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Novi Zvuk 51.Pdf Department of Musicology Faculty of Music International Journal of Music Belgrade, I/2018 ISSN 0354-818X = New Sound UDC 78:781(05) COBISS.SR-ID 102800647 International Journal of Music Belgrade, I/2018 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 Sonja Marinković Ph.D. Ana Kotevska M.A. Miloš Zatkalik 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: Jovana Ćika Novaković Secretary of the Editorial Board: Ivana Miladinović Prica Editorial Board and Office: Faculty of Music Kralja Milana 50, 11000 Belgrade E-mail: [email protected] www.newsound.org.rs The Journal is published semestrally. The Journal is classified in ERIH – European Reference Index for the Humanities CONTENTS CONVERSATIONS Jelena Novak Music That Knows Where It’s Going. Conversation with Tom Johnson ...... 1 STUDIES Nice Fracile The Phonographic Recordings of Traditional Music Performed by Serbian Prisoners of War (1915–1918) ..................................................................... 17 Ivana Vesić, Vesna Peno The Structural Transformation of the Sphere of Musical Amateurism in Socialist Yugoslavia: A Case Study of the Beogradski Madrigalisti Choir ... 43 Bogumila Mika Music of Karol Szymanowski in the Intertextual Dialogue ......................... 64 INTERPRETATIONS Geraldine Finn Panic at the Proms (perhaps the explanation lies in his background) .......... 83 TRIBUTE TO PROF. DR. ROKSANDA PEJOVIĆ Ivana Perković Narrative Monologue and (Internal) Dialogue: In Memory of Roksanda Pejović (1929–2018) ................................................................. 121 Katarina Tomašević A Farewell to Aja: Fragments of Memories ............................................... 127 NEW WORKS Bojana Radovanović What Does the Humming Avatar Remember? Composer’s Voice and Memory in Ana Gnjatović’s Phonations .................................................... 133 Olga Otašević ‘Harmony of the Spheres’ in the Musical ‘Vitrage’ of The Thirteen-star Flower of Cassiopeia: Micro- and Macro-manipulation With Time and Space ......................................................................................................... 144 ANALYTICAL PERSPECTIVES Dragan Latinčić Possible Principles of Mathematical Music Analysis ................................ 153 RESEARCH AND TRADITION Sonja Marinković The 80th Anniversary of the Faculty of Music in Belgrade ........................ 175 REVIEWS Ana Kotevska Marija Bergamo, Muzikološke sledi ob osemdesetletnici (Musicological Traces at Eighty), Ljubljana: Znanstvena založba Filozofske fakultete, 2017 .......................................................................... 195 Sonja Cvetković Katarina Tomašević (ed.), Davorin Jenko (1835–1914). Prilozi za kulturu sećanja / Prispevki za kulturo spomina [Contributions to Cultural Remembrance], Belgrade: Institute of Musicology of the Serbian Academy of Sciences and Arts, National Council of the Slovenian National Minority in the Republic of Serbia, 2016 .................................... 198 Radoš Mitrović Nada Kolundžija, Breathing In/Breathing Out: A Little Anthology of Piano Music (1914–2014), Ivana Miladinović Prica (ed.), Belgrade: Vertical jazz, 2017 ...................................................................................... 202 DEFENDED DOCTORAL DISSERTATIONS Radoš Mitrović The End of Postmodernity in European Music and Its Dependence on Socio-Political and Artistic Context ........................................................... 207 Milan Milojković Digital Technology in Serbian Artistic Musical Output (1972–2010) ....... 209 Contributors to THE ISSUE ........................................................... 212 Novak, J.: Music that knows where it’s going – Conversation with Tom Johnson CONVERSATIONS Article received on April 18th 2018 Article accepted on May 16th 2018 UDC: 78:929 Џонсон Т.(047.53) Jelena Novak* Universidade NOVA de Lisboa MUSIC THAT KNOWS WHERE IT’S GOING Conversation with Tom Johnson1 Tom Johnson’s biography was taken from Johnson’s website http://www.edi- tions75.com, with author’s permission. Tom Johnson, born in Colorado in 1939, received his B.A. and M.Mus. degrees from Yale University, and studied composition privately with Morton Feldman. After 15 years in New York, he moved to Paris, where he has lived since 1983. He is considered a minimalist, since he works with simple forms, limited scales, and generally reduced materials, but he proceeds in a more logical way than most minimalists, often using formulas, permutations, predictable sequences and various mathematical models. Johnson is well known for his operas: The Four Note Opera (1972) continues to be presented in many countries. Riemannoper has been staged more than 30 times * Author contact information: [email protected] 1 The conversation took place at Tom Johnson’s studio and archive in Paris on November 25, 2017. I am grateful to Dejan Marković and Frits van der Waa for help with the transcription of the interview and to Katarina Kostić who translated it for the issue of the New Sound in Serbian. 