No. 6, in which the interview by Ivana Vuksanović with Rajko Maksimović16 was published, for the first time, a more complex musicological text was written as an introduction to the interview,17 thus founding a specific genre of a bio-bibliographical note about the composer in New Sound, which has something of a character of an

13 Alan Bryman, Interviewing in qualitative research, in: Social Research Methods, New York, Oxford University Press, 2001, 313, from http://peoplelearn.homestead.com/MEd- HOME/QUALITATIVE/Chap15.Interview.pdf, acc. 9th March 2012. 14 In this respect, the activity of the Editorial Board is important, but the positive tradition already realized in the published contribution also influences the processes of standardization of the approach to the interview and the concept of the published text, which will be discussed later. 15 Katarina Tomašević, Razgovor sa Stanojlom Rajičićem [An Interview with Stanojlo Rajičić], 1, 1993, 17–28. 16 Ivana Vuksanović, Komunikacija kao imperativ stvaranja. Razgovor sa Rajkom Maksimovićem [Communication as the Imperative of Creation. An Interview with Rajko Maksimović], 6, 1995, 5–15. 17 Afterwards this form of text was also given at the end of the interview, as a certain explanation of what was said.

85 New Sound 40, II/2012 encyclopaedic entry, although without its exact and rigid form, thus making it possible for the introductory comment to be suited to the subject. From Issue No. 6 onward, with the above mentioned exceptions, this practice became established. Other means of gathering information were also used in the preparation for the interview, so that the authorial text of the interview was the result of a complex research procedure, and not the mere recording/publishing of somebody’s uttered/written words. The methodological literature dealing with the interview mentions a number of criteria of a successful interview: – comprehensibility18 – order, with the clearly defined purpose of the interview – clarity, which is achieved by asking simple, easy, short questions, without the use of slang words – politeness: the subject should be allowed to finish the story, given time to think, pauses should be tolerated – active role of the interviewer: the person should listen carefully to what is said and how it is said – openness: reacting to what is important to the subject of the interview – flexibility – ability to manage the course of the conversation, which shows an understanding of what somebody wants to say – criticism, in the sense of a readiness to confront inconsistent answers – good memory concerning what was said before – interpretation skill which helps to clarify and develop the potential meanings of the subject’s attitudes, without imposing the interviewer’s opinion – balance: one should neither talk too much, since this makes the subject

18 In published interviews, there is occasionally a certain tension between the interviewer and the subject, because the suggested classifications, stylistic and generic specifications of some parts of the opus, the attitudes and the value judgements expressed in the interviewer’s question, are considered inadequate or irrelevant by the subject. In this respect we can even observe occasional misunderstandings between the participants. Even the interview of Dani- jela Kulezić with Mihovil Logar, published in the first issue of the review, shows this typical ‘resistance’ by the subject. In spite of the efforts of the interviewer to turn the conversation towards the systematization, qualification, stylistic specification, the interview above all expresses the mood of the ninety-year old man which hovers between an eternal brightness and liveliness of spirit, and the soft melancholy of old age. On the other hand, it is amusing how the ‘tension’ between two characters was built by Vladan Radovanović in his ‘Intervju u ogledalu’ [‘Interview in a Mirror’] (no. 9).

86 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97)

passive, nor too little, because this makes them feel as if there were no interest in listening to their words – constraint – spontaneity – ethical correctness.19 The basic planning of the interview is considered the most complex task in performing poll research. Usually there are several preparatory phases: establishing the main aims of the poll; the theoretical and operational development of the aims; adapting the operational plan for gathering information to the life experience of the subject and the decision on the form of the interview and the final structure of its basis. The hypothetical outline must be based on theory. If the interview consists of loosely connected, theoretically undeveloped and inadequately conceived premises, the systematization of the data will not have a focal point, and will remain at the level of superficial description. The fundamental theoretical elaboration of the projected aims of the poll considers its basic substantial tasks. There are also important decisions about the language of the poll, the number and the type of the questions, as well as their order. In gathering autobiographical data20 the so-called soft interview is recommended, or, as it is more often called today, the research interview. If a qualified worker or an expert is being interviewed about their work or professional experience, it is neither necessary nor useful to frame the interview rigidly according to a previously established detailed plan. The interview deals with experiences which are permanently incorporated in the subject’s personality, and the general incentive is sufficient to induce them to express their attitude and give lots of specific information.21 In such interviews the mutual relationship between

19 Alan Bryman, op. cit., 318; Steinar Kvale, Interviews: An introduction to qualitative research interviewing, Newbury Park, CA: Sage, 1996, from http://www.inside-installations. org/OCMT/mydocs/Microsoft%20Word%20-%20Booksummary_Interviews_SMAK_2.pdf 20 The standards of the autobiographical interview were established in the Paris Review, published since 1953, thanks to the editors George Plimpton and Peter Matthiessen. In musicology, the unavoidable examples are the famous Craft’s interviews with Stravinsky (it is no coincidence that they were mentioned several times in the published interviews). In our country, Miloš Jeftić and Dragoslav Adamović, with their numerous interviews, made an important contribution to historiography. Recently, the methodological contributions to the analyses of these topics were made by: Sarah Anne Johnson, The Art of the Author Interview and Interviewing Creative People, Lebanon, University Press of New England, 2005; Kath- ryn Roulstone, Reflective Interviewing: A guide to Theory and Practice, London, SAGE Publication, 2010. 21 Cf. Vojin Milić, op. cit., 512.

87 New Sound 40, II/2012 the interviewer and the subject is very important, as well as the motivation for taking part in the poll.22 The important prerequisites for achieving the purpose are a sound theoretical understanding of the researched problem and sufficient experience in conducting interviews. Problems may arise, above all, concerning psychology: the relationship between remembering and forgetting, general personality structure, and the importance of specific questions in the life of the individual – but they can also be epistemological (competence, a different level of information and interest, familiarity with the facts, frankness and correctness of the information acquired through self-observation) and social (the information can be public, confidential, classified and private). Analyzing the interviews (not the other types of texts published in the Com- poser Speaks section) in New Sound, from this methodological perspective, leads us to several important conclusions. 1. Although the generic variety of the texts and the intention of the editorship to conceive the Composer Speaks section as dynamic and diversified has been already mentioned, it is easy to notice that this variety is a consequence of the careful consideration of the concept, and that the aims of the poll and the value criteria in the choice of the subjects are also very prominent. Thus, of some fifty contributions, only thirteen23 deal with authors who are not immediately connected with Serbian music, which confirms the primary intention of gathering the information relevant for the national historiography. Also, considering that New Sound was, from the beginning, published bilingually, this section provides foreign readers with information about the key creative figures in Serbian music. Among the ‘foreign’ contributions, there are five written by Jelena Novak: interviews with Philip Glass,24 Louis Andrissen,25 Steve Reich,26

22 The best example of this might be the interview which Branka Radović conducted with Nikola Hercigonja, published in Issue No. 3. The sum of answers to the first five questions consists of six sentences, one of which consisted of only one word. The answer to the sixth question in the interview, asked ten years before those five, and added to this ‘attempt’ at an interview, filled up four pages of text: it was multi-layered, analytical, engaged, meaningful (concerning the questions which were not asked, but which the author considers important), and completely different compared with the resignation and disinterestedness expressed in the current interview. 23 Twelve interviews, and one authorial text by Dieter Kaufmann. 24 Jelena Novak, ‘Sve je dosegnuto. Razgovor sa Filipom Glasom’ [‘Everything Available’, Conversation with Philip Glass], 14, 15–21. 25 Jelena Novak, ‘Muzika o muzici. Razgovor sa Lujem Andrisenom’ [‘Music about Music, Conversation with Louis Andriessen’], 18, 5–19. 26 Jelena Novak, ‘Trenirane razlike. Razgovor sa Stivom Rejšom’ [‘Trainable Differences, Conversation with Steve Reich’], 22, 2003, 12–20.

88 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97)

Ivar Frounberg,27 and Miguel Azguime,28 which are characterized by exclusiv- ity, meticulous preparation and a high level of informativeness, as well as the conversations of Tatjana Petrović with Rodion Shchedrin,29 and Igor Radeta with Krzysztof Penderecki.30 Two meaningful, comprehensive contributions by Vojislav Pantić, interviews with jazz musicians,31 Maria Schneider32 and Brad Mehldau,33 confirm that the review was open to contributions from the other musical practices of its time, and not only to the academic classical tradition. The interviews conducted by Mirjana Veselinović Hofman with the composer Eduardo Miranda34 and musicologist David Fallows,35 as well as the interview by Svetlana Savić with Dieter Kaufmann36, corresponded with the themes of the issues and have primarily theoretical, general significance, as a form of current expert discussion about key professional issues. 2. The point of the section was, therefore, the contribution to the national historiography, and it was undoubtedly oriented primarily towards composing.37

27 Jelena Novak, ‘Muzika o nestajanju vremena. Razgovor sa danskim kompozitorom Ivarom Frunbergom’ [‘Music on Having Time to Disappear, Conversation with Danish composer Ivar Frounberg’], 26, 2005, 53–60. 28 Jelena Novak, ‘Plima zvuka. Razgovor sa Migelom Azgimom’ [‘Sound Tide, Conversa- tion with Miguel Azguime’], 30, 2007, 5–12. 29 Tatjana Petrović, ‘Publiku volim da ščepam za grlo. Razgovor s Rodionom Ščedrinom’ [‘I Like to Seize the Audience by its Throat!’ An Interview with Rodion Shchedrin’], 15, 2000, 28–31. 30 Igor Radeta, Interview with Krzysztof Penderecki, 37, 2011, 5–14. 31 New Sound does not publish interviews with performers, and these two interviews do not represent an exception: the fact that the musicians are primarily presented as performers is, in essence, the result of the peculiarity of jazz music, in which the personalities of the author and the performer permeate each other. 32 Vojislav Pantić, ‘Ples zvučnih skulptura. Razgovor sa Marijom Šnajder’ [‘The Dance of the Sound Sculptures. Interview with Maria Schneider’], 19, 16–31. 33 Vojislav Pantić, ‘Žudnja u srcu stvaranja. Razgovor sa Bredom Meldouom, džez pijanistom’ [‘Desire in the Heart of Creativity. An Interview with Brad Mehldau, Jazz Pianist’], 21, 2003, 15–28. 34 Mirjana Veselinović Hofman, ‘Odgovornost nalaženja prave ravnoteže. Razgovor sa Edu- ardom P. Mirandom’ [‘The Responsibility of Finding the Right Balance. An Interview with Eduardo P. Miranda’], 20, 15–26. 35 Mirjana Veselinović Hofman, ‘Prima la musica kao muzikološki kredo. Razgovor sa De- jvidom Felouzom’ [‘Prima la Musica as A Musicological Credo. An Interview with David Fallows’], 29, 2007, 5–11. 36 Svetlana Savić, ‘Novi zvučni recepti Ditera Kaufmana. Razgovor sa kompozitorom’ [‘The New Sound Cookbook by Dieter Kaufmann. An Interview with the Composer’], 26, 2005, 27–32. 37 We have already mentioned the exceptions: the interviews with the ethnomusicologists

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In spite of the obvious intention to respect the chronology, the dates of birth of the authors were not the primary criteria for the order, and it certainly does not reflect the attitude of the editorship about the subject’s contribution to Serbian musical culture, but represents the result of several criteria,38 among others elements, the readiness of the author to be interviewed for the New Sound. 3. The interviews did not have a previously assigned form, and they also differ in size. The best examples of this are three very different contributions published in the first issue; the interviews with the three members of the ‘Prague Group’ of composers: Ljubica Marić, Mihovil Logar and Stanojlo Rajičić. The first two interviews are concise (9–12, 13–16), while the third is of considerable length and very varied in content (17–28). The interview by Zorica Makević with Ljubica Marić39 was conducted solely about poetics: about role models (the composer singled out Palestrina and Bach), about the relation towards the Oc- toechos and folklore as inspiration, as well as about the relation with the text. Concerning facts, it does not reveal much; it is beautifully articulated, but the essence remains intangible, which could be illustrated by Marić’s expression: ‘Ptica kad leti ona ne zna kako. Ptica LETI...’ [‘When the bird flies, it does not know h o w. The bird FLIES…’]. In spite of the active attitude of the musicologist and the skilfully phrased questions, the answers were ‘elusive’. The similar, already mentioned ‘resistance’ of the subject to the musicological observations, as we have already mentioned, is also felt in the interview by Dani- jela Kulezić with Mihovil Logar.40 It is also interesting that Logar, like Marić, mentioned only classics as his role models – Bach, Mozart, Beethoven, Puc- cini, and Strauss. Newer music is practically non-existent, except when it is mentioned in a negative context. The young generation of composers is completely absent from Logar’s view of music, even his most successful student, Aleksandar Obradović, with whom he remained in warm, friendly relations until his death. The interview with Stanojlo Rajičić was conducted in different circumstances: it is the result of numerous meetings Katarina Tomašević

Dragoslav Dević (No. 17) and Dimitrije Golemović (29); musicologists Miloš Velimirović (16), Nadežda Mosusova (21), Ana Kotevska (33) and Marija Bergamo (35); the authors in whose works composing and scientific work are intertwined – Vlastimir Peričić (2), Dragutin Gostuški (2), Nikola Hercigonja (3), Dejan Despić (15) and Mirjana Živković (25), while the exploration of the pedagogical aspect of the work of the interviewed subjects was also represented, according to their engagement in pedagogical work. 38 The anniversaries, correspondence with the theme of the issue, awards, prizes and so on. 39 Zorica Makević, ‘Vreme koje nas nosi dalje. Razgovor sa Ljubicom Marić’ [‘The Time which Takes us Further. An Interview with Ljubica Marić’], 1, 1993, 9–12. 40 Danijela Kulezić, Razgovor sa Mihovilom Logarom [An Interview with Mihovil Logar], 1, 1993, 13–16. Cf. footnote No. 18.

90 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97) had with the composer, which took place during preparations for the television programme made that year. Rajičić answered twenty-three questions: meaning- fully, comprehensively, and informatively. He talked about his work, his life, but also about the music life in Serbia in general, and his sharp, critical, uncom- promising judgments and attitudes dominated his expression. The introductory note about the author is concise, but still informative, because it positions and evaluates the author, establishing a platform for the conversation, and also has elements of methodological determination.41 Her example was later followed by Dejan Despić in his interview with Vlastimir Peričić, and Bojana Žižić in the interview with Dragutin Gostuški. 4. The concept of meticulous methodological consideration of the content of the interview is continued by Tijana Popović Mlađenović, in her interview with Srđan Hofman.42 According to the author of the interview, the questions were asked in order to ‘podstakla (...) govor o nekim osobenostima autorovog kompozicionog prosedea, o posebnostima njegove poetike uopšte’ [‘induce (…) conversation about certain peculiarities of the author’s composing procedure, about the particularities of his poetics in general’].43 But they also deal with essential problems concerning the process of composing, and the interview provides the answers which are relevant for understanding the current moment in musical creation. Reading Hofman’s words today, we can regretfully observe that he was reasonably warning against possible sidetracks: ‘A šta će u budućnosti biti ideje za muziku uopšte, ne trudim se da predviđam. Nadam se ipak da surogati kao pompezni “ekspresivni” akademizam i bezlični eklekticizam “sinteza” sen- timentalnih stranputica muzike neće biti nametnuti kao autentične ideje o delu’ [‘I do not try to foresee what the ideas for music, in general, will be in the

41 The author finishes the introductory note with auto-reflection, which testifies that she also thought about the methodological aspects of the interview: ‘Bez želje da se strogo pridržavamo biografskih detalja sa kojima je stručna javnost već podrobno upoznata, opre- delili smo se za slobodnu formu intervjua, u kome kompozitor, govoreći o ključnim momen- tima svog života i rada, ležerno i spontano, ali retko kad bez kritičkog tona, otvoreno izlaže svoje mišljenje i poglede na minule i aktuelne probleme našeg muzičkog života’ [‘With no wish to stick rigidly to the biographical details, with which the expert world is already familiar, we have chosen the free form of the interview in which the composer, talking about the key moments of his life and work, easily and spontaneously, but seldom without a critical tone, openly expresses his opinion and attitude about the past and present problems of our music life.’] . Cf. Katarina Tomašević, Razgovor sa Stanojlom Rajičićem [An Interview with Stanojlo Rajičić], 1, 1993, 17. 42 Tijana Popović, ‘Višestrukost i koherentnost. Razgovor sa Srđanom Hofmanom’ [‘Multi- plicity and Coherence. An Interview with Srđan Hofman’], 3, 1994, 11–18. 43 Ibid, 11.

91 New Sound 40, II/2012 future. I hope that surrogates, like the pompous “expressive” academism, and the bland eclecticism of the “synthesis” of the sentimental sidetracks of music, will not be imposed as authentic work ideas’].44 The other authors also showed a pronounced need to talk about what is happening HERE AND NOW, which is understandable, considering the dramatic social circumstances in which New Sound began its cultural and scientific mission. This was maybe most explicitly expressed in the words of Dragutin Gostuški45, but was also typical of the statements of Enriko Josif46 and others. They also indicate the anticipation of certain future phenomenon. Josif’s words seem to herald some impending conflicts in Serbian music:

44 Ibid, 14. 45 Bojana Žižić, Razgovor sa Dr. Dragutinom Gostuškim [An Interview with Dragutin Gostuški, Ph.D.’], 2, 1993, 11–21. Gostuški concludes his interview with the following words: ‘Ja sam danas, Vama, učinio vrlo ozbiljan izuzetak. Muzika je izišla iz orbite mog razmišljanja dosta davno. Jer, moje su misli uperene ka nečem drugom i obuzete onim što bi neko nazvao politikom, a što ni u kom slučaju nije politika. Ja se time ne bavim. Razlika je u tome što se u normalnim zemljama, onim koje nisu u ratnom niti revolucionarnom stanju, politika menja a ljudi su živi i zdravi. Kod nas je pitanje politike postalo pitanje egzistencije. Primećujemo među mojim prijateljima dve vrste individualne reakcije na to. Neki koji su daleko srećniji, i kojima zavidim, potpuno su uspeli da se izoluju od svega. Ne čitaju novine, ne gledaju TV, ne slušaju radio, čitaju svoje knjige, bave se naučnim radom i tako uspevaju da zadrže prisustvo duha. Drugi kao što sam ja, ne mogu od toga da se otrgnu, tako da je razmišljanje o muzici dosta daleko od mene. Koncerti su mi postali skoro neizdržljivi jer ne mogu dovoljno da se koncentrišem i, pravo da vam kažem, to me i ne interesuje. Veoma rado bih se posvetio svome poslu. Počeo sam, recimo, da pišem jednu knjigu na koju sam dosta polagao, ali ne mogu da radim. Postao sam neurotičan’ [‘I have made a very great exception for you today. Music long ago left the orbit of my thinking. Because my thoughts are now directed towards something else and consumed with something which somebody would call politics, and which is most certainly not politics at all. I do not concern myself with that. The difference is that, in normal countries, those which are not in the state of war or revolution, the politics changes, and the people are alive and well. Here the question of politics has become the question of existence. Among my friends there are two distinct kinds of individual reactions to this. Some, who are far happier and whom I envy, have succeeded in isolating themselves completely. They do not read newspapers, or watch TV, or listen to the radio, they read their books and concern themselves with scientific work, and have thus succeeded in holding on to their sanity. The others, like me, can not tear themselves away from all this, so that thinking about music is very far from me. Concerts have become almost unbearable because I can hardly concentrate and, to tell you the truth, I am not interested in them. I would like to devote myself to work. I have, for example, begun to write a book from which I expected a a great deal, but I cannot work. I have become neurotic.’] (21). 46 Jasmina Zec, ‘Muzika nije samo muzika. Razgovor sa Enrikom Josifom’ [‘Music is not Only Music. An Interview with Enriko Josif’], 4/5, 1994, 5–10.

92 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97)

‘Nalazimo se u vremenu kada prvu reč nema više stvaralaštvo, nego izvođaštvo. Izvođačko stvaralaštvo je u ovom veku najveće otkad postoji izvođaštvo, a ono je vezano za veliku duhovnu krizu vremena – stvaralačku duhovnu krizu. Analitički nož je razorio stvaralaštvo. Pustošno sečivo se nasladno, samrtnički us- tremilo na samu srž tajne duhovnosti, u samu srž pesmenog i njene pesmenosti, u samu srž tajne duše i njene duševnosti, razdirući plodove života i mrtvorođene ot- patke ogromnih razmera apokaliptičke sablazni.’

[‘We live in times when the priority is no longer creation, but performance. Perform- ing creativity in this century is the greatest since performing has existed, and it is related to the great spiritual crisis of the time – the creative spiritual crisis. The analytical knife has annihilated creativity. The destructive blade has wantonly, murderously lashed into the very core of the secret of spirituality, into the very core of poetics and its poetry, into the very core of the secret of the soul and its soulful- ness, tearing apart the fruits of life and the stillborn debris of enormous proportions of the apocalyptical scandal.’]47 It is very interesting that these words were published in the same issue with the interview with Vlastimir Peričić by Dejan Despić, who presented the esteemed composer, scientist and pedagogue, authentically revealing the important aspects of his personality: modesty, forebearance, symbolizing the very opposite idea – the possibility of joining and reconciling what others considered irreconcilable. The texts of the interviews can be read today not only as a testimony of the past, but equally as a testimony of the time when the interviews were conducted, thus presenting a certain chronicle of a musical moment. 5. This retrospection of the contributions in the Composer Speaks section will be concluded by a statistical review: a table survey of the subjects interviewed for New Sound, among domestic authors (composers and musicologists), according to the generation of composers (the authors were listed according to the year of their birth).

The decade Authors Issue number of birth

1900–1910 Mihovil Logar, Ljubica Marić, Stanojlo Rajičić 1 Ljubica Marić 23

47 Ibid., 8.

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1911–1920 Nikola Hercigonja 3 Vitomir Trifunović 22 Dragoslav Dević, Erne Kiralji 17 1921–1930 Miloš Velimirović 26 Dragutin Gostuški, Vlastimir Peričić 2 Zlatan Vauda 23 Enriko Josif 4/5 Aleksandar Obradović 10 Dušan Radić 11 Nadežda Mosusov 21 Dejan Despić 15 1931–1940 Vladan Radovanović 9 Rajko Maksimović 6 Marija Bergamo 35 Mirjana Živković 25 Rastislav Kambasković 27 1941–1950 Srđan Hofman 3 Milan Mihajlović 24 Ivan Jevtić 8 Ivana Stefanović 14 Zoran Erić 13 1951–1960 Miloš Petrović 13 Žarko Mirković 20 Dimitrije Golemović 28 Miloš Raičković 38 1961–1970 Katarina Miljković 31 Isidora Žebeljan 29 Anja Đorđević 36

The retrospective of the content of the Composer Speaks section on the occasion of the twentieth anniversary of New Sound magazine was written principally with the purpose of summing up and classifying the results, but, at the same time, it presented an opportunity to reconsider the methodological issues regarding the role of the interview in musicology. Therefore, modern theoretical conceptions about the interview as a method and technique of research provided the basis for critical consideration of the contributions published so far. Al- though the interview necessarily implies the interaction of the interviewer and

94 Marinković, S.: Twenty Years of the Composer Speaks Section ... (81–97) the subject of the interview, this analysis of the contributions published in the Composer Speaks section confirms that the soundly established methodological basis of the interview is a prerequisite for the realization of its purpose. Translated by Goran Kapetanović

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Petrović, Tatjana, Publiku volim da ščepam za grlo. Razgovor s Rodionom Ščedrinom, 15, 2000, 28–31. Pilipović, Gorica, Poreklo se ne može sakriti. Razgovor sa Dušanom Radićem, 11, 1998, 5–12. Poljanski, Branko Ve, REČ O FUTURIZMU: Povodom stote godišnjice Manifesta futurizma, Dijalog Marineti – Poljanski, 34, 2009, 1–6. Popović, Tijana, Višestrukost i koherentnost. Razgovor sa Srđanom Hofmanom, 3, 1994, 11–18. Prodanov, Ira, Mora da je strašno – ne stvarati. Razgovor sa Erneom Kiraljem, 19, 5–15. Radeta, Igor, Interview with Krzysztof Penderecki, 37, 2011, 5–14. Radovanović, Vladan, Intervju u ogledalu, 9, 1997, 5–12. Radović, Branka, Utopija ili zbilja: put od popularne pesme do simfonije i opere. Razgovor sa Nikolom Hercigonjom, 3, 1994, 5–10. Radović, Branka, Traganje za kompozitorskim i ljudskim identitetom. Razgovor sa Rastis- lavom Kambaskovićem, 27, 2006, 5–17. Radoman, Valentina, From Minimalism to Classicism: A Composer’s Journey Interview with Miloš Raičković, 38, 2011, 5–15. Sabo, Anica, Tri akorda Zlatana Vaude. Razgovor sa kompozitorom, 23, 2004, 28–33. Sabo, Anica, Polifonija pedagoškog, teorijskog i kompozitorskog rada 35. Mirjane Živković. Razgovor sa Mirjanom Živković, 25, 2005, 5–11. Savić, Svetlana, Novi zvučni recepti Ditera Kaufmana. Razgovor sa kompozitorom, 26, 2005, 27–32. Stevanović, Ksenija, Vocalise and the Experience of the prosopopoeia of Anja Đorđević, 36, 2010, 5–12. Stefanija, Leon, REČ MUZIKOLOGA: A Conversation with Marija Bergamo, 35, 2010, 5–16. Stojanović Novičić, Dragana, Moja dela žive. Razgovor sa Vitomirom Trifunovićem, 22, 2003, 5–11. Tomašević, Katarina, Razgovor sa Stanojlom Rajičićem, 1, 1993, 17–28.

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Article received on 7 March 2013 Article accepted on 8 March 2013 UDC: 78 ; 050.489NEW SOUND

FROM STUDIES TO THEMATIC ISSUES – SYMPTOMS OF TRANSITION/MOBILITY OF THE INTERNATIONAL MAGAZINE FOR MUSIC NEW SOUND

Vesna Mikić* University of Arts in Belgrade Faculty of Music Department of Musicology

Abstract: The paper presents one possible interpretation of the position, meaning and form of the Studies section as one of the ‘pillars’ of the International Magazine for Music New Sound. The interpretation includes statistical and historical data, as well as theoretical viewpoints used in considerations of the process of transition. Using the Studies section as a case study, two periods in the activity of New Sound have been recognized, and these periods can be brought into relation both with the periods of transition in Serbian society and with the global transition processes which leave their imprint on our professional and social activities. Keywords: Novi Zvuk, New Sound, the Studies section, studies, thematic issue, transition Апстракт: Текст је посвећен једној од могућих интерпретација позиције, значења и форме рубрике Студије као једне од носећих рубрика Интернационалног часописа за музику Нови Звук. У интерпретацију су укључени статистички, али и историјски подаци, те теоријске позиције које се користе у разматрањима процеса транзиције. Уочена су, на примеру Студија, два периода делатности Новог Звука, а ти се периоди могу довести у везу с периодима транзиције у српском друштву, али и са глобалним

98 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

транзицијским процесима који се уписују у наше професионалне и друштвене активности. Кључне речи: Нови Звук, рубрика Студије, студије, тематски број, транзиција

‘Mislim da je u primeru Zvuka moguće reći da su diferencijacije koje su se pojavile od vremena do vremena, uprkos osciliranju kvaliteta, dosada, uopšte uzev, odjeknule pozitivno. Ponekad su prouzrokovale relativno dizanje nivoa, a gotovo uvek težnju za postupnim usavršavanjem… Zvuk (ima) ne samo aktualni, nego, u određenom smislu, i istorijski značaj. Bez obzira na različita mišljenja i gledišta koja su bila izrečena protiv njega ili njemu u korist tokom njegovog dosadašnjeg izlaženja, moguće je njegove rezultate označiti kao pozitivne. Cilj koji mu je nekada postavio njegov utemeljivač bio je uglavnom dostignut.’1 The evaluation expressed by Dragotin Cvetko on the occasion of the hundredth issue of the magazine Zvuk, which belongs naturally to the discursive framework of the context and time in which it was written, apart from the obvious ‘resonance’ with the writer’s task at hand – speaking of the magazine and/or its sections on the occasion of its jubilee – resonates also with actual questions related with the International Magazine for Music New Sound, regarding the continuous existence of conflicting opinions on ‘its publication’, as well as the need to respect, follow and nurture the set goal of its ‘founder’.2 Therefore, in spite of all the possible differences in the discursive framework/context in which we observe New Sound today – but which also existed, to some extent, in the time when it was launched – the basic premise of its founder, as well as the expectations, needs and positions of its key sponsors

1 ‘I think that, regarding Zvuk, one can say that the differentiations, which appeared from time to time, in spite of fluctuations in quality, have met so far with a generally positive reception. Sometimes they caused a relative increase in level, and almost always an ambition for progressive improvement… Zvuk does not (have) only topical, but also, in a certain sense, historical significance. In spite of various opinions and views expressed against it or in its favour during its publication so far, its results can be qualified as positive. The goal once set by its founder has been reached for the most part.’ Dragotin Cvetko, Uz stoti broj Zvuka [With the Hundredth Issue of Zvuk], Zvuk, 1969, 100, 475, quoted after: Roksanda Pejović, Četiri jugoslovenska Zvuka [Four Editions of the Yugoslav Magazine Zvuk (Sound)], Internacionalni časopis za muziku Novi Zvuk, 1, 1993, 29–54. 2 ‘Novi Zvuk se pokreće kao internacionalni časopis za muziku, čiji je cilj propagiranje domaćeg muzičkog stvaralaštva i teorijske misli o muzici – muzikološke, etnomuzikološke, analitičke, filosofske, estetičke…’ [‘New Sound is being launched as an international magazine for music, whose goal is to promote domestic musical creation and theoretical thought on music – musicological, ethnomusicological, analytical, philosophical, aesthetic…’], Mir- jana Veselinović-Hofman, ‘Reč urednika’ [‘Editor’s Word’], Internacionalni časopis za muziku Novi Zvuk, 1, 1993, 5.

99 New Sound 40, II/2012 have not significantly changed. One could say that the first twenty years of New Sound passed in the ‘struggle’ for a different perspective on the ways of promoting contemporary (domestic) music – a belief conceived consciously, promoted through the activities of New Sound Editorial Board and expressed through fighting for the (creative) autonomy of all types of (inter)disciplinary practices in speaking about music. At the same time, this period was marked by particular ‘battles’ within the disciplines, which in various ways deal not only with music, but also with global and local socio-economic changes of ‘high voltage’. Thus, for example, the accents and reverberations of the (international/ Anglo-Saxon) ‘conflict’ between the ‘old’ and the ‘new’ musicology, or the general shift of focus from aesthetic to theoretical issues in history/philosophy/the theory of arts, have been imprinted in the papers of New Sound, just like market forces, technological breakthroughs and institutional standards have, by their nature, been reflected in the aspects of the magazine’s technical standards and, occasionally, in its thematic decisions and manners of their interpretation. One could say that if there is a section in New Sound which might stand out as the persuasive agent of the program/position of a ‘new sounding’ of theoretical thought on music, it is certainly the Studies section. Since something can be ‘new’ only in relation to something ‘old’, it must be mentioned that the ‘harbin- gers’ of the section did exist in the Sarajevo edition of Zvuk (occasional section Studije i eseji [Studies and Essays]),3 as well as in the Zagreb edition. Neverthe- less, the advancement from an occasional to a ‘supporting’ section shows that the said struggle for autonomy has become an ‘independent’ one and that various kinds of theoretical discussion have been opened about music. Also, the formal ‘position’ of the section – right after the Composer Speaks section – speaks of the significance attached by the Editorial Board to this kind of contribution. In the forty issues of New Sound, the section was excluded only in two instances. However, this still does not mean that the exploratory-interpretative dimension of the study contributions was ‘avoided’ in these cases. Thus, on the occasion of Josip Slavenski’s anniversary, the ‘position’ of studies in Issue 7,4 under the title Anniversaries, was taken by Mirjana Živković’s study ‘Težnja ka višem umetničkom redu’ [‘Striving for a Higher Artistic Order’] (pp. 15–22) and Pavle Stefanović’s essay ‘Drama umetničkog stvaralaštva Josipa Slaven- skog’ [‘The Drama of Josip Slavenski’s Artistic Work’] (pp. 23–28). Also, in Issue 14 (II/1999),5 Studies were replaced by New Sound’s Thematic Series,

3 Cf. Roksanda Pejović, Četiri jugoslovenska Zvuka, op. cit. 4 The list of all the studies by issues can be found in the Appendix. 5 Possibly such a situation was caused by the fact that it was the autumn issue in 1999, when the NATO bombing took place (at the end of March), and according to the order estab-

100 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113) introduced in the preceding issues and containing Pierre Albert Castanet’s contribution ‘Une approche française de la musique micro-tonale’ (pp. 23–29). A recurring subject in Issues 9 to 18 (1997–2001), the theme Music on the Eve of the Third Millennium demonstrated in a unique manner the research of various ways of rendering thematic magazine issues. Hence, although it was a part of New Sound’s Thematic Series instead of Studies, we shall nevertheless mention this section, which was, understandably, cancelled at the beginning of the new millennium. It is no surprise that the papers in this section were written mostly by foreign authors,6 since the main idea were deliberations about the current state of affairs on various musical scenes, as indicated in the ‘introductory’ text ‘Srpska muzika i “zamrznuta istorija” (Uz pokretanje tematske serije Muzika uoči trećeg milenijuma)’ [‘Serbian Music and “Frozen” History (Initiating the Thematic Series Music on the Eve of the Third Millennium)’] by New Sound’s editor Mirjana Veselinović-Hofman, PhD. These two ‘situations’ can be regarded as ‘symptoms’ of the future positioning and orientation of both the section and New Sound. Because, in time, the anniversaries, reminiscences, and various problem circles will grow into the practice of publishing thematic issues, at first carried out discreetly in Issue 23, through the ‘extension’ of the Composer Speaks section by the reminis- lished at that time, contributions for the year’s autumn issue were collected in the first tri- mester (the deadline being on the 30th April). 6 Ulrih Dibelijus [Ulrich Dibelius], Komponovanje uprkos dogmatskom pritisku [Kompo- nieren gegen den Dogmenzwang], Internacionalni časopis za muziku Novi Zvuk, 10, 1997, 17–28; Tatjana Petrović, Komunikacija kao imperativ stvaranja [Communication as an Im- perative of Creation], ibid., 29–32; Linas Paulauskis, Savremena litvanska muzika: pokušaj sagledavanja [Modern Lithuanian Music: An Attempted Survey], Internacionalni časopis za muziku Novi Zvuk, 11, 1998, 13–22; Arnold Berlijan [Arnold Berleant], Neka zapažanja o današnjoj američkoj muzici [Some Thoughts on Contemporary American Music], Interna- cionalni časopis za muziku Novi Zvuk, 12, 1998, 21–24; Marija-Tereza Lefevr [Marie- Thérèse Lefebvre], Doprinos žena istoriji muzike u Kvebeku [La contribution des femmes à l’histoire de la musique au Quebec], ibid., 25–31; Tatjana Petrović, Komunikacija kao imperativ stvaranja [Communication as the Imperative of Creation], ibid., 33–35; Ole Henrik Moe, Strani tonovi – novi podstrek, Internacionalni časopis za muziku Novi Zvuk, 13, 1999, 23–27; Marsel Kobasen [Marcel Cobussen], Uloga ansambala u muzičkom životu Holan- dije: Heterogenost, angažman i društvena utemeljenost [The Dutch Ensemble Culture: Its Heterogeneity, Commitment and Social Embeddedness], Internacionalni časopis za muziku Novi Zvuk, 15, 2000, 33–44; Eduardo Miranda, Kompozitori i tehnologija kompjuterske muzike u Brazilu [Composers and Computer Music Technology in Brazil], Internacionalni časopis za muziku Novi Zvuk, 17, 2001, 13–26; Svetlana Savenko [Светлана Савенко], Avangarda i sovjetska muzika [Авангарда и советская музыка], Internacionalni časopis za muziku Novi Zvuk, 18, 2001, 21–27. The surveys arranged by Tatjana Petrović were conducted in conversations with foreign composers.

101 New Sound 40, II/2012 cence about ‘tablets’ and texts by Ljubica Marić. It is intriguing that the fore- runners of the thematic issues were dedicated to music practices which are, obviously, considered in most cases to be located ‘outside’ the standard musicological discourses – to popular music (Issue 13, I/1999) and World Music (Issue 24, II/2004) – while it is certainly indicative that the ‘conquest’ of thematization still relied on the previously adopted formal disposition expressed by the (not always possible/attainable) formula: at least two studies per issue. Thus, popular music, World Music, as well as acousmatics (Issue 26, II/2005), which are symptomatic cases, adhered to the same pattern: Issue 13 contained three studies (Krstić, Janjatović, Levi), Issue 24, two of them (Veselinović-Hofman, Šuvaković), and Issue 26 included two studies on the phenomenon of acousmatics (Hamilton, Šiler [Schüler]), while the remaining two followed New Sound’s specific (and already noted) repurposing of ‘anniversaries’ (Roksanda Pejović, Dejan Despić) into Studies (Marković, Stefanović). The second trajectory leading to the concept of thematic issues in which reliance would be placed on the Studies section was traced in Poststrukturalistička nauka o muzici [Poststructuralist Science of Music], a special issue of New Sound on the occasion of 50 years of the activity of the Belgrade Faculty of Music’s Department for Musicology (the papers were publicly presented at a departmental conference held in June 1998), as well as in Issue 16 (II/2000), containing the research submitted at the scientific meeting ‘Duhovna muzika balkanskog regiona’ [‘Spiritual Music of the Balkan Region’], held in Belgrade on the occasion of 2000 years of Christianity. The special edition, understandably, was oriented towards the promotion of research results and the proclamation of the theoretical positions (blasphemously modern at the time) of domestic musicologists and ethnomusicologists professionally associated with the Fac- ulty of Music, while Issue 16 justified both the international – by publishing the contributions of German, Macedonian, Greek and Romanian colleagues – and the interdisciplinary dimension of the magazine. The already appreciable movement/transition towards the transparent/oblig- atory thematization of every autumn issue, described in the case of the issues between 20 and 30, was crowned by a fusion of the ‘old’ and the ‘new’ – of a ‘jubilee’ issue and a thematic issue (or a virtual symposium) in Issue 28 (II/2006). Transitional Mokranjac, or the transition of Mokranjac that took place in 2006, on the 150th anniversary of the composer’s birth,7 was marked in the case of New Sound by the context of the ‘politically correct’ terminology of the European

7 For more details cf. Vesna Mikić, ‘Naš’ Mokranjac – Tranzicijske kulturne prakse i delo Stevana Mokranjca [‘Our’ Mokranjac – Transitional Cultural Practices and the Work of Ste- van Mokranjac], Mokranjac, časopis za kulturu, Issue 14, December 2012, 2–12.

102 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

Union, but also that of new musicological discourses, in the contributions which dealt with the subject ‘Choral Production of Southeastern Europe – to Stevan Mokranjac’. Thus, for the first time, a theme and an impressive number of studies were joined together, foreshadowing the transition of the Studies section into the Core Issue, which would take place once every following year. Although – if, for a short moment and in one general glance, we pay attention to the ‘standard’ contributions within the section in order to avoid the valuational overtones which might have ‘appeared’ in the previously presented analogy, we will note that the editorial policy was guided by two obvious strategies. Exceptional care was taken to have contributions from musicology and ethnomusicology as two ‘sister’ disciplines (although one could use other famil- ial metaphors in this particular case) equally represented, while foreign papers were published whenever that was possible. In that regard, the Studies section assumed the role of ‘guardian of the fire’, because it is this section which is expected to maintain the continuity of disciplinary endeavours, as well as the international component of the magazine. Paradoxically, studies are (traditionally) expected to achieve breakthroughs into the ‘new’, and so, in that respect, this section of New Sound turns out to be the exact place where diverse creative vi- vacities of theoretical thought on music and arts are to be presented. Regarding the former of the two strategies, it should be said that it was directly dependent on institutional guidelines and the history of musicological science in our midst. Thus, the magazine’s Editorial Board, since the very beginning, has included the doyen of Serbian ethnomusicology, Dragoslav Dević, PhD. Bearing in mind the short, though every bit as exciting history of the magazine, but also that of our institutions, it appears that the ‘break-up’ which, in the institutional sense, occurred between musicology and ethnomusicology (if only in the case of the Belgrade Faculty of Music, which was soon followed by the transfer of the magazine to the Department of Musicology), led to adhering less ‘strictly’ to the strategy of ‘level’/parallel presentation of musicological and ethnomusicological contributions in the magazine. Namely, the early issues of the magazine obviously adhered to the recommended policy of presenting both musicological and ethnomusicological items ‘equally’ and ‘mandatorily’, and there were moments (apart from the described ‘trespasses’ in the Issues 7, 13, 14), when only musicological or only ethnomusicological contributions were published. In the light of the fact that the number of scientifically active ethnomusicologists, both in the time of the magazine’s launching and for the better part of its history, has been relatively small compared to the number of musicologists, there certainly were objective reasons for the lesser share of ethnomusicological items. Therefore, although about a quarter of the texts in the Studies section were written by ethnomusicologists, one should not lose sight of the circumstances in

103 New Sound 40, II/2012 which musicology and ethnomusicology developed in Serbia, as well as the fact that ethnomusicological papers were published in other sections of New Sound. Also, this insight makes it possible to consider some situations which, over the course of time, have evolved at the broader institutional and social level, and which can help us to, if not understand, then at least perceive the complexity of the form, position, appearance and achievements of the Studies section in the last 40 issues, i.e. 20 years. However, before we address this consideration, we shall briefly summarize the latter of the two mentioned strategies – ‘inter- nationalism’. Similar to the former one, the results of this strategy’s screening will attest to the complex network of social-economic-technological/biopolitical mechanisms in which the practices of the magazine publishing, the practices of the conceptualizations of its themes and sections, the practices of generating the objects of its analysis, of its disciplines – practices of writing (the contributions for the magazine) take place. The magazine’s international orientation was made official by its international Editorial Board, and confirmed in the utmost measure by the papers which can be classified as studies. Slightly less than a half of the contributions in the Studies section (about sixty) were written by foreign authors engaged in various theoretical disciplines (musicology, ethnomusicology, aesthetics, performance studies, media studies, theories of arts and media…) and from various continents and parts of the world. But what is particularly intriguing – and this takes us back to the problems which might be united by the discoveries related to both of the strategies involved – is the fact that the foreign items, i.e. the thematic issues of New Sound, have become much more frequent in recent years. On the one hand, it is undisputable – now we are returning to the issue of the ‘sponsor’ – that the standards which the state institutions responsible for scientific magazines use for establishing their own categorizations, and which are vitally important for these publications, are such that encourage (or rather: force) the editorial boards to include a certain mandatory share of international items, a circumstance which evidently benefits New Sound, though it does require exceptional efforts on the part of the Editorial Board. Hence, the non-thematic, ‘free’, spring issues of New Sound have recently presented to the readership a significant number of studies (and contributions in other sections) by foreign scientists.8 On the other hand, the standards thereby favoured publications in the English language only. From the very beginning, the bilingual New Sound was, luckily, ready for these challenges of Serbian transition, and hence

8 For example, Alexandros Charkiolakis, The War Requiems by Benjamin Britten and Dmitry Kabalevsky: A Story of Differences, International Magazine for Music New Sound, I/2011, 15–23; Bogumila Mika, Novelty in the Polish Music Avant-Garde Discussion in the Late 1960s and Early 1970s, ibid., 35–46.

