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The Place of the Guitar in the Musical History of Yugoslavia
Guitar Compositions from Yugoslavia volume I Copyright © Syukhtun Editions 2002 THE PLACE OF THE GUITAR IN THE MUSICAL HISTORY OF YUGOSLAVIA Uroš Dojcinovic Prologue A phenomenon increasingly present in the contemporary music of the former Yugoslav republics is the guitar. It is by no means an exaggeration to say that today a large part of the creative and interpretative work being done in our music is focused on the expressive possiblities of this plucked-string instrument. The classical guitar has already had such a long history in all the ex-Yugoslav republics, that no one would deny the esteemed place that it now occupies. On the contrary, the exploitation and appreciation of the guitar still are enjoying a marked upswing, despite the tragic developments in the 1990s which finally caused the collapse of Yugoslavia. But before taking a brief look at the guitar history of the former Yugoslavia, I feel the necessity of summarizing the general history of the area which is the subject of this volume. Prior to 1918, various foreign influences were imposed on the region of the Balkan peninsula which was later to form the nation of Yugoslavia. These influences also included oppression by the various foreign authorities. The idea of Yugoslav union was first born during the 19th century along with the appearance of economic contact with Europe. In October of l918 Croatia separated from the Austro- Hungarian Empire, and during the Croatian Congress proclaimed the SCS-state (Serbia-Croatia-Slovenia). Along with Croatia, Serbia and Slovenia, the state was later joined by Bosnia, Hercegovina, Montenegro and Vojvodina. -
What Cant Be Coded Can Be Decorded Reading Writing Performing Finnegans Wake
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output What cant be coded can be decorded Reading Writing Performing Finnegans Wake http://bbktheses.da.ulcc.ac.uk/198/ Version: Public Version Citation: Evans, Oliver Rory Thomas (2016) What cant be coded can be decorded Reading Writing Performing Finnegans Wake. PhD thesis, Birkbeck, University of London. c 2016 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email “What can’t be coded can be decorded” Reading Writing Performing Finnegans Wake Oliver Rory Thomas Evans Phd Thesis School of Arts, Birkbeck College, University of London (2016) 2 3 This thesis examines the ways in which performances of James Joyce’s Finnegans Wake (1939) navigate the boundary between reading and writing. I consider the extent to which performances enact alternative readings of Finnegans Wake, challenging notions of competence and understanding; and by viewing performance as a form of writing I ask whether Joyce’s composition process can be remembered by its recomposition into new performances. These perspectives raise questions about authority and archivisation, and I argue that performances of Finnegans Wake challenge hierarchical and institutional forms of interpretation. By appropriating Joyce’s text through different methodologies of reading and writing I argue that these performances come into contact with a community of ghosts and traces which haunt its composition. In chapter one I argue that performance played an important role in the composition and early critical reception of Finnegans Wake and conduct an overview of various performances which challenge the notion of a ‘Joycean competence’ or encounter the text through radical recompositions of its material. -
Milko Kelemen: Life and Selected Works for Violoncello
MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP -
1 Damir Očko Zagreb, 1977