1 New Sound 51, I /2018 in German-speaking countries since its premier in Bremen in 1988. Often played non-operatic works include Bedtime Stories (1985), Rational Melodies (1982), Mu- sic and Questions (1988), Counting Duets (1982), Tango (1984), Narayana’s Cows (1989), and Failing: a very difficult piece for solo string bass (1975). His largest composition, the Bonhoeffer Oratorium (1988-92), a two-hour work in German for orchestra, chorus, and soloists, with text by the German theologian Di- etrich Bonhoeffer, was premiered in Maastricht in 1996, and has since been pre- sented in Berlin and New York. Johnson has also written numerous radio pieces, such as J’entends un choeur (com- missioned by Radio France for the Prix Italia, 1993), Music and Questions (also available on an Australian Broadcasting Company CD) and Die Melodiemaschinen, premiered by WDR Radio in Cologne in January 1996. The principal recordings currently available on CD are the Musique pour 88 (1988) (XI), An Hour for Piano (1971) (Lovely Music), The Chord Catalogue (1986) (XI), Organ and Silence (2000) (Ants), and Kientzy Plays Johnson (2004) (Pogus), Ra- tional Melodies and Bedtime Stories performed by clarinetist Roger Heaton (Ants Records AG12) and Symmetries (Karnatic LabsKLR 010). The Voice of New Music, a collection of articles written 1971–1982 for the Village Voice, published by Apollohuis in 1989, is now in the public domain and can be downloaded at www.editions75.com. Self-Similar Melodies, a theoretical book in English, was published by Editions 75 in 1996. Recent projects include Tilework (2002–2005), a series of 14 pieces for solo instru- ments, published by Editions 75 in 2003, Same or Different (2004), a piece com- 2 Novak, J.: Music that knows where it’s going – Conversation with Tom Johnson missioned by the Dutch radio in 2004, and the Combinations for String Quartet, premiered in Berlin on the MärzMusik festival in 2004, and more recently, scores such as Kirkman’s Ladies (2005), Networks, Septet, and 55 Chords for two electric keyboards, all derived from combinatorial designs. As a performer he frequently plays his Galileo, a 40-minute piece written for a self-invented percussion instru- ment. Johnson received the French national prize in the Victoires de la musique in 2001 for Kientzy Loops (2000). The latest orchestra score is 360 Chords, premiered in July 2008 by Musica Viva in Munich. When did your interest in music begin? And when did your interest in mathemat- ics begin and how did these two things happen to cross? Well, my parents say that before I was thirteen they couldn’t make me play the piano and practice like I was supposed to, and after thirteen they couldn’t make me stop. I had a very good teacher at around that age, named Rita Hutch- erson. She is dead now, but, that was my passion and I played a little ‘cello and clarinet and continued just studying music theory and composition at Yale, and afterwards took private lessons with Morton Feldman for two years. But, around the age of forty I was already starting to do counting music and logical progres- sions and was interested in algorithms and how to make music that knows where it is going and music that has some intelligence and not just subjective dreams and autobiographical choices and so forth – and emotions. I wanted music that was clear and comprehensible and music that was even predictable, and so counting was the first thing to do: 1, 2, 2, 3, 3, 3, 4, 4, 4, 4… things like that. The Rational Melodies come along around 1982–3 and that was more counting music, but it was around this time that I thought: hey, Tom, you really are trying to do mathematics and you should study a little more. I took a course in Calculus in a very low level university night school and I passed the course, but barely, and I had to work a lot, and all these 19- and 20-year-old students were getting A’s without working at all, because they were young. It’s much easier to learn mathematics when you are young. Anyway, I decided it was a little too late to really learn mathematics, but I could try, and when I saw 1988 coming up I thought, there are 88 keys on the piano, so let’s try and
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