104 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113) the last ten or so issues have been printed in English only. Finally, it has already been mentioned that the first online issue of the magazine was uploaded on the Internet in 2004 (Issue 24) and ever since, all the subsequent English-language issues are available on the Web. In that respect, the international magazine acquired its global dimension, and the ‘invigoration’ of its international element can be interpreted from this technological aspect. Additional factors which may help us understand the ‘fate’ of the scientific studies in New Sound are certainly concerning the fact that recent years have seen the succession of generations which, encouraged by institutional changes (this time in the educational system), have resulted in the most diverse open- ings and interlocking of disciplines that deal with speaking about music. This trend is clearly shown by the subjects treated in the thematic issues – ballad (Issue 30), improvisation (Issue 32), futurism (Issue 34), music and stage (Issue 36) and contemporary music at the fringe (Issue 38) – and the interdisciplinary variety of the approaches. Thus, the transition of the Studies section must be interpreted along these lines. Because this concise summary of twenty years, forty issues and about one hundred and fifty papers, along with “brief contacts” with those synchronous points of the institutional, social and technological history of the context in which they have appeared, also denotes a possible ‘periodization’ in the section’s content. During the first period of the Studies section – or roughly, the first decade of activity (up to 2004 and the first thematic and online issues9) – we can follow the movement from ‘free’ studies to studies that comply with the core issue, while the second period (the second decade, from Issue 25) is formally marked by the expansion from studies to thematic issues, and the even-numbered issues ‘abandon’ the section title: the studies underwent a transition into the core issue. It is as if the changed circumstances of the market (other musicological/ethnomusicological magazines have also been launched in Serbia in the meantime, and New Sound’s financing has become ‘unstable’), of institutions (the regulations of the state agencies have been altered, and the magazine is now under the authority of the Department of Musicology of the Faculty of Music) and of technology (all the possible aspects of living in a techno-culture), as well as those related to practices in the production, distribution and reception of music, have joined together to confirm (in the Studies section, but not only there) the validity of the vision of the ‘founder’ of the International Magazine for Music New Sound. Translated by Goran Kapetanović

9 Since 2009 with a new design (Saša Ćurčić), at the address http://www.newsound.org.rs

105 New Sound 40, II/2012

Appendix

International Magazine for Music New Sound, STUDIES

No. 1, I/1993 Roksanda Pejović, Four Editions of the Yugoslav Magazine Zvuk (Sound) Dimitrije O. Golemović, When the Instrument Speaks Up David Baron, Creation and Technology in a New World Jasminka Dokmanović, The Ritual Singing of Women in the Shopluk Regions in Serbia Nadia Mankowskaya, L’Esthétique musicale et le postmodernisme

No. 2, II/1993 Sonja Marinković, Vojislav Vučković and New Realism Ana Kotevska, The Principle of Hierarchy (Seniority) of Traditional Musical Values as a Way to Мaintain Cultural Identity in Western Africa

No. 3, I/1994 Mladen Marković, Ethnomusicology in Serbia Marija Kovač, The Piano as the Alter-Ego of Vasilije Mokranjac Gorica Pilopović, Dušan Radić and the Socialist Realism Max Stern, The Concept of Time in Compositions involving Indeterminacy and Impro- visation Carole Gubernikoff, John Cage: Sonatas and Interludes for Prepared Piano; Music of Changes

No. 4-5, II/1994, I/1995 Mirjana Vukićević Zakić, Bourdon in the Music Tradition of Zaplanje Arnold Berleant, Musical Generation Evangelos Moutsopoulos, Alternative Processes in Artistic Creation

No. 6, II/1995 Dragoslav Dević, Béla Bartók and Yugoslav Folk Music Nice Fracile, On Béla Bartók’s Track II: Béla Bartók’s Contribution to the Study of Ru- manian Musical Tradition Alois Mauerhofer, Spurensuche zur Rezeption von Bartoks Forschungen in der Deuts- chsprachigenvolkmusikforschung

106 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

No. 7, I/1996 Anniversaries Mirjana Živković, Striving for a Higher Artistic Order Pavle Stefanović, The Drama of Josip Slavenski’s Artistic Work

No. 8, II/1996 Dimitrije Golemović, Serbian Two-Part Singing I (Forms – Origin – Development) Dragana Stojanović Novičić, Mihailo Vukdragović: The Artistic Path and Vocal Lyrics as pars pro toto

No. 9, I/1997 Dimitrije O. Golemović, Serbian Two-Part Singing, part II Galliano Ciliberti, Per una nuova esegesi di Paul Hindemith

No. 10, II/1997 Marija Masnikosa, Vlastimir Peričić’s Musicological Opus Tatjana Marković, Poetica comico: Choral Works by Konstantin Babić

No. 11, I/1998 Andrijana Gojković, Focal Points of Gypsy (Romany) Music

No. 12, II/1998 Sanja Radinović, The Problem of Applicability of ‘The Finnish Method’ in the Melo- poetic Analysis of Serbian Folk Songs

No. 13, I/1999 Miloš Krstić, Identifying Modern Jazz Petar Janjatović, A Retrospect: Yugoslav Pop and Rock Kler Levi, Youth and Popular Music in Bulgaria: Local vs. Global

No. 15, I/2000 Dejan Despić, Marko Tajčević: The Master of Choral Sound and Harmony Bojana Cvejić, From a Work to the Author. Dimitrije Bivolarević Heccoe: String Quartet No. 2

No. 16, II/2000 Topic of the issue: Spiritual Music of the Balkan Region on the Occasion of 2000 Years of Christianity Miloš Velimirović (USA), Sacred Music in the Balkans Jane Kodžabašija (Macedonia), The Aspects of Reciprocal Influences and the Devel- opment of Church Chant of some Orthodox Nations in the Balkans in the 19th and 20th centuries

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Franz Metz (Germany), Das Banat und die Geistliche Musik Südesteuropas: Probleme un Ansätze einer Musikhistorischen Forschung Vladeta Jerotić, The Psychological Effect of the Christian Liturgy Ivana Perković, On the Eschatological Aspect of Serbian Church Chanting Roksanda Pejović, Texts on Serbian Church Music in Serbian Journalism Miloje Nikolić, Sacred Concert Bogdan Đaković, Contribution to the History of Serbian Spiritual Choral Music – The Relations between Religious Service Tradition and Concert Practice Constantin Catrina (Romania), Die Musik Byzantinischer Tradition in Rumänien und die Chrysantische Reform im Jahre 1814 Efstathios Makris (Greece), The Significance of Pitch in the ‘New Method’ of Greek Church Music Bojan Ortakov (Macedonia), The Aesthetics of Ohrid as the Basis of the Macedonian Musical Aesthetical Experience throughout Centuries Anastasia Siopsi (Greece), Aspects of Ideology: Analyzing the Influence of Greek Spiritual Tradition on the ‘Modern Greek National Music’ Anastasia Georgaki (Greece), Spirituality in Electroacoustic Works Apokalypsis, Tete- lestai and Kratima of the Greek Composer Michael Adamis

No. 17, I/2001 Roksanda Pejović, The Reflections of Fin-de-Siècle оn Serbian Music Dimitrije Golemović, Romani as an Important Factor in the Development of Serbian Ritual Practice

No. 18, II/2001 Roksanda Pejović, Josif Marinković (1851–1931): Critical and Musicological Views Dragana Stojanović Novičić, To Observe the Others, to Discover Oneself: Mihailo Vukdragović’s Music Reviews

No. 19, I/2002 Dragoslav Dević, Dinaric and Šop Singing in Serbia and Migrations Dimitrije O. Golemović, Traditional Folk Song as a Symbol of a New Cultural Identity (based on the practice of Yugoslav refugees)

No. 20, II/2002 Pierre-Albert Castanet, Pour une musicologie du phenomene «techno» Nico Schüler, Music Analysis of the Next Generation? Recent Developments in Com- puter-Assisted Music Analysis Roksanda Pejović, The Centenary of Mihovil Logar’s Birth (1902–1998): The Works of Mihovil Logar in the Context of Serbian Music Contemporary to Them

108 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

No. 21, I/2003 Vesna Mikić, Music and/or Virtual Reality? Colin Roche, Du sense politique dans l’utilisation des sons électroniques: Machina- tions de George Aperghis, TombeauX de Pierre-Albert Castanet et Le Grand Jeu de Bruno Mantovani Marcel Cobussen, Deconstruction in Music: The Jacques Derrida – Gerd Zacher En- counter

No. 22, II/2003 Mladen Marković, Miodrag Vasiljević: The First Hundred Years

No. 23, I/2004 Katarina Marković-Stokes, The Evolution of the Durchbruch Idea: Adorno, Mahler, Beethoven and the 19th Century Critical Tradition

No. 24, II/2004 Mirjana Veselinović-Hofman, Multimedia Archives as a Step Towards World Music Miško Šuvaković, Surplus Value: Musicology and Ethnomusicology in the Field of Discourse on World Music

No. 25, I/2005 Roksanda Pejović, Scenes with Musical Instruments in Byzantine and Post-Byzantine Art Loren Y. Kajikawa, An Escape from the Planet of the Apes: Accounting for Cornelius’s International Reception

No. 26, II/2005 Core Issue: Acousmatics Andy Hamilton, The Concept of The Acousmatic Nico Schüler, ‘Acousmatic’ and Beyond: On Otto Laske’s Research on Musical Pro- cesses Studies Ana Stefanović, Vocal Lyricism of Dejan Despić Tatjana Marković, Roksanda Pejović – Spiritus movens of Serbian Music Historiogra- phy

No. 27, I/2006 Branka Radović, Dejan Despić: Pesmarica (1950–2004)

109 New Sound 40, II/2012

No. 28, II/2006 Core Issue: Choral Production of Southeast Europe – to Stevan Mokranjac Dragoslav Dević, Stevan Stojanović Mokranjac – Collector of Folk Songs and Ethno- musicologist, 15–32 Roksanda Pejović, Choirs in Belgrade Music Life in the First Years After World War II (1944–1950), 33–47 Darja Koter, The Slovenian Singing Society – A Symbol of National and Cultural Identity 48–59 Refik Hodžić, The Rise of Choral Singing Organizations in the Area of Bosanska Kra- jina (1878–1941), 60–69 Miradet Zulić, Serbian Choral Societies in Tuzla and Bijeljina until 1914 , 70–74 Milto Vako, The Origin and Development of Albanian Choral Music, 75–78 Petar Krumov, Bulgarian Choirs over the Past 50 Years, 79–86 Jernej Weiss, Contemporary Choral Production in Slovenia, 87–102 Gábor Baross, The Non-Professional Art of Choral Singing in Hungary , 103–114 Tatjana Marković, The Specific Nature of the Activities of Choral Societies in a Multi- Ethnic Context: A Case Study of Serbian Choral Societies in Banat (Pančevo and Ve- liki Bečkerek) in the 19th century, 115–129 Balázs Mikusi, An ‘Invented Tradition’ for an ‘Imagined Community’: Male Choral Singing in Nineteenth-Century Germany, 130–144 Ivana Perković Radak, Rhetorical Strategies of Serbian Choral Church Polyphony Be- fore 1914: Towards Genre Distinctiveness, 145–157

No. 29, I/2007 Sonja Cvetković, Composer, Journalist and Pedagogue Dragutin Čolić (1907–1987): On the Occasion of the Centenary of his Birth

No. 30, II/2007 Core Issue: Studies, Interpretations, Views, Research and Tradition – Ballad Tijana Popović Mlađenović, The Story of the Ballad in Music Sanja Radinović, Serbian Folk Ballads and Ethnomusicology: A Mission Impossible Marjetka Golež Kaučič, The Slovenian Folk Ballad: A Genre Enigma Anne Caufriez, Portuguese Ballad, its Specificities and Offshoots in the Mediterranean Chris Walton, Othmar Schoeck’s Choral Ballad Der Postillon, and How Not to Write an Opera, 76–82 Jim Samson, Exploring Chopin’s ‘Polish Ballade’, 83–94 Vesna Mikić, The First and the Last – Zdravko Čolić – the ‘Guru’ of Pop Ballad , 95–101 Miloš Krstić, Jazz Standards of a Ballad Character, 102–108

No. 31, I/2008 – in Serbian only

110 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

No, 32, II/2008 Core Issue: Improvisation Marcel Cobussen, Improvisation: An Annotated Inventory, 5–15 Tijana Popović Mlađenović, Improvisation as a Call for Communication 16–24 Vesna Peno, Two Aspects of Utilization of Improvisation in the Orthodox Church Chanting Tradition, 25–34 Daleen Kruger, Organ Improvisation in German Fundamenta of the 15th Century, 35–52 Hans Fidom, Organ Improvisation – An Introduction, 53–67 Wim van der Meer, Improvisation versus Reproduction, India and the World, 68–78 Kailan Rubinoff, (Re)Creating the Past: Baroque Improvisation in the Early Music Revival, 79–93 Jeff Warren, Improvising Music / Improvising Relationships: Musical Improvisation and Inter-relational Ethics, 94–106 Henrik Frisk, Improvisation, Computers, and Primary Process: Why Improvise with Computers?, 107– 118 David Toop, Search and Reflect: The Changing Practice of Improvisation, 119–129 Tanya Kalmanovitch, Contemporary Improvisation for Classical Musicians , 130–142 Dragana Jeremić Molnar & Aleksandar Molnar, Surpassing Improvisation? Stockhaus- en’s Concept of Intuitive Music, 143–156 Mirjana Veselinović-Hofman, Silence as Improvisation, 157– 161 Sara Ramshaw, Time out of Time: Derrida, Cixous, Improvisation, 162–175 Geraldine Finn, One Time Alone: Improvisation Takes Place, 176–199

No. 33, I/2009 Marija Masnikosa, The Life and Work of Ljubica Marić – ‘Multifariousness of One, 12–35 Jelena Novak, Undoing the Real of Music in works by Jasna Veličković , 36–46

No. 34, II/2009 Core Issue: Music and Futurism Marjorie Perloff, ‘The First Futurist Manifesto’ Revisited, 7–15 John Heymans, From Helmholtz’s Sensations of Tone to Russolo’s Art of Noise, 16–36 Gergely Kertész & Ádám Ignácz, Russolo and his Technical Utopia, 37–49 Dragana Stojanović Novičić, Work of Edgard Varèse and ‘Futurist Music’: Affinities (and Differences), 50–61 Diane L. Glazer, Among Friends: Italian Futurism Comes to America, 62–75 Vesna Mikić, Zenitism: A Possible View on the Avant-Garde Retreats of the Solitary Modernist Poetics of Josip Slavenski, 76–86

111 New Sound 40, II/2012

No. 35, I/2010 Sonja Marinković, Work and Creation of Vučković and Rajičić: Facing the Challenges of Social Art, 17–27 Sanja Radinović, Suggestions for Transcribing Exotic Melodies: A cornerstone in the Babel Tower of Ethnomusicological Methodology , 28–28 Mirjana Veselinović-Hofman, Musical Notation: The More or the Less than Sound, 39–56

No. 36, II/2010 Core Issue: Music & Scene Today – Media Metamorphosis Dragana Jeremić Molnar, Lied: From Hausmusik to Film. On the Example of Franz Schubert’s Winterreise, 13–28 Mirjana Veselinović-Hofman, Drama with Music Die Glückliche Hand by Arnold Schönberg as a Multimedia Project, 29–43 Ana Kotevska, Concert Metamorphoses of In/Visible and In/Audible, 44–53 Miško Šuvaković, Demateralization of the Stage: Epistemology of New Media in Per- fomance Arts and Music, 54–62 Falk Hübner, Entering the Stage – Musicians as Performers in Contemporary Music Theatre, 63–74 Anastasia Siopsi, Music and the Scene in Stage Productions of Ancient Dramas and Comedies in Greece in the Last Decades of the Twentieth Century, 75–90 Anna Gadzinski, Appropriated Music: An Altered System of Relationships Between Music and Image, 91–100 Jelena Novak, Monsterization of Singing: Politics of Vocal Existence, 101–119 Ana Hofman, Socialist Stage: Politics of Place in Musical Performace, 120–134

No. 37, I/2011 Alexandros Charkiolakis, The War Requiems by Benjamin, Britten and Dmitri Kaba- levsky: A Story of Differences, 15–23 Mirjana Veselinović-Hofman, Air, Ground, and Water of a Capital of Silence: Ivana Stefanović’s Radiophonic Epic Poem Metropola tišine / Stari Ras [Metropolis of Silence / Old Ras], 24–34 Bogumila Mika, Avant-Garde Discussions in the Late 1960s and Early 1970s, 35–46

No. 38, II/2011 Core Issue: Contemporary Music At the Fringe Iva Nenić, Inner/Outer Borderland: Contemporary ‘Reworking’ of Gusle , 17–28 Mirjana Veselinović-Hofman, Music at the Periphery Under Conditions of Degraded Hierarchy between the Centre and the Margins in the Space of the Internet, 29–39 Virginia Anderson, John White and the Alternative British Experimental Aesthetic, 40–50 Sophie Stévance, Contemporary Music at the Fringe: The Example of ‘Musique Actu- elle’ in Canada, 51–64

112 Mikić, V.: From Studies to Thematic Issues – Symptoms ... (99–113)

No. 39, I/2012 Andrija Filipović, Noise and Noise: The Micropolitics of Sound in Everyday Life , 15–29 Valentina Radoman, On Comparative Research in Musicology: Peripheral vs. Central European Musical Culture and the Musicological Comparative Approach in the 20th Century, 30–48 Mirjana Veselinović-Hofman, The Nature of Post-modern Classicality in European Music, 49–57 Mirjana Zakić and Danka Lajić Mihajlović, (Re)Creating the (Folk Music) Tradition: The National Competition of Brass Orchestras at the Dragačevo Trumpet Festival, 58–79

New Sound’s Thematic Series – Music on the Eve of the Third Millennium

No. 9, I/1997 Mirjana Veselinović-Hofman, Serbian Music and ‘Frozen’ History: Initiating the The- matic Series Music on the Eve of the Third Millennium No. 10, II/1997 Ulrich Dibelius, Komponieren gegen den Dogmenzwang Tatjana Petrović, Communication as an Imperative of Creation No. 11, I/1998 Linas Paulauskis, Modern Lithuanian Music: An Attempted Survey No. 12, II/1998 Arnold Berleant, Some Observations on American Music Today Marie-Thérèse Lefebvre, La contribution des femmes: À l’histoire de la musique au Quebec Tatjana Petrović, Communication as the Imperative of Creation No. 14, II/1999 Pierre-Albert Castanet, Une approche française de la musique micro-tonale No. 15, I/2000 Marcel Cobussen, The Dutch Ensemble Culture: Its Heterogeneity, Commitment and Social Embeddedness No. 17, I/2001 Eduardo Miranda, Composers and Computer Music Technology in Brazil No. 18, II/2001 Светлана Савенко, Авангарда и советская музыка

113 New Sound 40, II/2012

Article received on 7 March 2013 Article accepted on 8 March 2013 UDC: 78.01 ; 050.489NEW SOUND

SECTIONS NEW WORKS AND INTERPRETATIONS IN THE LAST TWENTY YEARS OF THE NEW SOUND MAGAZINE AS THE INDICATORS OF TWO IMPORTANT PRINCIPLES IN MUSICOLOGICAL WORK

Mirjana Veselinović-Hofman* University of Arts in Belgrade Faculty of Music Department of Musicology

Abstract: This item concerns the profile and the contribution of the sections New Works and Interpretations to the recognition of contemporary Serbian music, on the basis of how they have functioned during the past two decades of the International Magazine for Music New Sound. Thereby, these sections can be considered as representative of two crucial principles of the musicological process – analytical and interpretative. It is on the basis of each and on their mutual permeation that different genres of musicological texts originate. Keywords: New Sound, new works, interpretations, views, musicological genre Апстракт: У овом раду разматрају се физиономија и допринос рубрика Нова дела и Интерпретације афирмацији савремене српске музике, на темељу њиховог деловања током две деценије постојања Интернационалног часописа за музику Нови Звук. При томе се у проблемском смислу сагледавају као оличења два основна

114 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)

принципа музиколошког рада – аналитичког и интерпретативног, на чијој појединачној основи и међусобним прожимањима израстају различити жанрови музиколошког текста. Кључне речи: Нови Звук, нова дела, интерпретације, погледи, музиколошки жанр

New Works and Interpretations are two key sections of the New Sound magazine that deal immediately with newly composed musical works. Working alongside one another, but each pursuant to its own unique conception, practice and goal, they conjointly embody the methodology of the musicological approach to music – not only contemporary! – that the magazine strives to affirm. This methodology includes, on the one hand, an analytical focus on an individual work, and on the other, on its problem positioning and interpretations. It covers, therefore, the range from types of individual presentations of new works to the superstructure of interpretative contextualizations. In that respect, the very titles of the sections are almost symbolic. However, this does not mean that the New Works section is filled only with ‘close readings’ of new compositions, or that the Interpretations section is made up only of ‘contexts without texts’ – even when the contributors are not only musicologists, but also composers, performers, art historians or aestheticians: although at first one might expect them to advocate a strictly ‘specialist’ viewpoint, their perspectives are always wider and oriented in the methodologically ‘opposite’ direction. In other words, the items whose discourse naturally relies on the analytical sphere1 contain certain problem postulates, some theoretical observations, comparisons and evaluations, while the items whose discourse

1 E.g. Zoran Erić, Znakovi Srđana Hofmana kao pojmovnik upotrebe žive elektronike u procesu kreiranja realnog muzičkog vremena [Signs by Srđan Hofman as a Directory for the Use of Live Electronics in the Process of Creating Real Musical Time], Novi zvuk, 6, 1995, 97–101; Zoran Erić, Vlastimir Trajković: muzika za klavir [Vlastimir Trajković: Music for Piano], Novi zvuk, 9, 1997, 51–54; Vlastimir Trajković, S onu stranu međe moderna–post- moderna: Koncert za klavir i gudački orkestar Jugoslava Bošnjaka ili pouzdanje u princip muzikalnosti [Beyond the Boundary Modernism–Postmodernism: Concerto for Piano and String Orchestra by Jugoslav Bošnjak or Confidence in the Principle of Musicality], Novi zvuk, 15, 2000, 95–100; Milan Mihajlović, Pesme o zvezdama Svetlane Kresić [Pesme o zvezdama (Poems About Stars) by Svetlana Kresić], Novi zvuk, 18, 2001, 79–84; Svetlana Kresić, Pesme o zvezdama [Poems About Stars], Novi zvuk, 18, 2001, 85–87; Svetlana Kresić, AJ DI (ID) of Marsovci ili jednačina sa više nepoznatih [ID of Martians or Equation with Several Unknowns], Novi zvuk, 20, 2002, 87–90; Borislav Čičovački, Testije i kondiri – u potrazi za muzičkim „iskopinama” [Testije i kondiri (Jugs and Stoups) – in Search of Music ‘Artefacts’], Novi zvuk, 21, 2003, 81–86. Cf. Table 1!

115 New Sound 40, II/2012 stems primarily from the theoretical and interpretative sphere2 include certain analytical notes and arguments. In truth, although one can only speak of musicologists’ papers as written in specifically musicological genres, the items by other authors are nevertheless examples of making fundamental connections between factual insights and personal opinions. Apart from presenting the individual compositional and technical particulars of the treated works, as well as their aesthetic premises and stylistic features, the musicological papers in the New Works section display a tendency to place these works not only in the context of the individual creative paths and creative dynamics of their authors, but also in the setting of the compositional practice, the surrounding artistic milieu, as well as the relevant historical heritage. At the same time, the material acquired through this musical, factual and historic research is the basis for shaping the individual musicological views of a work, mostly founded on interdisciplinary thinking. Diverse stimulations from various disciplines converge within these views – most often visual, literary and aesthetic ones, as well as the stimulations of a sociological or culturological nature.3 They are not, however, extensive elaborations, but a way of introducing a new work to readers which does not dwell just on a description, but also includes the concise articulation of the problem with the dimension of critical evaluation. Therefore, in spite of not being large in scale, these papers clearly have well-defined genres, mostly as musicological ‘miniatures’ with problematization overtones.4 These texts, namely, display a consistent, causal and conse- quential permeation of the analytical and interpretative approaches, meaning that, typologically, they stand between the papers that otherwise – by focusing on detailed analytical examinations of a particular work or a group of related works – populate the Analyses section, and the papers published in the Interpre- tations section. That is to say: from the viewpoint of their general methodologi-

2 E.g. Miško Šuvaković, Mimezis mimezisa. Estetsko kao transgresivni element muzike [Mimesis of Mimesis. The Aesthetic as a Transgressive Element of Music], Novi zvuk, 10, 1997, 83–91; Nikola Šuica, Vladan Radovanović: Sazvežđa [Vladan Radovanović: Constel- lations], Novi zvuk, 12, 1998, 75–78; Marsel Kobason [Marcel Cobussen], Džon Zorn: dekonstrukcija i komprovizacija [John Zorn: Deconstruction and Comprovisation], Novi zvuk, 13, 1999, 51–60. 3 Cf. Mirjana Veselinović-Hofman, Međunarodna tribina kompozitora i časopis Novi zvuk: korelacija vidova predstavljanja srpske savremene muzike [International Review of Com- posers and the New Sound Magazine: Correlation of Types of Presentation of Contemporary Serbian Music], in: …under (re)construction. Međunarodna tribina kompozitora 1992–2007, Vesna Mikić and Ivana Ilić (eds.), Belgrade, Udruženje kompozitora, 2007, 95–98. 4 A deviation from such a genre format can be found in papers by the authors who are not specialists in musicology. Cf. footnotes 1 and 2.

116 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) cal procedure, the majority of contributions to the New Works sections approach the genre of a musicological study, because in a compact form they demonstrate the relationship between the formalist-positivist and the contextual, whose types of manifestation and complexity represent one of the important hallmarks of genuine scientific studies. Still, as previously said, the New Works section of the magazine sometimes contains contributions in which the analytical component and the personal comments are fused in a certain musicologically ‘casual’, but valuable way, and there are also contributions where new compositions are presented in a more pronouncedly analytical sense, from the concrete aspects of form, harmony, compositional technique, media, etc. that distinguish them. Therefore they are included in the Analyses section.5 It is, thus, a type of contribution where the New Works and Analyses sections actually cooperate on a joint task – presenting new compositions! – but in two fundamentally different ways and with different intensities.6 This is understandable, because the concept of the Analyses section is not necessarily restricted to the latest production, or even contemporary music, since the goal of this segment is to demonstrate the application of chosen analytical concepts and methods using case studies from the entire history of music. Within the described framework and in the described ways, eighty-eight compositions were treated in the New Works section up to and including the magazine’s Issue 39.7 (Appendices: Table 1)8

5 Summary of these papers can be found in the appendix New Works in the Analyses Sec- tion (Table 3). 6 More on ways of elaborating on newly created compositions and, generally, contemporary music as the common subject of all the sections in the New Sound magazine, in: Mirjana Veselinović-Hofman, Nova dela i časopis Novi zvuk – Novi zvuk kao karika institucionalnog ulančavanja u svetu savremene srpske muzike [New Works and the New Sound Magazine – the New Sound as a Link in the Institutional Chain in the World of Contemporary Serbian Music], in: Tematski potencijali leksikografskih jedinica o muzičkim institucijama, Vesna Mikić, PhD, and Tijana Popović Mlađenović, PhD (eds.), Muzikološke studije – Zbornici radova, vol. 7, Belgrade, Katedra za muzikologiju, Fakultet muzičke umetnosti, 2009, 163– 170. 7 If we also include the new works dealt with from primarily the analytical or interpretative viewpoint in the appropriate sections – Analyses and Interpretations – the total amounts to ninety-eight works discussed in twenty years of the magazine’s existence, and most of them belonged to the latest compositional production. 8 The table contains the title of each work, its author, the author of the item, the item’s title, the magazine issue in which the item was published, year of publication and the numbers of the first and last pages of the item. Given that New Sound is published both in Serbian and in English, the table also contains translations of the titles, as well as the data on the publishing dynamics of the magazine in these languages. Namely, up to Issue 23, the issues were pub-

117 New Sound 40, II/2012

This selection has been made from a production monitored yearly, and involving several sources: the International Review of Composers in Belgrade,9 the domestic concert repertoire with premieres and performances of awarded works, the programmes of certain world festivals of contemporary music, as well as domestic and foreign ensembles specialized in its performance. As a rule, all these sources offer an insight into the production of the current year or the year before as well, and so these are indeed the latest achievements.10 Dur- ing that process, attention is paid predominantly to the compositional creation in Serbia. To a lesser extent but in the same manner, the selection includes recent compositions by foreign authors; more precisely, those who originated from the Serbian environment, but whose lives and professional careers are successfully progressing in musical cultures all over the world. By implying a certain degree of contextual projection of a particular musical material, the New Works section is more closely related to the Interpreta- tions section than to the Analyses section. Namely, like the New Works section, the Interpretations section establishes fundamental connections between the musical substance and its interpretation, but during the elaboration of these personal elucidations, a ‘demonstrative’ reaching for the analytical apparatus is not necessarily employed. Besides, although this section also presents musical works which are usually of the most recent production11, either as individual lished simultaneously in the Serbian and English languages. Since Issue 24, the English version was published only online, up to Issue 31, which was published only in Serbian. The following issue, 32, was published only in English, and since Issue 33, only the English edition has been printed, and also uploaded to the Web, while the Serbian edition has been published only online. The reader is advised of the currently unavailable forms of certain issues by their being stricken through in this table. 9 It is an international festival of contemporary music, organized yearly since 1992. Except for the first one, held in Novi Sad and Sremski Karlovci, all the following Reviews have taken place in Belgrade. 10 The works, in fact, come under consideration for being presented as soon as the Editorial Board of the magazine receives both news about the works and the works themselves. For example, the work cvetić, kućica… [little flower, little house…] by Marko Nikodijević was written in 2009, but it was only in 2010 that it received the Gaudeamus Prize and the Second Prize at the Tansman Competition in Poland; hence it was presented in the New Works section two years after being composed, in the New Sound 38, II/2011. (cf. Table 1!) The most distant from the chronological determinant of the new works in the magazine are the works by Vlastimir Trajković: Zvona [Bells] (1974) and Koncert za klavir i orkestar u B-duru, op. 21 [Concerto for Piano and Orchestra in B-flat Major, Op. 21] (1990), to which Zoran Erić metaphorically referred as ‘eternally new’, and that is the reason why they were included in this section. (cf. Table 1!) 11 Cf. appendix The Interpretations section and the new works in it (Table 2).

118 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) compositions or within a festival programme,12 these works are treated in this section primarily as incentives and encouragements for special interpretative considerations. Thus, these items deliberate on what might be the entire scale of problem areas of contemporary music, even music in general – compositional, aesthetic, performing, stylistic, culturological…, and hence this deliberation involves not only musicologists, but also authors from non-musicological profes- sions, who sharpen their theoretical observations primarily from the standpoint of their disciplines. Therefore, the thematic range of the Interpretations section is quite diverse, including areas that are important and inexhaustibly open for contextual elaboration, such as e.g. time and space in the light of concrete compositional poetics (for example, S. Rachmaninoff, H. Rădulescu, A. Pärt),13 the inexpressibility of music,14, issues of mimesis,15 deconstruction and music,16 music and literature,17 the poetic and aesthetic issues of media and technology in compositional creation and performance,18 the stylistic view on compositional

12 Cf. Mirjana Veselinović-Hofman, Avangarda danas: odjeci avangarde. Svetski dani muzike ’95 [The Avant-garde Today: Echoes of the Avant-garde. World Music Days ‘95], Novi zvuk, 6, 1995, 71–95; Ksenija Stevanović, Pandorina muzička kutija: 11. međunarodna tribina kompozitora u Beogradu [Pandora’s Music Box: 11th International Review of Compos- ers in Belgrade], Novi zvuk, 20, 2002, 76–82; Ivana Medić, Letnji kurs iz kompozicije i interpretacije Karlhajnca Štokhauzena [The Stockhausen Composition and Interpretation Courses], Novi zvuk, 25, 2005, 29–35; Aleksandar Damnjanović, Srpska muzika na festivalu evropske muzike u Francuskoj [Serbian Music on the Festival of European Music in France], Novi zvuk, 26, 2005, 113–118. Cf. Table 2! 13 E.g. Arbo Valdma, Rahmanjinov: vremenska i prostorna (dez)orijentacija [Rachmaninoff: Spatial and Temporal (Dis)orientation], Novi zvuk, 2, 1993, 41–48; Hartmut Meler [Hartmut Möller], Vremenski konflikti – višestruka vremena [Zeikonflikte – Multiple Zeiten], Novi zvuk, 11, 1998, 43–55; Herman Sabe [Herman Sabbe], Muzika stvara vreme; muzika zahteva vreme [Music Makes Time; Music Takes Time], Novi zvuk, 17, 2001, 49–54. Cf. Table 2! 14 Ana Kotevska, Ne/izrecivo kao alternativa [The In/expressible as an Alternative], Novi zvuk, 10, 1997, 75–82. Cf. Table 2! 15 Miško Šuvaković, Mimezis mimezisa. Estetsko kao transgresivni element muzike [Mime- sis of Mimesis. The Aesthetic as a Transgressive Element of Music], Novi zvuk, 10, 1997, 83–91. Cf. Table 2! 16 Marsel Kobasen [Marcel Cobussen], Džon Zorn: dekonstrukcija i komprovizacija [John Zorn: Deconstruction and Comprovisation], Novi zvuk, 13, 1999, 51–60; Džeraldina Fin [Geraldina Finn], Muzika, identitet i différance u slučaju Čarlsa Ajvza [Music, Identity and Différance in the Case of Charles Ives], Novi zvuk, 18, 2001, 51–64. Cf. Table 2! 17 Miloš Zatkalik, Nivoi muzikalizacije književnosti [Levels of the Musicalization of Litera- ture], Novi zvuk, 12, 1998, 61–73. Cf. Table 2! 18 Tatjana Marković, Medij horskog „glasa“ kao stilski označitelj u opusu Konstantina Babića [The Medium of the Choir ‘Voice’ as a Stylistic Signifier in Konstantin Babić’s Opus], Novi zvuk, 20, 2002, 61–69; Bris Žoli [Brice Joly], Ksenakisov UPIC [L’UPIC de

119 New Sound 40, II/2012 and performing creation,19 (auto)poetic reflections,20 the social and ideological environment of Serbian sacred music during the crisis in the 1990s,21 World Music22 and many more.23 The Interpretations section is closely related to the Views section, but the latter one, however, occurs only occasionally – mostly when it contains contributions that do not quite belong to the genre of interpretations, but deal with the act of expressing a particular attitude towards various phenomena and segments of musical life, their personal description and zooming, yet without the ‘development section’ which in terms of type and scope is typical of studies. There- fore, in this section – arranged as a separate segment five times in the previous thirty-nine issues of the magazine – such a view was directed to very dissimilar things, such as individual compositional creation,24 music as the constituent of customary social practice,25 the promotion of musical cultures as a form of co-

Xenakis], Novi zvuk, 21, 2003, 57–65; Bojana Cvejić, Autor kao producent – Kronos kvartet. U performativnim mutacijama sveta muzike [The Author as the Producer – The Kronos Quartet. In Performative Mutations of the World of Music], Novi zvuk, 22, 2003, 27–37. Cf. Table 2! 19 Dragana Stojanović-Novičić, Cool/Hot and Soft: Prolog, akcija i kadenca Petra Ozgijana [Cool/Hot and Soft: Petar Osghian’s Prologue, Action and Cadence], Novi zvuk, 20, 2002, 70–75; Antonio Baldassare, ‘They Play More Like Angels Than Like Men’ – The Quatuour de Flonzaley and Considerations on its Performance Style, New Sound, 35, I/2010, 70–100; Anna Scott, Reinterpreting Michael Musgrave and Bernard D. Sherman’s Performing Brahms: Early Evidence of Performance Style, New Sound, 37, I/2011, 75–79. Cf. Table 2! 20 Gerhard Štebler [Gerhard Stäbler], San. Nesan: nekoliko razmišljanja o komponovanju, sa primerima iz dela Gerharda Šteblera [Nicht Traum. Traum: Einige Überlegungen zum Komponieren mit Beispielen aus Werken Gerhard Stäblers], Novi zvuk, 6, 1995, 71–95. Cf. Table 2! 21 Miloje Nikolić, Ko udara tako pozno iliti o fenomenu nove srpske pravoslavne duhovne muzike devedesetih godina dvadesetog veka [Who Bangeth So Late or the Phenomenon of New Serbian Orthodox Sacred Music in the Last Decade of the Century], Novi zvuk, 15, 2000, 75–93. Cf. Table 2! 22 Dimitrije O. Golemović, World Music, Novi zvuk, 24, 2004, 41–47; Mladen Marković, World Contra Ethno… protiv kao i obično [World Contra Ethno... Against as Usual], Novi zvuk, 24, 2004, 48–51. Cf. Table 2! 23 Cf. Table 2. 24 E.g. in the text Ljubica Marić – istom rekom vremena [Ljubica Marić – By the Same River of Time] (Novi zvuk, 14, 1999, 31–41), Zorica Makević sheds light on the poetic of Lj. Marić, based on her works Archaia I for string trio (1992), Čudesni miligram [The Wondrous Milligram] for soprano and flute (1992), Archaia II for wind trio (1993) and Torso for piano trio (1996). Cf. Table 4! 25 Dimitrije Golemović, Uloga muzike u posmrtnim običajima Srbije i Crne Gore [The

120 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) operation between magazines,26 categories of World Music,27 the relationship between the domains of the spiritual and the musical through the critical reception of a musicological-aesthetic publication.28 The sections dealt with in this item, however, were not always articulated individually in all the issues of the New Sound. Exceptions occur when the contributions belong mainly to the type of the study, but with genre stresses that are ‘destabilizing’, distinguishing and different, yet not decidedly defining. This will typically happen in some thematic issues of the magazine – probably because such issues naturally encourage and, in some way, release personal interpretative contextualizations as the specific layer of superstructure in studies. Therefore, in thematic issues, such texts are joined in the Core Issue section. Such is the case, for instance, in the issues dedicated to the spiritual music of the region of the Balkans (16, 2000), to the ballad (30, II/2007), to improvisation (32, II/2008) and to the metamorphosis of the musical-stage medium today (36, II/2010). Still, the New Works section survives independently in all these issues. And the issues whose themes are music and Futurism (34, II/2009) and contemporary music at the periphery (38, II/2011) also contain the Interpretations section as a separate unit. Ultimately, all this confirms and supports contextual freedom and uncon- ventionality in shaping a contemporary musicological text, which is in turn immediately related to the flexibility of the sections’ content and form. Even so, the contributions in the sections New Works and Interpretations, as well as in the Views segment, related to the latter, affirm the contemporary processes of musicological thinking and key procedures in the currently preva- lent efforts of musicological elaboration in Serbia and abroad. Because, apart from domestic contributors, a large number of foreign authors write for these sections, which contributes significantly to bilateral acknowledgment, gaining mutual insights into musicological practice and results and, thus, the recognition of our musicological discourse in a conceivably broad geographical and culturological space – first of all, thanks to the magazine being published in English29 and distributed in musical environments around the world.

Role of Music in Funeral Rites in Serbia and Montenegro], Novi zvuk, 14, 1999, 43–50. Cf. Table 4! 26 Anders Bejer [Anders Beyer], Naš san o savezu [Our Dream of an Alliance], Novi zvuk, 25, 2005, 37–48. Cf. Table 4! 27 Iva Nenić, World Music: od tradicije do invencije [World Music: From Tradition to In- vention], Novi zvuk, 27, 2006, 43–54. Cf. Table 4! 28 Mirjana Veselinović-Hofman, On Rethinking the Relationship Between Spirituality and Music – Marcel Cobussen: Thresholds…, New Sound, 34, II/2009, 115–120. Cf. Table 4! 29 Cf. footnote 8!

121 New Sound 40, II/2012

Of course, besides demonstrating individual musicological styles and thus forming a picture of various possibilities and ways of presenting new compositions and subjects mainly from the domain of contemporary music, these sections contribute to the promotion of their own topics. Thereat, they have an additional responsibility, since they mostly contain the first papers ever published on the chosen newly composed works, as well as their first completely personal interpretative theoretical reception, shaped in an either musicological or non-musicological manner. With these first presentations, both sections – New Works and Interpretations – mark the beginning of musicological dealing with the works treated in them. They not only introduce these works and their theoretical connotations and contextualizations into the realm of potential musicological interests and debates, but also give a kind of first proposal for the analytical interpretation and the direction of the problem deliberations that later may follow. Certainly, that proposal can later be accepted and developed, or disputed by giving arguments to different opinions. In any case, it is verifiable in principle and acoustically, given that the works in question are released on the accompanying compact discs.30 And this opens the possibility for them to become an object of new interest among performers at home and abroad. Interestingly enough, while contributing to the New Works and Interpreta- tions sections, certain musicologists have developed particular affinities for the music of certain composers.31 Thus, they observe the new works of these authors through the delicate nuances of their poetic realizations, and from the perspectives of their own problem insights. This often results in metaphorically rich, aesthetically well-founded and literarily shaped papers, built upon analytical argumentations that are stable and elaborated, but used unobtrusively. The New Works and Interpretations sections thus continuously produce genuine musicological literature, chiefly on contemporary Serbian music, and hence they are crucial to the national musical historiography. They also put forward concrete facts of various profiles – analytical and historical, educational and descriptive – but also connotative readings, orientations and creations. These sections achieve that goal primarily as individual units, each within the domain of their own particulars, and then conjointly, whereby each includes elements of the other, as we have seen. From that perspective, in the last twenty years of the magazine’s existence, the New Works and Interpretations sections became the

30 Cf. ibid. 31 For example, in their constant preoccupation with the latest compositional production in Serbia and abroad, Zorica Premate is particularly inclined towards the opus of Zoran Erić, while Vesna Mikić is singularly interested in the works by Srđan Hofman, as well as Serbian women composers living abroad (e.g. Milica Paranosić). Cf. Table 1!

122 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) incarnation of two methodological poles that represent pillars of musicological research. And both of these pillars, by variously projected bridges, reach for each other. Translated by Goran Kapetanović

LITERATURE

Veselinović-Hofman, Mirjana: Međunarodna tribina kompozitora i časopis Novi zvuk: korelacija vidova predstavljanja srpske savremene muzike, in: ...under (re)construction. Međunarodna tribina kompozitora 1992–2007, Vesna Mikić and Ivana Ilić (eds.), Belgrade, Udruženje kompozitora, 2007, 95–98. Veselinović-Hofman, Mirjana: Nova dela i časopis Novi zvuk – Novi zvuk kao karika institucionalnog ulančavanja u svetu savremene srpske muzike, in: Tematski potencijali leksikografskih jedinica o muzičkim institucijama, Vesna Mikić, PhD, and Tijana Popović Mlađenović, PhD (eds.), Muzikološke studije – Zbornici radova, vol. 7, Belgrade, Katedra za muzikologiju, Fakultet muzičke umetnosti, 2009, 163–170. Mikić, Vesna and Ilić, Ivana (eds.): …under (re)construction. Međunarodna tribina kompozitora 1992–2007, Belgrade, Udruženje kompozitora, 2007. Novi zvuk, Internacionalni časopis za muziku, 1–31, 1993–2008: articles from the section Nova dela (stated in Table 1); – Interpretacije (stated in Table 2); – Analize (stated in Table 3); – Pogledi (stated in Table 4) New Sound, International Magazine for Music, 32–39, 2008–2012: articles from the section New Works (stated in Table 1); – Interpretations (stated in Table 2); – Analyses (stated in Table 3); – Views (stated in Table 4)

APPENDICES: Table 1 The New Works section Table 2 The Interpretations section and the new works in it Table 3 New works in the Analyses section Table 4 Items in the Views section

123 New Sound 40, II/2012

. 1, 159–179. 1, . 145–150. 1994, 3, . . 1, . 1, 1993, 159–179. 159–179. 1993, 1, . 119–128. 1993, 2, . ɨɛʁɚɜʂɟɧɨ 1993, 159–179. 159–179. 1993, 143–162. 1993, 1, No. 143–162. 1993, 1, No. ɛɪ 145–151. 1994, 3, No. ɛɪ ɛɪ ɛɪ 159–179. 1993, 143–162. 1993, 1, No. ɛɪ ɛɪ 143–162. 1993, 1, No. 105–113. 1993, 2, No.

ɋɚɞ

ɇɨɜɢ – ɑɟɬɢɪɢ . … / On the … / On the … / On the Ɍɪɢɛɢɧɢ

/ A Mirror Facing a / The Dazzling ɧɚ

Ʉɚɪɥɨɜɰɢ

ɦɭɡɢɤɟ ɦɭɡɢɤɟ ɦɭɡɢɤɟ ɦɭɡɢɤɟ

ɨɱɚʁɚʃɚ

ɨɝɥɟɞɚɥɭ

ɫɬɚʃɭ ɫɬɚʃɭ ɫɬɚʃɭ ɫɬɚʃɭ

ɋɪɟɦɫɤɢ ɧɚɝɪɚɻɟɧɟ

ɩɪɟɦɚ ɮɟɬɢɲ

ɬɟɤɫɬɚ

ɩɪɨɬɟʁɫɤɨɦ ɩɪɨɬɟʁɫɤɨɦ ɩɪɨɬɟʁɫɤɨɦ ɩɪɨɬɟʁɫɤɨɦ

Ɉ ɤɨɦɩɨɡɢɰɢʁɟ Ɉɝɥɟɞɚɥɨ Ɉ Ɉ ɧɚɫɥɨɜ Ɉ Mirror Protean State of Music… Protean State of Music… Ȼɥɢɫɬɚɜɢ ɤɨɦɩɨɡɢɬɨɪɚ Protean State of Music… / On the Protean State of Music. Four Awarded at the InternationalCompositions Review Sremski Karlovci – Novi Composers’ Sad Fetish of Despair

ɉɪɟɦɚɬɟ ɉɪɟɦɚɬɟ ɉɪɟɦɚɬɟ ɉɪɟɦɚɬɟ ɉɪɟɦɚɬɟ Ɋɚɞɨɜɢʄ ɬɟɤɫɬɚ

ɚɭɬɨɪ Ɂɨɪɢɰɚ / Zorica Premate Ȼɪɚɧɤɚ / Branka Radovi Ɂɨɪɢɰɚ Ɂɨɪɢɰɚ / Zorica Premate / Zorica Premate Ɂɨɪɢɰɚ / Zorica Premate Ɂɨɪɢɰɚ / Zorica Premate

ü ü / /

/ ü ü

Mili ü ü

Ɇɢɯɚʁɥɨɜɢʄ Ɇɢɪɤɨɜɢʄ / Milana

Ⱦɟɫɩɢʄ

Ʉɭɥɟɧɨɜɢʄ Ʉɭɥɟɧɨɜɢʄ

ɤɨɦɩɨɡɢɬɨɪ Ɇɢɥɚɧɚ ɋɬɨʁɚɞɢɧɨɜɢʄ Ɇɢɥɢʄ Stojadinovi Ⱦɟʁɚɧ Dejan Despi Ɇɢɥɚɧ / Milan Mihajlovi ɀɚɪɤɨ Mirkovi Žarko ȼɭɤ Vuk Kulenovi ȼɭɤ Vuk Kulenovi / /

section ɫɟɜɟɪɚ Ɉɪɮɟʁ

ɞɟɥɚ / Aurora

Boogie /

ɧɚɡɢɜ Ⱥɭɪɨɪɚ CD New Sound 101 ɋɜɟɬɥɨɫɬɢ Northern Lights CD New Sound 101 Ɇɟɯɚɧɢɱɤɢ Eine kleine Trauermusik CD New Sound 101 Ȼɭɝɢ Musica Sioranum CD New Sound 103 Mechanical Orpheus Mechanical Orpheus CD New Sound 101 CD New Sound 102 New Works APPENDICES 1 Table The 1. 2. 3. 4. 5. 6.