Damir Očko Zagreb, 1977 EDUCATION AND RESIDENCIES 2011 Temple Bar Gallery & Studios, Dublin, Ireland 2010 Nordic Art Center Dale, Norway Künstlerresidenz Blumen, Leipzig, Germany 2008-2009 Akademie Schloss Solitude, Stuttgart, Germany 2007 HIAP, Helsinki, Finland KulurKontakt, Vienna, Austria Tirana Institute of Contemporary Art, Tirana, Albania 1997-2003 Academy of Fine Arts, Zagreb, Croatia SELECTED SOLO EXHIBITIONS 2015 Photon - Centre for Contemporary Photography. Ljubljana, Slovenia Studies on Shivering, Gallery Kasia Michalski, Warsaw, Poland 2014 Studies on Shivering, Temple Bar Gallery & Studios, Dublin, Ireland Damir Očko: PST, APOTEKA, Vodnjan, Croatia Studies on Shivering, Künstlerhaus Halle für Kunst & Medien, Graz, Austria (cat.) 2013 Kabinett - ArtBasel Miami (with Yvon Lambert), Miami, US Damir Očko: FILMS, Gallery Tiziana di Caro, Salerno, Italy Psst, TRAPEZ, Budapest, Hungary The Body Score, Yvon Lambert Gallery (project space), Paris, France 2012 Damir Ocko: The Kingdom of Glottis, Palais de Tokyo, Paris, France On Ulterior Scale, FIAC (with Gallery Tiziana di Caro), Paris, France On Ulterior Scale, MultiMedia Center Luka, Pula, Croatia Očko/Tadić, Galerie de l’ESAM, Caen, France (With M. Tadić) We saw nothing but the uniform blue of the Sky, Gallery Tiziana di Caro, Salerno, Italy 2011 On Ulterior Scale, Kunsthalle Dusseldorf, Dusseldorf, Germany (cat.) Jedinstvo Hall - Gallery Močvara, 26th Music Biennale, Zagreb, Croatia 2010 Castle & Elephant, Coventry, UK Event Horizon, Kunstverein Leipzig, Leipzig, Germany The Age of Happiness, Tiziana di Caro Gallery, Salerno, Italy Screening Room, Blumen, Leipzig, Germany 2009 The Age of Happiness, Lothringer13 Städtische Kunsthalle München, Munich, Germany (cat.) The Age of Happiness, Akademie Schloss Solitude, Stuttgart, Germany 2007 The End of the World, Miroslav Kraljević Gallery, Zagreb, Croatia Why does Gravity make things fall?, Tirana Institute of Contemporary Art, Tirana, Albania (With N. -
Programska Knjižica
Prva hrvatska gradiona orgulja, harmonija i glasovira utemeljena 1849. godine Erste Kroatische Orgel-, Harmonien- und Klaviermanufaktur gegründet 1849 The first Croatian builders of organs, harmoniums and pianos established in 1849 Festival 2018. 2 3 PARTNERI FESTIVALA / DIE PARTNER DES FESTIVALS / FESTIVAL PARTNERS VARAŽDINSKE BAROKNE VEČERI Varaždinske barokne večeri zasnovane su 1968. godine na bogatoj tradiciji varaždinske barokne glazbe. Prvi festival održan je 1971. godine. Od tada se u mnoštvu dvoraca i crkava krajem rujna i početkom listopada, razliježe barokna glazba hrvatskih i svjetskih glazbenika i ansambala. Od 1992. taj je državni festival pod pokroviteljstvom predsjednika države, a organizira ga Koncertni ured Varaždin. Die Varaždiner Barockabende wurden 1968 ins Leben gerufen und basieren auf einer reichhaltigen Tradition der in Varaždin gepflegten Barockmusik. Das erste Festival fand 1971 statt. In mehreren Schlössern und Kirchen erklingt seither alljährlich Ende September und Anfang Oktober in dieser Gegend die Barockmusik, interpretiert von namhaften SolistInnen und Ensembles aus Kroatien und aus der ganzen Welt. Ab 1992 genießt dieses staatlich geförderte Festival die Schirmherrschaft des kroatischen Staatsoberhauptes. Organisatorisch wird das Festival vom Konzertbüro Varaždin betreut. Varaždin Baroque Evenings were founded in 1968 on the rich tradition of Varaždin Baroque music. The first festival was held in 1971. Since then, in late September and early October, the music of Croatian and international musicians and ensembles has been heard in many castles and churches. Since 1992, this national festival has been under the patronage of the President of the State, and is organized by Varaždin Concert Office. 4 5 PREGLED KONCERATA | 2. 9. 2018. u 20.30 sati 29. -
Call for the Masterclass for Composers