124 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 4-5, 1994/95, 1994/95, 4-5, . . 4-5, 1994/95, 1994/95, 4-5, . . 4-5, 1994/95, 1994/95, 4-5, . 103–106. 1995, 6, . . 6, 1995, 1995, 6, . ɛɪ 133–144. 1994/95, 4-5, No. 129–141. ɛɪ 123–132. 1994/95, 4-5, No. 119–128. ɛɪ 145–149. 1994/95, 4-5, No. 143–148. 107–110. 1995, 6, No. ɛɪ ɛɪ 97–101. 101–105. 1995, 6, No.

/ Signs

Duo simbolico ɩɨʁɦɨɜɧɢɤ ɩɪɨɰɟɫɭ :

ɜɪɟɦɟɧɚ ɭ

Ɇɢɥɚɧɚ Duo simbolico ɤɚɨ :

ü Ɇɢɥɢʄ

Mili Directory for the Use of ü ɦɭɡɢɱɤɨɝ

Ⱥ Memento / The Midget and the Beast : ɏɨɮɦɚɧɚ

ɟɥɟɤɬɪɨɧɢɤɟ

ɡɜɟɪ / The Little Mermaid / Crystals of Memory: Milan

Memento ɢ

’s ɪɟɚɥɧɨɝ ɫɟʄɚʃɚ ɠɢɜɟ

ɋɪɻɚɧɚ ɋɬɨʁɚɞɢɧɨɜɢʄ

an Hofman, an Hofman, ɋɢɪɟɧɚ

ÿ Ɇɢɥɚɧɚ ɑɨɜɟɱɭʂɚɤ Ɂɧɚɤɨɜɢ Ɇɚɥɚ Ʉɪɢɫɬɚɥɢ / Milana Stojadinovi Ɇɢɯɚʁɥɨɜɢʄɚ Mihajlovi ɭɩɨɬɪɟɛɟ ɤɪɟɢɪɚʃɚ Live Electronics in the Process of Creating Real Musical Time by Sr by

) (= ü

/ / /

ü ü ɉɪɟɦɚɬɟ

) / Vesna ɉɚɲɢʄ ȿɪɢʄ

(= Miki ü Ɇɚɪɢʁɚ Ɇɚɫɧɢɤɨɫɚ Marija Masnikosa Ȼɪɚɧɢɫɥɚɜɚ Ɇɢʁɚɬɨɜɢʄ Branislava Mijatovi Ɂɨɪɢɰɚ Ɂɨɪɚɧ Zoran Eri ȼɟɫɧɚ Ɇɢɤɢʄ Paši

ü ü / /

Mili ü

Ɇɢɯɚʁɥɨɜɢʄ / Milana

ɏɨɮɦɚɧ ɏɨɮɦɚɧ Ʉɚɩɟɬɚɧɨɜɢʄ

an Hofman an Hofman ÿ ÿ Ɇɢɥɚɧɚ ɋɬɨʁɚɞɢɧɨɜɢʄ Ɇɢɥɢʄ Stojadinovi / Milan Mihajlovi Ɇɢɥɚɧ ɋɪɻɚɧ Sr ɋɪɻɚɧ Sr Ƚɨɪɚɧ / Goran Kapetanovi

ɫɭɞɛɢɧɟ Ɇɚɥɟ

ɧɟɭɦɢɬɧɨɝ

ɩɨɬɩɭɧɭ

ɛɢʄɟ ɬɨɤɚ

A Brief Account of A Brief Account ɩɪɢɤɚɡ

/ / Signs ɨɞɜɟɨ

ɤɪɯɤɨ

ʁɟ

ɬɪɚɝɢɱɧɨɝ

Memento CD New Sound 105 Musica concertante CD New Sound 104 ɋɚɠɟɬɢ Ɂɧɚɤɨɜɢ CD New Sound 106 Duo simbolico CD New Sound 106 ɤɨʁɢ ɢ ɋɢɪɟɧɟ ɩɪɨɩɚɫɬ Tragic the Inexorable and Led Course of Destiny Which the Little Mermaid’s Fragile Being into Total Disaster CD New Sound 104 7. 7. 8. 9. 10. 11.

125 New Sound 40, II/2012 . 8, 1996, 33–38. 33–38. 1996, 8, . . 7, 1996, 39–45. 39–45. 1996, 7, . 93–97. 1997, 10, . . 8, 1996, 39–42. 39–42. 1996, 8, . . 9, 1997, 55–58. 55–58. 1997, 9, . . 6, 1995, 107–109. 107–109. 1995, 6, . 51–54. 1997, 9, . . 9, 1997, 51–54. 51–54. 1997, 9, . . 8, 1996, 31–32. 31–32. 1996, 8, . ɛɪ 37–42. 1996, 8, No. ɛɪ 43–49. 1996, 7, No. ɛɪ 95–99. 1997, 10, No. ɛɪ 43–46. 1996, 8, No. ɛɪ 55–58. 1997, 9, No. ɛɪ 111–114. 1995, 6, No. 51–54. 1997, 9, No. ɛɪ ɛɪ 51–54. 1997, 9, No. ɛɪ 33–35. 1996, 8, No. The / /

ɤɥɚɜɢɪ

Ɇɚɪɢʄ

… / Vlastimir ɡɚ

No. 1 by No. 1 by Aleksandra Ⱥɥɟɤɫɚɧɞɪɟ ȴɭɛɢɰɟ ɦɭɡɢɤɚ Ɇɭɡɢɤɚ / Sérénade d’un faune / Sérénade d’un

: : . 1 ’s Piano Trio Piano Trio ’s / Silence Without ü : Music for Piano ɛɪ ɬɪɢɨ

/ A Big Match / The Duel as the Answer ɮɚɭɧɚ

/ The Splendour of Betelgeuse / The Splendour of Betelgeuse ɫɩɨɤɨʁɚ

Ɍɪɚʁɤɨɜɢʄ Ɍɪɚʁɤɨɜɢʄ String Quartet

ʁɟɞɧɨɝ /

ɨɞɝɨɜɨɪ : Music… ɤɜɚɪɬɟɬ ɛɟɡ

ɭɬɚɤɦɢɰɚ

ɤɥɚɜɢɪɫɤɢ , , Ljubica Mari ɤɚɨ

Ȼɟɬɟɥɝɟɡɚ

ɋɟɪɟɧɚɞɚ Ⱦɭɟɥ ȼɟɥɢɤɚ Ƚɭɞɚɱɤɢ Ɍɢɲɢɧɚ Tranquillity ȼɥɚɫɬɢɦɢɪ ȼɪɟɛɚɥɨɜ Ɍɨɪɡɨ Vrebalov ȼɥɚɫɬɢɦɢɪ ɋʁɚʁ Trajkovi Vlastimir Trajkovi Torso

ü ü / ) (= / ü

/ / /

ü ü

ü ü ɉɪɟɦɚɬɟ Ɇɚɤɟɜɢʄ Ɇɚɤɟɜɢʄ

) / Vesna Ɇɢɤɢʄ ɉɚɲɢʄ ȿɪɢʄ ȿɪɢʄ

(= Miki ɉɪɨɞɚɧɨɜ

ü ȼɟɫɧɚ Ɂɨɪɢɰɚ / Zorica Premate ȼɟɫɧɚ Vesna Miki ɂɪɚ Prodanov Ira Ɇɢɤɢʄ Paši ɂɜɚɧɚ ȼɭɤɫɚɧɨɜɢʄ Ivana Vuksanovi Ɂɨɪɢɰɚ / Zorica Makevi Ɂɨɪɚɧ Zoran Eri Ɂɨɪɢɰɚ / Zorica Makevi Ɂɨɪɚɧ Zoran Eri

ü ü

ü ü / / / /

ü /

/ / / Ɇɚɪɢʄ

ɒɭɤɥɚɪ

Ɇɢɯɚʁɥɨɜɢʄ

ɏɨɮɦɚɧ Ⱦɟɫɩɢʄ

an Hofman ÿ Dejan Despi Ⱦɟʁɚɧ ȴɭɛɢɰɚ Ljubica Mari ɋɥɚɜɤɨ Slavko Šuklar ɋɪɻɚɧ Sr Ⱥɥɟɤɫɚɧɞɪɚ ȼɪɟɛɚɥɨɜ Aleksandra Vrebalov Ɇɢɥɚɧ / Milan Mihajlovi Ɍɚɬʁɚɧɚ Ɇɢɥɨɲɟɜɢʄ Tatjana Miloševi ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Trajkovi Vlastimir ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Trajkovi Vlastimir

, / . 21

ɨɩ . 1

ɢ , ɬɚʁɧɚ

ɛɪ , Op. 5

ɢɥɢ ɞɭɪɭ

- No. 1 Bells / The Splendour Splendour / The ɤɥɚɜɢɪ p. 117) 117) p. Ȼɟ

5 / ɭ Ɉ

ɡɚ ( .

ɤɜɚɪɬɟɬ ʇɢɧɚ

ɨɩ

/ Torso , Ȼɟɬɟɥɝɟɡɚ / Duel

ɋʁɚʁ Sérénade CD New Sound 107 Ɍɨɪɡɨ CD New Sound 108 Concerto doppio CD New Sound 108 Ⱦɭɟɥ CD New Sound 108 Ɂɜɨɧɚ Ʉɨɧɰɟɪɬ Ƚɭɞɚɱɤɢ Silenzio CD New Sound 110 ɰɪɜɟɧɨɝ of Betelgeuse or the Secret the Red Giant CD New Sound 106 ɨɪɤɟɫɬɚɪ String Quartet CD New Sound 109 Concerto for Piano and Concerto for Piano Orchestra in B-flat major Op. 21 12. 12. 13. 14. 15. 16. 17. 18. 19. 20.

126 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 10, 1997, 107– 1997, 10, . . 10, 1997, 107– 1997, 10, . . 11, 1998, 73–82. 73–82. 1998, 11, . . 12. 1998, 75–78. 75–78. 1998, 12. . . 12. 1998, 79–90. 79–90. 1998, 12. . . 10, 1997, 99–106. 99–106. 1997, 10, . . 11, 1998, 57–71. 57–71. 1998, 11, . ɛɪ 109. No.1997, 10, 109–111. ɛɪ 109. 109– 1997, 10, No. 111. ɛɪ 73–82. 1998, 11, No. ɛɪ 79–82. 1998, 12, No. ɛɪ 83–95. 1998, 12, No. ɛɪ 101– 1997, 10, No. 108. ɛɪ 57–71. 1998, 11, No. ,

, ɡɚ

/ The ɢɫɬɨɪɢʁɚ

ɫɟɞɚɦ / Vladan ɤɨɪɚɤɚ , ɞɜɚ

ɉɨɟɦɚ ɤɭɬɢʁɢ , 8

ɡɚ ɭ Musical Week Ʉɪɚɬɤɚ

, ü ɩɭɬɚ ɧɟɞɟʂɚ / Three Small Stories

. 123 . At the End of the Road ɋɚɡɜɟɠɻɚ , . 125, 125, . ü ɨɩ :

ɉɪɢɤɚɡ ɨɩ , ɤɪɚʁɭ ɯɚɨɫɭ ,

ɉɚɧɞɨɪɢɧɨʁ ɨ

ɭ ɇɚ Ɇɭɡɢɱɤɚ … / The Speed of the Totems…

/ More than Just a Dance Constellations , , ɤɨɦɚɞɚ

: / Dejan Despi ü ɉɪɨɥɨɝ

ɩɪɢɱɟ ɢɝɪɟ

ɨɪɤɟɫɬɚɪ

Ɋɚɞɨɜɚɧɨɜɢʄ ɬɨɬɟɦɚ ɬɨɬɟɦɚ

/ Dejan Despi

ɢɥɢ

ɨɞ Ⱦɟɫɩɢʄ Ⱦɟɫɩɢʄ

ɦɚɥɟ

Ȼɪɡɢɧɚ Ȼɪɡɢɧɚ Speed of the Totems in Pandora’s BoxSpeed of the Totems ɤɚɪɚɤɬɟɪɧɢɯ ɜɢɨɥɨɧɱɟɥɚ ȼɥɚɞɚɧ Ⱦɟʁɚɧ Seven Character Pieces, Op. 123 for Two Violoncellos ȼɢɲɟ Ⱦɟʁɚɧ Radovanovi ɤɚɦɟɪɧɢ Ɍɪɢ ɬɟɤɫɬɚ About Chaos ȿɩɢɥɨɝ Tone Poem for Chamber for Chamber Orchestra, Tone Poem Op. 125. A Short History of the Text or Prologue, A Review in Eight Stages. Epilogue

/ ü ü / /

/ /

ü ü ü /

ɒɭɢɰɚ ɉɪɟɦɚɬɟ

ü i þ Ƚɨɪɢɰɚ ɉɢɥɢɩɨɜɢʄ Gorica Pilipovi Ƚɨɪɢɰɚ ɉɢɥɢɩɨɜɢʄ Gorica Pilipovi ɇɢɤɨɥɚ Nikola Šuica Ⱦɪɚɝɚɧɚ ɋɬɨʁɚɧɨɜɢʄ ɇɨɜɢɱɢʄ Dragana Stojanovi Novi Ʉɚɬɚɪɢɧɚ Ɍɨɦɚɲɟɜɢʄ Katarina Tomaševi Ʉɚɬɚɪɢɧɚ Ɍɨɦɚɲɟɜɢʄ Katarina Tomaševi Ɂɨɪɢɰɚ / Zorica Premate

ü ü /

ü / / / /

ü ü ü / Zoran Ʉɪɟɫɢʄ

Ʉɚɩɟɬɚɧɨɜɢʄ ȿɪɢʄ Ⱦɟɫɩɢʄ Ⱦɟɫɩɢʄ Ⱦɟɫɩɢʄ

ü Dejan Despi ɋɜɟɬɥɚɧɚ Svetlana Kresi Ⱦɟʁɚɧ Ƚɨɪɚɧ / Goran Kapetanovi ȼɥɚɞɚɧ Ɋɚɞɨɜɚɧɨɜɢʄ Vladan Radovanovi Ⱦɟʁɚɧ Dejan Despi Ⱦɟʁɚɧ Dejan Despi Ɂɨɪɚɧ Eri /

ɮɥɚɭɬɭ

ɚɧɫɚɦɛɥ

Musical ɡɚ /

for flute

At the End of / Constellations Constellations /

Totems ɩɭɬɚ ɧɟɞɟʂɚ

/ ɤɨɧɰɟɪɬ

- ɤɪɚʁɭ

ɢɧɫɬɪɭɦɟɧɬɚɥɧɢ

A cinque CD New Sound 110 Speed CD New Sound 110 Ɍɨɬɟɦɢ ɇɚ Ɇɭɡɢɱɤɚ ɋɚɡɜɟɠɻɚ Ɉɛɟɪɨɧ

Week CD New Sound 111 Oberon Concerto the Road CD New Sound 112 ɢ ensemble and instrumental CD New Sound 112 21. 21. 22. 23. 24. 25. 26. 27.

127 New Sound 40, II/2012 . 18, 2001, 69–78. 69–78. 2001, 18, . . 13, 1999, 73–79. 73–79. 1999, 13, . . 13, 1999, 81–84. 81–84. 1999, 13, . 68–70. 2001, 17, . . 16, 2000, 127– 2000, 16, . . 17, 2001, 61–67. 61–67. 2001, 17, . . 15, 2000, 95–100. 95–100. 2000, 15, . ɛɪ 67–76. 2001, 18, No. ɛɪ 63–67. 1999, 13, No. ɛɪ 68–71. 1999, 13, No. ɛɪ 64–66. 2001, 17, No. ɛɪ 130. 125– 2000, 16, No. 128. ɛɪ 57–63. 2001, 17, No. ɛɪ 97–102. 2000, 15, No.

- :

ȳɭɝɨ

ɏɨɮɦɚɧɚ ɠɢɜɭ

by by ,

/ The ɩɪɢɧɰɢɩ

ɨɪɤɟɫɬɚɪ Voxal

ɩɨɫɬɦɨɞɟɪɧɚ ɋɪɻɚɧɚ – / ɞɚɪɨɜɚ

ɛɟɨɝɪɚɞɫɤɨɝ

Liturgy of the ɚɧɫɚɦɛɥ

Concerto for Piano / Dimitrije ɬɪɚɤɭ ɝɭɞɚɱɤɢ an Hofman ɪɭɤɨɜɟɞɚʃɟ -

ɩɨɭɡɞɚʃɟ by Jugoslav Bošnjak or Jugoslav Bošnjak by ÿ / Hysteria Under Control Under / Hysteria ɢ

Ɍɨɲɢʄɚ ɦɨɞɟɪɧɚ

ɤɚɦɟɪɧɢ

ɇɨɤɬɭɪɧɨ ɢɥɢ

. ɚɭɞɢɨ A Nocturne of Belgrade Spring

ɡɚ

/ Beyond the Boundary / Beyond the Boundary Mo-

ɦɟɻɟ ü ɢ

ɤɥɚɜɢɪ

Ƚɨɥɟɦɨɜɢʄɚ ɩɪɟɻɟɨɫɜɟʄɟɧɢɯ

’s Setting of the ɯɢɫɬɟɪɢʁɟ

ɡɚ ü

ɞɚɥɟɤɨ 1999.

ȼɥɚɞɢɦɢɪɚ

ɢ ɫɬɪɚɧɭ Ȼɨɲʃɚɤɚ

for chamber live for chamber ensemble, electronics ɨɧɭ

Ȼɥɢɡɭ Ʉɨɧɬɪɨɥɚ ɉɨɫɬɦɨɞɟɪɧɢɫɬɢɱɤɨ Postmodernist Composing of Song-Wreaths of Song-Wreaths Composing Postmodernist ɩɪɨɥɟʄɚ ɟɥɟɤɬɪɨɧɢɤɭ Ludus mimesis Ludus mimesis ȼɨɤɫɚɥ Ʌɢɬɭɪɝɢʁɚ Ⱦɢɦɢɬɪɢʁɚ Toši Vladimir Golemovi Presanctified Gifts ɋ Ʉɨɧɰɟɪɬ / Near and Far. 1999 and audio tape, by Sr ɫɥɚɜɚ ɦɭɡɢɤɚɥɧɨɫɬɢ dernism–Postmodernism: and String Orchestra and String in the Principle of Musicality Confidence

/ ü ü /

ü ü / /

/ Ɇɟɞɢʄ ü

ɐɜɟʁɢʄ ɉɟɪɤɨɜɢʄ

Ȼɨʁɚɧɚ Ɇɢɥɟɧɚ Milena Medi ɂɜɚɧɚ Bojana Cveji Gorica Pilipovi Ƚɨɪɢɰɚ ɉɢɥɢɩɨɜɢʄ Ɇɚɪɢʁɚ ȼɚɥɟɧɬɢɧɚ Ɋɚɞɨɦɚɧ Valentina Radoman / Ivana Perkovi Ɇɚɫɧɢɤɨɫɚ Marija Masnikosa ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Vlastimir Trajkovi

/ / /

ü /

ü / /

Ɍɨɲɢʄ

Ȼɨɲʃɚɤ ɀɟɛɟʂɚɧ

Ɂɚɬɤɚɥɢɤ

ɏɨɮɦɚɧ

an Hofman ÿ ɋɪɻɚɧ Sr / Isidora Žebeljan Ɍɚɬʁɚɧɚ Ɇɢɥɨɲɟɜɢʄ Tatjana Miloševi Ⱦɢɦɢɬɪɢʁɟ Ƚɨɥɟɦɨɜɢʄ GolemoviDimitrije ȼɥɚɞɢɦɢɪ ɂɫɢɞɨɪɚ Vladimir Toši Vladimir Ɇɢɥɨɲ Miloš Zatkalik Jugoslav Bošnjak Jugoslav Bošnjak ȳɭɝɨɫɥɚɜ

The /

Concerto ɢ

ɑɭɚ

A Nocturne of ɢɡ /

ɤɥɚɜɢɪ

A Harvester Cuts ɩɪɟɻɟɨɫɜɟʄɟɧɢɯ ɛɟɨɝɪɚɞɫɤɨɝ

/ ɡɚ

Voxal Liturgy of the ɨɪɤɟɫɬɚɪ 1999 1999

ɥɭɞɚɤɚ / /

a Handfull of Songs a Handfull of Songs CD New Sound 118 ɉɟɫɦɚ Ludus mimesis CD New Sound 113 Ʉɨɧɰɟɪɬ Ʌɢɬɭɪɝɢʁɚ ɇɨɤɬɭɪɧɨ ȼɨɤɫɚɥ CD New Sound 117 Ɋɭɤɨɜɟɬɢ ɞɚɪɨɜɚ Presanctified Gifts CD New Sound 116 ɩɪɨɥɟʄɚ Belgrade Spring 1999 CD New Sound 117 ɝɭɞɚɱɤɢ Mad Carriage-Greater from Mad Carriage-Greater Chu CD New Sound 113 for Piano and String for Piano and String Orchestra CD New Sound 115 28. 28. 29. 30. 31. 32. 33. 34.

128 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 18, 2001, 85–87. 85–87. 2001, 18, . . 19, 2002, 71–74. 71–74. 2002, 19, . 87–90. 2002, 20, . . 19, 2002, 67–70. 67–70. 2002, 19, . . 20, 2002, 83–86. 83–86. 2002, 20, . . 18, 2001, 79–84. 79–84. 2001, 18, . . 21, 2003, 67–71. 67–71. 2003, 21, . ɛɪ 83–85. 2001, 18, No. ɛɪ 71–74. 2002, 19, No. ɛɪ 86. 83 – 2002, 20, No. ɛɪ 67–70. 2002, 19, No. ɛɪ 82. 79 – 2002, 20, No. ɛɪ 77–82. 2001, 18, No. ɛɪ 67–70. 2003, 21, No.

- ɫɚ

ɈɌ -

ɉɟɫɦɟ / ɊȺɁ the the

/ Ivana

/ History Goes ʁɟɞɧɚɱɢɧɚ ) by ) by Svetlana ɛɚɥ

ɤɚɤɨ

Ʉɪɟɫɢʄ ɦɟɬɚɮɨɪɚ

: A Techno-Music ɢɥɢ / The ‘Noise’ of the

ɢɥɢ

ɧɚɫɬɚɜʂɚ ) ɤɨɦɩɨɧɨɜɚʃɚ Poems About Stars Poems About ɉɨɫɥɟɞʃɢ

ɋɜɟɬɥɚɧɟ : ɦɚɲɢɧɟ /

/ ID of Martians or Equation … VrisKrik.Exe Ɇɚɪɫɨɜɰɢ

ɬɟɯɧɨɦɭɡɢɱɤɚ / ɩɨɧɨɜɨ The Last Ball of Margarita The Last Ball of Margarita : ɇɢɤɨɥɚʁɟɜɧɟ Poems About Stars ( ɨɮ

: ( ü ɋɭɩɟɪ ɫɟ

ɬɟɥɚ ɡɜɟɡɞɚɦɚ ɡɜɟɡɞɚɦɚ /

ɦɚʁɫɬɨɪɫɬɜɨ ɨ ɨ Ɉɝʃɚɧɨɜɢʄ

(ID) (ID)

ɧɟɩɨɡɧɚɬɢɯ “… “…

ü Ⱦɂ

ɡɜɟɡɞɚɦɚ

Ȼɭɤɚ Ⱥȳ ɉɟɫɦɟ ɜɢɲɟ ɉɟɫɦɟ VrisKrik.Exe ɂɜɚɧɚ „ ɂɫɬɨɪɢʁɚ ɫɭɛʁɟɤɬɚ Metaphor of a Subject/Body with Several Unknowns ɨ On (Again) Ɇɚɪɝɚɪɢɬɟ Ognjanovi to Dis-Enchant Nikolayevna or how Mastership of Composing Kresi Super…Machine ɱɚɪɚɬɢ

ü ü

/ ü ü /

/ ü /

/ / ɐɜɟʁɢʄ ȳɚɧɤɨɜɢʄ ɇɨɜɚɤ

Ɇɢɤɢʄ

ɋɜɟɬɥɚɧɚ Ʉɪɟɫɢʄ Svetlana Kresi Ɇɢɥɚɧ Ɇɢɯɚʁɥɨɜɢʄ Milan Mihajlovi ɋɜɟɬɥɚɧɚ Ʉɪɟɫɢʄ Svetlana Kresi ȳɟɥɟɧɚ ȼɟɫɧɚ Vesna Miki Ȼɨʁɚɧɚ ȳɟɥɟɧɚ / Jelena Jankovi Jelena Novak Bojana Cveji

/ / / /

/ /

ü ü ü

ü ü ü kovi kovi Ʉɪɟɫɢʄ Ʉɪɟɫɢʄ þ þ

ɉɚɪɚɧɨɫɢʄ

ɉɟɬɪɨɜɢʄ

Ɉɝʃɚɧɨɜɢʄ

ȼɟɥɢɱɤɨɜɢʄ ȼɟɥɢɱɤɨɜɢʄ

/ Milica Paranosi Ɇɢɥɢɰɚ ȳɚɫɧɚ ɂɜɚɧɚ ȳɚɫɧɚ ɋɜɟɬɥɚɧɚ ɋɜɟɬɥɚɧɚ Svetlana Kresi Svetlana Kresi Miloš Petrovi Ɇɢɥɨɲ Jasna Veli Ivana Ognjanovi Jasna Veli

ɧɚɞ /

3 Poems Poems

/ /

ɥɟɬɟ

/ Super… / Super… Ɇɚɪɝɚɪɢɬɟ ) The Last Ball

/ 7th mov., mov., / 7th

/ ɛɚɥ ȼɢɡɚɧɬɢʁɟ Ȼɭɝɚɪɢ

, ɦɚɲɢɧɚ ɡɜɟɡɞɚɦɚ ɡɜɟɡɞɚɦɚ

ɨ ɨ

… ɫɬɚɜ ɉɟɫɦɟ About Stars CD New Sound 118 ɉɟɫɦɟ About Stars ɂɫɬɨɪɢʁɚ VrisKrik.Exe CD New Sound 119 ɉɨɫɥɟɞʃɢ Ix Ax – bloom CD New Sound 120 ɋɭɩɟɪ Machine CD New Sound 121 History of the Byzantine Empire 3 CD New Sound 119 (VII ɇɢɤɨɥɚʁɟɜɧɟ of Margarita Nikolayevna ɐɚɪɢɝɪɚɞɨɦ Bulgarians Fly Over Constantinople 35. 35. 36. 37. 38. 39. 40.

129 New Sound 40, II/2012 . 23, 2004, 61–64. 61–64. 2004, 23, . . 22, 2003, 47–50. 47–50. 2003, 22, . . 22, 2003, 51–57. 51–57. 2003, 22, . . 22, 2003, 58–62. 58–62. 2003, 22, . . 21, 2003, 81–86. 81–86. 2003, 21, . . 21, 2003, 72–80. 72–80. 2003, 21, . ɛɪ 47–50. 2004, 23, No. ɛɪ 45–48. 2003, 22, No. ɛɪ 49–55. 2003, 22, No. ɛɪ 56–60. 2003, 22, No. ɛɪ 80–85. 2003, 21, No. ɛɪ 71–79. 2003, 21, No.

/ ɡɚ

: Ⱥʃɟ

ɧɚ (Jugs and (Jugs ɨɝɥɟɞ

ɦɭɡɢɱɤɢɦ and

ü ɡɚ

evi ÿ ɬɪɢɛɢɧɟ

or Ɋɨɠɞɟɫɬɜɨ ɤɨɧɞɢɪɢ

: Ĉ ɢ ɉɟʁɤɨɜɢʄɚ

/ Six Commentaries of ɩɨɬɪɚɡɢ

/ Return to the ɩɫɢɯɨɥɨɲɤɢ ɤɨɦɩɨɡɢɰɢʁɚɦɚ

ɨ – – A Psychological Attempt – A Psychological

on the programme of the 12 on the programme ɫɰɟɧɚ

ü Ɍɟɫɬɢʁɟ ʁɟɞɚɧ ɦɟɻɭɧɚɪɨɞɧɟ – “ / “ / .zip) / Café del Con-Trust (About Ⱦɚɦʃɚɧɨɜɢʄ ȼɥɚɞɢɦɢɪɚ

ɧɟɩɨɡɧɚɬɨ

/ Aleksandar Damnjanovi

ɢ ɤɨɧɞɢɪɢ ɭ

ȿɯɨ

for Women’s Choir Choir Women’s for 12. 12.

ɢ ɢ

ɯɨɪ

– in Search of Music ‘Artefacts’ ɤɨɦɟɧɬɚɪɚ

ɢɫɤɨɩɢɧɚɦɚ International Review of Composers.zip) International Review of Composers.zip) ɇɚɪɰɢɫ Narcissus and Echo Narcissus and Vladimir Pejkovi Vladimir Café del Con-Trust ( ȭɨɪɻɟɜɢʄ ɤɨɦɩɨɡɢɬɨɪɚ of Anja the Compositions ɩɪɨɝɪɚɦɭ ɉɨɜɪɚɬɚɤ Ɍɟɫɬɢʁɟ Unknown Ⱥɥɟɤɫɚɧɞɚɪ ɠɟɧɫɤɢ Roždestvo „ ɒɟɫɬ Stoups) Scenes

ü / ) /

ȼɢɬɚɫ

ki ɉɪɟɦɚɬɟ ɉɪɟɦɚɬɟ

ȳɚɧɤɨɜɢʄ ɉɟɪɤɨɜɢʄ þ

) ü ova Ɇɟɞɢʄ þ i (= Milena Vitas (= Medi ȳɟɥɟɧɚ / Jelena Jankovi Ɇɢɥɟɧɚ / Zorica Premate Ɂɨɪɢɰɚ ɂɜɚɧɚ Ȼɨɪɢɫɥɚɜ ɑɢɱɨɜɚɱɤɢ Borislav ý / Ivana Perkovi Ɂɨɪɢɰɚ / Zorica Premate

ü ü / /

ü ü /

ü / Zoran

/ evi evi ÿ ÿ Ɇɢɯɚʁɥɨɜɢʄ or or

ȿɪɢʄ

Ĉ Ĉ ȭɨɪɻɟɜɢʄ ȭɨɪɻɟɜɢʄ

ü Ɇɢɥɚɧ / Milan Mihajlovi Ⱥʃɚ Anja Ⱥʃɚ Anja ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Trajkovi Vlastimir Ⱥɥɟɤɫɚɧɞɚɪ Ⱦɚɦʃɚɧɨɜɢʄ Aleksandar Damnjanovi Ɂɨɪɚɧ Eri

/ ɡɚ

. 27 /

) A Six ɯɨɪ for for

/ / part

/ ɨɩ

ɩɟɬ , ɡɚ

ɠɟʂɚ

Narcissus ɠɟɧɫɤɢ My Wish My ɤɨɦɟɧɬɚɪɚ ɝɭɞɚɱɟ ɜɢɨɥɭ

/ ɢ ɢ ɡɚ –

Return

Ɇɨʁɚ ɤɨɧɞɢɪɢ / ȿɯɨ

ɝɪɚɜɭɪɚ for women’s choir for women’s

, Op. 27 : ɪɨɝ

ɫɰɟɧɚ ɞɨɛɪɨɞɨɲɥɢɰɚ

ɜɢɨɥɢɧɟ

ɨɞɥɨɦɚɤ and Echo and Echo CD New Sound 122 ( ɒɟɫɬ ɬɪɢ Ɍɟɫɬɢʁɟ ɇɚɪɰɢɫ ɉɨɜɪɚɬɚɤ CD New Sound 122 Ɋɨɠɞɟɫɬɜɨ ɑɟɞɧɚ ɦɭɡɢɱɤɢɯ Chaste Welcome from the opera: from Roždestvo ɟɧɝɥɟɫɤɢ CD New Sound 122 Jugs and Stoups, Five Music Jugs and Stoups, Horn Engravings for English and Viola CD New Sound 121 Scenes – Commentaries three violins and strings CD New Sound 121 41. 41. 42. 43. 44. 45. 46.

130 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 23, 2004, 61–64. 61–64. 2004, 23, . . 24, 2004, 53–57. 53–57. 2004, 24, . . 23, 2004, 65–69. 65–69. 2004, 23, . . 24, 2004, 53–57. 53–57. 2004, 24, . . 25, 2005, 49–54. 49–54. 2005, 25, . . 25, 2005, 55–59. 55–59. 2005, 25, . ɛɪ 47–50. 2004, 23, No. ɛɪ No. 24, 2004, online issue ɛɪ 51–55. 2004, 23, No. ɛɪ No. 24, 2004, online issue ɛɪ No. 25, 2005, online issue ɛɪ No. 25, 2005, online issue :

ɋɚɜɢʄ

/ Subver- / ɨɝɥɟɞ za kamerni kamerni za : ɦɭɡɢɱɤɨɦ

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/ ɋɜɟɬɥɚɧɚ . ɚɧɫɚɦɛɥ / A Diptych on / A Diptych

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for chamber for chamber ensemble) , Threnody ʁɟɡɢɤɭ Re-verzije 1–6 :

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Ⱦ ɪɟɜɟɪɡɢɛɢɥɧɨɫɬɢ

: 1–6 ü ɬɢɲɢɧɢ

Re-Versio 1–6 Re-Versio ɨ … / A Diptych… A Diptych… … /

ɇɢɤɨɞɢʁɟɜɢʄ Ɂɨɪɚ

/ The Latest Serbian Opera. An Essay

ɜɟɪɡɢʁɟ - Ɇɚɪɤɨ Nikodijevi ɋɭɛɜɟɪɡɢʁɚ ɪɟɜɟɪɡɢɛɢɥɧɨɫɬ Café del Con-Trust… Ⱦɢɩɬɢɯ Ɉɩɟɪɚ Ⱦɢɩɬɢɯ Ɋɟ ɮɚɧɬɚɡɦɢɦɚ ɢɞɟɧɬɢɬɟɬɢɦɚ Silence and Language ɬɟɚɬɪɭ of Tradition, Gender Identities on Phantasms and Representation in the Musical Theatre / Reversibility of Subver- sion of Reversibility sion. Svetlana Savi ansambl ( ansambl

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ȼɟɫɧɚ ȳɟɥɟɧɚ Vesna Miki / Jelena Jankovi ɂɜɚɧɚ ɋɬɚɦɚɬɨɜɢʄ Ivana Stamatovi ȳɟɥɟɧɚ Jelena Novak ɂɜɚɧɚ ɋɬɚɦɚɬɨɜɢʄ Ivana Stamatovi ɂɜɚɧɚ ɋɬɚɦɚɬɨɜɢʄ Ivana Stamatovi

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ɋɚɜɢʄ / Vladimir Vladimir /

ɀɟɛɟʂɚɧ

ü ɋɬɟɮɚɧɨɜɢʄ ɋɬɟɮɚɧɨɜɢʄ

Svetlana Savi ȼɥɚɞɢɦɢɪ ɉɟʁɤɨɜɢʄ Pejkovi Ɇɚɪɤɨ ɇɢɤɨɞɢʁɟɜɢʄ Marko Nikodijevi ɂɜɚɧɚ / Isidora Žebeljan ɋɜɟɬɥɚɧɚ ɂɜɚɧɚ ɂɫɢɞɨɪɚ / Ivana Stefanovi /Ivana Stefanovi

/ Re-Versio / Above Water Above Water /

1–6 Zora D. ɪɚɡɝɨɜɨɪɢ /

. Ⱦ

ɜɨɞɨɦ

ɜɟɪɡɢʁɟ - Blood, Noise, Endless Poetry Threnody CD New Sound 123 ɇɚɞ Ɉɛɢɱɧɢ Ɂɨɪɚ Ɋɟ Ordinary Conversations Ordinary Conversations CD New Sound 124 CD New Sound 124 1–6 CD New Sound 125 47. 47. 48. 49. 50. 51. 52.

131 New Sound 40, II/2012 . 27, 2006, 61–64. 61–64. 2006, 27, . . 26, 2005, 105– 2005, 26, . . 27, 2006, 55–60. 55–60. 2006, 27, . . 26, 2005, 100– 2005, 26, . . 26, 2005, 95–99. 95–99. 2005, 26, . ɛɪ 2006, 27, No. online issue ɛɪ 108. 2005, 26, No. online issue ɛɪ 2006, 27, No. online issue ɛɪ 104. 2005, 26, No. online issue ɛɪ 2005, 26, No. online issue

ɬɪɢ

/ On/In

ɢ ɩɨʁɟɨ

– ɩɨɞ ʁɟ

ȼɥɚɞɚɧ

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ü ȼɪɟɛɚɥɨɜ / Music for the

Hadedas ɢɡɥɚɝɚʃɟ ɞɨɪɭɱɚɤ

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: Back to the Future

: ü Ɂɦɢʁɫɤɢ ɏɚɞɟɞɚɫ Ⱥɥɟɤɫɚɧɞɪɟ : an Hofman:

ɩɨɫɬɦɨɞɟɪɧɟ ɚɧɻɟɥɚ :

ÿ Ɇɨɥɢɬɜɟɧɢ ɞɨɪɭɱɚɤ :

/ Sr ɤɪɚʁ ɜɢɨɥɨɧɱɟɥɨ

of Aleksandra Vrebalov ɛɟɥɨɝ

ɡɚ ɡɚ

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/ Irena Popovi / Irena Ɉɪɛɢɬɚɦɚ

Orbits ɍ / Ɉ ɂɪɟɧɚ the Ɇɭɡɢɤɚ ɋɪɻɚɧ ɫɥɨɧɚ That Ate an Elephant End of Postmodernism End of Postmodernism ɪɚɡɜɨʁɚ ɋɢɧɬɟɡɢʁɫɤɢ Ɋɚɞɨɜɚɧɨɜɢʄ ɨɤɪɢʂɟɦ ɛɭɞɭʄɧɨɫɬ Developments Presentation and Three for Violoncello and Piano in a Bath. Vladan Radovanovi Breakfast Under the Wings of a White Angel of a White Breakfast Under the Wings

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Ɍɚɬʁɚɧɚ Ɇɚɪɤɨɜɢʄ Tatjana Markovi Ⱥɫʁɚ Asja Radonji Ɂɨɪɢɰɚ / Zorica Premate ȼɟɫɧɚ Vesna Miki ȳɟɥɟɧɚ Jelena Novak

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ɉɨɩɨɜɢʄ ɏɨɮɦɚɧ ȿɪɢʄ

an Hofman ü ÿ ɂɪɟɧɚ Ⱥɥɟɤɫɚɧɞɪɚ ȼɪɟɛɚɥɨɜ Aleksandra Vrebalov Ɂɨɪɚɧ Eri Irena Popovi Irena ɋɪɻɚɧ Sr ȼɥɚɞɚɧ Ɋɚɞɨɜɚɧɨɜɢʄ Vladan Radovanovi

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ɝɚɥɟɛɚ ɢɡɥɚɝɚʃɟ ɜɢɨɥɨɧɱɟɥɨ

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–

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132 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 29, I/2007, 37–41. 37–41. I/2007, 29, . . 27, 2006, 65–70. 65–70. 2006, 27, . . 29, I/2007, 37–41. 37–41. I/2007, 29, . . 28, 2006, 166– 2006, 28, . . 28, 2006, 175– 2006, 28, . . 28, 2006, 2006, 28, . ɛɪ I/2007, 29, No. online issue ɛɪ 2006, 27, No. online issue ɛɪ I/2007, 29, No. online issue ɛɪ 174. No. 28, 2006, online issue ɛɪ 180. No. 28, 2006, online issue ɛɪ 159–165. No. 28, 2006, online issue

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/ Ɉɛɪɚɞɢɧɨɜɢʄɚ

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Romar ɢɫɰɟɥɢɬɟʂɫɤɚ ɢɫɰɟɥɢɬɟʂɫɤɚ Ɇɚɥɚɪɦɟɚ and Anja

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ɩɨɫɜɟɬɚ Ɇɚɪɤɨ

When the Curtain Rises SEVEN . ɞɟɥɚ ɞɟɥɚ ɞɢɝɧɟ

ɫɟɞɚɦ

ɋɬɟɮɚɧɚ Ɍɪɚʁɤɨɜɢʄɚ ɝɪɚɞɚ ɝɪɚɞɚ

ɮɥɚɭɬɭ

ɡɚ ɇɨɜɚ ɇɨɜɚ

ɩɭɬɚ Ȼɨɝ Ȼɨɝ for the violin, flute and string

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? ? ȭɨɪɻɟɜɢʄ / /

ɢɧɬɭɢɰɢʁɟ ɩɟɫɚɦɚ

or a Healing Power of Music? New or a Healing Power of Music? Pieces New Ⱥʃɟ

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ü ü ɐɜɟʁɢʄ Ɇɢɤɢʄ Ɇɢɤɢʄ

Ȼɨʁɚɧɚ ȼɟɫɧɚ Vesna Miki ȼɟɫɧɚ Vesna Miki Bojana Cveji Ⱥɧɚ ɋɬɟɮɚɧɨɜɢʄ Ana Stefanovi ɋɨʃɚ Ɇɚɪɢɧɤɨɜɢʄ Sonja Marinkovi ɂɜɚɧɚ ȼɭɤɫɚɧɨɜɢʄ Ivana Vuksanovi

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Ɇɚɪɤɨ ɇɢɤɨɞɢʁɟɜɢʄ Marko Nikodijevi Ȼɨɠɢɞɚɪ Ɉɛɪɚɞɢɧɨɜɢʄ Božidar Obradinovi Ⱥʃɚ Anja ɂɜɚɧ ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Trajkovi Vlastimir Ɋɚʁɤɨ / Rajko Maksimovi Ivan Brklja

ɞɢɝɧɟ

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for the for ɩɭɬɚ

ɋɬɟɮɚɧɚ

Five Poems of Five Poems ɮɥɚɭɬɭ The God of the

/ Choir of Souls) When theWhen Curtain / Garland /

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ɏɨɪ Music Box / Selbstportrait mit Ligeti und Strawinsky (und Messiaen ist auch dabei) Ʉɚɞɚ ɉɟɬ Ɋɭɤɨɜɟɬ Ɋɨɦɚɪ Ȼɨɝ ɢ CD New Sound 129 Ɇɚɥɚɪɦɟɚ City CD New Sound 129 ( Rises SEVEN Times… CD New Sound 128 ɡɚɜɟɫɚ violin, flute and string orchestra CD New Sound 128 Stéphane Mallarmé CD New Sound 128 58. 58. 59. 60. 61. 62. 63.

133 New Sound 40, II/2012 . 31, I/2008, 100– I/2008, 31, . 100– I/2008, 31, . 100– I/2008, 31, . . 30, II/2007, 121– II/2007, 30, . . 31, I/2008, 93–99. 93–99. I/2008, 31, . . 29, I/2007, 42–51. 42–51. I/2007, 29, . ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. No. 31, I/2008; online issue ɛɪ 128. II/2007, 30, No. online issue ɛɪ I/2008 31, No. ɛɪ I/2007, 29, No. online issue

About ɟɧɝɥɟɫɤɢ ɞɟɥɭ

2005. 2005. ɡɚ Ɉ Ȼɨɲʃɚɤɚ

ɋɟɞɚɦ

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“ Seven Glances at the Sinfonia–passacaglia Sinfonia–passacaglia Passacaglia. Ⱦɢɩɬɢɯ ȿɪɢʄɚ

: Diptych ɩɪɢɥɨɝ ɛɟɫɤɪɚʁɭ ȳɭɝɨɫɥɚɜɚ

ɩɚɫɚɤɚʂɟ :

ü ɨ

Ɇɨɤɪɚʃɚɰ

ü Ɂɨɪɚɧɚ

Ⱦɟɫɩɢʄ

/ The 2005 Stevan Mokranjac / The 2005 Stevan Mokranjac ɫɚɜɪɟɦɟɧɢ ɧɟɛɨ ɋɬɟɜɚɧ

ɭ Ⱦɟʁɚɧ „

. ɮɪɚɝɦɟɧɚɬɚ

ɝɭɞɚɱɟ

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by Zoran Eri Zoran by ȳɨɲ The émigré’s Waltz The émigré’s Waltz The émigré’s Waltz ɤɨɧɬɟɤɫɬɭɚɥɢɡɚɰɢʁɢ ɇɚɝɪɚɞɚ Sinfonia–passacaglia to the Contribution Another Contemporary Contextualization of the Work Jugoslav Bošnjak’s ɋɟɞɚɦ ɝɨɞɢɧɭ ɩɨɝɥɟɞɚ ɪɨɝ Fragments About Infinity: About Infinity: Fragments Sky Award. Dejan DespiAward. Dejan and strings

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ɉɪɟɦɚɬɟ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ Molnar

ü Ⱦɪɚɝɚɧɚ ȳɟɪɟɦɢʄ Ȼɪɚɧɤɚ / Branka Popovi Ȼɪɚɧɤɚ Ȼɪɚɧɤɚ / Branka Popovi / Branka Popovi / Dragana Jeremi Ɂɨɪɢɰɚ Ʉɚɬɚɪɢɧɚ Ɍɨɦɚɲɟɜɢʄ Katarina Tomaševi / Zorica Premate

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ü / Zoran / /

Ȼɨɲʃɚɤ ɉɚɪɚɧɨɫɢʄ

ȿɪɢʄ Ⱦɟɫɩɢʄ

ü Jugoslav Bošnjak Jugoslav Bošnjak ȳɭɝɨɫɥɚɜ Ɇɢɥɢɰɚ / Milica Paranosi Ʉɚɬɚɪɢɧɚ Ɇɢʂɤɨɜɢʄ Katarina Miljkovi Ʉɚɬɚɪɢɧɚ Ɇɢʂɤɨɜɢʄ Katarina Miljkovi Ɂɨɪɚɧ Eri Ⱦɟʁɚɧ Dejan Despi

ɪɨɝ

Diptych / ɧɟɛɨ

ɟɧɝɥɟɫɤɢ

ɨɪɤɟɫɬɚɪ ɡɚ

ɩɨɝɥɟɞɚ

Ⱦɢɩɬɢɯ Sinfonia–passacaglia CD New Sound 130 ɋɟɞɚɦ Traveling Songs CD New Sound 131 Crescent CD New Sound 131 Nkscape CD New Sound 131 Seven Glances at the Sky CD New Sound 131 ɝɭɞɚɱɤɢ for english horn and strings for english horn and CD New Sound 129 64. 64. 65. 66. 67. 68. 69.

134 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 31, I/2008, 100– I/2008, 31, . . 31, I/2008, 100– I/2008, 31, . 100– I/2008, 31, . 100– I/2008, 31, . 100– I/2008, 31, . 100– I/2008, 31, . ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. I/2008 31, No. online issue ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. No. 31, I/2008; online issue ɛɪ 108. No. 31, I/2008; online issue The émigré’s Waltz The émigré’s Waltz The émigré’s Waltz The émigré’s Waltz The émigré’s Waltz The émigré’s Waltz

ü ü ü ü ü ü ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ ɉɨɩɨɜɢʄ

Ȼɪɚɧɤɚ / Branka Popovi Ȼɪɚɧɤɚ Ȼɪɚɧɤɚ Ȼɪɚɧɤɚ Ȼɪɚɧɤɚ Ȼɪɚɧɤɚ / Branka Popovi / Branka Popovi / Branka Popovi / Branka Popovi / Branka Popovi / / / / / /

ü ü

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Ȼɨɲɤɨɜɢʄ

Ɇɢɯɚʁɥɨɜɢʄ Ɇɢɯɚʁɥɨɜɢʄ Ɇɢɯɚʁɥɨɜɢʄ

Dijana Boškovi Ⱦɢʁɚɧɚ Ⱥɧɚ Ⱥɧɚ Ⱥɧɚ Nataša Bogojevi Nataša Bogojevi ɇɚɬɚɲɚ ɇɚɬɚɲɚ Ana Mihajlovi Ana Mihajlovi Ana Mihajlovi The / Sewed / ɜɚɥɰɟɪ

Wizard ɦɚɝɥɚ

ȿɦɢɝɪɚɧɬɫɤɢ Ȼɚʁɚɥɢɰɚ Versus vox integra CD New Sound 131 ɋɚɲɢɜɟɧɚ Fog CD New Sound 131 L’aura CD New Sound 131 Imploro grazia CD New Sound 131 émigré’s Waltz émigré’s Waltz CD New Sound 131 CD New Sound 131 70. 70. 71. 72. 73. 74. 75.

135 New Sound 40, II/2012 . 32, II/2008; II/2008; 32, . . 33, I/2009; online . 33, I/2009; online . 34, II/2009; II/2009; 34, . . 34, II/2009; II/2009; 34, . . 31, I/2008, 109– I/2008, 31, . ɛɪ online issue 231– II/2008, 32, No. 241; also online ɛɪ issue 49– I/2009, 33, No. 55; also online ɛɪ online issue 87– II/2009, 34, No. 97; also online ɛɪ online issue 98– II/2009, 34, No. 106; also online ɛɪ 119. No. 31, I/2008; online issue

/ : –

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ɫɦɪɬ ȿɪɢʄɚ evi “. “. an

or ÿ ÿ ɤɨɧɬɪɚɛɚɫ Entr’acte,

Ʉɪɢɫɬɢʁɚɧɚ Ĉ or

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ȭɨɪɻɟɜɢʄ

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ɜɢɨɥɨɧɱɟɥɨ Ɂɜɟɡɞɨɡɧɚɧɱɟɜɚ for violoncello and double and double for violoncello

ɏɨɦɟɪɨɜɨɝ ɢɫɩɪɢɱɚɦ : ɟɩɢɬɚɮɚ

I & I II & ɨɪɤɟɫɬɚɪ

Ⱥɬɥɚɫ

ɡɚ Atlas

ɫɚ New Contributions for Hans

ɡɚ

ɩɪɢɥɨɡɢ

ɢɡɦɟɻɭ ʁɟɞɧɚɤɢɯ

for orchestra by Zoran Eri

Unusual Scenes from the Homer’s ɢɡɧɨɜɚ ɨɞʁɟɰɢ

ɫɰɟɧɟ ɜɪɟɦɟɧɚ

ɤɚɧɬɚɬɢ ɇɨɜɢ ɢɝɪɚɱɤɟ Music Toys ɞɚ ȭɨɪɻɟɜɢʄ

. ɤɪɢʁɟ ɞɭɟɥɚ

ɟɩɢɡɨɞɚ

- ɫɟ

ɀɟɥɢɦ „ ɋɟɦɩɥ ɫɰɟɧɫɤɨʁ Ɇɭɡɢɱɤɟ ɒɬɚ me me Tell the the Beginning’. About Story from the Stage Cantata Hofman: Hofman: bass Ɇɢɥɢɰɚ ɮɚɪɫɚ ɫɤɚɦɟʃɟɧɢ / A Sample of the Equals’ Duel – Sr What is Hidden Between the Acts? farce-episode The Death of the Star Knower – Petrified Echoes of an Epitaph in a Kicked Crystal II I & Time ɇɟɨɛɢɱɧɟ ɤɪɢɫɬɚɥɭ ɋɦɢɪɧɢ Ⱥɧɞɟɪɫɟɧɚ Grave in Smyrn. Christian Andersen

ü / ü

ü ü ɇɢɤɨɥɢʄ

ȳɚɧɤɨɜɢʄ Ɇɢɤɢʄ

Ʉɚɪɥɨɜɢʄ

ȳɟɥɟɧɚ / Jelena Jankovi ɂɜɚɧɚ Ɇɢɥɚɞɢɧɨɜɢʄ ɉɪɢɰɚ Ivana Miladinovi ȼɟɫɧɚ Vesna Miki Ɇɚɪɢʁɚ / Marija Nikoli Prica Ⱥɧɚ Ana Karlovi

/ / ü

ü evi / Zoran ÿ evi ÿ ȭɨɪɻɟɜɢʄ or

or ɏɨɮɦɚɧ Ĉ ɋɬɟɮɚɧɨɜɢʄ ȿɪɢʄ

Ĉ ȭɨɪɻɟɜɢʄ

an Hofman ü ÿ Ⱥʃɚ Anja Ɂɨɪɚɧ Eri ɋɪɻɚɧ Sr Ɇɢɥɢɰɚ Milica ɂɜɚɧɚ / Ivana Stefanovi

– ɋɦɢɪɧɢ ɟɩɢɬɚɮɚ Music

ɭ / ɟɩɢɡɨɞɚ

- ɫɚ The Death of ɫɦɪɬ

/ ɤɪɢɫɬɚɥɭ

ɨɞʁɟɰɢ ɝɪɨɛɚ

ɫɰɟɧɟ ɮɚɪɫɚ

ɢɝɪɚɱɤɟ

Atlas I & I II & /

ɲɭɬɧɭɬɨɦ

ɇɟɨɛɢɱɧɟ Ⱥɬɥɚɫ Ɇɭɡɢɱɤɟ Entr’acte, Ɂɜɟɡɞɨɡɧɚɧɱɟɜɚ Entr’acte, farce-episode CD New Sound 134 ɫɤɚɦɟʃɟɧɢ ɏɨɦɟɪɨɜɨɝ Toys CD New Sound 133 ɭ ɜɪɟɦɟɧɚ Petrified the Star Knower – Echoes of an Epitaph in a Kicked Crystal of Time I II & CD New Sound 134 Unusual Scenes from the Unusual Scenes from Homer’s Grave in Smyrn CD New Sound 131 76. 76. 77. 78. 79. 80.

136 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 35, I/2010; I/2010; 35, . . 36, II/2010; II/2010; 36, . . 36, II/2010; II/2010; 36, . . 36, II/2010; II/2010; 36, . . 35, I/2010; I/2010; 35, . ɛɪ online issue 58– I/2010, 35, No. 65; also online ɛɪ online issue 144– II/2010, 36, No. 154; also online ɛɪ online issue 155– II/2010, 36, No. 163; also online ɛɪ online issue 144– II/2010, 36, No. 154; also online ɛɪ online issue 66– I/2010, 35, No. 69; also online /

ȳɟɜɬɢʄɚ

ɫɪɩɫɤɢɯ ɫɪɩɫɤɢɯ

/ Milica

Ȼɪɚɧɤɟ ɫɰɟɧɚ

ɂɜɚɧɚ by Ivan Jevti by

out of nowhere

ü ɧɨɜɢɯ ɧɨɜɢɯ

Ɋɚɫɬɢɫɥɚɜɚ Ⱥɪɯɚɢɱɧɚ by Rastislav

Ɋɚɡɝɥɟɞɧɢɰɟ .

Mandragola out of nowhere ü Ɇɚɧɞɪɚɝɨɥɚ

ɉɪɟɦɢʁɟɪɟ ɉɪɟɦɢʁɟɪɟ

/ Contemporary Alchemy. Alchemy. / Contemporary . . ɢ

by by Dušan Radi and ü ɚɥɯɟɦɢʁɚ

Postcards ɨɩɟɪɟ ɨɩɟɪɟ :

ɤɜɚɪɬɟɬ / The String Quartet ɉɚɪɚɧɨɫɢʄ Ɋɚɞɢʄɚ

Hasanaginica ɏɚɫɚɧɚɝɢɧɢɰɚ : … / Two Faces of Opera. Premieres of ɥɢɤɚ ɥɢɤɚ

Ⱦɭɲɚɧɚ ɋɚɜɪɟɦɟɧɚ Archaic Scene Ⱦɜɚ ɨɩɟɪɚ Ɇɢɥɢɰɚ Paranosi Ʉɚɦɛɚɫɤɨɜɢʄɚ Ƚɭɞɚɱɤɢ Ⱦɜɚ ɨɩɟɪɚ New Serbian Operas… ɉɨɩɨɜɢʄ Branka Popovi by Two Faces of Opera. Premieres of New Serbian Operas: Kambaskovi

ü ü /

/ ü

ü /

Ɋɚɞɨɜɢʄ Ɋɚɞɨɜɢʄ

Ɇɢɤɢʄ

Ȼɪɚɧɤɚ Vesna Miki ȼɚɥɟɧɬɢɧɚ Ɋɚɞɨɦɚɧ Valentina Radoman / Branka Radovi ȼɟɫɧɚ Ʉɫɟɧɢʁɚ ɋɬɟɜɚɧɨɜɢʄ Ksenija Stevanovi Ȼɪɚɧɤɚ / Branka Radovi

/ ü

ü / /

/ Ivan

ü ü

ɉɚɪɚɧɨɫɢʄ

ɉɨɩɨɜɢʄ Ɋɚɞɢʄ

ȳɟɜɬɢʄ

ü Ɋɚɫɬɢɫɥɚɜ Ʉɚɦɛɚɫɤɨɜɢʄ Rastislav Kambaskovi Ⱦɭɲɚɧ Dušan Radi Ɇɢɥɢɰɚ / Milica Paranosi Branka Popovi Ȼɪɚɧɤɚ ɂɜɚɧ Jevti

Archaic / Postcards / Mandragola Mandragola / / ɫɰɟɧɚ

Scene CD New Sound 135 CD New Sound 136 Hasanaginica Hasanaginica CD New Sound 136 Ⱥɪɯɚɢɱɧɚ out of nowhere CD New Sound 135 ɏɚɫɚɧɚɝɢɧɢɰɚ Ɇɚɧɞɪɚɝɨɥɚ Ɋɚɡɝɥɟɞɧɢɰɟ CD New Sound 136 81. 81. 82. 83. 84. 85.

137 New Sound 40, II/2012 . 39, I/2012; online . 39, I/2012; online . 37, I/2011; I/2011; 37, . . 38, II/2011; II/2011; 38, . No. 37, I/2011, 63– I/2011, 37, No. 74; also online ɛɪ issue 81– I/2012, 39, No. 91; also online ɛɪ online issue ɛɪ online issue 65– II/2011, 38, No. 75; also online

ɢ Logic

“

ɢ ɢ ʁɟɞɚɧ

–

by by ɞɨ

ɫɦɪɬ ʁɨɲ , Moving : ɯɚɪɮɟ

ɞɪɠɚɜɟ Ɉɝɥɟɞɚɥɚ ɩɨɤɪɟɬɭ ,

„ ɭ

ɭ ɨɝɥɟɞɚɥɚ

Looking at the ɯɥɚɞʃɚɱɚ for two amplified / Politics of Sadness: , ɨɡɜɭɱɟɧɟ

ɀɢɜɤɨɜɢʄɚ ɪɟɥɢɝɢʁɟ

software ɨɝɥɟɞɚɥɚ ɞɜɟ

) Ƚɥɟɞɚʁɭʄɢ ɰɜɟɬɢʄ ɭ ɡɚ ȭɭɪɟ : / ɉɨɤɪɟɬɧɢɯ

: Another View on the ɬɪɚɞɢɰɢʁɚ ) ü

an Hofman: / From (Listening to) ÿ ɤɪɨɡ ɬɭɝɟ ɫɢɦɛɢɨɡɭ ɫɪɰɚ

Logic Pro

On the Guarding of the Heart On the Guarding to (Listening through/in) Mirrors in ɧɚ Ʉɚɩɭɪɚ /

ɏɨɮɦɚɧ

ɫɥɭɲɚʃɚ ɫɨɮɬɜɟɪ

( ɱɭɜɚʃɭ

uro Živkovi uro ɫɥɭɲɚʃɚ Ɉɞ ( Ɉ ɋɪɻɚɧ ɩɨɝɥɟɞ Ĉ of Religion, State, and Symbiosis Music Ⱥɧɢɲɚ Pro ɦɭɡɢɤɟ ɉɨɥɢɬɢɤɚ Mirrors Motion – Sr Mirrors of Anish Kapoor harps and ɫɢɦɮɨɧɢʁɫɤɚ Little Flower, Refrigerator Lorry, Death and Tradition Symphonic

ü / / /

ü ɇɨɜɚɤ

Ɇɢɤɢʄ

Vesna Miki ȼɟɫɧɚ Ɇɢɥɚɧ Ɇɢɥɨʁɤɨɜɢʄ Milan Milojkovi ȳɟɥɟɧɚ Jelena Novak

ü / /

/ ü ɏɨɮɦɚɧ

ɀɢɜɤɨɜɢʄ

an Hofman ÿ uro Živkovi uro ɋɪɻɚɧ Sr ȭɭɪɨ Ĉ Ɇɚɪɤɨ ɇɢɤɨɞɢʁɟɜɢʄ Marko Nikodijevi a

in – “ after

lugubre flower, la Looking at music … lugubre On the / small /

memoriam la Ɉɝɥɟɞɚɥɚ ˃ in „ Ȁ ɭ – ɫɪɰɚ

funeral ˍ˖˱ˋ˙˃ ˉ˃ˎˑ˄ː˃ˏ˖ˊˋˍ˃ , Ʉɚɩɭɪɚ

house… liszt ɱɭɜɚʃɭ

Ƚɥɟɞɚʁɭʄɢ ˙˅ˈ˕ˋ˱ Ɉ Ⱥɧɢɲɚ the Mirrors of Anish Kapoor CD New Sound 137 gondola: ˒˓ˈˏ˃ʣ˓˃ː˙˖ʚˋ˔˕˖ Guarding of the Heart CD New Sound 139 memoriam small gondola: franz 86. 86. 87. 88.

138 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)

ɨɛʁɚɜʂɟɧɨ . 4-5, 1994/95, 51–54. 51–54. 1994/95, 4-5, . . 6, 1995, 61–69. 61–69. 1995, 6, . . 2, 1993, 41–48. 41–48. 1993, 2, . 55–61. 1994/95, 4-5, . . 2, 1993, 49–55. 49–55. 1993, 2, . . 6, 1995, 71–95. 71–95. 1995, 6, . ɛɪ 51–54. 1994/95, 4-5, No. ɛɪ 63–72. 1995, 6, No. ɛɪ 39–46. 1993, 2, No. ɛɪ 55–61. 1994/95, 4-5, No. ɛɪ 47–52. 1993, 2, No. ɛɪ 73–99. 1995, 6, No.

ɦɭɡɢɤɟ

ɞɚɧɢ

ɞɨ

When Cometh ɨɪɢʁɟɧɬɚɰɢʁɚ / ) / Nicht Traum. ɞɟɡ ɤɨɦɩɨɧɨɜɚʃɭ

ɫɬɟɩɟɧ (

ɋɜɟɬɫɤɢ ɨ

. / Mundus Sensibilis: / Mundus Sensibilis: ɩɨ “

ɬɟɤɫɬɚ ɋɬɟɮɚɧɨɜɢʄ ü ɒɬɟɛɥɟɪɚ

ɞɪɭɝɨɝ ɫɬɟɩɟɧ ɩɪɨɫɬɨɪɧɚ

„ , ɚɜɚɧɝɚɪɞɟ ɢ

ɂɜɚɧɟ ɪɚɡɦɢɲʂɚʃɚ

ɧɚɫɥɨɜ

ɞɟɥɚ

Ƚɟɪɯɚɪɞɚ

ɫɦɢɫɚɨ ɞɨ ɨɞʁɟɰɢ

: ɞɟɥɚ

ɜɪɟɦɟɧɫɤɚ : ɩɨɦɨɲɬɢ ɧɟɤɨɥɢɤɨ

/ Step by Step to Reach Artistic Creation, Step ɢɡ

ɞɚɧɚɫ : by Ivana Stefanovi by ɫɬɟɩɟɧ

ɩɨ

ɇɟɫɚɧ . ɧɢɨɬɤɭɞɭ

Ⱥɜɚɧɝɚɪɞɚ Mundus Sensibilis: Mundus Sensibilis: The Sense of the ‘Different’ Ɋɚɯɦɚʃɢɧɨɜ ɋɬɟɩɟɧ ’95 / The Avant-Garde Today: Echoes of the Avant-Garde. ‘95 Days Music World ɋɚɧ ɂ Rachmaninoff: Spatial and Temporal (Dis)orientation Spatial Rachmaninoff: ɦɚʁɫɬɨɪɫɬɜɚ by Step to Attain Mastery ɩɪɢɦɟɪɢɦɚ No Succour Traum: Einige Überlegungen Komponieren zum mit Beispielen aus Werken Gerhard Stäblers - -

/ / Ana / Ana / Arbo / Arbo

ɬɟɤɫɬɚ

-Hofman -Hofman -Hofman -Hofman ü ü

ȼɟɫɟɥɢɧɨɜɢʄ ȼɟɫɟɥɢɧɨɜɢʄ ü ɒɬɟɛɥɟɪ

/ Mirjana / Mirjana ȼɚɥɞɦɚ ȼɚɥɞɦɚ ɚɭɬɨɪ

ɋɬɟɮɚɧɨɜɢʄ

Ⱥɪɛɨ Valdma Ⱥɪɛɨ Valdma Ɇɢɪʁɚɧɚ ɏɨɮɦɚɧ Veselinovi Ƚɟɪɯɚɪɞ Ɇɢɪʁɚɧɚ ɏɨɮɦɚɧ Veselinovi Gerhard Stäbler Ⱥɧɚ Stefanovi

ü /

Ɇɢɯɚʁɥɨɜɢʄ

ɤɨɦɩɨɡɢɬɨɪ section and the newworks in it Ⱥɧɚ / Ana Mihajlovi ɂɜɚɧɚ ɋɬɟɮɚɧɨɜɢʄ Ivana Stefanovi

/ ɞɟɥɚ

Interpretations ɧɢɨɬɤɭɞɭ

ɧɚɡɢɜ ɂ Mundus sensibilis ɩɨɦɨɲɬɢ When Cometh No Succour CD New Sound 102 Table 2 The

139 New Sound 40, II/2012 . 7, 1996, 29–38. 29–38. 1996, 7, . 75–82. 1997, 10, . 83–91. 1997, 10, . 33–41. 1998, 11, . 61–73. 1998, 12, . . 13, 1999, 51–60. 51–60. 1999, 13, . . 14, 1999, 51–60. 51–60. 1999, 14, . . 11, 1998, 43–55. 43–55. 1998, 11, . ɛɪ 31–41. 1996, 7, No. ɛɪ 77–84. 1997, 10, No. ɛɪ 85–94. 1997, 10, No. ɛɪ 33–41. 1998, 11, No. ɛɪ 65–78. 1998, 12, No. ɛɪ 41–49. 1999, 13, No. ɛɪ ɛɪ 43–55. 1998, 11, No.

ɨɞ

ɨɧɚɤɨ , Infinite von von

ɟɥɟɦɟɧɬ /

Infinite to be . 33 . / John Zorn: ɨɩ Ȼɪɚɦɫɭ

ɜɪɟɦɟɧɚ / Levels of the

ɬɟɯɧɨɥɨɝɢʁɢ

ɬɪɚɧɫɝɪɟɫɢɜɧɢ

ɤɜɚɪɬɟɬɚ

ɟɧɟɪɝɢʁɢ , ɤɚɨ

/ The In/expressible as an / The In/expressible ɤɨɦɩɪɨɜɢɡɚɰɢʁɚ

ɜɢɲɟɫɬɪɭɤɚ ɞɢɝɢɬɚɥɧɨʁ

ɤʃɢɠɟɜɧɨɫɬɢ ɭ Ƚɭɞɚɱɤɨɝ

–

(1976/87) / Zeikonflikte – Multiple ȿɫɬɟɬɫɤɨ ɮɨɪɦɭɥɚɦɚ .

ɫɚɦɚ

ɚɥɬɟɪɧɚɬɢɜɚ

ɩɨɜɨɞɨɦ

ɤɚɨ

ɤɨɧɮɥɢɤɬɢ

ɞɟɤɨɧɫɬɪɭɤɰɢʁɚ ɦɭɡɢɤɚ Ɋɚɞɭɥɟɫɤɭɚ

ɦɢɦɟɡɢɫɚ / On Being Silent :

ɦɚɝɢɱɧɢɦ

ɦɭɡɢɤɚɥɢɡɚɰɢʁɟ / Mimesis of Mimesis. The Aesthetic as a

ɤɚɨ

Ɂɨɪɧ

ɢɡɪɟɰɢɜɨ / ɧɟɤɢɦ ʄɭɬɚʃɭ

Ɂɚɩɢɫ ɇɟ ɇɢɜɨɢ Ɉ Ɇɢɦɟɡɢɫ ȹɨɧ Ɉ Alternative Notation as Music in Itself Digital Technology ȼɪɟɦɟɧɫɤɢ ɦɭɡɢɤɟ Transgressive Element of Music Musicalization of Literature Ɋɚɡɦɢɲʂɚʃɚ Deconstruction and Comprovisation Deconstruction and Comprovisation ɭɡɝɪɟɞ to be Cannot be Infinite; Infinite to be Cannot Infinite; Anti-be Could be Infinite Cannot be Infinite; Infinite Anti-be Could Horatiu Radulescu (1976/87) ɏɨɪɚɰɢʁɚ StreichquartettZeiten. Überlegungen zum op. 33 - / / Miloš / Miloš /

/ / Zorica / ü / Ana -Hofman -Hofman ü Ɇɟɥɟɪ ȼɟɫɟɥɢɧɨɜɢʄ

/ Mirjana Ʉɨɛɚɫɟɧ Ɂɚɬɤɚɥɢɤ Ɂɚɬɤɚɥɢɤ ɒɭɜɚɤɨɜɢʄ ɉɪɟɦɚɬɟ

Ʉɨɬɟɜɫɤɚ

Ɇɢɲɤɨ Ⱥɧɚ Kotevska Šuvakovi Miško Ɇɢɪʁɚɧɚ ɏɨɮɦɚɧ Veselinovi ɏɚɪɬɦɭɬ Ɇɢɥɨɲ Zatkalik Ɇɚɪɫɟɥ Ɇɢɥɨɲ Zatkalik Marcel Cobussen Marcel Premate Premate Hartmut Möller Ɂɨɪɢɰɚ / /

ü ɏɨɮɦɚɧ ȿɪɢʄ

an Hofman ÿ ɋɪɻɚɧ Sr Ɂɨɪɚɧ Zoran Eri

I ɫɚɞɚ

/ ɢ

)

ɒɬɨ ɇɢɫɚɦ Makamba CD New Sound 110 ɝɨɜɨɪɢɨ ( ɱɢɧɢɦ Have Not Spoken (Nor Do I Now) CD New Sound 107

140 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 20, 2002, 76–82. 76–82. 2002, 20, . . 21, 2003, 57–65. 57–65. 2003, 21, . . 17, 2001, 55–59. 55–59. 2001, 17, . 68. 65 – 2001, 18, . . 17, 2001, 49–54. 49–54. 2001, 17, . 70–75. 2002, 20, . . 15, 2000, 75–93. 75–93. 2000, 15, . . 13, 1999, 61–72. 61–72. 1999, 13, . 51–64. 2001, 18, . . 20, 2002, 61–69. 61–69. 2002, 20, . ɛɪ 57–65. 2003, 21, No. ɛɪ 72–78. 2002, 20, No. ɛɪ 52–56. 2001, 17, No. ɛɪ 63–66. 2001, 17, No. 47–51. 2001, 17, No. ɛɪ 66–71. 2002, 20, No. ɛɪ ɛɪ 77–95. 2000, 15, No. ɛɪ 50–61. 1999, 13, No. 49–62. 2001, 17, No. ɛɪ ɛɪ 57–65. 2002, 20, No. in

Ⱥʁɜɡɚ ɨɩɭɫɭ

ɬɪɢɛɢɧɚ ɉɨɜɨɞɨɦ ɫɪɩɫɤɟ

ɛɚɪɨɤɧɨʁ ɉɟɬɪɚ

. ɝɨɞɢɧɚ

ɑɚɪɥɫɚ )

ɧɨɜɟ

ɜɪɟɦɟ

’s Opus ɤɚɞɟɧɰɚ ɨɡɧɚɱɢɬɟʂ

ü ɢ Tabula Rasa

ɫɥɭɱɚʁɭ / The Toys of Milimir

ɮɪɚɧɰɭɫɤɨʁ Nocturne

ɦɟɻɭɧɚɪɨɞɧɚ ɭ ɭ /

ɡɚɯɬɟɜɚ

ɞɟɜɟɞɟɫɟɬɢɯ ɮɟɧɨɦɟɧɭ / Music Makes Time; Music

Aesthetics of the Marvelous

ɨ ɫɬɢɥɫɤɢ ɚɤɰɢʁɚ

: 11.

, / The Swaying of Seaweeds / Pandora’s Music Box: 11 ɤɚɨ ɉɟɪɬɚ

ɦɭɡɢɤɚ ɦɭɡɢɤɟ “ ɱɭɞɟɫɧɨɝ

; ɢɥɢɬɢ

différance différance / The Medium of the Choir ‘Voice’ as a ‘Voice’ / The Medium of the Choir ɤɭɬɢʁɚ ɇɨɤɬɭɪɧɨ

Ⱦɪɚɲɤɨɜɢʄɚ

ɢ ɬɪɚɜɚ

ɉɪɨɥɨɝ

Ⱥɪɜɚ

ɝɥɚɫɚ / Bangeth so Late or the Phenomenon Who ɜɪɟɦɟ Ȼɟɨɝɪɚɞɭ „

ɩɨɡɧɨ

Ȼɚɛɢʄɚ ɭ ɞɭɯɨɜɧɟ

UPIC / L’UPIC de Xenakis ɦɭɡɢɱɤɚ ɜɟɤɚ

ɟɫɬɟɬɢɤɟ

ɦɨɪɫɤɢɯ

ɬɚɤɨ

Ɇɢɥɢɦɢɪɚ / Cool/Hot and Soft: Petar Osghian’s Prologue, ɢɞɟɧɬɢɬɟɬ ü

ɫɬɜɚɪɚ , ɯɨɪɫɤɨɝ

/ Deconstruction of the Tabula Rasa

ɭɞɚɪɚ

ɫɟɧɚɤɢɫɨɜ International Review of Composers in Belgrade International Review of Composers Ʉɨ Ɇɭɡɢɤɚ ɂɝɪɚɱɤɟ Ɇɭɡɢɤɚ Ʌɟɥɭʁɚʃɟ Cool/Hot and Soft: Draškovi ɉɚɧɞɨɪɢɧɚ ɤɨɦɩɨɡɢɬɨɪɚ Ɋɚɡɝɪɚɞʃɚ ɨɩɟɪɢ French Baroque Opera Ɇɟɞɢʁ ɩɪɚɜɨɫɥɚɜɧɟ ɞɟɥɚ Ɉɡɝɢʁɚɧɚ Action and Cadence ( CD New Sound 120 Takes Time apropos of Arvo Pärt’s ɞɜɚɞɟɫɟɬɨɝ Sacred Musicof New Serbian Orthodox in the Last Decade of the Century Music, Identity and Différance in the Case of Charles Ives Ʉɨɧɫɬɚɧɬɢɧɚ Stylistic Signifier in Konstantin Babi /

/ / ü ü /

/ Ana / Ana i / ü þ

/ Herman / Herman ü ü ü Ɏɢɧ / Brice Joly K

Novi

ü ü / Dragana ɋɬɨʁɚɧɨɜɢʄ ɋɬɟɜɚɧɨɜɢʄ ɋɚɛɟ

Ɇɚɪɤɨɜɢʄ ɉɟɬɪɨɜɢʄ ɉɟɬɪɨɜɢʄ ɇɢɤɨɥɢʄ

ɀɨɥɢ

ɋɬɟɮɚɧɨɜɢʄ

Stefanovi Miloje Nikoli ɇɨɜɢɱɢʄ Stojanovi Ⱥɧɚ Ɇɢɥɨʁɟ ɏɟɪɦɚɧ Ɇɢɥɨɲ Miloš Petrovi ȹɟɪɚɥɞɢɧɚ Ɇɢɥɨɲ Miloš Petrovi Ɍɚɬʁɚɧɚ Ⱦɪɚɝɚɧɚ Ʉɫɟɧɢʁɚ Ȼɪɢɫ Sabbe Geraldina Finn Ksenija Stevanovi Tatjana Markovi

141 New Sound 40, II/2012 . 22, 2003, 38–45. 38–45. 2003, 22, . . 23, 2004, 55–60. 55–60. 2004, 23, . 41–47. 2004, 24, . . 26, 2005, 113–118. 113–118. 2005, 26, . . 24, 2004, 48–51. 48–51. 2004, 24, . . 26, 2005, 109–112. 109–112. 2005, 26, . . 22, 2003, 27–37. 27–37. 2003, 22, . . 25, 2005, 29–35. 29–35. 2005, 25, . ɛɪ 38–44. 2003, 22, No. ɛɪ 41–45. 2004, 23, No. ɛɪ No. 24, 2004, online issue ɛɪ No. 26, 2005, online issue ɛɪ No. 24, 2004, online No. 24, 2004, online issue ɛɪ No. 25, 2005, online issue ɛɪ 27–37. 2003, 22, No. ɛɪ No. 25, 2005, online issue

/ –

Cutting ɭ Ʉɚɪɥɯɚʁɧɰɚ

: ü i ɛɟɨɝɪɚɞɫɤɨɝ þ / The Author as / World Contra

Cutting Edge

ɤɭɥɬɭɪɟ : of Serbian

ɍ . ɦɭɡɢɤɟ

ɉɪɜɨɝ ɦɭɡɢɤɟ

ɨɛɢɱɧɨ

ɫɪɩɫɤɟ ɢ

Signifier ɤɜɚɪɬɟɬ

Ȼɪɤʂɚɱɢʄ / N is for Neo, Nyman,

ɢɧɬɟɪɩɪɟɬɚɰɢʁɟ ɫɜɟɬɚ ɤɚɨ

ɟɜɪɨɩɫɤɟ

Anniversary of the First Belgrade ɨɫɧɢɜɚʃɚ

ɂɜɚɧ th . Ʉɪɨɧɨɫ ɨɡɧɚɱɢɬɟʂ ɩɪɨɬɢɜ

– ɇɨɫɬɚɥɝɢʁɚ ɮɟɫɬɢɜɚɥɭ ɤɚɨ ,

ɦɭɬɚɰɢʁɚɦɚ

ɩɫɨɜɤɟ

ɧɚ ɤɨɦɩɨɡɢɰɢʁɟ

ɝɨɞɢɲʃɢɰɟ / The Stockhausen Composition and / The Stockhausen Composition ɢɡ / Serbian Music on the Festival of European

ɇɚʁɦɚɧ ɩɪɨɞɭɰɟɧɬ

, ɱɟɬɢɪɢ ɞɪɭɲɬɜɚ

ɞɪɭɲɬɜɨ

150. 150.

ɦɭɡɢɤɚ

ɤɭɪɫ ɤɚɨ

ɧɟɨ

ɤɚɨ

Choral Society Choral Society (1853–2003) ɇ Nostalgy World Music ɋɪɩɫɤɚ Ɏɪɚɧɰɭɫɤɨʁ Music in France Ⱥɭɬɨɪ Ʌɟɬʃɢ ɉɟɜɚɱɤɨ Ethno… Contra World ɂɫɬɨɪɢʁɚ ɩɟɪɮɨɪɦɚɬɢɜɧɢɦ Ethno… Against as Usual The History of Four Swearwords. The History Ivan Brklja Edge the Producer – The Kronos Quartet. In Performative the Producer – The Kronos Quartet. In Performative of Music Mutations of the World ɩɨɜɨɞɨɦ ɩɟɜɚɱɤɨɝ (1853–2003) / Choral Society of a / Choral Society (1853–2003) ɒɬɨɤɯɚɭɡɟɧɚ Interpretation Courses Culture – Marking the 150

ü / /

/ ü ü / Bojana

/ Ivana / Jelena . ü /

Ɉ / Dimitrije O.

ɋɚɜɢʄ ü

Ɇɚɪɤɨɜɢʄ Ɇɚɪɤɨɜɢʄ

ɐɜɟʁɢʄ ɇɨɜɚɤ Ɇɟɞɢʄ

ü ü Ȼɨʁɚɧɚ Ɍɚɬʁɚɧɚ ȳɟɥɟɧɚ Novak Ⱦɢɦɢɬɪɢʁɟ Ƚɨɥɟɦɨɜɢʄ Ɇɥɚɞɟɧ ɂɜɚɧɚ Ⱥɥɟɤɫɚɧɞɚɪ Ⱦɚɦʃɚɧɨɜɢʄ Aleksandar Damnjanovi Golemovi Cveji Tatjana Markovi Medi Mladen Markovi Svetlana Savi ɋɜɟɬɥɚɧɚ /

ü i þ Ȼɪɤʂɚɱɢʄ

ɂɜɚɧ Ivan Brklja Cutting Edge CD New Sound 126

142 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145) . 27, 2006, 39–42. 39–42. 2006, 27, . No. 38, II/2011, 77–86. 77–86. II/2011, 38, No. ɛɪ No. 27, 2006, online issue No. 34, II/2009, 107– II/2009, 34, No. 110; also online issue No. 35, I/2010, 70–100 I/2010, 35, No. No. 34, II/2009, 111– II/2009, 34, No. 114; also online issue 93–96; I/2009, 33, No. also online issue No. 37, I/2011, 75–79; I/2011, 37, No. also online

/ ɢɡ

/ ‘They / ɪɟɱɢ .

ɢ Acustica Ⱦ

ɡɜɭɱɧɢɤɟ

ɫɬɢɥɚ ɢ ɞɨɤɚɡɢ

Quatuour de Quatuour Quatuour de Ɇɚɭɪɢɫɢʁɚ

ɩɨɫɥɟɪɚɬɧɟ

“ – Ɇɭɡɢɤɚ ɪɚɧɢ ɡɜɭɤɚ / Musica futurista – .

: Ȼɟɪɧɚɪɞɚ

1909–1935 / Musica 1909–1935 ɢ

ʂɭɞɢ Acustica

ɛɭɤɟ ɛɭɤɟ

ɢɡɜɨɻɚɱɤɨɝ ɧɚɪɚɬɢɜɚ –

ɤɚɨ ɢ / The Jubilee of Dmitry

Ȼɪɚɦɫɚ

ɩɨɤɪɟɬɚ

ɝɟɧɟɪɚɬɨɪɟ

ɧɟɝɨ

Ɇɚɫɝɪɟʁɜɚ

ʃɢɯɨɜɨɝ ɚɜɚɧɬɭɪɚ ɍɦɟɬɧɨɫɬ ɍɦɟɬɧɨɫɬ

– – ɂɡɜɨɻɟʃɟ

ɦɚɬɟɪɢʁɚɥɚ

ɚɧɻɟɥɢ

Ɇɚʁɤɥɚ ɒɨɫɬɚɤɨɜɢɱɚ

ɤɚɨ ɦɭɡɢɤɚ ɦɭɡɢɤɚ

ɮɭɬɭɪɢɫɬɢɱɤɨɝ

ɩɨɡɨɪɢɲɧɚ

ɫɚɝɥɟɞɚɜɚʃɟ ɫɬɢɥɚ

Performing Brahms: Early Evidence of ɟɤɫɩɟɪɢɦɟɧɬɚɥɧɟ / Re-Performing the Material and Narrative of / Re-Performing the ɢ ɜɢɲɟ / Reinterpreting Michael Musgrave and Bernard D.

and Considerations on its Performance Style Style on its Performance and Considerations

Ⱦɦɢɬɪɢʁɚ

ɡɚ

ɩɟɪɮɨɪɦɚɰɢʁɚ

ɋɜɢɪɚʁɭ ɇɨɜɚ ɚɜɚɧɝɚɪɞɟ Post-War Avant-Garde ɉɚɧɫɨɧɢɱɧɚ Ɏɭɬɭɪɢɫɬɢɱɤɚ Ɏɭɬɭɪɢɫɬɢɱɤɚ „ Shostakovich Shostakovich The Art of Noises ȳɭɛɢɥɟʁ Ɋɟɢɧɬɟɪɩɪɟɬɢɪɚʁɭʄɢ Flonzaley Ʉɚɝɟɥɚ ɢɡɜɨɻɚɱɤɨɝ ɢɬɚɥɢʁɚɧɫɤɨɝ Play Play More Like Angels Than Men’ – The Flonzaley futurista – The Art of Noises. Music theand Words from 1909–1935. Futurist Movement Italian Pansonic Theatrical Adventure – Mauricio Kagel’s and Loudspeakers soundfor experimental generators ɒɟɪɦɚɧɚ Sherman’s Performance Style / /

ü / Lauren / Ana / Ana / Vesna / Vesna / Anna Scott Ȼɚɥɞɚɫɚɪɟ

Ɋɟɞɯɟɞ Ɇɢɤɢʄ

Ɇɚɪɢɧɤɨɜɢʄ

ü Ʉɨɬɟɜɫɤɚ Ʉɨɬɟɜɫɤɚ ɋɤɨɬ

Kotevska Kotevska Miki Antonio Baldassarre ɋɨʃɚ Ⱥɧɚ Ⱥɧɚ ȼɟɫɧɚ Ⱥɧɬɨɧɢɨ Ⱥɧɚ Ʌɨɪɟɧ Redhead Sonja Marinkovi

143 New Sound 40, II/2012

ɨɛʁɚɜʂɟɧɨ . 17, 2001, 71–75. 71–75. 2001, 17, . . 22, 2003, 63–67. 63–67. 2003, 22, . . 4-5, 1994/95, 73– 1994/95, 4-5, . . 20, 2002, 91–95. 91–95. 2002, 20, . . 11, 1998, 83–97. 83–97. 1998, 11, . ɛɪ 67–71. 2001, 17, No. ɛɪ 61–65. 2003, 22, No. ɛɪ 82. 63– 1994/95, 4-5, No. 73. ɛɪ 87–91. 2002, 20, No. ɛɪ 83–97. 1998, 11, No.

: ɡɚ

ü : ü by by

ɨ : ɞɭɜɚɱɤɢ . 25 / .