CALL FOR THE MASTERCLASS FOR COMPOSERS About the Music Biennale Zagreb The Festival is dedicated to new music of all genres and has become an important part of the European cultural scene ever since it was founded in 1961. This year, from 6-13 April 2019, the Festival will focus on creating and presenting music / sound in relation to the idea of city / space. This way, the Music Biennale Zagreb turns to many more or less related fields, such as multimedia arts, sound engineering and acoustics on the one hand, and urbanism, architecture, philosophy on the other. The idea of city will be musically decomposed in various ways – from transforming the sound of a particular location into a site-specific contemporary composition to the problematization of different layers of socio-urban (sound) structures or the creation of an imaginary surrogate city. Along with top performers such as the London Sinfonietta or Cikada Ensemble, guest composers will include some legendary names such as Heiner Goebbels, Alvin Curran, Rolf Wallin, Vinko Globokar, Eivind Buene and Ivan Fedele. Plan of the course for composers Students will enlarge their creative understanding and hone their composing skills through a one-on- one approach at courses with prominent composers and open rehearsals with the resident ensemble. Mentor composers will select their students based on the applications received (see below for more information). Each composer is mentoring 3-4 students. The program of the masterclass for composers consists of: April 8-10 - Individual classes with the students: 2x2h in which applicable pieces will be discussed (or some of student’s pieces). -
University of Zagreb Faculty of Veterinary Medicine
UNIVERSITY OF ZAGREB FACULTY OF VETERINARY MEDICINE DETAILED PROPOSAL OF THE STUDY PROGRAMME VETERINARY MEDICINE IN ENGLISH FOR THE 2019-2020 ACADEMIC YEAR TABLE OF CONTENTS GENERAL INFORMATION ABOUT UNIVERSITY OF ZAGREB ......................................................................3 GENERAL FACTS ON FACULTY OF VETERINARY MEDICINE – ZAGREB ......................................................4 GENERAL INFORMATION ABOUT THE PROPOSED STUDY PROGRAM .....................................................6 COURSE CATALOGUE – OBLIGATORY AND ELECTIVE COURSE LIST .......... Error! Bookmark not defined. REGISTRATION AND EXAMINATION REQUIREMENTS SCHEME ................ Error! Bookmark not defined. LIST OF OBLIGATORY SUBJECTS - 1st STUDY YEAR ................................................................................. 19 LIST OF OBLIGATORY SUBJECTS - 2nd STUDY YEAR ................................................................................ 77 LIST OF OBLIGATORY SUBJECTS – 3rd STUDY YEAR .................................... Error! Bookmark not defined. LIST OF ELECTIVE SUBJECTS ................................................................................................................. 222 USEFUL INFORMATION FOR STUDENTS .................................................... Error! Bookmark not defined. GENERAL INFORMATION ABOUT UNIVERSITY OF ZAGREB UNIVERSITY OF ZAGREB Address: University of Zagreb Trg Republike Hrvatske 14, Zagreb Phone: +385 1 4564111 e-mail: [email protected] The University of Zagreb (Universitas Studiorum -
Nicholas Isherwood Performs John Cage
aria nicholas isherwood performs john cage nicholas isherwood BIS-2149 BIS-2149_f-b.indd 1 2014-12-03 11:19 CAGE, John (1912–92) 1 Aria (1958) with Fontana Mix (1958) 5'07 Realization of Fontana Mix by Gianluca Verlingieri (2006–09) Aria is here performed together with a new version of Fontana Mix, a multichannel tape by the Italian composer Gianluca Verlingieri, realized between 2006 and 2009 for the 50th anniversary of the original tape (1958–2008), and composed according to Cage’s indications published by Edition Peters in 1960. Verlingieri’s version, already widely performed as tape-alone piece or together with Cage’s Aria or Solo for trombone, has been revised specifically for the purpose of the present recording. 2 A Chant with Claps (?1942–43) 1'07 2 3 Sonnekus (1985) 3'42 4 Eight Whiskus (1984) 3'50 Three songs for voice and closed piano 5 A Flower (1950) 2'58 6 The Wonderful Widow of Eighteen Springs (1942) 3'02 7 Nowth Upon Nacht (1984) 0'59 8 Experiences No. 2 (1945–48) 2'38 9 Ryoanji – version for voice and percussion (1983–85) 19'36 TT: 44'53 Nicholas Isherwood bass baritone All works published by C.F. Peters Corporation, New York; an Edition Peters Group company ere comes Cage – under his left arm, a paper bag full of recycled chance operations – in his right hand, a copy of The Book of Bosons – the new- Hfound perhaps key to matter. On his way home he stops off at his favourite natural food store and buys some dried bulgur to make a refreshing supper of tabouleh. -
Serbian Music: Yugoslav Contexts
Serbian Music: Yugoslav Contexts SERBIAN MUSIC: YUGOSLAV CONTEXTS Edited by Melita Milin and Jim Samson Published by Institute of Musicology SASA Technical editor Goran Janjić Cover design Aleksandra Dolović Number of copies 300 Printed by Colorgrafx ISBN 978-86-80639-19-2 SERBIAN MUSIC: YUGOSLAV CONTEXTS EDITED BY MELITA MILIN JIM SAMSON INSTITUTE OF MUSICOLOGY OF THE SERBIAN ACADEMY OF SCIENCES AND ARTS BELGRADE 2014 This book has been published thanks to the financial support of the Ministry of edu- cation, science and technological development of the Republic of Serbia. Cover illustration: Vera Božičković Popović, Abstract Landscape, 1966. Courtesy of Zepter Museum, Belgrade. CONTENTS PREFACE............................................................................................................7 Melita Milin INTRODUCTION.............................................................................................9 Jim Samson 1. SERBIAN MUSIC IN WESTERN HISTORIOGRAPHY......................17 Katy Romanou 2. WRITING NATIONAL HISTORIES IN A MULTINATIONAL STATE..........................................................................................................29 Melita Milin 3. DISCIPLINING THE NATION: MUSIC IN SERBIA UNTIL 1914 ................................................................................................47 Biljana Milanović 4. IMAGINING THE HOMELAND: THE SHIFTING BORDERS OF PETAR KONJOVIĆ’S YUGOSLAVISMS........................................73 Katarina Tomašević 5. THE INTER-WAR CORRESPONDENCE BETWEEN MILOJE -
Music and Society in Eastern Europe Music and Society in Eastern Europe
VOL.8 2013 MUSIC AND SOCIETY IN EASTERN EUROPE MUSIC AND SOCIETY IN EASTERN EUROPE EDITOR Jelena Milojkovic-Djuric 1018 Holt, College Station, TX 77840 E-mail: [email protected] BOOK REVIEW EDITOR Larson Powell, University of Missouri at Kansas City DISCOGRAPHY EDITOR Charles Schlacks, Idyllwild, California EDITORIAL BOARD Elliott Antokoletz - University of Texas, Austin Michael Beckerman - New York University Olga Muller Cooke - Texas A & M University Melita Milin - Musicological Institute, Serbian Academy of Sciences and Arts, Belgrade, Serbia William Smialek - Jarvis Christian College, Hawkins, Texas Jiri Vyslouzil - Masaryk University, Brno, Czech Republic MUSIC AND SOCIETY IN EASTERN EUROPE is published annually. Subscription rates are: Institutions - $30.00; Individuals - $20.00. Postage rates for USA - $3.00; for Canada - $8.00; for foreign - $13.00. Send pay- ment to: Charles Schlacks, Jr., Publisher, P.O. Box 1256, Idyllwild, CA 92549-1256, USA. Contributions for possible publication should be sent to the editor. Technical format should adhere to the Chicago Manual of Style, 15* Edition and be suitable for Microsoft Windows XP and Word 2003. Copyright © 2013 Charles Schlacks, Publisher All rights reserved Printed in the United States of America ISSN: 1930-6288 