Mili – ü

: ɡɚ ɨɩ Ʉɨɧɰɟɪɬ

, : Concerto for . 2 , No. 2, Op. Op. 2, 25 , No. Ɇɢɥɢʄ :

ü ɋɩɢɪɨ ɛɪ Divertimento

: ɬɟɤɫɬɚ ȳɟɜɬɢʄɚ ɤɨɦɚɞɚ

/ Tatjana Miloševi “ / “ / The Incommunicable… ɀɢɜɤɨɜɢʄ

/ ɲɟɫɬ ɂɜɚɧɚ , , Six Pieces for Wind

ɥɚɤɨɝ ɧɚɫɥɨɜ … ɨɪɤɟɫɬɚɪ „ ɦɭɡɢɰɢ

: Light Elegance

ɢ ü ȳɨɜɚɧ ɭ

ɋɬɨʁɚɞɢɧɨɜɢʄ

Ɇɢɥɨɲɟɜɢʄ

/ Milana Stojadinovi /

– About Time in – About Time Music Ivan Jevti Divertimento Ɇɢɥɚɧɚ ɟɥɟɝɚɧɰɢʁɚ Ɍɚɬʁɚɧɚ ɜɪɟɦɟɧɭ Spyro ɇɟɢɡɪɟɰɢɜɨ Ʉɚɥɟɢɞɨɫɤɨɩ ɤɜɢɧɬɟɬ Kaleidoscope Quintet ɇɟɛɨʁɲɚ ɦɚɪɢɦɛɭ Nebojša Jovan Živkovi Marimba and Orchestra / / / /

ü ü ü / Ira

ɬɟɤɫɬɚ

Ɇɚɫɧɢɤɨɫɚ

ɋɬɚɦɚɬɨɜɢʄ ȼɭɤɫɚɧɨɜɢʄ ȼɭɤɫɚɧɨɜɢʄ

ɉɪɨɞɚɧɨɜ

ɚɭɬɨɪ ɂɜɚɧɚ ɂɜɚɧɚ Ivana Vuksanovi Ɇɚɪɢʁɚ ɂɜɚɧɚ Ivana Vuksanovi Ivana Stamatovi Marija Masnikosa ɂɪɚ Prodanov

ü / Ivan Mili

/ Nebojša / ȳɨɜɚɧ

Ɇɢɥɨɲɟɜɢʄ

/ Milana ȳɟɜɬɢʄ

ü ɤɨɦɩɨɡɢɬɨɪ ȼɥɚɫɬɢɦɢɪ Ɍɪɚʁɤɨɜɢʄ Trajkovi Vlastimir ɂɜɚɧ Jevti Ɇɢɥɚɧɚ ɋɬɨʁɚɞɢɧɨɜɢʄ Ɇɢɥɢʄ Stojadinovi Ɍɚɬʁɚɧɚ / Tatjana Miloševi Jovan Živkovi ɇɟɛɨʁɲɚ ɀɢɜɤɨɜɢʄ . - ɛɪ

ɝɟ

section

ɨɪɤɟɫɬɚɪ

, Op. 23 ɨɪɤɟɫɬɚɪ

ɞɟɥɚ

Analyses Kaleidoscope Concerto for Viola and / ɧɚɡɢɜ ɜɢɨɥɭ ɦɚɪɢɦɛɭ

Concerto for Marimba and Concerto for Marimba and ɡɚ ɡɚ , No. 2, Op. 25

. 23 / Spyro Spyro / ɨɩ . 25 / , ɨɩ Ʉɨɧɰɟɪɬ Ʉɨɧɰɟɪɬ Divertimento CD New Sound 117 Ʉɚɥɟɢɞɨɫɤɨɩ ɋɩɢɪɨ CD New Sound 120 CD New Sound 122 CD New Sound 104 Orchestra in G minor ɦɨɥɭ 2, 2, Orchestra CD New Sound 111 Table 3 New works in the

144 Veselinović-Hofman, M.: Sections New Works and Interpretations ... (114–145)

ɨɛʁɚɜʂɟɧɨ . 27, 2006, 43–54. 43–54. 2006, 27, . . 25, 2005, 37–48. 37–48. 2005, 25, . . 14, 1999, 43–50. 43–50. 1999, 14, . . 14, 1999, 31–41. 31–41. 1999, 14, . ɛɪ issue No. 27, 2006, online ɛɪ issue No. 25, 2005, online ɛɪ 42–49. 1999, 14, No. also online issue ɛɪ 31–41. 1999, 14, No. The for wind wind for for string (1992) (1992)

for piano trio (1992) / Archaia 2 Archaia 1 Torso ɝɨɜɨɪɢ

ɮɥɚɭɬɭ

ɢ ɫɟ

(1993) / (1992) / (1996) / ɫɨɩɪɚɧ ɬɪɢɨ ɤɨʁɢɦɚ

ɬɪɢɨ

for soprano and flute for soprano and ɬɪɢɨ ɨ ɡɚ

ɞɟɥɚ ɝɭɞɚɱɤɢ ɞɭɜɚɱɤɢ

ɡɚ ɡɚ ɦɢɥɢɝɪɚɦ ɤɥɚɜɢɪɫɤɢ

ɡɚ

Archaia 1

trio (1992) CD New Sound 114 ɑɭɞɟɫɧɢ 115–120; II/2009, 34, No. Wondrous Milligram Wondrous Archaia 2 trio (1993) CD New Sound 114 Torso (1996) (1996) / -

ü / Zorica

/ Anders Ƚɨɥɟɦɨɜɢʄ -Hofman -Hofman / Iva Neni

ɚɭɬɨɪ ü ȼɟɫɟɥɢɧɨɜɢʄ

/ Mirjana Ȼɟʁɟɪ Ɇɚɤɟɜɢʄ

ɇɟɧɢʄ

ɂɜɚ Ⱥɧɞɟɪɫ Beyer Makevi Ɂɨɪɢɰɚ Ⱦɢɦɢɬɪɢʁɟ Dimitrije GolemoviDimitrije Ɇɢɪʁɚɧɚ ɏɨɮɦɚɧ Veselinovi

e /

ɢ ɞɨ

Ƚɨɪ :

ɪɟɤɨɦ

– By the ü ɐɪɧɟ

ɢɫɬɨɦ Ʉɨɛɚɫɟɧ ɬɟɤɫɬɚ / Our Dream of

ɬɪɚɞɢɰɢʁɟ section ɩɪɨɦɢɲʂɚʃɭ

ɩɨɫɦɪɬɧɢɦ

– ɞɭɯɨɜɧɨɫɬɢ ɞ

On Rethining the

Views ɋɪɛɢʁɟ ɫɚɜɟɡɭ …

/ World Music: From ɧɨɜɨɦ ɧɚɫɥɨɜ Ɇɚɪɫɟɥ

ɨ Ɇɚɪɢʄ

/ Ljubica Mari … /

ɢɡɦɟɻɭ –

ɦɭɡɢɤɟ

ɫɚɧ

ʁɟɞɧɨɦ

ɢɧɜɟɧɰɢʁɟ Tradition to Invention ȴɭɛɢɰɚ ɍɥɨɝɚ ɇɚɲ World Music: o Ɉ Same River of Time River Same an Alliance ɜɪɟɦɟɧɚ ɨɛɢɱɚʁɢɦɚ The Role of Music in Funeral Rites in Serbia and Montenegro ɨɞɧɨɫɚ ɩɪɚɝɨɜɢ ɦɭɡɢɤɟ Relationship Between Spirituality and Music – Marcel Cobussen: Thresholds

Table 4 Items in the

145 New Sound 40, II/2012

Article received on 10 February 2013 Article accepted on 15 February 2013 UDC: 78 ; 050.489NEW SOUND

Nenad Ostojić* University of Novi Sad Academy of Arts Department for Music

VIEWS FROM THE ANALYTICAL ANGLE

Abstract: This paper presents a clear insight into the rich diversity of the range of texts published in the Analyses section, which indicates its place in the complete pool of papers published in the International Magazine for Music New Sound during two decades of its existence. The authorial contributions are grouped according to the genre peculiarities of the subject (a musical work or works) with which they deal analytically, and the consideration of the particular features of the chosen analytical angle is focused on concisely conveying the most important defining characteristics of all the published papers. Keywords: Novi Zvuk, New Sound, analysis, musical genres, formal shaping, structural distinctions Апстракт: У овом раду остварен је прегледни увид у богату разноликост палете текстова објављених у рубрици Анализе којим се указује на њено место у укупном корпусу радова објављиваних током две деценије постојања Интернационалног часописа за музику Нови Звук. Ауторски прилози су, при томе, груписани по основу жанровске посебности предмета (музичко дело/дела) којим се аналитички баве, а прегледни увид у посебности одабраног аналитичког ракурса фокусиран је на сажето саопштавање најбитнијих одредбених карактеристика сваког објављеног рада. Кључне речи: Нови Звук, анализа, музички жанрови, формално уобличавање, структуралне посебности

* Author contact information: [email protected]

146 Ostojić, N.: Views from the Analytical Angle (146–160)

Although it was assumed that the items published in other related sections (Studies, Interpretations, New Works…) would also, by the nature of things, have to base their specific views on analytical tools, the Editorial Board of the New Sound magazine, while devising the newly launched publication’s concept, had no dilemmas about the need to reserve a separate space where perception from the analytical standpoint would not only be the primary methodological anchorage, but also the ultimate goal. Thus, the Analyses section, ever since the first issue of New Sound published in 1993, has taken up a great deal of the total available space in most of the issues published during the last twenty years. Al- though views from the analytical angle were not present in all the volumes published so far, 21 authors from Serbia and abroad have published 30 items in this section up to the jubilee fortieth issue, with a total of 338.5 (238.5+100) pages. Thereby, analytical studies were absent either from those issues which were conceived as thematic (Issues 16, 26, 28, 34, 36) or from those which offered many more texts included in the aforesaid related sections (Issues 23, 25, 31, 35, 37). The appreciable difference between the number of texts published (30) and the number of their authors (21) suggests that certain individual creative laboratories produced more than one paper: four authors (Sonja Marinković, Marija Masnikosa, Miloje Nikolić and Branka Radović) signed two texts each, one author (Ivana Vuksanović) wrote three texts, and one (Anica Sabo) four published papers (fifteen authors contributed one item each). The genre range of musical works whose particulars have been analytically perceived is wide, running from solo pieces (I), to choral (II) and chamber (III), to concert (IV) and symphonic (V) compositions by, for the most part, contemporary authors, and the gamut has been enriched by digressions (VI) into ballet music, new music technologies, the World Music phenomenon, as well as film and multimedia. Since the items in question are scattered both in time (the last twenty years) and in space (29 issues of the New Sound magazine), what will follow are concise sketches of their content and most prominent features. By choosing such a structure for this clear insight into the rich diversity of the spectrum of papers published in the Analyses section, the author did not intend to perform a sort of, as bureaucrats would say, jubilee inventory of what has been done so far, but to use these concise reviews of the published items as an encouragement for readers to meet with their integral versions, be it for the first time or again.

I Among the analytical papers published, only the item ‘Klavirska sonata Sofije Gubajduline’ [‘Piano Sonata by Sofia Gubaidulina’] by Ivana Ćojbašić (Novi Zvuk, 15, 2000) deals with a work for a solo instrument. Moving along

147 New Sound 40, II/2012 the timeline of the Sonata, the author first introduces the features of formal solutions of all the movements in a three-movement sonata cycle, and then reports on the perceived particulars of the composer’s concept of rhythm, stresses the importance of the procedures that allow Gubaidulina to create a rich instrumental sound, underscores the observed cross-like relationship between vertical and linear parameters as the vehicle of the work’s spiritual component, and emphasizes the role of improvisation which the composer uses to open up additional space for performing creativity.

II As early as in the second issue of the newly launched publication, Miloje Nikolić published the item ‘Razvoj forme rukoveti u srpskoj horskoj muzici između dva svetska rata’ [‘Development of the Choral Garland Form in Ser- bian Choral Music between the World Wars’] (Novi Zvuk, 2, 1993), to open up genre space in which he would be joined by two more authors, and thus choral music would be the subject of four analytical texts published in five issues of the magazine. Since this text by Nikolić was a part of his more extensive study, which was still unpublished at the time, the author presented another section of it, belonging to the same subject of scientific interest located in a different time period, through the paper ‘Rukoveti i srodne forme u srpskoj horskoj muzici posle Drugog svetskog rata’ [‘Choral Garlands and Related Forms in Serbian Choral Music after the Second World War’], which was, due to its comprehensiveness, published in two consecutive issues of the magazine (Novi Zvuk, 6, 1995 and Novi Zvuk, 7, 1996). Choosing, therefore, to integrally treat the decades-long development of the pool of domestic choral creation based on the artistic arrangement of folk songs, Nikolić, rightly so, places the garlands by S. S. Mokranjac as the basic landmark for reporting on the features of newly created works. Thus, in the said items, he viewed other authors’ choral opuses based on folklore material through the prism of a choral garland as defined in Mokranjac’s master workshop: first (in the first paper) P. Konjović, S. Binički, K. Manojlović, J. Slavenski, M. Tajčević, M. Živković, S. Nastasijević and V. Vučković; and then (in the second paper) Lj. Marić, P. Milošević, N. Hercigonja, V. Peričić, R. Petrović, R. Anđelković, D. Trbojević, D. Radić, V. Kostić, V. Simić, D. Obradović, M. Živković, Lj. Frajt, D. Golemović, A. Vujić, M. Aleksinački and M. Kuzmanović. Apart from the analyses of the choral works by these composers, the author also offered a possible systematization of the obtained range of various compositional solutions. Choral garlands were a subject of yet another analytical text: in ‘Odnos folklornog zapisa i obrade kao putokaz u analitičkom promišljanju rukoveti’

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[‘Relationship Between a Folk Song’s Written Record and its Treatment as an Indicator for Analytical Study of a Choral Garland’] (Novi Zvuk, 14, 1999), Sonja Marinković offered a new anchorage, applicable in the analytical deliberation on choral garlands, but also on other choral works based on arrangements of folklore material. Namely, in the case study of S. S. Mokranjac’s Petnaesta rukovet [Fifteenth Choral Garland], the author introduced a new analytical tool: the relationship between the original written record of a folklore material and its compositional treatment, which permits the perception of the compositional procedures from the angle of changes in text, metro-rhythmic pulsation, melody and form, but also from the perspective of the applied harmonic and textural variations of individual stanzas. Although the work she analyzed belongs, in a wider sense, to the same genre (choral music), Branka Radović in the item ‘Aleksandar Vujić: Singet dem Herrn’ (Novi Zvuk, 19, 2002) pointed to another kind of cornerstone foundation in the tradition. After recalling that the analytically contoured composition by A. Vujić was written as a commission on the occasion of the 250th anniversary of J. S. Bach, and to the same text that he used in the eponymous motet (BWV 225), it was exactly the text and the polyphonic texture that the author recognized as the natural groundwork that provoked the expected bond with the tradition of the great Baroque master, but also showed that their compositional interpretation had an equally important foundation in the time and space in which Vujić’s work was composed.

III Six authors in eight analytical texts dealt with the genre of chamber music in its diverse and varied concretizations. Ivana Vuksanović was most dedicated to it, choosing the chamber works of contemporary composers as subjects for all three of her papers published in New Sound. From the genre point of view, the ‘purest’ is her analytical croquis ‘Milana Stojadinović Milić, Kaleidoskop – šest komada za duvački kvintet’ [‘Milana Stojadinović Milić, Kaleidoscope – Six Pieces for Wind Quintet’] (Novi Zvuk, 20, 2002), where the author in a well-argued manner established a clear connection between the semantic level of the title (Kaleidoscope…) of the chamber work she analyzed and its overall musical structure. The subject of the previously published item ‘Divertimento Ivana Jevtića – elegancija lakog’ [‘Divertimento by Ivan Jevtić – Elegance of Lightness’] (Novi Zvuk, 17, 2001) was, however, a composition written for two violoncellos and string orchestra, which, although remaining in the domain of chamber sound, already steps away towards the concert genre, by its very nature. After presenting the ‘identification card’ of the analyzed work and noticing

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‘at first sight’ its multi-genre nature, the author offered to us a ‘deeper insight’ into the particulars of its structure and a short ‘personal note’, before she gave us ‘instructions for listening’ at the end of the paper. By talking about Ivana Vuksanović’s texts in a reverse chronological order of their publication in the magazine, we thus arrive at her first item: ‘Elementi popularnih žanrova u delima mladih srpskih kompozitora’ [‘Elements of Popular Genres in the Works by Young Serbian Composers’] (Novi Zvuk, 13, 1999). In dealing with the modes of the impact of popular genres on the creation of the younger generation of Serbian composers, she there reports the results of research focused on a diverse pool of works by Predrag Milojković (Blue – for accordion, harp and percussion), Milica Paranosić (Scarabeus – for electronics), Isidora Žebeljan (Igra [Dance] – for alto saxophone, double bass, piano and goblet drum), Goran Kapetanović (Speed – for symphony orchestra) and Ana Mihajlović (Their Si- lence – for alto, piano, alto saxophone and double bass). While the genre polysemy in the abovementioned paper stems from the fact that the author recognized the same kind of particularly embodied influences of popular genres in several compositions by various authors, Marija Masnikosa’s item ‘Dual Vladimira Tošića’ [‘Dual by Vladimir Tošić’] (Novi Zvuk, 29, 2007) also deals with genre polysemy although the subject analyzed is a single piece by Vladimir Tošić. The composer, namely, rendered the same work in fourteen versions (!): from solo piano, to numerous chamber combinations of different instruments, to string and symphony orchestras. Since all the versions grew from one consistently executed idea, Marija Masnikosa relied on the string orchestra rendition for defining the procedures of the structural development of the work which are equally relevant and representative for all its manifestations. From the angle of its subject, Sonja Marinković’s paper ‘Dva diptiha A. Obradovića’ [‘Two Diptychs by A. Obradović’] (Novi Zvuk, 18, 2001) is also non-monosemic by genre, although its form is less sizable. The dialogue between the soloist and the chamber orchestra in one of the analytically treated works (Diptih za klavir i gudače [Diptych for Piano and Strings]) places the composition into the concertante realm, while the undeniable acoustic homogeneity of the string ensemble in the second composition (Diptih za gudače [Diptych for Strings]) does not provoke any kind of detour from the chamber domain. The fact that this item was completed only after the composer’s unexpected death influenced its structure and partly reoriented the expected analytical centeredness of the text towards an in memoriam. A work for string orchestra was also in the centre of Miloš Zatkalik’s analytical interest. Since Berislav Popović, composer, was publicly known as an eminent theoretician too, Miloš Zatkalik was intrigued by the chance to offer

150 Ostojić, N.: Views from the Analytical Angle (146–160) the analysis of B. Popović’s composition Balada za gudače [Ballad for Strings] – within the paper ‘Berislav Popović: Balada o izgubljenom tonalitetu’ [‘Beris- lav Popović: A Ballad about Lost Tonality’] (Novi Zvuk, 30, 2007) – to readers as an interesting confrontation between the theoretical opinions of B. Popović and their compositional application in the work in question. Another analytical encounter with a composition written for a larger chamber ensemble (15 players) was arranged for us by Jelena Novak in the paper ‘Queer protokol Omaža: Marko Nikodijević, Mračne odaje – grobnica za Kloda Vivjea’ [‘Queer Protocol of an Homage: Marko Nikodijević, Chambres de té- nèbres/tombeau de Claude Vivier’] (Novi Zvuk, 29, 2007). Reminding us, first of all, of the particulars of C. Vivier’s life and creativity, and then analytically following the procedures that M. Nikodijević used to build the construction of his homage to the Canadian colleague, the author substantiates the expressed conviction that the possible analogy in the social status and the activities of both composers might have been an additional incentive for composing the analyzed piece. The only paper remaining whose subject belongs to the genre of chamber music brings us back to its more authentic form. In the analytical text ‘Tatjana Milošević: Spiro – o vremenu u muzici’ [‘Tatjana Milošević: Spyro – on Time in Music’] (Novi Zvuk, 22, 2003), Ivana Stamatović deals with a work written for the classical piano trio. Its analytical perspective, however, is not particularly classical: by defining the duality of the temporal component of the piece, which she analyzes as its significant feature, the author stresses the insistence on the structural elements that affirm the composition’s developmental tissue as the consequence of a categorical conflict between the static and dynamic aspects of musical time.

IV The concerto genre has been present in the section ever since the first issue of the newly launched magazine, where Anica Sabo published the item ‘Seri- jalne kompozicije Bele Bartoka/Drugi koncert za violinu i orkestar’ [‘Serial Compositions of Béla Bartók/The Second Concerto for Violin and Orchestra’] (Novi Zvuk, 1, 1993). Conforming to the stated subtitle, the author thus chose the case study of the Concerto for Violin No. 2 as a way to research Bartók’s compositional procedure in the works based on serial principles, as well as the ways in which he treated a series. After examining in great detail the features of the principal twelve-tone series, modes of its appearance, as well as the funda- mentals of its modification and contraction which define its pulsation along the trajectory of diverging from and converging to its principal form, the author, in

151 New Sound 40, II/2012 one of the longest papers ever published in the Analyses section (14.5 pages of text + 10 pages of examples), established the particulars of a fully organized and consequently applied system whereby Bartók shaped this exceptional composition. Another encounter with the same concerto was organized for us by the same author five years later, when she published the item ‘Bartokovi principi tematskog objedinjavanja ciklusa’ [‘Bartók’s Principles of Thematic Integration of a Cycle’] (Novi Zvuk, 12, 1998). The subject hence remained the same, while the angle of its analytical consideration was changed. By focusing her perspective on the thematic level of the work, which was treated only cursorily in the previous paper, A. Sabo followed through the specifications of its functioning and defined junctions that, by an integrative effect, solidify both the internal structures of the individual movements and the cumulative homogeneity of the cycle. In between the two said papers, A. Sabo was interested in the features of two, then, new concerto works by a Serbian composer. And again a violin concerto was involved (albeit in conjunction with another work). In the item ‘Aleksandar Obradović: Koncert za violinu i gudače i Muzika za klavir i gudače – formalna koncepcija muzičkog toka’ [‘Aleksandar Obradović: Concerto for Violin and Strings and Music for Piano and Strings – Formal Concept of the Musical Tissue], she first reports on the perceived distinctions congruent in both concerto works and equally typical of their formal concept, and then reads the functioning of these distinctions in the continuous musical tissue of each work in turn. Such a procedure leads to acknowledgment of the distinct manner that allows for the seemingly traditional three-movement cycle of an instrumental concerto in the treated works by A. Obradović, which he composed in his full artistic prime, to obtain a deeply personal and authorial expression. By drawing from the title determinant of the composer’s comment to the work’s premiere at the Review of Composers in Belgrade, Marija Masnikosa published the paper ‘Neizrecivo…’ [‘The Incommunicable…’] (Novi Zvuk, 4/5, 1994/95), where she applied an analytical procedure to Vlastimir Trajković’s Concerto for Viola and Orchestra in G Minor, Op. 23. By placing the initial centre of gravity on some kind of apparent dualism between the formal framework written in the score (division in movements) and the incongruous experience of the formal structure of the musical tissue as perceived by the listener, M. Masnikosa first substantiated her conviction that Trajković’s music is essentially indifferent to traditional, predetermined formal patterns, even when they are being applied to it, ostensibly. Next, by noticing another kind of dualism, based on the functional dualism of the employed thematic reoccurrences as the natural state of permanent development, i.e. fragmented repeating, M. Masnikosa based upon this dualism an analytical process through which she

152 Ostojić, N.: Views from the Analytical Angle (146–160) defined the particulars of Trajković’s developmental tissue, and whose results she reported to us in this paper. An exception of a similar nature and on the same level is also suggested by Ira Prodanov’s item ‘Nebojša Jovan Živković: Koncert za marimbu i orkestar’ [‘Nebojša Jovan Živković: Concerto for Marimba and Orchestra’] (Novi Zvuk, 11, 1998). The author analytically established that the composer in this work accepted the habitual procedures of the traditional concerto cycle only outwardly: by keeping the three-movement structure as the classical external framework, he does not ground its internal realization on the usual formal patterns (I – sonata form, II – ternary form, III – rondo), but conversely, on the singularities stemming from the acoustic, technical and expressive particulars of a relatively rare solo instrument (the marimba), as well as from a sort of programme concept carried out through the entire tissue of the composition. It is the decryption of these singularities and their following through the integral tissue of the concerto that constitutes the communication plane of this analytical text.

V In the previous period, five analytical papers were published in which the research perspective was oriented towards the works of the symphonic genre. Interestingly, they include, for the first time, items by foreign musicologists. Apart from dealing with works of one and the same genre, the papers are related by the fact that their subjects, as a rule, are early symphonic works by foreign authors, rarely performed in our midst. Offering readers a sketch for the portrait of her renowned compatriot – in the item ‘Druga simfonija Osvaljdasa Balakauskasa: tekst i kontekst’ [‘Вторая симфония Освальдаса Балакаускаса: текст и контекст’] (Novi Zvuk, 8, 1996) – Lithuanian musicologist Gražina Daunoravičienė achieved this in precise strokes of her analytical handwriting, although these, as she herself noted, were unexpectedly located subject-wise. Namely, she drew the main lines of the composer’s portrait along the contours of a relatively early symphonic composition (1979); from the text of the symphony, but from its context too, she read numerous peculiarities that would manifest themselves to a greater extent in his oeuvre only in subsequent years. Therefore, by perceiving in the analyzed text the traces of its contextualization, G. Daunoravičienė therein pointed not only to the determinants with which Balakauskas’s opus resonates at the level typical of the creative circle which, in her conviction, he belongs to (Boulez, Ligeti, Xenakis…), but also to the properties that individualize that opus, thus making it atypical.

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Branka Radović’s paper ‘Prva crnogorska simfonija. Ilija Lakešić: Simfo- nija br. 1 u G-duru’ [‘The First Montenegrin Symphony. Ilija Lakešić: Sym- phony No. 1 in G Major’] (Novi Zvuk, 11, 1998) deals with a composition that, being a university degree work, cannot ground its importance only on the artistic level reached, but also on its own position within the space of a national culture in which it stands as the initiator of a genre. By analytically following through the continuous development of the symphony, and being aware of what was previously said, the author of the item points to the traces imprinted in the composition by the defined curricular requests it had to meet and the extremely powerful creative authority of Lakešić’s mentor (J. Slavenski), but also to those of its features that, due to the melodic and rhythmic ingrainedness in Montene- grin folklore, defined the space of the national identification of the work (when B. Radović’s analytical text was published, Ilija Lakešić belonged among domestic authors, but by a combination of social circumstances, as we write these lines he no longer does!) Romanian musicologist Laura Manolache, in the item ‘Stilski pregled muzike Tiberijua Olaha sa posebnim osvrtom na Simfoniju br. 2’ [‘A Stylistic Over- view of the Music by Tiberiu Olah with Reference to Symphony No. 2’] (Novi Zvuk, 29, 2007), presented an author less known in Serbia, even in professional circles. Maybe that was the very reason why, in this musicological croquis, she first dedicated ample space to communicating the composer’s biographical data and the list of his most significant works, and only then, through short analytical reviews of a few compositions, pointed to the stylistic distinctions of his opus. It was surprising, however, that the special review of the Symphony No. 2, announced in the paper’s title, was reduced to a mere twenty or so lines at the end of the text. The initial symphonic oeuvre of Alfred Schnittke – a turning point for his overall creative activity and, in certain opinions joined by the author of the published text, controversial – drew the attention of Milena Medić, who in an extensive paper ‘Dramaturške funkcije improvizovanih segmenata forme u Prvoj simfoniji A. Šnitkea’ [‘Dramaturgic Functions of Improvised Formal Sections in A. Schnittke’s First Symphony’] (Novi Zvuk, 32, 2008) directed her analytical focus to the creative space that the composer in this work opened for the always different, improvisational contribution of its performers. She did that not only to try and understand the reasons why the composer employed this procedure, but also to answer the question of what the creative spaces, opened in this way, signify, represent or mean. Milena Medić thereby stated that the composition – subtitled even by the composer personally, in various occasions, as a non- symphony or anti-symphony/symphony – was created within the traditional, external formal framework (four-movement symphonic cycle), through which it

154 Ostojić, N.: Views from the Analytical Angle (146–160) actually declared its deep ingrainedness in centuries-long stratifications of compositional experience, but at the same time, its numerous and openly manifested individual features represent a radical breakaway from precisely this centuries- long experience. With a detailed research insight into the continuously exam- ined integral tissue of the work and by following through the particular forms of carrying out the aforementioned dichotomy, she travelled the path towards the interesting musicological results reported in this item. The last item whose subject belongs to the symphonic genre was published recently, in the previous issue of New Sound. It is a paper by Slovenian musicologist Gregor Pompe ‘Palimpsest i/ili tehnička parodija: odnos između modern- izma i postmodernizma u kompoziciji Talis Petera Ružičke’ [‘Palimpsest and/ or Parody Technique: The Relation between Modernism and Postmodernism in Peter Ruzicka’s Composition Tallis’] (Novi Zvuk, 39, 2012). Although it is conceivable that the content of this item is still fresh in the reader’s memory, we will nevertheless indicate its main features. First of all, the author realizes the need, as imposed by the very subject of the analytical deliberation, to dedi- cate the introductory discussion to the perception of dilemmas introduced in the technical term ‘Post-Modernism’ by its linguistic-constructional prefix ‘post’ that distinguishes it from Modernism on the defining plane. And the subject of analytical deliberation is an orchestral work whose title (Tallis) clearly steers us towards the source of the composer’s ideas (the opus of the English Re- naissance composer Thomas Tallis), and the subtitle (Einstrahlungen für großes Orchester [Radiations for Large Orchestra]) suggested the procedures of the implementation of these ideas in a typically post-modern texture. Deeming that the composition could be interpreted as a standard example of the application of the ‘music about music’ concept, which he says is distinctive for P. Ruzicka, G. Pompe next analytically followed the traces of T. Tallis’s music in the acoustic parchment of Ruzicka’s score, but also the composer’s procedures that rendered these traces – implemented either as allusions or legitimate materials – both hidden and uncovered.

VI All that remains is to remind the reader of the seven papers whose individual singularities nuance the presented range of items grouped according to the genre affiliation of the analyzed works. Already at the beginning of ‘Muzika za balet Isidora – sa stanovišta korišćenja citata’ [‘Music for the Ballet Isidora – from the Aspect of Using Quotations’] (Novi Zvuk, 10, 1997), Ana Kara-Pešić noted that it was an authorial team project, and that certain creative decisions at the level of the acoustic transposition of the ballet’s dramaturgical topic that follow from, but not

155 New Sound 40, II/2012 only from, that fact, defined its entire musical layer which was the subject of her item. Taking the view that Ivana Stefanović’s music, although directed by the libretto whose specific markers it often follows, successfully fought for its own status, autonomous with respect to the stage production, the author of the paper in which she reports on the results of her exploratory inspection pointed to the structural procedures by which the composer carried out the multi-genre spectrum of her score. Thereby, the focus of her attention is turned to those segments of the musical tissue which clearly manifest a direct reliance on other authors’ materials, or discussions with them, and which promote citations as the fundamental determinative of the rich compositional gamut. In the paper ‘Žan-Klod Rise i nove muzičke tehnologije: ključna reč – kompjuter’ [‘Jean-Claude Risset et les nouvelles technologies musicales: l’ordinateur, maître-mot’] (Novi Zvuk, 21, 2003), the French composer and music writer Olivier Meston reminds readers that the basic singularities of J.-C. Risset’s compositional opus follow from the conjugation of art and science, and that his research into numerically generated sound determined his compositional oeuvre. After that, through case studies of Risset’s individual works he suggests basic procedures that the composer used to explore the infinite possibilities offered to him by a machine (computer) and stresses the central driving principles that guide the composer: perception as the focus of the research; the composing of sound instead of composing by sound. The paper ends with a comprehensive list of the works composed by then, as well as a short biography of J.-C. Risset. The particularity of Michael Austin’s item ‘Studija slučaja u analizi multi- medija korišćenjem alatki savremene semiologije’ [‘A Case Study in Analyzing Musical Multimedia Using Unités Sémiotiques Temporelles’] (Novi Zvuk, 38, 2011) lies both in the subject it deals with and in the innovative methodological tool it introduces. By applying the system of Temporal Semiotic Units (Unités Sémiotiques Temporelles, USTs), developed in Marseille Music and Informatics Laboratory (Laboratoire Musique et Informatique de Marseille), in this text he substantiates his conviction that the results he obtained by an analytical case study of a particular audio-visual multimedia structure (Three Tales, Part III, Dolly), signed by Steve Reich (music) and Beryl Corot (video), can encourage the research of deeper semantic insights, impracticable with traditional methodology, even when analyzing non-multimedia acoustic works. What is expressed in the text serves, therefore, as an example, but also as a provocation for a more detailed recognition of the analytical methodology that the author uses. The singularity that partly diverges from analytical procedures, but is nevertheless deeply ingrained in them, was offered by Predrag Repanić in the item

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‘Feniks – kanon Non nobis, Domine – ili Ka novom krugu zvuka beskonačnog kanona’ [‘Phoenix – Canon Non nobis, Domine – or Towards a New Cycle of Sound of the Endless Canon’] (Novi Zvuk, 33, 2009). By directing his exploratory interest to a vocal canon that has been the centre of the creative attention of many composers and musicologists, the author, by the nature of things, put himself in a position that implied methodological innovativeness. On the other hand, to gain truly innovative solutions, P. Repanić first had to walk the usual path, i.e. to analytically identify the chosen subject from the historical, stylistic and theoretical aspect, and then to play, as a researcher, with the conceivable polymorphism of its imitational potential. Since the author is also a composer who is playing, he indulges in some minor adjustments of the original thematic material and thus obtains a result that is somewhat surprising even to him: including the resolutions identified earlier and around twenty new ones, he records the grand total of 27 different ways in which the canon could be sung! After this result, which is still largely analytical and theoretical, the composer comes to the fore, having previously been present only casually, and the paper takes an unexpected turn: what emerges is a complex authorial rendition of the canon’s theme, which by its fresh and contemporary sound confirms the modern vitality of the air Non nobis, Domine, and thus crowns the theoretical research in a surprising, but appropriate way. With a subject that diverges from a concrete musical work or genre, but remains within the domain of music, Danijela Kulezić in ‘Audiovizuelna struktura filma i uticaj poetike mita na njeno sazrevanje’ [‘The Audio-visual Struc- ture of Film and the Influence of the Poetics of Myth on its Maturing’] (Novi Zvuk, 9, 1997) deals with particular qualities in the development of cinematic art defined at the level of feedback in the correlation between the acoustic and the visual. Reiteration of the fact that music itself was the acoustic layer that appeared even before the silent movies (originally performed during showings of silent movies to cover the noise of the cinema projector) is the starting point from which the author follows the key moments in the historical development of the function of the musical layer in a film. Therein, she pinpoints those film- makers who played a significant role as founders (Sergei Eisenstein, Jean Coc- teau) or revolutionaries (Alfred Hitchcock), but also to the important overtones lent to the maturing process by the mythologization of a film’s narrative, visual and musical structures. An unusual analytical angle taken in Ivan Čolović’s paper ‘Balkan u jed- nom narativu o world music u Srbiji’ [‘The Balkans in a Narrative about World Music in Serbia’] (Novi Zvuk, 24, 2004) leads to the result whose central overtones are partly dislocated from the domain of the particular musical subject. Namely, the author focuses his participation in the debate on the World Music

157 New Sound 40, II/2012 category on the reading of polysemic stratifications obvious at the semantic level of syntagms of musical terminology based on the topos of the Balkans. Deriv- ing his conclusions mostly from oral or written testimonies of a larger number of performers established in the musical genre he investigates, I. Čolović points to those semantic layers which enrich the narrative on the music of this region by a priori determinatives (being ancient, authentic, natural, unrestrained…), stemming precisely from the toponym ‘Balkans’. The author reminds the reader that the terminological syntagms of this kind are double qualificatives, i.e. that they have, at the same time, differential meanings (e.g. Balkan as opposed to Oriental), and that the stereotypes based on them need not come from outside, but that they can adapt to the current social environment. It is no accident that the last in this group is Anica Sabo’s item ‘Problemi koji se tiču terminoloških definicija elemenata strukturalnog nivoa muzičkog toka – muzička fraza’ [‘Problems Concerning the Terminological Defining of Elements of the Structural Level of the Musical Tissue – the Musical Phrase’] (Novi Zvuk, 27, 2009). Dealing with an issue from the domain of musical syn- tax, the author maintains her interest at the level of scientific ‘ivory-towerism’, i.e. of the theoretical and terminological aspects of the theory itself. Thus, the paper has distinctive characteristics compared to all the other texts published in the Analyses section, whose subjects were works of art. Its distinctions are thus not exhausted, because the author places it in the context of the items by other authors, who consider the same problem area, and carries it out as an ongoing process which will not yield final, but only forthcoming answers to numerous and diverse dilemmas perceived in practice or in the presented opinions of other authors (Berislav Popović, Tatjana Ristić, or Miloš Zatkalik/Olivera Stambolić). Unconvinced that comprehensive systematic solutions can be thoroughly applied in the current moment, the author at the end argues that at least some attitudes initiated by the stated dilemmas should be specified and coordinated, within the realm of the possible.

INSTEAD OF A CONCLUSION As the only one whose subject steps out of the domain of the artwork, the last presented paper by Anica Sabo is in resonance with Ivana Ćojbašić’s item ‘Klavirska sonata Sofije Gubajduline’, discussed at the beginning, which is also the only one that treated a solo piece. Therefore, these two papers frame and complete this clear insight into thirty authorial papers published during the twenty years of the Analyses section in the New Sound magazine. We believe that even those who share the belief that every analysis of a musical (artistic) work should in fact be its analytical interpretation (and those include the author

158 Ostojić, N.: Views from the Analytical Angle (146–160) of this text) will agree that the published text confirmed the appropriateness of the Editorial Board’s original decision that, alongside Studies, Interpretations and New Works sections, the Analyses section should also be included in the magazine. Translated by Goran Kapetanović

REFERENCES

Austin, Michael: ‘A case study in analyzing musical multimedia using Unités Sémiotiques Temporelles’, New Sound, 38, 2011, 87–95. Vuksanović, Ivana, ‘Elementi popularnih žanrova u delima mladih srpskih kompozitora’, Novi Zvuk, 13, 1999, 85–98. Vuksanović, Ivana, ‘Divertimento Ivana Jevtića – elegancija lakog’, Novi Zvuk, 17, 2001, 71–75. Vuksanović, Ivana, ‘Milana Stojadinović Milić, Kaleidoskop – šest komada za duvački kvintet’, Novi Zvuk, 20, 2002, 91–95. Daunoravičene, Gražina, ‘Druga simfonija Osvaljdasa Balakauskasa: tekst i kontekst’, Novi Zvuk, 8, 1996, 43–50. Zatkalik, Miloš, ‘Berislav Popović, Balada o izgubljenom tonalitetu’, Novi Zvuk, 30, 2007, 129–147. Kara-Pešić, Ana, ‘Muzika za balet Isidora – sa stanovišta korišćenja citata’, Novi Zvuk, 10, 1997, 111–124. Kulezić, Danijela, ‘Audiovizuelna struktura filma i uticaj poetike mita na njeno sazrevanje’, Novi Zvuk, 9, 1997, 59–64. Manolake, Laura, ‘Stilski pregled muzike Tiberijua Olaha sa posebnim osvrtom na Simfoniju br. 2’, Novi Zvuk, 29, 2007, 53–59. Marinković, Sonja, ‘Odnos folklornog zapisa i obrade kao putokaz u analitičkom promišljanju rukoveti’, Novi Zvuk, 14, 1999, 61–73. Marinković, Sonja, ‘Dva diptiha A. Obradovića’, Novi Zvuk, 18, 2001, 89–97. Masnikosa, Marija, ‘Neizrecivo...’, Novi Zvuk, 4/5, 1994/95, 73–82. Masnikosa, Marija, ‘Dual Vladimira Tošića’, Novi Zvuk, 29, 2007, 60–66. Medić, Ivana, ‘The Dramaturgical Function of the Improvisatory Segments of from in Alfred Schnittke’s First Symphony’, New Sound, 32, 2008, 243–258. Meston, Olivije, ‘Žan Klod Rise i nove muzičke tehnologije: ključna reč – kompjuter’, Novi Zvuk, 21, 2003, 87–93. Nikolić, Miloje, ‘Razvoj forme rukoveti u srpskoj horskoj muzici između dva svetska rata’, Novi Zvuk, 2, 1992, 63–82. Nikolić, Miloje, ‘Rukoveti i srodne forme u srpskoj horskoj muzici posle drugog svetskog rata’, Novi Zvuk, 6, 7, 1995, 1996, 111–122, 47–62. Novak, Jelena, ‘Queer protokol Omaža, Marko Nikodijević, Mračne odaje – grobnica za Kloda Vivjea’, Novi Zvuk, 29, 2007, 67–76.

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Pompe, Gregor, ‘Palimpsest and/or parody technique: the relation between modernism and postmodernism in Peter Ruzicka’s composition Tallis’, New Sound, 39, 2012, 91–108. Prodanov, Ira, ‘Nebojša Jovan Živković: Koncert za marimbu i orkestar’, Novi Zvuk, 11, 1998, 83–97. Radović, Branka, ‘Prva crnogorska simfonija. Ilija Lakešić: Simfonija br. 1 u G-duru’, Novi Zvuk, 11, 1998, 99–107. Radović, Branka, ‘Aleksandar Vujić: Singet dem Herrn’, Novi Zvuk, 19, 2002, 75–79. Repanić, Predrag, ‘Phoenix – Canon Non Nobis, Domine: or Towards the new cycle of the sound of the endless canon’, New Sound, 33, 2009, 57–79. Sabo, Anica, ‘Serijalne kompozicije Bele Bartoka/Drugi koncert za violinu i orkestar’, Novi Zvuk, 1, 1993, 113–137. Sabo, Anica, ‘Aleksandar Obradović: Koncert za violinu i gudače i Muzika za klavir i gudače – formalna koncepcija muzičkog toka’, Novi Zvuk, 3, 1994, 85–96. Sabo, Anica, ‘Bartokovi principi tematskog objedinjavanja ciklusa’, Novi Zvuk, 12, 1998, 91–103. Sabo, Anica, ‘Problematika terminološkog određenja elemenata strukturnog plana muzičkog toka – muzička rečenica’, Novi Zvuk, 27, 2009, 72–82. Stamatović, Ivana, ‘Tatjana Milošević, Spiro – o vremenu u muzici’, Novi Zvuk, 22, 2003, 63–67. Ćojbašić, Ivana, ‘Klavirska sonata Sofije Gubajduline’, Novi Zvuk, 15, 2000, 101–115. Čolović, Ivan, ‘Balkan u naraciji o World muzici u Srbiji’, Novi Zvuk, 24, 2004, 59–62.

160 STUDIES

Article received on 13 February 2013 Article accepted on 15 February 2013 UDC: 78.067.26(73)"19" ; 316.72(73)"19"

PLEADING FOR UTOPIA: AMERICAN PASTORAL IN BOB DYLAN’S MUSIC

Nikola Dedić* University of Niš Faculty of Philosophy

Abstract: This paper focuses on the relationship between pop culture, i.e. pop music, and ideology. The main thesis of the text is that the works of pop culture are the product of the social-historical context in which they emerge, but that the same works can also function as a criticism of that very context. As an example, we took Bob Dylan’s media phenomenon and the elements of utopia as a narrative genre in his work. As a theoretical-interpretative context we relied on the propositions of American analytic philosopher Stanley Cavell: through his ethical theory on ‘moral perfectionism’ an analysis was made of the way in which pop culture functioned as the necessary internal corrective of a democratic community. It is assumed that texts on pop culture cannot be truly revolutionary, but they can certainly be critical. Keywords: pop culture, pop music, moral perfectionism, utopia, ideology, democracy. Апстракт: Рад се бави односом између популарне културе, односно популарне музике и идеологије. Основна теза текста јесте да су дела популарне музике продукт друштвено-историјског контекста у коме настају, али да та иста дела могу функционисати и као место критике тог контекста. Као пример узети су медијски феномен Боба Дилана и елементи утопије као наративног жанра у његовом раду. Као теоретско-интерпретативни оквир искоришћене су поставке америчког аналитичког филозофа Стенлија Кавела: кроз његову етичку теорију о „моралном перфекци- онизму“ анализира се на који начин популарна култура функционише као нужни

* Author contact information: [email protected]

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унутрашњи коректив демократске заједнице. Претпоставка је да текстови популарне културе и музике не могу бити револуционарни у јаком смислу те речи, али могу бити критички. Кључне речи: популарна култура, популарна музика, морални перфекционизам, утопија, идеологија, демократија

Ralph Waldo Emerson in the postmodern context The starting point of this paper is the analysis of the relationship between Bob Dylan’s music and the broad tradition of the ‘inclination’ towards utopia, which was most clearly anticipated by Ralph Waldo Emerson within the American romanticist tradition. This kind of Emersonian progressive heritage is determined by the philosopher Stanley Cavell as ‘moral perfectionism’; moral perfectionism implies the reflection on ethics that begins with Plato and Aristo- tle, and ends with thinkers such as Ralph Waldo Emerson and Friedrich Nietz- sche in the 19th century, i.e. Martin Heidegger and Ludwig Wittgenstein in the 20th century. In its modern form, moral perfectionism implies the principle of ethical progress of the subject, i.e. the transcending of the moral and material conditions of existence, but through the denial of the external guarantee of this transcending. In that sense, moral perfectionism represents the first manifestation of criticism of Western metaphysics: the process of moral progress is not attained through interaction with the external instances of God, absolute spirit, ruler’s authority, religion, etc., but through the process of individual transfigu- ration that Stanley Cavell, taking Emerson’s philosophy as central, labels as ‘the process of individuation’. Moral perfectionism, in that sense, is the system of the reflection of subjectivity, along with the denial of the possibility of the external representation of that same subject; this process is, perhaps, the most consistently conveyed in Emerson’s essay ‘Self-Reliance’, where the self is defined as the process of continual individual progress, the revolutionizing of that same self towards transcending the current conditions of living, but through the anti-metaphysical denial of the subject’s involvement by representation1. Ac- cording to Cavell,

1 Ralf Valdo Emerson, „Samodovoljnost“, Ogledi, Grafos, Belgrade, 1983, p. 48–77; on Emerson cf. Tiffany K. Wayne, Critical Companion to Ralph Waldo Emerson. A Literary Reference to His Life and Work, Facts on File, New York, 2010; Harold Bloom (ed.), Bloom’s Classic Critical Views: Ralph Waldo Emerson, Bloom’s Literary Criticism, New York, 2008; Harold Bloom (ed.), Bloom’s Modern Critical Interpretations: Emerson’s Essays, Chelsea House Publishers, New York, 2006.

162 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180)

Emerson’s problem of representativeness, or exemplification (‘imitation’), or perfection, thus begins earlier than Plato’s, both in lacking a sun and in having no standing representative man (anyone is entitled, and no one is, to stand for this election) and he warns that we have to – that we do – elect our (private) representative(s). In a sense his teaching is what we are to see beyond representativeness, or rather see it as a process of individuation.2 Thus, Cavell relates the philosophy of Ralph Waldo Emerson to the contemporary criticism of metaphysics; Emerson is, in that sense, the anticipation of Heidegger’s philosophy that supports the doubt in Cartesian rationality, where there is a denial of the possibility of absolute completeness, the totality of thinking (Emerson, due to Heidegger, is also the anticipator of the thesis about ‘the not-whole’ of thinking and the subject, which post-modernism most consistently inherits). The anticipation of knowledge, not mediated by any external guarantor, is also the basis of Wittgenstein’s philosophy: his main thesis is that all traditional, metaphysical notions and judgments should be considered in the context of the structure of everyday speech: knowledge, truth, the subject are the forms of linguistic definition, the proposition whose meaning is determined by context (by the rules of ‘linguistic games’) within which this proposition becomes used. So, Stanley Cavell comes to conclusions close to postmodern philosophy; the basis of his theory is, relying on Emerson – the deconstruction of Western metaphysics and the devastation of the assumption about the complete, ‘whole’ subject. However, the point where Cavell, i.e. the doctrine of ‘moral perfectionism’ and post-modernism disband are political implications of these two theoretical systems; the relativistic positions of Lyotardian post-modernism, through an assumption that manifestation, sense, meaning, value, or any other effect of signifying a product, are relative or arbitrary, necessarily lead to a sort of political, ethical and existential nihilism.3 Contrary to this, Cavell associates Emersonian moral perfectionism to the emancipating principle of the utopian transformation of the subject and the world; utopia is, thus, not seen as an ideal place (which would be a ‘metaphysical’ determination of utopia), but more like a non place, as an on-going and never finished process of the progressive improvement of the self: Emerson’s invoking the world he thinks is at once to declare what I am making as the perfectionist’s address to Utopia as to something somehow here, whose entrance is next to us, hence persistently just missed, just passed, just curbed, and so to declare that the world in question inspires or requires a particular mode of thinking.

2 Stanley Cavell, Conditions Handsome and Unhandsome: The Constitution of Emersonian Perfectionism, The University of Chicago Press, Chicago and London, 1990, p. 10. 3 Miško Šuvaković, „(Post)moderna i nihilizam“, Projeka(r)t No. 11–15, Novi Sad, March 2001, p. 276–282.

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(…)

But suppose that the intelligible world is ‘the city of words’, say Utopia; and suppose that the world of that city is not a ‘something’ that is ‘outside’ (i.e., ‘beyond’ ‘the world of sense’ – what is the process Kant figures as taking a standpoint?), but is, as it says, ‘no place’, which perhaps suggests no place else, but this place transfig- ured(…) You cannot bring Utopia about. Nor can you hope for it. You can only enter it(…) In this way the imaginability of Utopia as a modification of the present forms a criterion of presence of good enough justice.4 Having all this in mind, it is possible to come up with more precise conclusions about the ‘nature’ of Dylan’s politics: Dylan’s utopism is not leftist- Marxistic (although Dylan mostly comes from the American Leftists’ heritage and leftist-oriented folk music); his abandoning of leftist positions of folk re- flects ‘the spiritual climate’ that announced post-modernism; however, Dylan’s distancing from folk is not nihilistic (in the way Lyotard’s or Baudrillard’s is): Dylan’s abandoning of folk, his distancing from the left wing will retain a utopian character; this kind of utopism is in its base Emersonian, and hence anti- collectivistic, i.e. highly individualistic.

Utopism of the Midwest and ‘The North Country’ Dylan’s utopism can be regarded, as David Pichaske points out, in the context of the grand heritage of the American ‘pastoral’, with the two central moments within: the motive of nature and the motive of travel. The American pastoral vision starts from the praising of rural life and it binds it with the attempts of the ethical defining of the ‘right’ and the ‘authentic’ way of living; within the Anglo-Saxon tradition, pastoralism becomes visible already in the works of the early British romantic poets such as Oliver Goldsmith and Thomas Gray, and later in the works of William Wordsworth, William Blake, and John Keats.5 The American pastoral, thus, has a triple foundation: aesthetic, religious and philosophical. The aesthetic frame finds its origin in the tradition of Brit- ish and American Romanticism, while the religious aspect finds its inspiration in the labour ethics of Lutheranism and later – Calvinism. The philosophical foundation of the American pastoral will allow, first of all, the representatives of transcendentalism, such as Henry David Thoreau and Ralf Waldo Emerson; their direct antecedent is Jean Jacques Rousseau’s philosophy, who praised nature as the source of good in the ethical sense, considering that nature and ‘the

4 Stanley Cavell, op. cit., p. 19–20. 5 David Pichaske, Song of the North Country: A Midwest Framework to the Songs of Bob Dylan, Continuum, New York, 2010.

164 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) authentic’ human community are contaminated by contradictions and complexi- ties, i.e. by the progress of human history. The utopian vision of nature is, thus, at the very centre of Emersonian idealistic philosophy, which begins from the assumption that the manifesting, material world is only a kind of reflection of that which Emerson will denote as ‘over-soul’ in the manner of Neo-Platonism. Emerson views nature in the context of reflecting the universal world of ideas.6 For Emerson, nature is one of the elements for attaining the ethical principal of self-reliance, i.e. the element of the progressive improvement of the subject and the critical transcending of the current conditions of existence, which is ‘contaminated’ by the apparatus of a mechanical civilization. The reinterpretation of the Emersonian vision of nature as an element of criticism of the consumerist culture, mostly became the basis of the American counter-culture during the 1950s and 1960s – from literature (the writers of that period in their criticism of American capitalism often started from the dialectic tension between ‘the freedom’ of the revelation of nature and ‘the alienation’ of the big cities – this is the main conflict in the novels such as Salinger’s The Catcher in the Rye, Arthur Miller’s Death of a Salesman, Jack Kerouac’s On The Road and Ken Kesey’s One Flew Over The Cuckoo’s Nest), then in the movies (Laszlo Benedek’s The Wild One, Dennis Hopper’s Easy Rider, John Boorman’s Deliverance), to pop music (the whole folk revival from the beginning of the 1960s was founded on the fascination with the rural musical tradition of ‘the old’ America, while Emersonian pastoralism would mostly be integrated into the heritage of American psychedelic rock and country rock; typical examples are songs such as ‘Goin’ Up the Country’ by Canned Heat, ‘Woodstock’ by Jonni Mitchell, ‘Take Me Home, Country Roads’ and ‘Wild Montana Skies’ by John Denver, numerous songs by The Byrds, Nitty Gritty Dirt Band, etc.). Such a dialectic between the criticism, i.e. the alienation of the urban and the projection, i.e. redemption in the rural, is the basis of Dylan’s utopian pastoralism: places of alienation mostly are the big cities of the East Coast (especially New York), while the utopian vision is reserved mostly for the territory of the American Midwest or ‘the North country’ (Dylan’s homeland Minnesota). This pastoral vision was present already in Dylan’s earliest songs – on the first album, in the songs such as ‘Talkin’ New York’ or ‘Song to Woody’, nature is the place of literal, but also spiritual escape from the destructiveness of the great megalopolis, which is directly sung about in ‘Desolation Row’, ‘Subterranean Homesick Blues,’ and ‘Stuck Inside of Mobile with the Memphis Blues Again’. As Pichaske points out,

6 Ralf Valdo Emerson, „Priroda“, Ogledi, Grafos, Belgrade, 1983

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Usually, Dylan finds nature, whether sunny or stormy, to be a source of sanity, restoration, escape, grace... and the right kind of girl, what Andy Gill calls ‘the unpreten- tious, undemanding earth-mother type’. Nature is an antidote to insanity, decay, confinement, corruption, and the wrong kind of girl. ‘Time again in Love and Theft’, writes Andy Muir, ‘it seems that “majesty and heroism”, if it is to be found anywhere, is to be found in or of country roots...’ The agrarian world is depicted as the authentic alternative to all that has ‘gone wrong’.7 So, Dylan’s vision of nature is a symbol of deliverance and renewal, in his love songs it is a space of emotional escape from a bad relationship (e.g. ‘Don’t Think Twice, It’s All Right’), and very often a place of fulfilment of the religious ideals of the Judeo-Christian myth, where nature is related to Biblical reinterpretations (e.g. ‘11 Outlined Epitaphs’, ‘When the Ship Comes In’, ‘In the Garden’, etc.). The second important segment of American utopian pastoralism is the motive of travel: Pichaske minutely explains the archetypal structure of this motive, which has been present since classic American literature, to western movies, to country music and rock and roll. Dylan’s songs on this issue reflect three basic ‘stages’ of pastoral myth on travelling: the ‘preliminary’ stage, or departure; the ‘liminaire’ stage, or separation from home on a road fraught with dangerous adventures in marvelous environments; and the ‘postliminaire’ stage, or return. This is the ideal scheme, and within American pop-culture some of these stages (as the third stage, or return) can be left out. In that sense, the road, in the utopian spirit, is experienced as a sign of individual freedom (travelling as a rejection of materialism, social hypocrisy, as well as an invitation to reject the conventional, routine way of life); finally, the metaphor of the road signifies the place of individual development, i.e. ‘In terms of personal, individual development (...) individuals are woefully incomplete if they fail to go on the road’. American authors, like Dylan, ‘proclaimed other attributes of the American open road, including health, freedom of choice, heroic deeds and art, above all the expanded consciousness’.8 The motive of travel is essentially related to the dialectic tension between criticism and projection; the frequent absence of the third phase implies the Protestant ethics which insist on the linear, progressivist view of history and consideration of America as a utopian project of constant expansion towards the West. On the other hand, the absence of the motive of return implies the issue of alienation of the subject which is in the process of

7 David Pichaske, op. cit., p. 117. 8 Cecelia Tichi, High Lonesome: The American Culture of Country Music, The University of North Carolina Press, 1994.

166 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) ongoing internal transformation. Here lies the ambiguity of American utopism which is still necessarily connected to the feeling of loss (a typical Dylanesque bond between travel and problematic emotional relationships), and thus, to the motive of nostalgia. As Pichaske points out, You can’t go home. Nat Hentoff once wrote of Dylan, ‘You can only go home for a visit, unless you’ve stopped growing’, but that’s not it, really. You can’t go home again because the person returning home is not the person who left home, and home is not the way you remember it. Actually, in the Midwest these days, home is probably falling apart.

(...)

Thus develops the sense of bewildered nostalgia which colors so much of the departure-return literature of the Midwest, including the late songs of Bob Dylan. You remember why you left, you know that what you found away from home was in many respects no better than what you had at home, you know that home is even deader now than it was when you left, you know you no longer fit in at home, so you might as well be away.9 Such a description fits perfectly into the determination of ‘moral perfectionism’ that Stanley Cavell provides, and which, again, agrees with the post- modernist thesis about the non-whole subject, i.e. the subject in the process, but from over-antinihilistic positions. According to Cavell, Emersonian moral perfectionism describes a progressive process of signifying a ‘still not attained, but attainable self’: To recognize the unattained self is, I gather, a step in attaining it(...) I do not read Emerson as saying(...) that there is one unattained/attainable self we repetitively never arrive at, but rather that ‘having’ ‘a’ self is a process of moving to, and from, nexts. It is, using a romantic term, the ‘work’ of (Emerson’s) writing to present next- ness, a city of words to participate in.10

Utopism of romantic love One more element that follows, and practically derives from Dylan’s utopian pastoralism is the image of the romantic relationship; it is even possible to say that in the whole of Dylan’s opus, along with the motive of politics, the motive of romantic love takes a dominant position. What is typical of Dylan is the fact that the image of this romantic relationship is always related to a broader vision of the critical perception of social reality, i.e. to an attempt of transcending it; accord-

9 David Pichaske, op. cit., p. 157. 10 Stanley Cavell, op. cit., p. 12.

167 New Sound 40, II/2012 ingly, a few motives are integrated into Dylan’s perception of romantic love: (1) criticism of urbanized consumerist society, (2) the praising of individualism and (3) searching for ‘authentic’ life, in keeping with the pastoral vision of the world. The frequent method that Dylan uses in the criticism of modern consumerist society is the representation of the allegedly ‘inauthentic’ way of life through female characters, in songs like: ‘Like a Rolling Stone’, ‘Just Like a Woman’, ‘To Ramona’, ‘Bob Dylan’s Blues’, ‘Love Sick’, etc. What connects all these songs is the bond between the ‘bad’ woman and the alienation of life in a consumerist megalopolis; a paradigmatic case is ‘Like a Rolling Stone’ in which Dylan portrays the ‘fallen’ woman from high society. The song famously opens: ‘Once upon a time you dressed so fine / You threw the bums a dime in your prime, didn’t you?’ The suggestion here is that the female addressee held a high position in the social hierarchy, from which she behaved conde- scendingly towards others lower down the ladder. The idea that she is further developed in Dylan’s remark that: ‘You never turned around to see the frowns on the jugglers and clowns / When they all come down and did tricks for you.’ This woman was clearly the center of attention, and used those around her for her own pleasure and entertainment. Further, Dylan seems to accuse the addressee of the song – and presumably others like her – of being not only callous towards others lower down on the social ladder, but also guilty of the crime of wasting their own time (...)

Those at the top of the consumerist culture ladder fritter away their lives by trading with each other the tokens of their success. All of us who are familiar with this song will no doubt agree that Dylan’s bitterness at such societal workings is hard to over- estimate.11 For Dylan, material wealth and status symbols mask weakness, and they are not able to offer maturity, ‘depth’, or strength. As an answer to the ‘lies’ of consumerist society and ‘inauthentic’ life, Dylan offers the need for the individualistic, spiritual transformation of the subject. This is why the second dominant theme of Dylan’s love poetry is the criticism of possessiveness, emotional relationships, i.e. an escape from a bad relationship; typical examples are: ‘Don’t Think Twice It’s All Right’, ‘I’m Not There’, ‘It Ain’t Me, Babe’, ‘It’s All Over Now, Baby Blue’, ‘If You Gotta Go, Go Now’, etc. These motives derive from a typical Emersonian view on interpersonal relationships; the base of Emersonian philosophy is searching for the state of self-reliance of the subject; anyway, this does not imply a life in isolation, but reaching for mental self-reliance, where

11 Kevin Krein and Abigail Levin, ‘Just Like a Woman: Dylan, Authenticity, and the Sec- ond Sex’, Peter Vernezeze and Carl J. Porter (eds.), Bob Dylan and Philosophy: It’s Alright, Ma (I’m Only Thinking), Open Court, Chicago and La Salle, 2006, p. 54–55; also cf. Bar- bara O’Dair, „Bob Dylan and Gender Politics“, Kevin J. H. Dettmar (ed.), The Cambridge Companion to Bob Dylan, Cambridge University Press, Cambridge, 2009, p. 80–86.

168 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) no social relationship is experienced as given, but as an assumption that all social relations are prone to constant questioning and the free decision of an individual; loneliness is often a basic element of self-acceptance of the subject, and a precondition for reaching emotional independence. Only with this acceptance of the self is it possible to enter into social relationships on an equal basis. Such a relationship implies a radical rejection of possessiveness: In two essays on love and in other pieces on domestic life, Emerson tries to look at love – even at personal love – from the perspective of mental self-reliance. It is not always easy to say whether he is being unsettlingly radical or just prudish or cold. Maybe the line between the two is indistinct: the radical individualism of Emerson’s sort is in a principled opposition to possessiveness and exclusiveness in human relations because these qualities are interwoven with the vices of envy, jealousy, and spite. What binds too tightly also blinds: exclusive love presumptuously defines the lover and the loved.12 This does not mean that Dylan, especially in his poetry of the 1960s, rejects the possibility of a harmonious, almost ideal emotional relationship; this relationship is, however, bound to his pastoral utopian criticism of capitalism. The ‘ideal’ woman in Dylan’s imagination is always related to the rural and preindustrial archetype of the ‘authentic’ America; such an idealized image of the woman is in opposition to the inauthentic life in the big cities – the ‘ideal’ woman is a synonym for nature, i.e. for the rural territories of the Midwest and ‘The North Country’ (projection), while the ‘bad’ woman, i.e. bad emotional relationship, is related to urban (criticism): Dylan’s pastoralism causes him to associate good women with benevolent nature, and bad women with the city (...)

The association of the good girl with country life is not unusual in American thought, and might have religious origins. In his study of the American pastoral, Mark Peter Buechsel notes, ‘The conflation of the Virgin, Woman, Midwestern nature, and sac- ramentalism in opposition to an ideological cluster centered around the Dynamo (mechanical culture), abstraction, industrialism, literalism, and the New England tradition can be traced in any number of Midwestern works.’ Dylan is in this regard a typical Midwestern pastoralist.13 Such examples of the idealized, rural archetype of woman are more than numerous: ‘Girl of the North Country’, ‘Tomorrow is a Long Time’, ‘Ballad in Plain D’, ‘Mama, You Been on My Mind’, ‘Love Minus Zero/No Limit’, ‘Sad-

12 George Kateb, ‘Friendship and Love’, Harold Bloom (ed.), Bloom’s Modern Critical In- terpretations: Emerson’s Essays, Chelsea House Publishers, New York, 2006, p. 208. 13 David Pichaske, op. cit., p. 124.

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Eyed Lady of the Lowlands’, ‘I’ll Remember You’, ‘One More Cup of Coffee (Valley Below)’, and among albums, Dylan’s most ‘pastoral’ one is Nashville Skyline (1969), which is, by no means accidentally, a true country album, both in the musical and in the poetic sense; it is dominated by songs where the visions of idealized love are interwoven with pastoral visions of nature (‘To Be Alone With You’, ‘I Threw It All Away’, ‘Lay, Lady, Lay’, ’Tonight I’ll Be Staying Here With You’). The album represents one more of many ‘turnovers’ in Dy- lan’s work – the lyrics are reduced, fit into the traditional structure of country music, without any allusions to post-modernist experiments from his rock’n’roll phase; in the moment of its creation, the album caused numerous controversies: immediately after the revolutionary 1968, at the moment when the American counter-culture and the new left wing reached their peak, Dylan, outside every stream, recorded an apolitical album in Nashville about love relationships and the idyllic country pastoral. However, through a retrospective reading of the album, in the context of Emersonian utopism, it is possible to recognize that Dylan’s apoliticality is in this case also illusory, and that one of the most ‘apolitical’ of Dylan’s albums is possible to read in the clearly ideological key. However, it should be emphasized that Dylan’s pastoral, idealized vision of the romantic relationship is simultaneously one of the most disputable segments of his work: the ‘ideal’ woman is reduced to the level of an archetype, not rarely of even typical male phantasm; an active woman is bound to the alienation of the machine-like, consumerist culture, and in Dylan’s verses she frequently becomes criticized. Dylan’s goal is self-reliance, individual freedom and transcending the current conditions of existence, but it seems that this transcen- dence is reserved only for the male hero. The woman in Dylan’s verses is rarely an individual in the real sense, and even less ‘the heroine’, i.e. the protagonist. She’s more a passive mythical image that offers ‘shelter from the storm’ (as the song of the same name says) to the male, active hero: The women he praises are almost all ones who have given him shelter from the storm, who are there to allow him to go someplace that is innocent and in which he can escape from the harsh realities of a competitive social world that contains deceit and injustice. But they can do that only by completely removing themselves from the modern world. The way Dylan describes them, the most active thing they do is growing their hair. Beauvoir complains of such women that, ‘The curse that is open woman as vassal consists, as we have seen, in the fact that she is not permitted to do anything; so she persists in the vain pursuit of her true being through narcissism, love, or religion’. Of course, Dylan feels safe and relaxed in the company of women who do little else but lie across his big brass bed.14

14 Kevin Krein and Abigail Levin, op. cit., p. 61.

170 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180)

In addition, what distinguishes Dylan from the typical machoist perception of the world, which dominated the rock’n’roll in the 1960s, despite the first hints of feminism, is the perception of the romantic relationship in a broader political and social context, with a tendency towards a renewal of the utopian way of thinking.15 Also interesting is Dylan’s period from the mid-1970s when he was gradually leaving the idealistic and pastoral view of romantic love (in order to exchange it for a religious view, by the end of the 1980s): Blood on The Tracks from 1975 is a paradigmatic album where the dominant motives in the songs are devastated love, loneliness, misunderstanding and separation, instead of the complete utopia of a realized love relationship; in this case, Dylan associates personal themes with a broader social and ideological context – alienation, instability, and contradictions of historical development have an impact on the complexity of emotional relationships. Despite the evident machoism, Dylan came close to feminist practice at least in one segment: for Dylan, as well as for feminism, the personal is always political.

Utopism of the Judeo-Christian myth The third segment in which Dylan’s utopism can be recognized is the tradition of the Judeo-Christian myth; this religious aspect of Dylan’s pastoral can be recognized from the beginning of the 1960s, but it would culminate at the end of the 1970s – on the album John Wesley Harding (1967) and partly on The Basement Tapes that was recorded during 1967 and published later in 1975, and then on the albums from Dylan’s ‘Christian phase’ from the late 1970s and the beginning of the 1980s. The starting point of this religious utopism is the construction of the prophet figure as the basis of Dylan’s media image: the prophet is the man chosen by God in order to spread the revelation and to advocate God’s will before the people. The prophet is thus a strictly individualized character, who speaks for and on behalf of the community; the prophet is the symbol

15 According to this, until the emergence of punk, the greatest female names were mostly related to strong, great male authors, and later they were recognized as ‘authentic’ authors: Wanda Jackson had been standing in the ‘shadow’ of Elvis Presley (in the context of rocka- billy), Joan Baez in the ‘shadow’ of Bob Dylan (in the context of folk), Emmylou Harris in the ‘shadow’ of Gram Parsons (in the context of country rock). These female artists had opened a road to female emancipation within rock’n’roll that would really take place in the mid-1970s with punk; in that sense, the key position was taken by Patti Smith’s album Horses, which seemed to be the first great, truly ‘female’ rock album. Also see: Simon Frith and Angela McRobbie, „Rock and Sexuality“, Simon Frith and Andrew Goodwin (eds.), On Record: Rock, Pop and the Written Word, Routledge, London and New York, 2006, pp. 371– 389; Mark Paytress, Patti Smith’s Horses and the remaking of Rock’n’Roll, Piatkus, London, 2010.

171 New Sound 40, II/2012 of truth, and he stands for the feeling of continuity, i.e. a utopian projective relationship between the present and the future. In other words, the prophet acts within the dialectical tension and between criticism of the present moment and projectivity, i.e. the prediction, that is to say, between sin (alienation) and salvation. For his audience, since the earliest days, Dylan has been some kind of poet-prophet: the audience has always experienced his music as a form of almost mystical knowledge that reveals the truth about the corruption and alienation of America, suffering, class and racial inequality; all this implies the presence of a strict, almost moralizing perception of the world. The sources of Dylan’s ‘prophetic’ utopism are, firstly, the Hebrew tradition, and then a specific heritage of the American Christian-oriented Romanticism. According to Stephen Scobie, The Hebrew prophet took on a public role, speaking about the moral and political health of a whole community. ‘A constant characteristic of Hebrew prophecy’, writes Peter Southwell, ‘was its concern with matters of national morality and social justice, with the character of God and his purposes for Israel and mankind.’ At various stages in his career, Dylan’s prophetic stance has been inflected in different ways: through his involvement with the civil rights movement of the early 1960s; through his explicitly Christian preaching of the late 1970s; and through the tradition of American music which gives him the words to proclaim, in 1994, that we live in a ‘world gone wrong’. Always, however, the concern is public and, in a broad, nonpartisan sense, political.16 In that sense, the basis of the whole of Dylan’s work is the movement between a projective and a critical ‘analysis’ of the current social order; his image of society is simultaneously utopian and apocalyptic, and it exists between the vision of the ideal, but still not attained future, and the dystopian present. On the other hand, the figure of the prophet is also a part of the specific American heritage, founded primarily on the Christian tradition of the 17th century American Puritans, as well as the poetic tradition of Anglo-American Romanticism, outlined by 19th century writers such as William Blake, Walt Whitman, and Henry Thoreau, and taken over in the 20th century by Allen Gins- berg, Woody Guthrie and Dylan himself. However, at the very centre of this tradition is, again, Ralph Waldo Emerson and his individualistic, anti-institutional views on religiousness, which are some kind of non-canonical reinterpretations of the utopian philosophy of St. Augustine. This relationship between Emerson and Augustinian utopism, that can directly be applied to the understanding of Dylan’s pastoral, is underlined by Harold Bloom; the Emersonian vision of the world rests upon the duality between the apocalyptic vision of reality, i.e. the individualized vision of sin and messianism, i.e. the progressive improvement

16 Stephen Scobie, Alias Bob Dylan Revisited, Red Deer Press, Alberta, 2003, p. 27.

172 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) of the self. For Emerson (as well as for Dylan), the apocalypse and utopia are the constituent elements of the ‘American sublime’: Augustine’s vision of the Fall, as Brown also shows, had changed from an early, quasi-Platonian belief, which was that Adam and Eve had ‘fallen’ into physicality: ‘that the prolific virtues they would have engendered in a purely “spiritual” existence had declined, with the Fall, into the mere literal flesh and blood of human families’. In the mature Augustinian doctrine, the dualizing split in human consciousness is no technical descent to a lower degree of being, but is the most willful and terrible of catastrophes. How does this compare with the catastrophe theory in Freud, and in Emerson? Do all three doctors-of-the-soul, Augustine, Emerson and Freud agree fundamentally that consciousness, as we know it, cannot inaugurate itself without a catastrophe?

(...)

This, I now assert, is the distinguishing mark of the specifically American Sublime, that it begins anew not with the restoration of rebirth, in the radically displaced Prot- estant pattern of the Wordsworthian Sublime, but that it is truly past even such displacement, despite the line from Edwards to Emerson that scholarship accurately continues to trace. Not merely rebirth, but the even more hyperbolic trope of self-re- begetting, is the starting point of the last Western Sublime, the great sunset of self- hood in the Evening Land.17 For Bloom, this tension between alienation and salvation is not only a part of Emerson’s political vision of society, but a much more typical, Emersonian conception of subjectivity that Bloom associates with Freud’s ‘catastrophe’, i.e. ‘the Fall’ is an element in constituting the subject, which is split between the process of repression and sublimation. In other words, the dialectic of ‘apocalypse’ and ‘deliverance’, criticism and projections, but within the process of individuation, are the constituent elements of the Emersonian vision of transfor- mative subjectivity, i.e. the vision of the ‘attainable, but still not attained self’, in keeping with the principles of ‘moral perfectionism’. That is how it is relatively easy to understand the changes in Dylan’s political program; Dylan’s utopia moved from a traditionally, Marxist political utopism that was cherished in the American folk revival from the beginning of the 1960s, to the utterly individualized, anti-collectivist, Emersonian utopism from the late 1960s, resting upon the rejection of all grand, collectivist, political projects, that were cherished in both folk and the American new left-wing and counter-culture, on the whole. His early folk songs have a clear program

17 Harold Bloom, ‘Introduction: The American Sublime’, Harold Bloom (ed.), Bloom’s Modern Critical Interpretations: Emerson’s Essays, Chelsea House Publishers, New York, 2006, pp. 4, 8.

173 New Sound 40, II/2012 structure, and one can comment that they are often examples, in the true sense of the word, of ‘engaged’ political song; social criticism in them is almost never satirical, but Dylan binds the apocalyptical vision of modern America with politics, i.e. with the social role of the poet and the musician. The dominant themes he deals with are universality of individual freedom, i.e. the themes of political, class and racial equality. A turnabout followed in the mid-1960s, and his rejection of the ideology of the American New Left culminated in the albums after his ‘electric phase’, when he came nearer to the tradition of American country music. Utopism in John Wesley Harding is more religious than political, more individualist than collectivist, more mystical than programmatic. However, John Wesley Harding, perhaps, has the ‘cleanest’ structure where the mentioned dia- lectics between the critical and projective aspect of Dylan’s music are in question: the album is not directly political, but it is ideological criticism transposed into the language of biblical parables – the A side of the album is dominated by songs with motives of sin, alienation, temptation and death, while the B side offers the motives of deliverance and projection. Seth Rogovoy points out this individualistic character of Dylan’s utopism from the end of the 1960s, on the example of The Basement Tapes: Beginning with the songs on The Basement Tapes, Dylan’s interests around this time shift from the merely prophetic toward the mystic. It’s hard to separate the two, as the prophetic experience is at heart a mystical one – a Prophet, inspired by the divine, has undergone something of a mystical experience. And much of the basis of Jewish mysticism comes in the form of prophetic visions of the Godhead, for example, Ezekiel’s chariot, and in vivid descriptions of the end of days and the Messianic era. It is precisely this aspect of the prophetic tradition – call it prophetic mysticism – which now engages Bob Dylan intensely, more so than, say, that of social criticism. This corresponds with a sense that with time and maturity Dylan has grown concerned with personal matters and less with social critique, although, as we shall see, the pendulum will swing back before settling somewhere in between the two polari- ties. 18

Between utopia and nostalgia: The Basement Tapes The Basement Tapes is a 1975 album that consists of a series of recordings which were released during 1967 by Dylan and the members of the-band- to-be The Band; the recordings had been circulating as bootleg, and later the album comprised dozens of recordings that had originally consisted of covers of traditional folk songs, improvisations and completely new songs, many of

18 Seth Rogovoy, Bob Dylan: Prophet, Mystic, Poet, Scribner, New York, 2009, p. 123; cf. also: Christopher Ricks, Dylan’s Visions of Sin, ECCO, New York, 2005.

174 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) which would remain unfinished ‘sketches’. I shall not go into a close reading of the mentioned recordings, but I am going to focus on the interpretation offered by Greil Marcus, one of the most significant American interpreters of Dylan’s work, in the book entitled Invisible Republic, which was created from the ‘side notes’ for the mentioned Dylan album. Generally speaking, Marcus’s approach is certainly unique when it comes to the interpretation of rock music: he is a critic with nomadic principles who functions on the border of musical journalism, musical criticism, and literature, but also ‘serious’, i.e. philosophically grounded cultural theory. Marcus treats pop phenomena as symptoms within Western culture, putting them into inter-textual relations with painting, art, social movements, i.e. material practices within a certain historically given society. In his book, Markus does not offer ‘the analysis’ of the album released by Dylan and The Band, but the writing that steps into the already mentioned inter-textual relationship with music, practically complementing it in its own medium; the book functions almost as a paraliterary ‘stream of consciousness’ that has related Dylan’s album to phenomena such as American folk music, Cal- vinist Christianity, mining trade-union movements from the early 1900s, and the American politics of the second half of the 20th century. So, this book is on the edge of criticism, literature and theory; in its very centre dwells the notion of utopia.19 In Marcus’s interpretation of Dylan’s album it is possible to recognize the double determination of the notion of utopia – first of all, the determination of utopia as a pastoral vision of the ideal city; in that sense, utopia is viewed as an ideal place, or non-place, i.e. ‘a place without the place, we see ourselves where we are not, in the imaginary space that opens up, potentially, from the other side of its surface, we are there where we are not, and what is more important, we see ourselves where we do not exist’.20 Marcus uses the metaphor of an ideal city in order to describe Dylan’s relationship towards the vision of a better, more perfect society, that emerged through the musical and cultural dialogue with the folk heritage that was collected by Harry Smith in his famous Anthology of American Folk Music; Dylan’s world, i.e. the vision of the world presented in The Basement Tapes is some kind of experimental reflection of the social pastoral that Smith’s anthology sketches. In the paraliterary, parasurrealistic key, Marcus sketches two ideal cities, two possible visions of a better, more humane community, which society constructs as the answer to the antagonisms of the current order. The view of Smith’s folk world (which Marcus describes with the

19 Greil Marcus, Invisible Republic: Bob Dylan’s Basement Tapes, Picador, London, 1998. 20 Branislav Dimitrijević, „Heterotopografija“, Irina Subotić (ed.), Umetnost na kraju veka, Clio, Belgrade, 1998.

175 New Sound 40, II/2012 metaphor of a city under the imaginary name of Smithville) is a nostalgic view of an idealistic, rural community uncontaminated by industrialization and mechanical civilization; Dylan’s world (a new ideal city named Kill Devil Hills) is the actualization of the utopian impulse in the moment when American society, under the wave of the Vietnam War, imperialism and consumerism, has departed from the principles of universal freedom and equality. The two ideal cities are related to each other as the head and tail of the same utopian vision; the view of the past gives directions for an emancipating vision of the future: Each time a new key opened a door, America opened up into both the future and the past – and it is perhaps only a progressive notion of time that leads one to presume that when Dylan spoke of an America that was wide open, he meant open to what was to come, not to what had been, open to the question of who and what Americans might become, not to the question of who and where they came from. There is no nostalgia in the basement recordings; they are too cold, pained, or ridiculous for that. The mechanics of time in the music are not comforting. In the basement, the past is alive to the degree that the future is open, when one can believe that the country remains unfinished, even unmade; when the future is foreclosed, the past is dead. How the future depends on the past is more mysterious.

(...)

in the basement you could believe in the future only if you could believe in the past, and you could believe in the past only if you could touch it, mold it like the clay from which the past had molded you, and change it.

(...)

Like the records Smith collected, the known and unknown basement tapes together make a town - a town that is also a country, an imagined America with a past and a future, neither of which seems quite as imaginary as any act taking place in the present of the songs.21 The vision of the ideal city that functions as a corrective narrative within the current historical moment is related to the vision of utopia as a transitory instance, as a project of incessant transformation, i.e. the perception of utopia as a processuality: at this point, Marcus associates The Basement Tapes, i.e. the fragmented, unfinished structure of the tapes from Woodstock, their bond with the past, and their critical relationship towards the present (where ‘art, religion, and politics’ are parts of the same process), with a great utopian project that was sketched by Walter Benjamin in his unfinished work Passagen-Werk. It is one of the most ambitious, in the true sense, utopian theoretical essays of the 20th cen-

21 Greil Marcus, op. cit., pp. 70, 128.

176 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) tury: Benjamin starts from the motive of the 19th-century Paris, around which he arranges a critical image of the whole bourgeois culture, building a synthetic analysis of the capitalistic relations of the production. During a long period of time, Benjamin complemented his work with a series of fragmented images, depictions, the accompanying texts that very often had only distant matching points with the main ‘theme’ of his monumental study. Benjamin’s ‘magnum opus’ between 1927 and 1940 became some sort of personal obsession with collecting, archiving and collaging, which would, in the end, as a utopian tendency for the ‘total’ work of philosophy, remain unfinished. This is a typical, modern work of philosophy with processuality in its centre; similarly, Smith’s anthology and the monumental collection of poems, improvisations, sketches, and covers that include tapes from Woodstock, are examples of ongoing, never finished, Utopian-progressivist projects; like Benjamin’s work, The Basement Tapes remained an unfinished album, which is more a sketch, a draft that binds the past with the utopian vision of the future, and not a complete unit that would attain at least a pseudo-ideal form.

Conclusion: Dylan, pop culture and the criticism of American democracy Finally, one must ask a question considering Dylan’s radical individualism and pastoral utopism, regarding the social and historical context in which it emerges, and that context is a project of American liberal democracy of the second half of the 20th century. Dylan’s work rests upon the idea of permanent criticism of all the ‘official’ institutions of the liberal capitalistic society – starting from the university, the political institutions, political parties, to the capitalistic economic order: in Dylan’s poetry, the institutions of American liberalism are presented as essentially corrupt and incapable of guaranteeing the individual, the principles of freedom, equality and the individual development of their personality. Dylan’s utopism is an answer to a sort of ‘contami- nation’ of the American democratic order. However, if Dylan’s utopism is not leftist-collectivist, if Dylan changes the language of the materialistic analysis of equality, within the American capitalistic system, for the idealized language of the rural pastoral, should it be written off as naive idealism, or as a form of radical individualist elitism, in which a contempt for all collective emancipating projects is built? This is one of the central questions that Stanley Cavell asks with regard to Emerson’s individualistic moral perfectionism: can we use Emerson, in the current postmodern environment, as a relevant reference for critical reflection on modern democracy? Here Cavell enters a dialogue with the American liberal theorist John Rawls, who treats Emerson as a form of elitist, i.e. teleological

177 New Sound 40, II/2012 philosophical and ideological platform. Radical individualism, at worst, implies the demand to reject all the institutions of the liberal order, i.e. there is a platform which demands the totalitarian suspension of all democratic principles (the extreme form of individualism); at best, in its moderate, Emersonian op- tion, individualism is a teleological political platform that rests upon the ideal idea of maximization of the potential of the individual, or certain (often privi- leged) classes in keeping with the concept of ‘high culture’: ‘In the moderate version, it is merely one principle amongst others and directs society to arrange institutions and to define the duties and obligations of individuals so as to maximize the achievement of human excellence in art, science and culture.’22 On the other hand, Cavell rejects such a teleological interpretation of Emerson, and puts his moral perfectionism into the centre of democratic debate, i.e. of what Rawls determines as ‘the debate on justice’. For Cavell, moral perfectionism is the individualist, but not the atomist, i.e. the elitist ethical position: Emerson also takes over Plato’s assertion, according to which, in order to constitute real democratic social relationships, it is necessary to walk the path from the principle of ‘being one’ to the system where the individual is a representative of society as a whole: I might at once declare that the path from the Republic’s picture of the soul’s journey (perfectible to the pitch of philosophy by only a few, forming an aristocratic class) to the democratic need for perfection, is a path from the idea of there being one (call him Socrates), who represents for each of us the height of the journey, to the idea of each of us being representative for each of us – an idea that is a threat as much as opportunity.23 In that sense, moral perfectionism is the practice of criticism of democracy within democracy; the freedom of practicing radical individualistic utopism is possible only within the democratic order: If there is perfectionism not only compatible with democracy but necessary to it, it lies not in excusing democracy for its inevitable failures, or looking to rise above them, but in teaching how to respond to those failures, and to one’s compromise by them, otherwise than by excuse or withdrawal. To teach this is an essential task in Rawl’s criticism of democracy from within.24 Emerson’s moral perfectionism and his thesis on ‘self-reliance’, i.e. Dy- lan’s pastoral utopism as the objectification of Emerson’s thesis within the cur-

22 Stephen Mulhall, Stanley Cavell: Philosophy’s Recounting of the Ordinary, Clarendon Press, Oxford, 1998, p. 267. 23 Stanley Cavell, Conditions Handsome and Unhandsome: The Constitution of Emerso- nian Perfectionism, The University of Chicago Press, Chicago and London, 1990, p. 9. 24 Ibid, p. 18.

178 Dedić, N.: Pleading For Utopia: American Pastoral In Bob Dylan’s Music (161–180) rent postmodern pop culture are in the very centre of what Cavell determines as the ethical debate on justice and the just society, i.e. democracy. Cavell approaches the reflection on democracy through reflection on morals and morally correct action, in Wittgenstein’s spirit, from radically anti-essentialist positions; for Cavell, there is no transcendental, metaphysical foundation of moral values; ethics is founded in language, and as such, it rests not upon the universal ethical imperatives, but on grammatical rules defined by the community, through the process of communication. The question of ethics is thus the question of procedures and not conclusions; ethics is a dynamic debate between the members of a community, and not a static and unchangeable facticity. Thus, for Cavell, there is no morality by itself, but the conditions of ethically correct action are defined through the relationship with another: ‘In effect, participation in this practice involves declaring something about oneself and discovering something about others; moral discussion is an arena for the revelation of oneself to another.’25 Or as Cavell puts it, the point is to determine what position you are taking, that is to say, what position you are taking responsibility for – and whatever it is, one I can respect. What is at stake in such discussion is not, or not exactly, whether you know our world, but whether, or to what extent, we are to live in the same moral universe. What is at stake in such examples as we’ve so far noticed is not the validity of morality as a whole, but the nature or quality of our relationship with one another.26 In other words, to act politically within a certain social context means to speak on behalf of others, and to leave the possibility for others to speak on behalf of us; the constitution of a political identity is the practice of self-knowledge through a relationship with other members of a community. However, the moment when the ideals of the community, defined through the practice of moral debate between their members are abandoned, the individual is left with the possibility to ‘withdraw consent’ in terms of political participation in that community. This is exactly the practice of Dylan’s utopism that appears in the moment when the ideals of universal equality become abandoned; this is in fact a demand not for the elitist privatization of political speech, but a demand for the redefinition of the ‘polis’, i.e. of society as a whole. The ‘withdrawal of consent’ in the process of political participation is a demand for the reconstruction of the principle of universality, and not its deconstruction, it is a criticism of democracy within democracy, and not a demand for its abolition: Dissent is also an attempt to speak for others, and if it involves rebuking some who claimed to speak for the dissenter, it is intended to bring them back to a position in

25 Stephen Mulhall, op. cit., p. 41. 26 Stanley Cavell, The Claim of Reason, quoted from Stephen Mulhall, ibid., p. 41.

179 New Sound 40, II/2012

which they can continue to do so; it is an attempt to restore or redefine the nature and extent of the polis, not an attempt to move beyond its bounds.

(...)

When citizens such as Thoreau resort to civil disobedience, they are not attempting to privatize their political voice, to transform it into something non-political, but are rather using it to rebuke their fellow citizens in the name of something to which they are jointly committed.27 This is exactly Dylan’s position: the pastoral, utopian withdrawal from the political community is a tendency towards the reconstruction of the original ideals of equality and egalitarianism that the community abandoned, as well as the tendency to define the position from which the individual speaks on behalf of others; i.e. withdrawal from the political community, in keeping with the principles of self-reliance and moral perfectionism, means defining a new form of universality which is founded on the exception. In that sense, Dylan’s individualistic utopism is not the elitist rejection of democracy, but exactly the opposite – Dylan is an example of how pop culture functions as the necessary internal corrective of a democracy. In other words, Dylan is a typical product of the American liberal project, but also the place of its radical utopian criticism. Translated by Ivana Marjanović

27 Stephen Mulhall, ibid., p. 63.

180 Article received on 13 February 2013 Article accepted on 15 February 2013 UDC: 78.038.42(497.11) ; 78.071.1:929(497.11)

THE RECEPTION OF MINIMALIST COMPOSITION TECHNIQUES IN SERBIAN MUSIC OF THE LATE 20TH CENTURY

Marija Masnikosa* University of Arts in Belgrade Faculty of Music Department of Musicology

Abstract: This paper aims to present the whole range of different forms of reception of American minimalist composition techniques in the Serbian music in last quarter of the 20th century. Author’s special attention is focused on the fact that the influence of Amer- ican minimalism (and its techniques) on the Serbian ‘new music’ in this period was ‘divided’ into two branches – one group of the composers strictly followed the achievements of early American (modernist) minimalism, while the other composers created their individual responses to the challenges of American post-minimalism. Also, this paper points to the fact that, unlike the American minimalist genealogy, in which there was a historical continuity connecting the ‘parent’ modernist minimalism with post-minimalism, works of modernist and postmodernist minimalism appeared in the Serbian music of late 20th century almost simultaneously and independently. Keywords: minimalism, post-minimalism, Serbian music, reception of minimalist composition techniques, discontinuity

* The author contact address: [email protected] The paper was written within the project Identiteti srpske muzike u svetskom kulturnom kon- tekstu [Identities of Serbian Music in the World Cultural Context], initiated by the Depart- ment of Musicology of the Faculty of Music in Belgrade and supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia, under the Reg. No. 177019.

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Апстракт: Овај рад написан је с намером да прикаже читаву лепезу различитих видова рецепције америчког минимализма и минималистичких композиционих техника у српској музици последње четвртине 20. века. Посебна пажња посвећена је указивању на двојак утицај америчког минимализма на музику у Србији: једна група композитора креативно је одреаговала на остварења раног, модернистичког минимализма, док је друга група композитора индивидуално и међусобно независно одговарала на изазове америчког постминимализма. Тако се догодило да модернистички минимализам и постминимализам у српској музици последње четвртине 20. века нису били повезани логиком сукцесије и историјског континуитета (како је то изведено у америчкој музици), већ су се ове две значајне тенденције у српској музици појавиле готово истовремено и независно једна од друге. Кључне речи: минимализам, постминимализам, српска музика, рецепција мини- малистичке композиционе технике, дисконтинуитет

The period of time that featured the emergence of the first achievements based on minimalist repetitive processes in Serbia, represented in the Serbian (in fact, then still Yugoslav) cultural context an unexpected and quite specific ‘mix of different times’1 – the public display of an entire spectrum of various residual and rising artistic phenomena. Serbian music of the latter part of the 1970s was marked by simultaneous, yet somehow separate coexistence of reverberations of neoclassicism in the works of composers of different generations, the neoexpressionist and neoim- pressionist works of older composers, and the accomplishments of the ‘new music’ embodied in various, individually found forms of expression of Euro- pean and American modernist musical practice after the Second World War. The first minimalist composition in Serbia, Melange (1975) by Vladimir Tošić, appeared in the mid-1970s. Almost concurrently, the collage of existing modernist tendencies was, within the framework of Serbian ‘new music’, joined by the first postmodern breakthroughs that included the earliest postminimalist music works – among them the very first being Epimetej [Epimetheus] for organ (1977) by Vlastimir Trajković. Considering the fact that fifteen years had passed between the appearance of modernist minimalism and the first postminimalist works in American music, the simultaneity of modernistic minimalism and postminimalism in Serbian music is rather surprising and thus raises the question about the specific path of Serbian music history during the last quarter of the 20th century.

1 Cf. Hal Foster, The Return of the Real: The Avante-Garde at the End of the Century, An OCTOBER Book, Cambridge – London, MIT Press, 1996, 207.