The publisher wishes to express his thanks to Mrs. Antal Dorati for permission to publish a picture of her late husband. Mixed media illustration by Marcia Gawecki. www.marciagaweckiart.com Vol. 8 2013 Music and Society in Eastern Europe Table of Contents From the Editor \\\ . vii ARTICLES In the Orbit of Shostakovich: VasiUje Mokranjac 's Symphonies 1 Ivana Medic The Music Critic as Humanist; GyorgyKrod (1926-1997) and the Music of His Time 23 Peter Laki Forms of Oppression and Resistance in European Music: The Twentieth Century 37 Mirjana Veselinovic-Hofman On Comparative Research in Musicology: Peripheral vs. -
Serbian Music: Yugoslav Contexts
Serbian Music: Yugoslav Contexts SERBIAN MUSIC: YUGOSLAV CONTEXTS Edited by Melita Milin and Jim Samson Published by Institute of Musicology SASA Technical editor Goran Janjić Cover design Aleksandra Dolović Number of copies 300 Printed by Colorgrafx ISBN 978-86-80639-19-2 SERBIAN MUSIC: YUGOSLAV CONTEXTS EDITED BY MELITA MILIN JIM SAMSON INSTITUTE OF MUSICOLOGY OF THE SERBIAN ACADEMY OF SCIENCES AND ARTS BELGRADE 2014 This book has been published thanks to the financial support of the Ministry of edu- cation, science and technological development of the Republic of Serbia. Cover illustration: Vera Božičković Popović, Abstract Landscape, 1966. Courtesy of Zepter Museum, Belgrade. CONTENTS PREFACE............................................................................................................7 Melita Milin INTRODUCTION.............................................................................................9 Jim Samson 1. SERBIAN MUSIC IN WESTERN HISTORIOGRAPHY......................17 Katy Romanou 2. WRITING NATIONAL HISTORIES IN A MULTINATIONAL STATE..........................................................................................................29 Melita Milin 3. DISCIPLINING THE NATION: MUSIC IN SERBIA UNTIL 1914 ................................................................................................47 Biljana Milanović 4. IMAGINING THE HOMELAND: THE SHIFTING BORDERS OF PETAR KONJOVIĆ’S YUGOSLAVISMS........................................73 Katarina Tomašević 5. THE INTER-WAR CORRESPONDENCE BETWEEN MILOJE -
German in Finnegans Wake Contextualized Helmut Bonheim’S a Lexicon of the German in Finnegans Wake
Joyce Lexicography Volume Thirty-Five German in Finnegans Wake Contextualized Helmut Bonheim’s A Lexicon of the German in Finnegans Wake Edited by FW Episodes C. George Sandulescu Sixteen and Seventeen Redacted by Lidia Vianu Bucureşti 2013 Press Release German in Finnegans Wake Contextualized. Helmut Bonheim’s A Lexicon of the German in Finnegans Wake. Edited by C. George Sandulescu Redacted by Lidia Vianu In six volumes: ISBN 978-606-8366-57-9; 978-606-8366-59-3; 978-606-8366-60-9; 978-606-8366-58-6; 978-606-8366-61-6; 978-606-8366-62-3 Joyce spoke German fluently. He made his family speak German while they lived in Zurich, and his children even went to school there. His grave is in Zurich too. The 17 years he put into the writing of the 17 chapters of Finnegans Wake made use of almost 4,000 German words and phrases; we learn this from Helmut Bonheim’s A Lexicon of the German in Finnegans Wake, which the Contemporary Literature Press is now re-issuing. This new edition of Bonheim’s Lexicon tags the full FW text to his list. The author himself discussed in his Preface the importance of the larger context for anyone who tries to understand how and why Joyce turned to German. Following his idea, this re-issuing of the German Lexicon of FW offers the reader both a German key and an additional means of understanding Joyce’s last and most difficult book . It is difficult to see how it is possible to make a reader feel he is reading a text in over forty languages more or less at the same time.