182 Masnikosa, M.: The Reception of Minimalist Composition Techniques ... (181–190)

The aim of this study is to outline the entire spectrum of various aspects of the reception of minimalism in Serbian music of the last quarter of the 20th century, and, considering the cultural context of the given period, to partially elucidate the reasons for the almost concurrent but mutually unrelated appearances of modernist and postmodern minimalism in Serbian music. The conditions for opening toward the ‘world of art’, as defined in the democratic civil societies of Western Europe and America, were created in Yu- goslavia as early as the mid-1950s, following a period of socialist realism. Yugoslav art music, striving toward its own ‘progressive artistic mission’2 in the spirit of the then actual socialism, was initially (during the late 1950s and 1960s) dominated by the influence of the ‘post-war European avant-garde’, while the influence of the turbulent avant-garde events in the United States (also evident in our society since the 1950s) intensified only during the 1970s, after the initial blast of the American experimental neo-avant-garde had already passed. During the 1970s, European and American influences (inevitably interrelated), rendered in Serbian ‘new music’ a variety of artistic expressions: the works of ‘pure’ musical medium and electronic music were dominated by the influence of European post-war ‘new music’, while the American experimental neo-avant-garde found the grounds for its influence mainly in the field of extended media, conceptual and minimalist art. A certain number of composers, however, still nurtured the achievements of the ‘outlived’ post-war avant-garde, which in 1960s Serbia, from the aspect of compositional technique, was represented by the ‘principles of integral serialism and dodecaphony as its ordinary precursor (...); the Polish composers’ Krzysztof Penderecki’s and Witold Lutoslawski’s type of aleatoricism; and the micropo- lyphony technique, recognizable in the Hungarian composer György Ligeti.’3 On the other hand, research in the area of the extended media, primarily in poly-media projects (initiated during the 1950s) of composer Vladan Radovanović, the founder of the ‘experimental fraction’ in Serbian music, acted as the neo-avant-garde critique of the (high-)modernistic autonomy of music as an art discipline. The activities of Vladan Radovanović particularly affected the members of the New Generation group, who (independently of Radovanović), through their travels to the West in the late 1970s and by acquiring books, scores, and audio materials, contracted the ideas of the post-war American avant-garde.

2 The expression coined by Mirjana Veselinović-Hofman. Cf. Mirjana Veselinović-Hofman, Teze za reinterpretaciju jugoslovenske muzičke avangarde [Theses on Reinterpretation of Yugoslav Musical Avant-Garde], Muzički talas, 30–31, 2002, 29. 3 Ibid., 27.

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Under the strong influence of the American experimental practice with whose achievements they were partially familiar, the young artists of the group New Generation made themselves known toward the end of the 1970s by the avant-garde critique of the Belgrade musical ‘stage’ as confined to the music medium.4 The activities of the composers gathered around the group New Generation (which afterward produced the group OPUS 4), took place in the atmosphere of conceptual art,5 and mostly ‘off’ stage of the Belgrade Student Cultural Centre6 which harboured encapsulated ‘echoes’ and meta-reflections of the latter part of the 20th-century American neo-avant-garde experiment. The members of the group were occupied with the ‘phenomenon of expanded sound and extended media, inter-media, multi-media, performance, action, video, photography and film, semiosonic and metamusic, theory-object and integrated object, happening and pre-conceived piece, sound environment and illustration, the tape and slide.’7 Around the 1980s, four members of the group New Generation – Vladimir To šić (1949), Miodrag Lazarov Pashu (1949), Milimir Drašković (1952), and Mi- roslav Savić (1954) – founded a more coherent group and named it OPUS 4.8 They aligned themselves to a specific concept of creative work, which according to Lazarov (the OPUS 4 theoretician), coincided with the idea of opus ephemerum,

4 These young rebels made themselves heard through theory too: the manifest of their work – Miodrag Lazarov Pashu’s text Nova generacija [New Generation] – was printed in the catalogue Muzički program Studentskog kulturnog centra [Student Culture Centre’s Musical Programme] (Belgrade, SKC – Sava Centre, 1979). The attitude of the Nova generacija group members towards the institutionalized musical scene of Belgrade may be best portrayed by a ‘composition’ – a conceptual work Muzika u Beogradu [Music in Belgrade] (1978) by Milimir Drašković, embodied in a blank sheet of paper! 5 From 1975 to 1980, the activities of Student Cultural Centre in Belgrade included the efforts of conceptually oriented Grupa 143 [Group 143], whose members were Biljana Tomić, Miško Šuvaković, Jovan Čekić, Neša Paripović, Paja Stanković, Maja Savić, Vladimir Nikolić and Mirko Dilberović. Cf. Miško Šuvaković, Konceptualna umetnost [Conceptual Art], in: Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950. godine, Belgrade – Novi Sad, SANU – Prometej, 1999, 152. 6 Miroslav Miša Savić, a member of the Nova generacija, and later of the Opus 4 group, held the position of the musical director in the Student Cultural Centre in Belgrade, from 1979 to 1995. 7 Cf. Miodrag Lazarov Pashu, Opus 4, Moment, 17, 1990, 47. 8 Informally, the group existed even while the four young composers were students – the first public performance by what was to become the group Opus 4 took place in 1976, in the Hall of Student Cultural Centre. The group officially started its activity in February 1980, as an ‘autonomna stvaralačka jedinica’ [‘autonomous creative unit’] within the New Genera- tion. Cf. Miodrag Lazarov Pashu, Nova generacija [New Generation], in: Muzički program…, op. cit., 1–8; Miodrag Lazarov Pashu, Opus 4, Moment…, op. cit., 47–54.

184 Masnikosa, M.: The Reception of Minimalist Composition Techniques ... (181–190) as an ‘open structure’ susceptible to distraction, and opposed to the traditional Western European ‘accomplished’ artwork form, which does feature its ‘beginning’ and its ‘end’, and ‘can at any time be bought and sold’.9 After the announcement of minimalism in the reductionist, proto-minimalist composition Four Chorales (1957)10 by Vladan Radovanović, a particular vari- ant of ‘integral serialism’ appeared during the 1970s in the works of the OPUS 4 members. While the practice of modernist minimalism was initiated in Serbia by the appearance of Tošić’s11 unique and, in a sense, ‘bordering’ composition Melange (1975), it was his Fusion for 12 Instruments (1978)12 that could be considered a paradigm of the specifically Belgrade-grown, fully pre-arranged ‘integral minimalism’.13 Each of the OPUS 4 composers created a unique minimalist method. The minimalist oeuvre of Vladimir Tošić is characterized by high complexity, precise note-to-note control, and ultimately strict gradual repetitive processes in the manner of Reich’s paradigmatic works belonging to his hard-line minimalism. These specific repetitive processes include serialization of the music parameters (Fuzija [Fusion] for flute, Ne/Zavisnost [In/Dependency] for piano) and simultaneous work with the models of rhythmic and pitch values (Fusion

9 Ibid., 50. 10 Our musicological literature, most notably Mirjana Veselinović-Hofman’s texts, state that this composition is minimalist. It is indeed based on a certain kind of extreme reduction that could be related to minimalism, but it cannot be comprehended as a ‘true’ minimalist work because it does not contain traces of minimalist processes. Namely, the clear presence of minimalist musical processes is a conditio sine qua non of any radical minimalist creation. This composition is not repetitive, nor does it stem from continuous non-repetitive minimalist processes counting on minimal changes in the domain of obligatorily reduced set of pitch classes, and hence I perceive this Radovanović’s work, which was indeed avant- garde in our midst, as a reductionist, proto-minimalist, but not yet minimalist composition. 11 Composition Melange by Vladimir Tošić presents a theoretically difficult case: judging by the type of the chosen process – which is strict and symmetric, but not continuous or explicitly repetitive – it is difficult to determine whether it is a reductionist proto-minimalist work or a ‘true’ minimalist one. However, since a one-bar model for repetition nevertheless exists in this composition (isorhythmic reiteration of a single pitch), albeit not explicitly written, my opinion is that this work can be considered ‘the point of departure’ of the modernist minimalism in Serbian music. After slightly changing the original idea of this composition, Tošić in 1976 wrote the work Trajanje [Continuance] for 24 female voices, where minimalist repetitiveness was employed somewhat more explicitly. 12 For more extensive analysis of this composition and its significance for the practice of Belgrade ‘integral minimalism’ cf. Marija Masnikosa, Muzički minimalizam [Musical Mini- malism], Belgrade, Clio, 1998, 87–97. 13 The expression ‘integral minimalism’ taken from: Mirjana Veselinović, Stvaralačka prisutnost evropske avangarde u nas [Creative Presence of European Avant-garde in our Midst], Belgrade, Univerzitet umetnosti, 1983, 388.

185 New Sound 40, II/2012 for 12 Instruments). Tošić’s most important minimalist pieces from that period are Melange, Fusion for flute, Fusion for 12 Instruments, and the particularly unique composition In/Dependence.14 In his minimalist compositions, Miroslav Miša Savić achieved a more liberal and more flexible, although not necessarily less complex, concept of minimalism. His most significant minimalist accomplishment is certainly the design and realization of double-repetitive and simultaneously occurring, but differently directed processes (reduction/construction). Each process occurs within the one of the participating musical parameters – such as the pitch and syllable models in his composition ABC Music for Conga, for example. The repetitive algorithm in some of his works includes a certain degree of flexibility in regard to the changed, oscillatory repetition of the pitch models, but nevertheless maintains the strictness in repetition of the rhythmic models’ ‘series’ (N.N. for Piano). Savić’s works, although minimalist, generate a high degree of entropy and certainly do not represent the ‘audible structures’ proclaimed by hard-line American minimalism.15 Contrary to Tošić and Savić, Miodrag Lazarov Pashu turned toward ‘simple’ transparent minimalism characterized by the exact repetition of the given models and constant pitch basis throughout the composition, and further combined it with the concept of the postponed time, achieved in his works by the specific model anamorphosis. Apart from his composition Fonoserije/Identiteti [Pho- noseries/Identities] (based on the manipulation of an augmented triad across different piano registers), the piece Vreme.1 [Time.1] for two timpani16 most clearly represents the isolated features of Pashu’s minimalism. The first minimalist work by Milimir Drašković was conceived only in 1988, whereas his minimalism stands chronologically and conceptually most distant from the strict paradigm of the early American minimalism. Drašković’s minimalist processes are rather simple, based on the literal repetition of models or events within the model usually treated as a series. Drašković’s tendency to choose the model-series that is susceptible to clear tonal codification as a basis for his compositions supersedes the context of strict modernist minimalism, thus distancing these works from the proclaimed minimalist position of contextual neutrality. The titles of his most significant works – the cycle under the composite name HPSCHD17 – undoubtedly refer to those from the oeuvre of John Cage.

14 For more on these compositions cf. Marija Masnikosa, Muzički minimalizam, op. cit., 81–115. 15 For more on Miša Savić’s compositions cf. ibid., 116–141. 16 More extensive coverage of Lazarov’s minimalist opus in: ibid., 141–151. 17 Details on Milimir Drašković’s minimalist opus in: ibid., 151–160.

186 Masnikosa, M.: The Reception of Minimalist Composition Techniques ... (181–190)

Belgrade minimalism achieved a specific difference in relation to the American paradigm of modernist minimalism only in terms of considering the repetitive model category as almost always conjoined with the series category, in the perception of the Belgrade minimalists. The model as a series exists in nearly all the works by Belgrade minimalist composers, except in those by La- zarov Pashu. In his Fusion for flute, for example, Tošić, even works with the unique minimalist ‘quaternion’! Overall, the specific modernist minimalism of the Belgrade composers was a site-specific ‘converging point’ of the post-war European affinity toward con- structivism and the American concept of music minimalism. Some works of Belgrade integral minimalism are, by their degree of complexity in repetitive processes, comparable even to the complex, hidden repetitive procedures in the works of American postminimalism.18 Much like American minimalism in its homeland, the minimalism of the group OPUS 4 faced during the late 1970s and early 1980s the strong resistance of academia, which, among the new directions of contemporary music, only accepted those leading toward a progressively more complex organization of sound. The radical reduction, primarily in the field of the compositional technique imposed by the Belgrade OPUS 4 composers, seemed from the academic perspective to have been overly simplistic to be accepted. The emergence of integral minimalism among Belgrade composers, as the only clearly distinguished and defined formation within the New Generation group rebellion activities, triggered therefore an entirely expected eruption of the ‘icono-vigilante’ resistance camp.19 Consequences, naturally, followed: obstructed by the affective and restric- tive ideological resistance of the musical establishment of the time, the Bel- grade integral minimalism project – in itself already hostile toward compromise – remained isolated, and ‘unfit’ for Belgrade institutionalized musical life. By the actual music establishment as well as by its very creators, this project was seen as opposition to the institution of ‘new music’ in Serbia. The position of the ‘opposite’ indeed blocked the possibility of the direct influence Belgrade integral minimalism eventually could have exerted on the professional milieu. It thus happened that, unlike the direction in the lineage of American minimal-

18 Similar hidden double repetitive processes with cumulative changes can be found in some preludes from the cornerstone work of the American post-minimalism – The Time Curve Preludes (1977/78) by William Duckworth. 19 From the angle of the then-active ‘educational team’ of Faculty of Music in Belgrade, the antagonism towards radical reduction in the students’ works was, first and foremost, ‘the protection of the trade’, and then the defence of their own artistic ideology which was indirectly ‘attacked’ by the young composers’ action.

187 New Sound 40, II/2012 ism, the Belgrade modernist minimalism did not assume a precursor role in the development of postminimalism in Serbian music. Milimir Drašković, Miodrag Lazarov Pashu, Vladimir Tošić, and Miroslav Miša Savić, who, at the end of 1970s in Serbia, promoted ‘hard’ modernist minimalism, during the 1980s still composed (among other works) modernist minimalist music, largely neglecting to follow the new postmodern trends. Vladimir Tošić was, in fact, the only representative of the OPUS 4 group who would, only later, during the 1990s, accept the challenge of music postmodernism and reach into the field of postmodern minimalism. Hence, except for the works of Vladimir Tošić20 (and that is as late as in the 1990s!), compared to the American music minimalist ‘genealogy’ manifested in the historical succession that connects ‘parental’ minimalism with postminimalism in the works of e.g. Phillip Glass and Steve Reich – Serbian music lacks such continuity. The first postminimalist works in Serbian music were conceived as a creative reflection of the postminimalism by American composers, bypassing altogether the experiences of Belgrade integral minimalism. The overall energy needed to ignite postminimalism as a new direction in Serbian music was demonstrated by young composers who were able to ‘hear’ and accept the new and different postmodern challenges,21 and who, at the given time experienced and embodied their creative affinities within the postmodern transformation of minimalism. Consequently, the earliest postminimalist works in Serbia, in a paradoxical turn, belong to those composers who did not have a creative contact with radical modernist minimalism! The performance of Glass’s and Wilson’s opera Einstein on the Beach at the Belgrade BITEF Theatre Festival in 1976 presented an incentive for the then young composers who lacked an individual creative experience with hard-line modernist minimalism. It was the way in which Phillip Glass ‘reformulated’ the strict minimalist repetitiveness that inspired younger composers to create less binding, ‘freer’ and more liberal minimalist processes, which – corresponding with the postmodern spirit – more or less included some elements and proce-

20 His post-minimalism is firmly grounded in his own radical minimalism, which is by ‘outside intervention’ fused with post-modernist pseudo-referentiality. In that regard, his postminimalism is paradigmatic – it demonstrates ‘stage zero’ of the post-modernist minimalism, and in a completely different manner than the compositions of the authors who did not have personal experience of the radical minimalism. (More on this later on in the main text.) 21 None of the protagonists of post-minimalism in Serbia was close to the ideas of the Amer- ican post-war avant-garde! Their creativity embraced the minimalist technique, enriching it with a post-modernist ‘grain’ of freedom, which was alien to the proponents of modernist minimalism.

188 Masnikosa, M.: The Reception of Minimalist Composition Techniques ... (181–190) dures of older, pre-modernist musical practices. Along with the ‘diagonal’ repetitiveness based on the idea of the phase shifting and free repetitive procedures that also included the ‘points of change’ (as contrary to the rigid, monolithic totally controlled minimalist procedures in the works of the OPUS 4 members), the most successful postminimalist works of the late 1970s and the 1980s incorporated: a ‘taste’ of folklore (such as ‘dancing’ and ‘singing’ in Raskovnik by Vuk Kulenović), a semblance of baroque-type themes and imitative procedures (Cartoon by Zoran Erić), quotations of baroque music theme excerpts subjected to repetitive procedures (Misteriozne barikade [Les Barricades Mystérieuses] by Ana Mihajlović), various individually composed and conventionally codi- fied thematic units and gestures (Rondo, Sekvenca III [Rondo, Sequence III] by Katarina Miljković, Run! by Ognjen Bogdanović, Mehanički Orfej [Mechanical Orpheus] by Vuk Kulenović), and a simulation of multi-layered, Mahleresque romantic themes subjected to the relentless minimalist repetitiveness (Konzert- stück and Helijum u maloj kutiji [Helium in a Small Box] by Zoran Erić). Serbian postminimalist musical practice embraced various combinations of repetitive technique and older, genre-differing ‘musics’. The fact that Serbian postminimalist practice did not yield works that could be interpreted as individual replicas of the oeuvre of William Duckworth, John L. Adams or other American postminimalists whose works did not feature explicit intertextuality, could come as a surprise to some experts of American postminimalism. In its individual formulations and unlike American postminimalism, Serbian musical postminimalism does not reflect an affinity toward the development of the actual minimalist technique. It rather comes as a result of an encounter with the works of Glass, Reich, Adams and others, and as a full acceptance of the minimalist repetitive technique that for composers of the younger generation has become the ‘native musical language’ and the foundation whereby (with the inclusion of fragments of ‘other’ musics and older compositional approaches) they can express their individual artistic sensibility. Overall, Serbian postminimalist practice (presented here in a summarized form), did not exhibit a logical continuation in the development of minimalism in the local setting. The emergence of Serbian postminimalism was enacted by composers who were not modelled by the early, modernist American minimalism and did not continue on their path, but were instead, motivated by the highly renowned works of American postminimalism and chose minimalist technique as a ‘ready-made’ (in Adorno’s sense) material upon which they could carry out their own individual poetical ideas. The recent history of Serbian music therefore exhibits a sharp postmodern disconnect: unlike the causal and diachronic relationship of modernist minimal-

189 New Sound 40, II/2012 ism and postminimalism in world music history and due to the significantly de- layed arrival of minimalism in relation to its American predecessor, modernist minimalism and postminimalism entered Serbian music almost simultaneously and independently of one another!

190 NEW WORKS

Article received on 17 March 2013 Article accepted on 18 March 2013 UDC: 782 ; 78.071.1 Вребалов А.

ASPECTS OF DUALITY IN ALEKSANDRA VREBALOV’S MILEVA

Robert Kirzinger* Boston Symphony Orchestra and Northeastern University

Abstract: Opposition between dynamically balanced elements is a core idea in art. In Aleksandra Vrebalov’s 2011 opera Mileva, the title character, Albert Einstein’s first wife, is portrayed in a double role that underscores the various conflicts in her life: her status as an aspiring woman physicist in a field (and world) dominated by men, her initially loving but later difficult relationship with Einstein, and the ‘otherness’ of her Serbian heritage. Vrebalov clarifies and intensifies these dualities through the use of dynamic large-scale architecture and an interpretatively rich musical language incorporating quotations and stylistic allusions. Keywords: contemporary music, opera, Serbian music, Mileva Marić, Albert Einstein, Vida Ognjenović, Aleksandra Vrebalov Апстракт: Опозиција динамично балансираних елемената је основна идеја у уметности. У опери Милева Александре Вребалов из 2011. године, насловни лик, прва супруга Алберта Ајнштајна, приказана је у двострукој улози која открива разноврсне конфликте у њеном животу: њен статус жене физичара у области (а и у свету) којом доминирају мушкарци, њен с почетка пун љубави, али касније компликовани однос са Ајнштајном, и „другост“ њеног српског наслеђа. Вребалов појашњава и интензивира ове дуалности кроз употребу динамичне архитектонике и интерпретативно богатог музичког језика у који укључује цитате и стилске алузије.

* Author contact information: [email protected]

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Кључне речи: савремена музика, опера, српска музика, Милева Марић, Алберт Ајнштајн, Вида Огњеновић, Александра Вребалов

А шта ако оно за чим трагамо заправо скрива музика?! Тон је исто што и светла зрак. [But what if what we are looking for is hidden in the music?! Sound is the same as a ray of light.] Mileva, Act I, Scene 4

Aleksandra Vrebalov’s 2011 opera Mileva absorbs and transforms the gravity of events in the title character’s life, folding time and characters in upon themselves through overlapping spirals of music and narrative. With a libretto by Vida Ognjenović based on her 1998 play Mileva Einstein, the opera was commissioned for the 150th anniversary of the Serbian National Theatre and was premiered in Novi Sad and Belgrade in November 2011. The title character is Mileva Marić, best known as Einstein’s first wife. Aspiring to become a physicist, a pioneering woman in a field dominated by men, Marić met Einstein at the Zurich Polytechnic in 1896, and they had a daughter out of wedlock in 1902. (That daughter was probably put up for adoption.) They married the following year and had two sons together, but their relationship became difficult; they finally divorced in 1919, although Einstein helped support her and their sons by using his Nobel Prize money to purchase apartment buildings for her in Zurich. Vrebalov’s opera treats the time period of Marić’s relationship with Einstein and the crisis of personality she experienced in maintaining her individuality in the face of her partner’s onrushing destiny. As drama and as music Mileva makes much of dichotomies, of which several are crucial to its understanding. Social dualities abound: we have already mentioned the central one, that of Marić’s status as a woman attempting to enter a field in which her gender is seen as inferior. She is, at first potentially and then actually, a mother, a role no man might experience. She is Serbian, a Slav in Germanic surroundings, having left her family in Vojvodina to gain experience of the broader world. This duality is dramatized in the dual role of Mileva Junior and Mileva Senior, a concept not found in the original play. The latter, sharing the stage with her younger self, experiences her own life with the dubi- ous benefit of hindsight, and for the illumination of the opera’s audience. There is conflict between these two characters too; Senior’s frustration at Junior’s na- iveté darkens the drama’s atmosphere from the beginning: past and future are simultaneously present, but not precisely reconcilable. The future, embodied in Mileva Senior, is foreseen by her schizophrenic, ambiguously Cassandra-like sister Zorka, whose premonition of Mileva’s difficult future is the opera’s open-

192 Kirzinger, R.: Aspects of Duality in Aleksandra Vrebalov’s Mileva (191–199) ing scene. Of course, there is the Einstein/Marić pair itself as well, the deep and ultimately irreconcilable division between his future greatness and her relative oblivion. The Einstein of the opera, strangely, is a romantic of the first order, a man in love; the work he has done and will do occupies little space in the drama. Here, we have the Einstein who quotes Goethe and Shakespeare, the violin-playing scientist who sees beauty in the order of the universe. The musical content of Mileva is indivisible from the dramatic matter, manifest in its most basic level by the F-sharp – G-natural duality and instability dominating the melodic character of Zorka’s opening scene, as well as her use of both pitched and unpitched vocalization. The timbral and semantic range of this vocal part is one aspect of the complex sonic continuum encompass- ing noise, musically chaotic textures, dense but harmonically distinct passages, transparent harmonies and lyrical melodies, and simpler tonal-modal tunes. An analogous continuum can be applied to the rhythmic and metrical dimension, ranging from stochastic (random) to mechanical to humanly flexible (i.e. song). By superimposing multiple strands of musical action from different points in these continuums, Vrebalov illuminates the variety of emotional and thematic ideas already incorporated in the libretto. Fundamentally related to these musical aspects, the opera’s narrative ‘reality’ is threatened and enriched by moments that both exoticize and normalize the context. Although from the perspective of the composer and the opera’s first audiences, the Serbian song ‘Dunave plavi’ [‘Oh, Blue Danube’] (Ex. 1) that opens the opera (complete, in the work’s original staging, with a band of rustic musicians silhouetted against the pre-dawn horizon) is a ‘natural’ element, from a traditionally operatic standpoint its presence is an exoticism, like the haba- nera in Carmen, the ersatz folksong-round ‘Old Joe Has Gone Fishing’ in Peter Grimes, or indeed the tavern scene of Wozzeck, in spite of the far-flung variety of their foundational musical languages. Vrebalov’s use of the accordion among her orchestral instruments – intermittently foregrounded – maintains a tie to this natural/exotic flavour of her and Mileva’s homeland. The composer has frequently incorporated such elements in her music; her piece …hold me neigh- bor, in this storm…, composed for the Kronos Quartet, features a recording of her grandmother singing the folksong ‘Ja posadih jednu ružu belu’ [‘I Planted a White Rose’]. Such elements are never simply grafted on, but richly integrated within the work’s larger harmonic, linear, and emotional structures. In Mileva, ‘Dunave plavi’, having placed us in Serbian emotional space right at the onset of the piece, returns in Scene 5 as a reminder of the character Mileva’s duality when her friend Ruzicka, awaiting the start of the New Year’s party ushering in the 20th century, begins to sing the old song, now seamlessly present within the opera’s narrative.

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‘Dunave plavi’ is not the only apparent objet trouvé within Vrebalov’s larger musical-dramatic form. In each case the object is embedded uniquely and inex- tricably in the event space of the opera. Such presences also serve as conduits or windows to an alternate universe, an idea already established in the dual role of Mileva. In the third scene, we have one of the opera’s explicit examples of thrilling frisson between simultaneous strands of reality. Albert and Mileva (Junior) wait in front of his lodgings for his landlady to awake and let him in. He has forgotten his key for ‘the sixth time this semester’, as Mileva reminds him – only this reminder is sung by Mileva Senior, seen by the audience but not by Albert, who takes her voice as that of his soon-to-be-sweetheart, whom he interrogates about the meaning of love. The musical cues are also distinct: Vre- balov characterizes Albert with an obbligato accompaniment of virtuosic solo violin from the orchestra pit, binding the character to Eintein’s historical self (as Philip Glass had done, quite differently and more ostentatiously, in Einstein on the Beach). The violin phrase is not itself a quotation, but an extension of the baritone’s character. Note in Example 2 the pitch correspondence between Al- bert’s A – B-flat phrase (‘May I ask you a question?’) and the same pitch classes in the lower voice of the violin solo in the following measure. (Albert had also had a solo violin halo at his first appearance, in Scene 2.) Later in the scene, Vrebalov refers more obliquely to Einstein’s cultured (and Germanic) heritage with the setting of a textually found object, Rudolf Binding’s poem ‘Der Tag gehtübermein Gesicht’ sung by Mileva Senior as a counterpoint to Mileva Junior’s lyrical depiction of love. The scene is multi-dimensionally symbolic here: Mileva Senior’s song is about the transience of life, while Mileva Junior speaks of being swept away by love. Senior’s song is a slow, meditative one, a sustained current within the light waltz that Junior’s aria has become. Thus, we have two concurrent musical time-streams, contrasting, but here reconciled, and two contrasting modes of thought, sung in two languages by two aspects of the same character, reflecting the thematic duality of the piece as a whole. (When Albert joins, making a trio, he tellingly conforms to the waltz character of Mil- eva Junior’s music.) In Scene 4, Albert and his male colleagues work on a physics problem. Following a percussion-heavy opening that re-established the idea of multiple concurrent tempos, the intellectual rigor of their efforts is symbolized by the scene’s being structured as a vast double fugue – again the presence of two tempo-streams, with the voices stepping and out of the current. Mileva Junior’s divided self makes tea for the men on the one hand, and sits to add a few notes to their experiment on the other. Albert – balancing Mileva Senior’s song of the previous scene – creates a new space for himself, stepping out of the prevailing texture for an aria setting a speech from Act V of Shakespeare’s Merchant of

194 Kirzinger, R.: Aspects of Duality in Aleksandra Vrebalov’s Mileva (191–199)

Venice: ‘Look how the floor of heaven’. His colleagues’ (other than Mileva’s) reaction to this flight of metaphysical fancy – ’Blah blah blah!’ – ironically ushers the fast fugue back in, and this, as the colleagues break from their work to play a little music – ’Mozart!’ – transforms seamlessly into the overture to Mozart’s The Magic Flute. Mozart in this context, despite its familiarity, is just as much an exoticism as ‘Dunave plavi’. Following the musically chaotic scene change to the New Year/New Century party of Scene 5, Vrebalov underlines the strangeness of Mozart by having it return quite magically as a recording on a gramophone being played by Ruzicka. (The machine was a very new invention at that time.) The music stops jarringly when Ruzicka takes up the disc to look at it with curiosity before starting to sing ‘Dunave plavi’, creating two succes- sive exoticisms. As there are ‘found text’ and ‘found music’ passages in Mileva, Vrebalov uses the orchestra to create ‘found-sound’ events to enliven the theatrical environment. One example is the orchestra’s illustration of the shrieking of the postman’s bicycle wheels during Zorka’s hallucinatory premonition in Scene 1. Another is the interlocked multiple tempos of mechanistic metallic percussion introducing the laboratory scene of Scene 2. The most mysterious of these otherworldly intrusions comes toward the end of Act I, when the disguised Beso sings his dreamlike three-pitch aria ‘I buy souls of young scientists’. The regu- larly pulsed accompaniment of harp, tambourine, and wood blocks evokes the clopping hooves of the horse drawing the scrap-buyer’s wagon in the composer’s second hometown of Sombor.1 The result, experienced by both the characters onstage and the audience, is eerily strange, blending the familiar with the inexplicable. (This precedes an animated Act I finale, a lively ensemble set- piece with chorus with its roots deep in the operatic tradition.) These richly referential moments, of which the above examples are but a few, intertwine the dramatic and technical-musical elements of Mileva, and all this rests on a sense of architectural balance. Again, one may invoke Wozzeck in its use of large-scale formal structures, although Berg’s forms are the preset genres of ‘symphony’ or ‘variation’, whereas Vrebalov’s, despite the cues of waltz or folksong, are more organically derived. From the widest-angle view, asymmetrical pairings abound. Act II, Scene 1, depicting the parting of Albert and Mileva as she leaves for Serbia to give birth to their illegitimate daughter, is the dark twin of Act I, Scene 3, in which the two declared their love. In this much shorter scene, Mileva Senior is again present, as is the now ironic-sounding waltz, and Mileva Senior sings the setting of another German poem, this time a couplet from Goethe’s ‘Urworte, orphisch’: ‘Many a heart goes wander- ing, but the noblest devote themselves to one’.

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The following scene, back at the Marić family home, naturally echoes much of the music and tone of the first scene in that location, which opened the opera. That scene’s orchestration and Zorka’s minor-second melodies reappear, but with the presence of the pregnant Mileva things are heard as less suspended as the first scene seemed to be, as tumbling forward inexorably. This is height- ened by the scene’s transformation directly into the very different Scene 3, the chorus flowing onto the stage with their anthemic, distancing proclamation of Einstein’s success before the set has even changed. Introducing a new musical texture and character in the opera at this point, that scene (Act II, Scene 2) is an important structural pivot, creating an asymmetrical split between one kind of action and mood and another. The proportions of the two largest sections (which do not correspond to the break between the acts) mirror the proportions of individual scenes in their accumulation of energy from onset to emotional/musical peak. For example, the postman’s cry of ‘Zurich’ in Act I, Scene 1; the shift to waltz-tempo and the vocal entrance of Mileva Senior during Junior’s aria of Act I, Scene 3 and its echo at the same durationally analogous moment in Act II, Scene 1; and in the finale, where the two Milevas finally converge, all create musical climaxes in the region of their scenes’ ‘golden sections’, the ancient design principle so beloved by Bach, Schubert, and other composers, as well as artists and architects throughout the centuries. This proliferating similarity of structural proportions creates, consciously or otherwise, a sense dynamically organic, vibrant cohesion in the opera’s overall shape and flow. The big second part of Act II – that is, from the second scene onward – il- lustrates in its pacing and narrative fluidity the increasing instability of Mileva’s life. In the blink of an eye, years have passed. In shorter sections with much eli- sion and overlap and great contrast of texture, we learn that Zorka’s descended further into madness (which personifies the dissolution of Mileva’s world), that Mileva’s and Albert’s two sons have since been born, that she still mourns her separation from her daughter a decade earlier, and that their marriage has begun to disintegrate. The onstage division of Albert and his male friends on one side and Mileva with her female friends on the other, each backed by a chorus of their gender, seems to obviate the split – a negative to Act I, Scene 2, where Albert and his male colleagues strongly support Mileva’s continuation in the physics course – but here, too, Albert’s colleagues take Mileva’s side. The male chorus sings (in German) the words of a letter Einstein wrote to his wife in about 1914, a heart- less denial of an emotional bond between them, essentially lowering Marić to the level of housekeeper and nursemaid. This clashes sharply with the chorus’s dec- lamation of Einstein as scientist-hero a few minutes before, and with the recorded quotation of Einstein explaining his famous formula that opens the final scene.

196 Kirzinger, R.: Aspects of Duality in Aleksandra Vrebalov’s Mileva (191–199)

The final scene leaps forward to Mileva’s last years. Again we find a negative image: Mileva Junior is now the semi-passive observer, while Mileva Se- nior, hospitalized and apparently suffering from delusions foreshadowed by her sister’s schizophrenia, occupies the present. Mileva Junior sings further lines from Goethe’s ‘Urworte’ as Senior re-examines the past, addressing her (absent) friend Helena. Finally, the two Milevas engage in a wordless duet accompanied by the angry, intense orchestra in a wrenching lament of frustrated potential – of ambition, of love, of human connection. Vrebalov masterfully uses silence and the contrasting timbres of full orchestra without voices, or solo voices without orchestra, or the combination of the two to add unpredictability and tension to an already very highly strung atmosphere. The two voices finish finally on A-flat and G, a minor second apart (Ex. 3) – etching the same fundamental interval we heard so distinctly at the start of the opera, but now half a step higher. If each scene of the opera is a wave that breaks and flows into the next, this remarkable finale stops frozen at its own peak in searing mid-thought. We, the audience, are left with our own divided selves, simultaneously despair- ing at the lost potential of a life, while rejoicing in the immensely satisfying artistic experience that is Mileva.

REFERENCES

1. Personal communication with the composer

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Mileva Ex1 Dunave

Mileva Ex2 leitmotif

Mileva Ex3 Sc3

198 Kirzinger, R.: Aspects of Duality in Aleksandra Vrebalov’s Mileva (191–199)

Mileva Ex4 finale

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200 INTERPRETATIONS

Article received on 13 February 2013 Article accepted on 15 February 2013 UDC: 78.01 ; 78.01:81'27

RUMINATIONS ON MUSIC AS AN EXEMPLARY ART

Arnold Berleant* Long Island University

In a lifetime spent with music, listening and playing, I have always been struck by the remarkable self-sufficiency of that art. Faltering explanations, such as language, symbol, emotion, or expression, seem to reflect the precon- ceptions of the listener, the critic, or the theorist rather than the experience of the music. All claim to explain music in terms of something else. Where is the music in such explanations? Music loses its integrity through translation into similes, metaphors, or its accompanying effects. How, then, can we explain the fascination that music continues to exert on us?

Titles As with other arts, music does occasionally exhibit referential features, and these are often put in titles or descriptive phrases. Can titles avoid the pitfall of translation? They seem to speak directly of the imitative characteristics that music may exhibit: of its mood, of non-musical sounds like cock’s crowing and locomotives, or of dramatic events. Titles seem to offer a means of bringing order to the intangibilities of musical sound. Yet titles are misleading in their own ways. We tend to seize on titles as hooks on which to hang our explanations, easily overlooking the wall on which

* Author contact information: [email protected]

201 New Sound 40, II/2012 they are fixed. How, we think, does the music embody the night on Bald Moun- tain or the sea? Sound recedes before image, drama, or feeling. We find ourselves listening anxiously for the cock’s crowing in The Sorcerer’s Apprentice or to recognize the march to the scaffold and the fall of the guillotine in the Symphonie fantastique. Again, what was to be an explanation tends to becomes a substitute for the musical work. There are numerous instances where, from titles assigned by the composer or the listener, the autonomy of music seems to be compromised. How to deal not only with so-called program music but with musical works that have descriptive titles, such as the overly-specific Moon- light Sonata? If music is about itself, what of those works whose titles make suggestive, external connections between the music and something else, notably the wonderfully evocative titles Debussy gave his Preludes? Several plausible explanations are possible. The title could reflect the piece’s generative source: the object, situation, or mood that evoked the composer’s musical response, common in Impressionism. Or the title could act as a guide for the listener in making associations or suggesting an appropriate mood that could serve as a focal point for attention. Such accounts may not lead us far from the progression of musical sounds, but they cannot avoid dissipating our attention. But we are still left with a question: is this connection a more or less explicit reference that is comparable to the images in representational painting or the characters and situation in a realistic novel? On the other hand, is the title nothing more than a largely arbitrary linguistic stipulation by the composer or someone else? Should the listener emulate Debussy’s practice and consider the title only after listening to the work? Or to suggest a third alternative, is the object, person, situation, or mood something that is wholly embodied in the work of musical art? I should like to affirm the last of these.1

A wordless sense of things One of the most persistent similes for explaining the elusive art of music is language. Likening music to language seems almost undebatable and, to be sure, there are certain apparent similarities. Both are sensuous social media shaped into syntactical-appearing structures. Both incorporate resonances of significance, although here it is not only the analogy, music with language, that is troublesome but the very manner in which meaning presumably occurs in each case. Much of the modern age of philosophy has, from the seventeenth

1 I have argued for this last alternative at greater length in “What Titles Don’t Tell,” Aes- thetics beyond the Arts; New and Recent Essays (Farnham, UK & Burlington, VT: Ashgate, 2012), Ch. 2.

202 Berleant, A.: Ruminations On Music As An Exemplary Art (201–208) century on, been preoccupied with exactly how language embodies meaning and expresses truth, and the quest for an answer seems even more complex and unattainable now than it did three centuries ago.2 And in the case of music, questions of meaning, representation, and truth remain puzzlingly inchoate, even though the goal of attaining meaning, of explaining what music means, may seem as necessary as ever to an understanding of that art. A critical difference holds, however, between music and language. Except for proper nouns, language is highly abstract, and the explanation of the onto- logical status of abstract terms has long been a matter of contention. Are they shorthand for collections of particulars or do abstractions have some kind of inherent status of their own on the model of platonic forms? Yet unlike the necessary abstraction of language, music possesses unique particularity. It is easy enough to identify the aural modes in which music occurs, such as scales, harmonic and contrapuntal textures, and dynamic variations. Terms such as these lead directly to tonal conditions and are not as likely to carry one away from aurality, but they are hardly modes of meaning. An inherent difficulty resides in the effort to determine musical meaning. ‘Meaning’ can signify a variety of different things, from literal cognition to metaphorical significance, and this contributes to making meaning inadequate and misleading in relation to music. In the case of cognition, one cannot evade the particularity of every musical sound and sound structure: there is no equivalence to a musical experience. This leads to the difficulties in explaining the relationship in combinatory art forms such as between music and text and between music and a dramatic situation. Metaphorical meaning is no better. It rests on associations that are primarily personal and thus provides no objectively trans- ferable content. The equivocal is music’s normal regime since as a ‘language’ it bears meaning only indirectly and suggests without signifying.3 Rather than ‘meaning’ here, a term of unavoidable cognitive associations, it might be preferable to speak of ‘resonance,’ a word that at least derives its metaphorical significance from a musical source. ‘Meaning,’ then, is inadequate and misdirected: there is no equivalence to a musical experience.4 What, then, is left of musical meaning?

2 See John Hospers, Meaning and Truth in the Arts (University of North Carolina Press, 1948). 3 See, re the paradoxical mutuality of ‘being-in,’ the miracle of reciprocal inherence, Vladi- mir Jankélévitch, Music and the Ineffable (Princeton & Oxford: Princeton University Press, (1961) 2003). 4 Further ramifications include how to explain the relationship between music and text, between music and a dramatic situation. These are external relationships and do not bear as directly on music as sound.

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Let us set aside such metaphorical explanations of music as language and having meaning and consider music in the light of its inherent characteristics, as a wordless sense of things. Literal, direct features of musical sound, the modes of its sonic materials, so to say, are well known: pitch, volume, timbre, texture, harmony, melody, rhythm, tempo, and dynamics (volume). Important as these are for musical analysis, they identify rather than explain the sonic features of music.5 It is possible to further note other, less literal but equally intrinsic traits of musical sound that are less particular, such as its multi-dimensional auditory presence that imparts both a temporal and a spatial aura to the sonic experience. Music also exhibits degrees of intensity and kinds of density. These general characteristics result from the skillful combination of musical materials, especially spatiality, texture, and tonal quality or timbre of patterns of sounds or groups of instruments. Related to intensity but different from it is force. Oddly, we might seem to be describing the quasi-physics of musical sound by referring to its space, time, and force. Critically important in these two kinds of charac- terizations of music beyond words is that both the specific sonic features and especially the last group of pervasive features must be understood to apply to music as heard, that is, to the musical situation, for it is essential in understanding music always to consider it in its situational context as played and heard.

Motion There is yet another aesthetic element that music reveals, a dimension of experience often hidden in other arts and rarely noted even in musical ones. The trait of which I am speaking is motion. In one sense, ascribing motion to music seems obvious. I want to suggest, however, that it is neither obvious nor simple, and that motion underlies nearly every other musical dimension and can be found working its arcane influence in other arts, as well. Motion is inherent in musical experience. One is reminded of Hanslick’s famous definition of music as “tonally moving forms.”6 Motion seems, at first, to apply to performance, to the activation of a musical score, but I want to contend that only in the aurality of music does music truly exist. That is to say, without being heard what remains of music is nothing more than vibrations in

5 I have discussed these in a somewhat different context in “What Music Isn’t and How To Teach It,” Action, Criticism, and Theory for Music Education, 8/1 (April 2009), 54-65. http://act.maydaygroup.org/php/current.php. Reprinted in Arnold Berleant, Aesthetics beyond the Arts (Farnham, UK & Burlington, VT: Ashgate, 2012). 6 Eduard Hanslick, On the Musically Beautiful (1891), trans. G. Payzant (Indianapolis: Hackett, 1986).

204 Berleant, A.: Ruminations On Music As An Exemplary Art (201–208) the air, just as an unseen painting is no more than pigment on canvas. Appre- ciative engagement is necessary for the art to exist. For music, this may occur in performances, but it may take place in listening to recordings. The musical score, like the title of a composition, is actually a path to sound, not the sound itself. It is important here to distinguish between motion and movement. Move- ment is readily recognized as one of the dimensions of musical material. It has to do with the division of time into regular groups of pulsation (meter), at varying speeds (tempo), duration (note values), and patterns (rhythm). We can speak here, too, of melodic movement, harmonic movement (in which cadences are an important framing device), textural movement, and perhaps of tempo, the general pace of movement, and the degree of suspense (unresolved or deceptive cadences, extent and pattern of unresolvedness). Some of these forms of movement involve playing with anticipation by misleading or otherwise frustrating our expectations in musical audition.7 However, it is possible to identify another sense of movement that is less formal: its dynamic, somatic character. I am thinking here of something more like force, the pressing impulse of movement, the somatic experience of time. This is what I want to call motion as distinct from movement. It is the processive feature of all experience. Indeed, music takes this dynamic quality of time, central in perceptual experience, and gives it shape. Like all temporal experience (in contrast with metric chronology), musical motion is elastic. It is replete with accelerandos, ritardandos, fermatas, cadences, and other variations of the musical pulse. It might be said that music is centered on motion through the use of sound and silence. Music is thus a sonic process. This is no less true of the other arts: painting is a visual process, cinema a filmic process, art in general a perceptual process. Because motion is central in music more clearly and directly than in most other arts, music is exemplary as a focused perceptual process. Thus, music lies in the amalgam of sound, performer, and listener, and its embodiment is situated in the conjunction of the ongoing sound, the execution, and the listening. This has important implications for the ontology of music, which has often veered far from this mark.8

7 Cf. Leonard Meyer, Emotion and Meaning in Music (Chicago: U.C. Press, 1956) Music, The Arts and Ideas (Chicago: UC Press, 1967). 8 It would be appropriate at this point to develop a discussion of musical embodiment, but as I have already written on that subject, I shall pass over it here and turn finally to the os- tensible subject of this essay. See my “Embodied Music,” in Environment and the Arts; Perspectives on Art and Environment, ed. A. Berleant (Ashgate, 2002), pp. 143-155. Also

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Music as exemplary “To live in the music is like walking on a woodland trail.”9 For music to be, one must participate in the living sound. This is a contextual experience. It brings together the participation of composer, sound, performer(s), and listener in an experiential synthesis, together with all the situational conditions of atmosphere, location, acoustics, technology, sociality, historicity, and other such circumstantial factors. Understood in this way, music is actually a social environmental experience. Its occasions can be profound and sometimes transfor- mative. Although much of what I have said about music applies to most genres of music, what I especially have in mind here are those occasions when music dominates as the center of experience and is not made into a peripheral accompaniment as a space or time filler, or is not employed as a commercial or social facilitator (or seducer). I am thinking of musical occurrences when the music is the center of focused attention, especially of art music broadly construed. Despite Walter Pater’s famous claim that “All art constantly aspires towards the condition of music,”10 music has seldom been understood in its own terms.11 Even more rarely has music served as a standard for understanding other arts and activities. The prototypical arts are painting and literature. These, joined to the model of language with its attendant concepts of symbol, syn- tax, and semantics, have commonly been taken as the basis for grasping artistic forms, structures, experiences, and significance in general. Yet I have tried to show how musical processes do not fit these convenient molds. Moreover, some of the distinctive traits and capacities of musical art, such as direct and immediate sensation, intrinsic sensibility, temporality, intangibility, and an almost complete dependence on the activity of performance, are often overlooked or suppressed. While these features are present in other arts, music offers them with a clarity and directness not often found elsewhere. Music thus provides its own standard and may serve to advantage as a heuristic model for explaining the other arts. Let me first review the distinctive features of musical experience and then consider how they may be adapted to other arts and the implications of doing this.

TKS, Tidskrift för kulturstudier, (Journal of Cultural Studies), 5 (2002), 7-22. Reprinted in Arnold Berleant, Aesthetics and Environment, Theme and Variations (Farnham, UK & Bur- lington, VT: Ashgate, Publishing Ltd, 2005). 9 Anon. 10 Walter Pater, “The School of Giorgione,” The Renaissance: Studies in Art and Poetry, 2nd ed. (1877) and subsequent editions. 11 Schopenhauer was a notable exception.

206 Berleant, A.: Ruminations On Music As An Exemplary Art (201–208)

1. direct and immediate sensation Whatever else happens in music (and much else does), it is an experience of sound. Skillful listening requires the ability to listen attentively and directly to sounds themselves. This is not confined to momentary sensation, a serious misunderstanding of perceptual immediacy. One hears in a temporal aura, in the mnemonic shadow, so to say, of what has been heard and with a projected umbra of anticipation of what may follow. This varies in degree with the extent of the music’s familiarity but it is always present in close listening. It is evident that the capacity to attend to the intrinsic sensibility of music has to be cultivated, for attention easily wanders and is an easy victim to distraction. 2. temporality To call attention to music’s temporality is to state the obvious, and I have already mentioned the critical role of memory in the temporal experience of music. But temporality is not just an abstract property of music; it is a qualitative experience. Music is not only in time but it constitutes time. To live in time is to participate in a process, and the processive character of music is overt and distinctive. While this seems obvious, I say it because, as we shall see, every art involves a processive experience. 3. intangibility This is worth mentioning although it, too, seems obvious. Unlike other, more “material” arts such as painting, sculpture, and architecture, the material of music, sound, is elusive. It can be “grasped” only in passing because it has no tangible substance. In this respect, music is closer to dance, whose “substance” is movement, not human bodies. Lights can dance and so can falling leaves, as well as elephants and horses (e.g. the Lipizzaner stallions). 4. performance For music to happen, it requires the overt activity of performance. The composer, in a sense, is the first performer. The composer fashions the presence and succession of sounds, whether by playing an instrument, notating a score, or programming an electronic instrument. When music is re-performed, which is the status of concert performance, the process goes on before an audience through an intermediary. Performance is the actuality of music; everything else is contributory and peripheral. That is why it is impossible to locate a musical object as one can identify a presumed pictorial or visual one. Such an intention is vastly misleading because it thinks to locate the art in an object, whereas the art is actually in the experience to which the object contributes. It is needless but necessary to note that these features are not separate and independent. Rather, they have been extrapolated from integral musical experi-

207 New Sound 40, II/2012 ence only for the purpose of identifying and articulating its characteristics. Nor are these features unique to musical experience. They are present in other art modalities, too. Painting, for example, is a processive and performance art, not only for the artist in making (i.e. performing) the painting but for the viewer, as well, in actively examining and engaging with the features and qualities of the pictorial surface. Appreciation thus becomes a performance activity, and not only in music but in the aesthetic appreciation of poetry, fiction, dance, and architecture. One can discover other characteristics of musical experience in these arts, too, such as intrinsic sensation and temporality. Even intangibility is present, since the arts, in the sense in which I have been speaking of them, do not consist in objects such as canvases, sculptures, or buildings but in our aesthetic experiences of them. These arts, too, become complex modes of perceptual experience. Carrying over these distinctive features of musical experience to other arts and examining how they function, mutatis mutandis, is revelatory as well as in- structive. Considering music as exemplary transforms the aesthetics of the arts.

208 ANALYSES

Article received on 20 November 2012 Article accepted on 30 November 2012

UDC: 78.071.1 Дебиси К.

ONTOLOGY OF SPACE IN CLAUDE DEBUSSY’S SHEET MUSIC

Svetlana A. Mozgot* Institute of Arts Adyghe State University Maikop, Russia

Background. Debussy’s sheet music is a unique phenomenon showing the transformation of musical spatial characteristics into a graphic equivalent. This paper suggests a new elementalist approach to studying the spatial properties of musical sound. This approach enables musicologists and performers to create a new interpretation of sheet music and to discover a new musical content in a score. Aim: to show techniques which C. Debussy used to fix spatial characteristics in the printed music and to show how the physical properties of space – namely mass, volume and density of sound – become the carriers of the artistic sense in C. Debussy’s notation. Objectives: to show the technique of marking the sound mass; ways of decreasing the weight of sound; transformation of the mass of sound into the volume of sound and the different density of sound. Methods of study. We used a musicological analysis to reveal the techniques of sound articulation typical of C. Debussy. The new approach of musi-

* Author contact information: [email protected]

209 New Sound 40, II/2012 cological elementalism was used to study musical sound in terms of its spatial features, namely its mass, volume and density. Musicology adopted the elementalist approach from personal psychology. Scientists used it to study personal nature in terms of every individual component of a person’s behaviour, from simple to composite. We continue this tendency and use this approach in this item. A comparative method was used to find out the distinctions between mass, volume and density of sound. The axiological approach and semantic approach were used to study the expressive properties of mass, volume and density in the artistic content. Discussion. 1. The concept of the mass of sound. The concept of the mass of sound was included in musical science in the second half of the 20th century. The mass of sound is a feeling of its weight which, according to E. Kurt [3], is stronger when listening to a chord compared to one sound. According to C. Stumpf [1], the mass of sound is an impression which depends on the process of acoustic fluctuations, and according to H. Ri- emann [3], the mass of sound emerges by playing the same sound on different instruments. We see different approaches to the study of musical sound, such as the psycho-physiological, acoustic and intonation phenomena. Regarding this, we shall use the terms of E. V. Nazaykinsky [5], who considered musical sound to be a phenomenon of an acoustic order, tone as a factor of intonation, and a note as a symbol of graphic fixing. The means of marking the weight of sound in the scores of C. Debussy include: the accent; the accent with sforzando; the accent with the author’s remarks + tenuto, marcato; and the displacement of the weight of sound onto the unstressed part of the bar. We have noticed that C. Debussy used articulation marks as a means of the intentional representation of different weights of musical sounds. This intention of the composer has raised many questions in performing art. Thus, Louis Laloy considered that the line under the note was a sign meaning that a transparent sound was required. For M. Long it was ‘a sudden pressure’ (attacca) – ‘the weight of sound’ [4]. In our opinion, Debussy designated lines over or under the note to show the middle weight and depth of tone sounding. In C. Debussy’s prelude La sérénade interrompue we can see that the last notes in the first and third bars, respectively, are accented. This accent was made for decoration, to show the unique spirit and image of Spain in many Spanish works by Debussy: orchestral suite Iberia, La soirée dans Grenade, preludes La sérénade interrompue, La puerta del Vino, the piece for two pianos Lindaraja, and the second movement (Sérénade) of the Sonata for violoncello and piano.

210 Mozgot, S.: Ontology of Space in Claude Debussy’s Sheet Music (209–219)

The accent with sforzando. In C. Debussy’s prelude Feux d’artifice (middle of the bar 2), sforzando is a dynamic gesture. It emphasizes the weight, as well as the colour of the sound register, and creates the effect of an approaching object.

In the piece Mouvement from the cycle Images, C. Debussy used the accent with the author’s remarks.

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C. Debussy wanted the performer to play all the accented notes as sonorous sounds but without rigidity, while the other notes should be played very lightly, but without dryness (C. Debussy). In the artistic sense, the sonorous sound shows the image located in proximity, at the foreground. C. Debussy used the accent with tenuto in the second movement (Sérénade) of the Sonata for violoncello and piano (the last bar of the example).

The author’s remark tenuto with the accent makes the sound heavier. The weight of sound stops movement, and it functions as a formal delimiter to pre- pare the coda. The next marking of the sound weight can be found in C. Debussy’s piece for two pianos Lindaraja. The composer displaces the weight of sound onto the unstressed part of the bar (the piano II part). C. Debussy places a stress onto the unstressed part of the bar to show not

only the original shape of dance but also the latent possibility for the development in this piece. This technique plays a dramaturgic role and is used in the culmination of Lindaraja.

212 Mozgot, S.: Ontology of Space in Claude Debussy’s Sheet Music (209–219)

In Debussy’s Sonata for violoncello and piano the weight of sound shows the increasing importance of the vertical component and plays a dramaturgic and form-building role, preparing the next cadence of the violoncello.

Apart from the articulation conveying a certain resolution of the performer in the achievement of the artistic sense, the type of instrument influences essentially the feeling of the weight of sound in Debussy’s music. For example, in Debussy’s works written in the tradition of the French clavecinists, musicians should consider how the sounds would be produced on the harpsichord in order to achieve the correct touch. At the same time, Debussy’s later works – Préludes 2ème livre and Études – are reminiscent of orchestral transcriptions. In order to perform them, the pianist at first has to overcome a feeling that he or she ‘is missing a third hand’. Debussy himself said that his Études can be perceived as a collection of exercises if the musician, while studying them, is guided only by technical problems. Leon Walla has noticed that it was no coincidence that Debussy chose the genre of the prelude for musical ‘sketches’. Debussy considered them to be short introductions to more important works written in the same way, rather than compositions for independent performance. Knowing this feature of the composer’s mature style, the musician has the right to correlate the

213 New Sound 40, II/2012 chosen piano touch to the features of sound produced on various instruments of the symphony orchestra [6].

2. The ways to decrease the mass of sound Studying the laws of assigning weight to a tone as an objective in Debussy’s opus, we understand that the aim of the composer’s sound creation is to overcome the weight of tone, instead of to allot it. C. Debussy defined several ways in which to decrease the mass of sound: softening the attack of sound; softening the attack of sound by using appoggia- turas or other ornaments; the employment of sounds in extreme registers. In the movement Jeux de vagues of the symphonic composition La mer, Debussy softened the attack of sound using a closed sound in the wind instruments, marked by the word bouchez. This technique leaves the impression of a distant background.

In most cases, C. Debussy softened the attack of sound using legato, arpeg- giated chords, dynamic markings and ornaments. In the piece Et la lune descend sur le temple qui fut from the cycle Im- ages (2ème série), C. Debussy uses the special form of an octave appoggiatura,

214 Mozgot, S.: Ontology of Space in Claude Debussy’s Sheet Music (209–219) transforming the mass of sound into volume, which is achieved owing to the effect of chiming. The sound becomes flowing and flying.

In Debussy’s prelude Feux d’artifice, the interval of five octaves between the melody and the bass, as well as the tremolo in the bass, decreases the weight of the sounds. Debussy created the image of smoke filling up the night sky of Paris.

3. The concept of the volume of musical sound and ways of transforming the mass of sound into the volume The volume of sound depends on the quantity of natural harmonics that express the possibilities of sound to flow, reverberate, grow and diminish in personal perception. The ways of transforming the mass of sound into the volume are as follows: the long note with a gradual increase or decrease of the sound dynamics, and drawing attention to the sound’s natural harmonics and their projection on the music substance. In each section of the symphonic piece Prélude à l’après-midi d’un faune (flute solos at the beginning, at rehearsal number 2, at rehearsal number 9), the first sound of the musical theme becomes longer, showing the breadth of the music.

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Solo flute at the beginning:

Rehearsal number 2:

Rehearsal number 9:

Another way of transforming the mass of sound into the volume is drawing attention to the sound’s natural harmonics and their projection on the music substance. In the movement De l’aube à midi sur la mer of the symphonic work La mer, С. Debussy builds the introduction by recreating the natural harmonic scale and leaning on consonances: an octave, a fourth, a fifth and a third. They strengthen the intensity of merging and underline the effect of the natural harmonic resonance that creates the impression of increasing volume.

216 Mozgot, S.: Ontology of Space in Claude Debussy’s Sheet Music (209–219)

4. The concept of density of musical sound Density of sound is the sensation of the structure of musical sound. The density of sound depends on the richness of the natural harmonic spectrum, register, timbre and on the attack of a sound. In the artistic content, this is expressed through the metaphor of lightness, volatility and the non-material essence of musical sound. Ways to designate the different density of sound include the use of a flageolet; the use of a trill and a tremolo; and the use of a trill with a long note. At the end of the Prologue of the Sonata for violoncello and piano, De- bussy used a flageolet. Here, the main tone becomes inaudible and only natural harmonics are heard, while their timbre acquires a special peculiarity. The artistic sense of flageolet in the high register has the effect of dissolving, transpar- ency and great distance.

In bar 2 of the next example from the ballet Jeux (bar 78 in the score), we can see the marking ‘quasi trillo’, whereas the notation implies a tremolo. A few words must be said here about the process of vibrato. Vibrations as an acoustic process emphasize the harmonic structure of a musical sound. A trill and tremolo are note analogues of this process. Changes of pitch during the natural vibrato of voice are almost inaudible. Such a vibrato is measured in one-hundredths of a semitone (i.e. in cents). The employment of trills allows the vibration to be heard, to be measured already in semitones or whole tones. The density of trill vibration becomes evident. The use of tremolo leads to a decreasing density. The remark ‘quasi trillo’ in this example shows that the tremolo should be played as densely as a trill.

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In the piece L’isle joyeuse, Debussy presented different densities of sound using a trill with a long tone. The gradual increase in the dynamics of a long tone by using a trill promotes the sensation of an approaching object and increases the volume and density. This technique is used as a factor of dramaturgic development.

Conclusion Debussy’s printed scores are a unique phenomenon showing the transformation of musical spatial characteristics into a graphic equivalent. Each gesture has its own artistic and spatial meaning. The use of the new elementalistic approach to the study of the means of musical expression enables musicologists and performers to disclose a new music content and to give a new interpretation to the sheet music.

218 Mozgot, S.: Ontology of Space in Claude Debussy’s Sheet Music (209–219)

References:

1. Braudo I. A., Articulation (On pronunciation of melody). Leningrad, Muzyka Publishing House, 1973. 199 p. 2. Korykhalova N. P., Musical terms for performers. The origin, development of meanings and their shades, the use in different styles. Saint Petersburg, Kompositor Publishing House, 2000. 272 p. 3. Kurt E., Romantic harmony and its crisis in Wagner’s ‘Tristan’. Moscow, Muzyka Pub- lishing House. 1975. 551 p. 4. Long M., At the piano with Debussy. Moscow, Sovetsky Kompozitor Publishing House, 1985. 158 p. 5. Nazaykinsky E. V., On the psychology of musical perception. Moscow, Muzyka Publish- ing House, 1972. 372 p. 6. Vallas L., Claude Debussy et son temps. Paris: Alcan, 1932. 473 p.

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220 FESTIVALS AND SYMPOSIA

Article received on 13 March 2013 tic ideologies of composers of all ages. At Article accepted on 19 March 2013 eight concerts, fifty works in the soloist, UDC: 78.091.4(497.11)"2012"(049.32) chamber and electronic genre were performed – 28 pieces by domestic composers and 22 pieces by authors from the region Ivana Miladinović Prica* and the rest of the world (Montenegro, University of Arts in Belgrade Croatia, Slovenia, FYR Macedonia, Israel, Faculty of Music France, United Kingdom, Italy, Finland, Department of Musicology Sweden, Cyprus, Japan, the USA, Austra- lia, Mexico, Ukraine, Canada, and the Netherlands). For the most part, the Re- view took place in the vestibule of the Na- tional Bank of Serbia, a space that has THE 21st INTERNATIONAL already come to be known as the ‘parent REVIEW OF COMPOSERS – hall’ of this festival. Two concerts were held in the acoustically inadequate hall of MUSICAL CONSTRUCTION the Composers’ Association of Serbia, SITE while the closing concert was organized in the concert hall of the Student Cultural Centre. Also traditionally, the opening ceremony included the ceremony of the Mokranjac Award presentation, for the The 21st International Review of Com- eighteenth time. Our only accolade in the posers was held from the 3rd to the 7th of domain of contemporary music creativity November 2012, under the slogan Musical was awarded to Aleksandra Vrebalov, for Construction Site – Newest Expanses of her opera Mileva, premiered in 2011 by the Sonic Architecture. According to tradition, ensemble of the Serbian National Theatre our most significant festival of contempo- in Novi Sad. rary music was once more the meeting The Review has still not taken up the point for the quite diverse poetics and artis- position it deserves in our musical life, and hence this festival, as well as other cultural * Author contact address: [email protected] manifestations, was hit by drastic budget

221 New Sound 40, II/2012 cuts, evidence of which was the complete kind of performing entity – an ensemble of absence of foreign performers and ensem- a flexible format, engaging twenty brilliant bles. On the other hand, it seems that ex- artists with profound experience in inter- actly this (unfavourable) situation, which preting contemporary music, who there- implies the Review’s orientation not only fore, performing in combinations ranging towards the domestic audience but to do- from trios to octets, could carry the weight mestic performers too, somewhat stimu- (one third) of the festival programme.1 The lated a kind of flourishing of the available concerts of Construction Site conducted by interpretational powers and forces in our Premil Petrović, which marked the festi- midst, as well as the more proactive mobi- val’s opening and closing, were at the same lization of the authorial figure of the per- time its most resplendent moments and former who initiates writing musical works, they underscored one of the main qualities assumes various organizational compe- of this year’s Review – the art of interpre- tences, and thus significantly contributes to tation. the profiling and promotion of new Serbian By committed renderings of poetically music. Therefore, the high interpretational diverse works, the members of Construc- achievements of domestic artists, to a de- tion Site at the Review’s opening night did gree, shifted the festival’s centre of gravity not only create a dynamic concert event in from the composers’ to the performers’ itself: they also accentuated their own per- practice, while the focal point was taken by forming flexibility and the ability to fathom the appearances of the newly formed En- various musical discourses – from the deli- semble for New Music Construction Site. cate and refined acoustics of Minijature za This ensemble, founded at the end of FLOBARP op. 206 [Miniatures for FLO- 2011 by the pianist Neda Hofman, who is BARP Op. 206] by Dejan Despić, played also the leader, was given the role of the by Sanja Romić (oboe), Milena Stanišić main ‘pillar’ in the repertoire, and in the (harp) and Stana Krstajić (flute) as a guest; words of the selector Ivan Brkljačić, it to the sound of string instruments in the ‘svojim umetničkim entuzijazmom i work Star Factory by Mihailo Tranda- izvođačkim kapacitetom trasirao put filovski, where the creation of a vibrating ovogodišnje selekcije’ [‘paved the way for and shimmering ‘unstable situation’ and this year’s selection with its artistic enthu- 1 siasm and performing capacities’]. This The following members of the ensemble took part in the Review: Marina Nenadović, flute; year’s Review achieved a successful dia- Veljko Klenkovski, clarinet; Goran Marinković, logic relationship precisely with this en- bassoon; Mirjana Nešković, violin; Miloš semble, who, in a short time, thanks to their Petrović, violin; Ljubomir Milanović, viola; huge potential, excelled as the reference Srđan Sretenović, violoncello; Milena Stanišić, point on the contemporary music scene in harp; Neda Hofman, piano; Galja Vranešević, Serbia, which is proven by the fact that this piano; Sanja Romić, oboe; Relja Turudić, guitar; Ana Radovanović, mezzo-soprano; Vladimir year’s motto was actually inspired by the Dinić, baritone; Boban Stošić, double bass; Ale- ensemble’s name. It seems that the music ksandar Benčić, trombone; Ivan Marjanović, life of our environment lacked exactly this percussion. http://www.baustelle.rs/

222 Festivals and Symposia occasionally intensified emotional tone identity of a work, which the text contains was achieved by the violinists Mirjana only as a potentiality.2 Nešković and Miloš Petrović, the violist The Construction Site ensemble Ljubomir Milanović and the violoncellist showed its various interpretative faces and Srđan Sretenović; to the coordinated and the high level of the analytical recognition dynamically nuanced motion in the work of sense – the so-called ‘truth of the work’3 Voces Nocturnae VIII by Vuk Kulenović, – at the closing concert too. Interlocking which was, apart from the artists already the distinctive compositional procedures of mentioned, performed by Marina Nena- Vladimir Tošić, Ivan Božičević, Dragana dović (flute), Veljko Klenkovski (clarinet), Jovanović, Dušan Bavdek and Steve Reich Goran Marinković (bassoon) and Boban was based on stressing both the differences Stošić (double bass). Besides the musical and the correspondences in their creative appearance of V. Klenkovski in Benjamin endeavours in the poetic and acoustic Yusupov’s composition Memories – Cross- sense. The remarkable lyrical tone and roads No. 6, one should also underline the smooth rhythmic motion in Ivan committed performances of the guitarist Božičević’s meditative work Proleće minu Relja Turudić and the pianist Neda Hofman [Spring Passes] were achieved by the pia- who, with the expressive use of all the reg- nists Neda Hofman and Galja Vranešević, isters and the ‘interior’ of the piano, pre- as well as all the members of the string sec- sented the instrument in a new and tion. In this demonstration of the flair for ‘unusual’ light. An exceptional interpreta- contemporary expression, they were joined tion of the affective layer of the musical by Marina Nenadović, Veljko Klenkovski, tissue was achieved by the baritone Vladi- Ljubomir Milanović, Srđan Sretenović, the mir Dinić, who moved expertly through the percussionist Aleksandar Radulović and polystylistic fabric of Andrew Thomas’s the trombonist Aleksandar Benčić during work Song Fragments, and he also demon- the performance of Intermezzo by Dušan strated a specific stage engagement during Bavdek. Premil Petrović guided the ensem- the third festival evening, along with the ble through these pieces confidently and deeply heartfelt interpretation by Neda unobtrusively, allowing for all of its quali- Hofman in Branka Popović’s composition ties to be displayed. An extraordinary lis- Džim, koji je pobegao od svoje dadilje, i tening experience and a sort of culmination kog je pojeo lav [Jim, who ran away from of the entire festival was provided by the his Nurse and was eaten by a Lion], and performance of Steve Reich’s work Eight the mezzo-soprano Ana Radovanović, Lines for two flutes / two piccolos, two whose convincing acting depicted oscilla- clarinets / a bass clarinet, two pianos, two tions in the emotional state of the character violins, viola and violoncello. While ren- of Wendy in Nicola Straffelini’s Desert Games, little opera in one scene for so- 2 Theodor W. Adorno, Towards a Theory of prano, baritone and piano. In these appear- Musical Reproduction. Notes, a Draft and Two ances, the ensemble managed to realize the Schemata, edited by Henry Lonitz, Cambridge– most important goal of interpretation, Malden, Polity Press, 2006, 129. which is, as Adorno put it, to renew the 3 Ibid.

223 New Sound 40, II/2012 dering this complex minimalist score, the tet TAJJ,5 who performed Aleksandar ensemble members with Jelena Draškoci Simić’s and Ionel Petroi’s compositions, as and Predrag Nedeljković as guests showed well as by about two dozen other artists the extraordinary communication, preci- who proved to have reliably mastered both sion, virtuosity and concentration neces- soloist and chamber expression.6 In spite of sary for performing fast repetitive patterns the bad financial situation and not particu- (and counting the bars!) and differentiation larly high fees, all of these artists were between all the parts, thanks to which this strongly motivated, and their convincing work was apprehended almost in the same interpretations enabled listeners to enter breath, without a pause or a decline in the the ‘utopian’ expanses of the immediate performance level. cognition of new ‘sonic architecture’. Apart from having the best attendance, Portraying the general image of con- these concerts also exuded a special, stimu- temporary musical pluralism, the pro- lating festival atmosphere, not only due to gramme of the construction site especially the high quality of the interpretation of underlined dynamism and the possibilities compositions of diverse acoustic potentials of the domestic compositional scene. The and performance demands, but also be- repertoire, with the conspicuous absence of cause of the presence of the authors per- the mature Post-Modernist poetics of Ser- formed (besides domestic composers, the bian authors, contained mostly composi- Review’s guests were Israeli composer tions of the younger and middle generations, Benjamin Yusupov, Swedish composer and the Post-Modernist play with codes Magnus Andersson, as well as authors from and fragments of musical traditions re- the region: Dušan Bavdek from Slovenia sulted in diverse thematic and formal-sty- and Ivan Božičević from Croatia). listic solutions. Performing discipline and the clear execution of the interpretational assignment were demonstrated by the members 5 The members of the quartet are Aleksandra of the trio Pokret [Motion].4 In two very Krčmar Ćulibrk and Jovanka Mazalica, violins; confident and concentrated appearances, Jelena Filipović, viola; and Tímea Kalmár, vio- with great stylistic persuasiveness, these loncello. http://www.tajjquartet.com/index. php?nav=bio artists performed nine very communicative 6 Marija Misita, violin; Stana Krstajić, flute; compositions, most of which were written Predrag Nedeljković, clarinet; Jelena Draškoci, last year, precisely as commissions by the flute; Milana Zarić, harp; Nemanja Stanković, trio (works by Slobodan Atanacković, Ju- violončelo; Miloš Janjić, guitar; Biljana goslav Bošnjak, Milana Stojadinović Milić, Gorunović, piano; Ljubiša Jovanović, flute; Svetlana Savić and Ivan Brkljačić). Apart Dragan Lazić, oboe; Ognjen Popović, piano; Igor Lazić, horn; Nataša Petrović, viola; Dejan from the said ensembles, the stage was Božić, violoncello; Nataša Mitrović, piano; taken by the already renowned string quar- Neda Arsenijević, flute; Miloš Veljković, piano; Sandra Belić, violoncello; Uki Ovaskainen, 4 The Pokret trio has been active since 2010, piano; Jelena Banković, soprano; Monika and the members are Madlen Stokić Vasiljević, Lašanc, flute; Milica Sekulić, piano; Mladen violin; Miloš Nikolić, clarinet; and Maja Mihić, Drenić, violin; Katarina Stanković, violoncello; piano. Miodrag Marinković, conductor.

224 Festivals and Symposia

The Post-Modernist manner of ex- a ‘personal confession’, Tatjana Milošević pression, full of intertextual references, in Dva lica [Two Faces] for two violins distinguished all the vocal-instrumental considered the phenomenon on a wider works included in the programme. Thus, scale, and thus, by confronting the ‘two for example, applying an eclectic musical faces’ of a violin, ‘related’ the musical con- procedure in the work Song Fragments, tent to Nietzsche’s philosophical concept British composer Andrew Thomas created of the twofold eternity of time. a fragmentary and ‘broken’ musical lan- Apart from having titles that indicate guage, in an attempt to form a narrative the problem area of the nature and experi- made of four poetic excerpts created from ence of time, the works Šta se, između os- the 16th to the 20th centuries. Very expres- talog, dešavalo pre kraja vremena [What sive and ironic music commentaries to the did, among other things, happen before the textual models were given by Nicola end of time] by Miloš Zatkalik and Echoes Straffelini in a little opera Desert Games, of Time by Alexina Louie are also con- Mirela Ivičević in Dominosa DHD: Haute nected by their strong resonance with Mes- Couture, a work of compelling stage effect, siaen’s avant-garde musical concepts. The and Branka Popović in the song Džim, koji composers in fact endeavoured to pay hom- je pobegao od svoje dadilje, i kog je pojeo age to Olivier Messiaen: by a game of su- lav [Jim, who ran away from his Nurse and perposing modes and rhythmic patterns, was eaten by a Lion] after the eponymous Zatkalik, as he put it, created ‘nulti ili poem by Hilaire Belloc, which particularly minus prvi (peti, n-ti) stav’ [‘the zeroth or stood out with its expressive acoustic coun- negative first (fifth, nth) movement’] of terpoint. A sort of contemplation of death Messiaen’s Quatuor pour la fin de temps, could be heard in the work Budan san while Alexina Louie utilized the fragments [Waking Dream] by Marko Stevanović and from this work as ‘points of departure’ for in the reduced and refined expression of her own musical expression. Intertextual the work I Shall Contemplate… for voice semantic relationships between musical and chamber ensemble by Đuro Živković. texts drew Ana Gnjatović’s attention too, The organization of musical time was but in a fundamentally different way. In the researched by Andys Skoridis in the piece work Usputne beleške [Casual Notes] for So we commence… where? and Teodora amplified harp, the presence of other music Stepančić, whose work The Trio, structured is constant – Bach’s Suite for Lute in C into several independent acoustic layers minor coexists and intertwines with the with incongruous pulsations, presented an composer’s autopoetic notes and thoughts investigation into the problem of the sub- on Bach’s music, which actually allows her jectivity of a perceptive act. Among the to create the identity of the musical work compositions which dealt with the phe- precisely through the problematization/de- nomenon of time, particularly impressive construction of its very nature. were the works by Svetlana Savić and Tat- Post-Modernist musical writing is also jana Milošević. While Svetlana Savić in Il a general feature of the work of Ivan tempo sensibile, a piece of intimist tone, Brkljačić, whose composition Kuvada deliberated ‘emotional’ time at the level of [Couvade] for clarinet, violin and piano

225 New Sound 40, II/2012 presented an acoustic imagination of a spe- Draško Adžić incorporated quasi refer- cific psychological state. The free applica- ences to the musical folklore of Eastern tion of minimalist models and their Serbia into his piece Vuna, igla, kanap, interlocking with various stylistic catego- kosti [Wool, Needle, String, Bones] for flute ries, pursuant to the authors’ poetic concep- and piano; while Jovica Mutavdžić’s Duo tions, distinguished the chamber for violin and piano was based on an ex- compositions Medial 623 by Vladimir tremely simplified use of folklore mate- Tošić, Proleće minu [Spring Passes] by rial. Ivan Božičević, Intermezzo by Dušan The latest compositions of the older Bavdek and Reboot by Dragana Jovanović, and middle generation of composers – which, alongside Steve Reich’s virtuoso Dejan Despić’s Minijature za FLOBARP, minimalist piece Eight Lines from 1983, op. 206 [Miniatures for FLOBARP, Op. were performed at the Review’s closing 206], Mirjana Živković’s Sonata for vio- evening. It was the minimalist procedures loncello and piano, Slobodan Atanacković’s that spun the common threads which kept Sublimazioni per tre, Vuk Kulenović’s these works together and which led to this Voces Nocturnae VIII, Anica Sabo’s Poem concert sounding like the most successful for violin and piano, with their recogniz- and the only completely structured pro- able handwriting – travelled within the al- gramme unit of the Review. Minimalist ready conquered poetic coordinates. techniques could also be perceived in Miloš Particularly prominent among these works Raičković’s composition Waiting for C-A- was the compositional-technical mastery G-E, a minute-long piano piece of Saties- and delicate sound of Despić’s Minijature, que provenance which suggested the as well as the subtle acoustic qualities and origins of minimalism, as well as in a very nocturnal atmosphere of Kulenović’s com- effective Ristretto for flute and piano by position, which did not abandon the au- Jovanka Trbojević, in which the repetitive thor’s poetic domain established as far back techniques are subordinated to the develop- as forty years ago with the series of pieces mental process and achieving emotional under the same title. The neoclassical dis- climaxes. course was the basis of Dva komada [Two The modes of the treatment of folk Pieces] for wind quintet by Božo Banović musical traditions, as well as the possibili- and Poco a poco by Magnus Andersson, ties of their synthesis with contemporary while a certain simulation of Baroque pat- compositional practices, were the main terns was achieved by Aleksandar Vujić in subjects of several works featured in the Partita for two violins and Jugoslav Review’s programme. Thus, for example, Bošnjak in Lethe, The River of Oblivion for an inventive transformation of Middle clarinet, violin and piano. Various stylistic Eastern folklore patterns was carried out in codes with the emphasis on the elements of the work Memories – Crossroads No. 6 by Romanticist rhetoric were playfully com- Benjamin Yusupov; Žarko Mirković in bined by Milana Stojadinović Milić in Taraf-Trio created a kind of ‘remake’ of Neoromatico 2, asserting once more her Romanian Gypsies’ music who perform specific and consistent creative personality. their traditional music in a virtuoso way; Traces of Romanticist vocabulary were

226 Festivals and Symposia also present in Aleksandar Simić’s Dresden beyond the listeners’ expectations. A bad Quartet for string quartet, as well as in the impression was certainly due to the acous- piece The Magic Mountain Op. 30 for vio- tically ‘powerless’ hall of the Composers’ loncello and piano by Nimrod Borenstein, Association of Serbia, which proved to be highly charged with expressivity and in an an utterly inadequate venue for the percep- utterly anachronous idiom, whose perfor- tion of the most diverse acoustic manipula- mance at the Review was extremely inap- tions in creating an extended sonic universe, propriate. Unlike Simić’s quartet, which which at times reached the quality of an presented quite a classical sound and tradi- amorphous clamour. tionally articulated thematic framework, Pursuant to its tradition of allowing us the remaining two string quartets – Star to witness not only the birth of new compo- Factory by Mihailo Trandafilovski and Face 14, 15, 16 by Ionel Petroi – ‘de- sitional expressions but new performers formed’ the melodic and harmonic compo- and ensembles, their development and ma- nents to an extent, by quarter-tone and turing too, the Review yet again provided glissando gestures (Petroi) and the creation quite a sharp insight into domestic perfor- of an ‘aleatoric’ acoustic situation by the mance art, the participation of newly vertically unsynchronized superposition of formed ensembles definitely being one of horizontal parts which were rhythmically the most significant contributions of this extremely independent (Trandafilovski). year’s festival. By presenting the different The domain of electronic music was models of contemporary conditions, the de- represented by five pieces belonging to ex- veloped poetics of individual authors, but perimental music and sound art – Ivan also works of modest quality, the 21st Re- Elezović’s Images of Isabella’s Dream, view showed that nowadays it is almost Alejandro Montes de Oca’s Cracked impossible to take bold steps into the new, Voices, Massimo Brajković’s Intrada mar- but that positive changes, despite the gen- inaresca, Jason Bolte’s And Death… and eral financial hardship, are nonetheless Daniel Blinkhorn’s Jeu fabriqué. Appar- possible in our musical landscape. ently, the way of presenting these works – through broadcasting the recordings – was Translated by Goran Kapetanović

227 228 REVIEWS

Article received on 4 February 2013 cient and current topic. This book provides Article accepted on 15 February 2013 lines of inquiry that could (and should) be UDC: 78.01:174](049.32) used to orient future discussions, and as such is an important contribution. With Jeff R. Warren* growing interest in music and ethics, I sus- Trinity Western University pect there will be more publications on this topic.1 School of the Arts, Media + Culture Music and ethics is a vast and complex topic, and despite the title, this book does not claim to cover the entire terrain REVIEW: Cobussen, Marcel, and but instead sets out to explore ethics as Nanette Nielsen, Music and Ethics, emerging from the interaction of listener Ashgate, 2012. and music. The authors aim to show how music participates in discourses on ethics as well as how ethics emerges from music. The authors treat ethics as immanent, situ- Over the past few years there has been ational, and irreducible to a universal the- growing interest in music and philosophy. ory. However, the authors develop their Indicative of this growth is the success of own argument for musical ethics founded the RMA’s ‘Music and Philosophy Study upon an openness of listening. The text is Group’ conferences in London (of which bookended by an introduction and final co-author Nielsen is an organizer). A topic chapter that are co-written. The other chap- of particular interest in this larger discus- ters are written by a single author and ex- sion of music and philosophy is ethics. plore a specific topic that relates to the Publications on music and philosophy have book’s overall argument. An advantage of increased, but Music and Ethics is one of this structure is that each chapter is able to the first book-length studies to place music stand on its own and still provide a glimpse and ethics as its central topic. As the au- of the overall argument. Each author has a thors state from the outset, discussion on distinctive voice and writing style, and the music and ethics is at the same time an an- 1 I know of at least one! Warren, Jeff R., Music * Author contact information: and Ethical Responsibility, Cambridge, Cam- [email protected] bridge University Press, forthcoming.

229 New Sound 40, II/2012 co-authored chapters provide a good bal- other words, Kivy’s own experiences of lis- ance of their voices. However, each author tening distract him from being able to do is prone to reference only their own earlier substantial analysis. The Introduction and chapters, so the balance and integration of Chapter 1 implicitly moved past the sort of authors is not as strong within individually arguments represented by the likes of Kivy, authored chapters. Given the structure, it but this chapter might sway readers not al- makes most sense to briefly summarize ready convinced. It clearly shows how this each chapter before concluding with a cou- discussion of ethics, premised upon rela- ple of comments. tionality and listening, corrects the starting The first chapter–‘Listening’–draws point of much of the analytic philosophy of upon philosophers Alain Badiou, Zygmunt music. Bauman, Emmanuel Lévinas, and Jacques Chapter 3–‘Interaction’ by Cobussen– Derrida to ground discussion of ethics as engages ethically charged discourses sur- hospitality. Hospitality is a welcoming of rounding improvisation. Using musical otherness, and as such ethics is contingent examples including Keith Rowe, Miles upon situational context. Cobussen argues Davis, and John Zorn, Cobussen criticizes that music might have a capability of open- some of the ideals linked with group impro- ing a listener to an ethic found only through visation. He proposes that ‘another position music, suggesting the ‘possibility of trac- is possible: namely another outlook on eth- ing an ethic that can only be summoned by/ ics, somewhere between individuality and 5 in/through music’.2 Cobussen argues that it collectivity’. In short, this chapter uses the is through ‘attentive listening’ that this central argument of the book to remedy the ethic can be summoned. This argument is idealization of free improvisation. foundational to the book, but might be ‘Affect’ is the topic of Cobussen’s fourth chapter, and primarily explores the questioned. I turn to this issue later in the affect of music as sound upon the human review. body. It discusses ‘unethical’ music; that is, Nielsen’s Chapter 2 aims ‘to identify ways that music can create violence and some ethically charged discourses on division and close off otherness. There are music’.3 Her main example is Peter Kivy’s two ways that music functions to create argument in ‘Musical Morality’.4 The crux violence: 1) the use of music as sound of Nielsen’s criticism of Kivy–paralleling through loudness or extremes of the fre- criticisms by Andrew Bowie and Aaron quency range to control people through bi- Ridley–is that his commitment to certain ological response, and 2) deploying music ‘great’ music providing a ‘mystical’ experi- that is socially marked, including football ence limits what he actually might say chants and ambient music for shopping. about music’s relationship to morality. In This chapter intersects with Cobussen’s research in sound studies, and contributes to 2 Cobussen and Nielsen, 23. the overall argument by showing–with the 3 Ibid., 38. 4 Kivy, Peter, Antithetical Arts: On the Ancient assistance of Jean-Luc Nancy–how even Quarrel Between Literature and Music, Oxford, Oxford University Press, 2009. 5 Cobussen and Nielsen, 80.

230 Reviews such ‘unethical’ examples reveal that music ‘proper’ listening: ‘One should listen, listen as sound is founded upon relationality. carefully, attentively and repeatedly in Nielsen’s chapter on ‘Voice’ opens order to be able to receive the otherness with a discussion of the many layers of within the order of the same. Hospitable voice in relation to ethics, followed by an listening. Sensitive listening’.8 Attentive exploration of Heidegger’s conception of listening appears to fit within the sort of Stimmung and its multivalent meanings in- close listening that developed in the mid- cluding affect, mood, and attunement. These nineteenth century. I agree that there is concepts ground discussion of her primary something important in this sort of listen- case study of Berg’s opera Wozzeck. She ing, but perhaps it neglects wider implica- interacts with several musicologist’s inter- tions. The use of music of music on pretations of the final interlude, noting how controlling the body (sonic weapons, etc.) too often narrative drama is the primary is discussed as an unethical example of eth- generator of discussions of ethics. In con- ics emerging from music. There are, how- trast, Nielsen emphasizes how the mood ever, no examples provided of music and voice of the music contributes to rela- opening positive ethical situations outside tionships of meaning and ethics. She then of ‘attentive listening’. For example, in uses this approach to explore several other dealing with Wozzeck, the interpretations moments of the opera that include human of the contribution of music to the ethical voice. The emphasis on the contribution of implications of the opera are claimed as musical sound to the experienced meaning ‘phenomenological’, despite using close of opera is important, and in this case yields analytical readings that draw musical con- some compelling interpretations. nections between the first and final act or The final co-authored chapter expands comparisons to Adorno’s interpretations. upon the culminating argument of the book, Neither of these close listenings would be namely that listening to music provides experienced by an non-expert listener, ethical insights. One of those insights is meaning that what is considered ‘active lis- that the subject is primarily relational. This tening’ assumes an idealized listener. The is an important insight, but it seems to be interpretation of Wozzeck is compelling, based on a particular type of listening. The but it easily fits into other arguments that final sentence states that ‘only from this propose an ideal listener. The issue of an process of listening can the articulation of ‘active listener’ may have problems paral- a musical ethics emerge’.6 This places lis- lel to Lerdahl and Jackendoff’s ‘experi- tening in a crucial position. As an audible enced listener’, an approach criticized by art, music obviously requires listening, but Eric Clarke and others.9 By narrowing ‘mu- here the authors are after a listening that uncovers an ethic ‘that can only be sum- 8 Ibid., 33. moned by/in/through music’.7 It seems that 9 Lerdahl, Fred & Jackendoff, Ray, A Genera- this ethic can be summoned only through tive Theory of Tonal Music, Cambridge, Mas- sachusetts, MIT Press, 1983, 3; Clarke, Eric F., Ways of Listening : An Ecological Approach to 6 Cobussen and Nielsen, 166. the Perception of Musical Meaning, Oxford, 7 Ibid., 23. Oxford University Press, 2005, 161.

231 New Sound 39, I/2012

sical ethics’ to what can be accessed Overall, I believe that this book pro- through a historically contingent concep- vides an important orientation for the sorts tion of ‘attentive listening’, this book may– of questions that need to be asked about perhaps unintentionally–exclude a vast music and ethics. In short, Music and Eth- amount of experiences of music both today ics provides a thoughtful exploration into and historically. ‘Attentive listening’ might the ways that music contributes to ethics reveal ethical insights, but so might other and is an important addition to the growing sorts of listening. discourse on music and ethics.

232 CONTRIBUTORS TO THIS ISSUE

Tijana Popović Mladjenović, Ph.D., musicologist, Associate Professor in the Depart- ment of Musicology at the Faculty of Music in Belgrade; President of the Managing Board of the Serbian Musicological Society, Member of the Managing Board of the Com- posers` Association of Serbia, and the Board of the Matica Srpska Department of Stage Art and Music.

Sonja Marinković, Ph.D., musicologist, a full-time Professor in the Department of Mu- sicology at the Faculty of Music in Belgrade; Editor-in-chief of the journal Mokranjac, member of the editorial board of the International Magazine for Music New Sound.

Vesna Mikić, Ph.D., musicologist, Associate Professor in the Department of Musicology at the Faculty of Music in Belgrade; Deputy editor-in-chief of the International Magazine for Music New Sound.

Mirjana Veselinović-Hofman, Ph.D., musicologist, a full-time Professor in the Depar- ment of Musicology at the Faculty of Music in Belgrade and Head of the Department; Editor-in-chief of the International Magazine for Music New Sound; President of the Serbian Musicological Society.

Nenad Ostojić, M.A., composer and music theorist, a full-time Professor at the Academy of Arts of the University of Novi Sad; Vice President of Matica Srpska; member of the editorial board of the International Magazine for Music New Sound.

Nikola Dedić, Ph.D., art historian and theorist, Assistant Professor in the Journalism Department at the Faculty of Philosophy of the University of in Niš, lecturer at the Uni- versity of Arts in Belgrade, Interdisciplinary Postgraduate Studies.

Marija Masnikosa, Ph.D., musicologist, Associate Professor in the Department of Mu- sicology at the Faculty of Music in Belgrade.

Robert Kirzinger, composer, writer, lecturer; on the staff of the Boston Symphony Or- chestra as annotator and pre-concert speaker; teaches writing at Northeastern University; longtime annotator for Boston Modern Orchestra Project and other ensembles.

Arnold Berleant, Ph.D., American scholar and author active in philosophy (aesthetics, environmental aesthetics, and ethics) and music; Professor Emeritus of Philosophy at Long Island University, former Secretary-General and Past President of the International Association of Aesthetics; founding editor of Contemporary Aesthetics, an international on-line journal of contemporary aesthetic theory, research, and application; former member of the editorial board of the International Magazine for Music New Sound.

Svetlana A. Mozgot, Ph.D., musicologist, Assistant Professor of the Institute of Arts of the Adyge State University in Maikop.

233 234 Language editor: Tamara Rodwell-Jovanović

Proofreader: Agencija Kapetanović

Prepress: Dušan Ćasić

Printed by: TON plus, Belgrade

Circulation: 400 copies

Publication of this issue was sponsored by: The Ministry of Culture – Republic of Serbia The Ministry of Education and Science – Republic of Serbia Sokoj – Serbian Music Authors' Organization

235 CIP – Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd 78 NEW Sound : International Magazine for Music / Editor-in-chief Mirjana Veselinović-Hofman. – 1993, no. 1– . – Belgrade : Faculty of Music, Department of Musicology, 1993– . – 24 cm Dostupno i na: http://www.newsound.org.rs. – Polugodišnje. – Prevod dela: Novi zvuk = ISSN 0354-4362 ISSN 0354-818X = New Sound COBISS.SR-ID 102800647

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