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Department of Musicology Faculty of Music International Journal of Music 44 Belgrade, II/2014 YU ISSN 0354–818X UDC 78:781(05) COBISS. SR-ID 80527367 International Journal of Music 44 Belgrade, II/2014 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: Tijana Marinković Secretary of the Editorial Board: Biljana Leković 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 Goran Kapetanović (1969–2014) .............................................................. 5 Editor’s Note ............................................................................................... 7 COMPOSER SPEAKS Vesna Mikić Interview with Srđan Hofman .................................................................... 9 CORE ISSUE – STEVAN ST. MOKRANJAC AND MUSIC ‘AROUND’ FIRST WORLD WAR Dario Martinelli Introduction ................................................................................................ 29 Joan Grimalt Some Military Musical Topics before 1914 ............................................... 33 Ricardo Nogueira de Castro Monteiro The First World War and the Ascension of the Phonographic Industry in the New World ......................................................................... 53 Rima Povilionienė References to Lithuanian Musical Life in Lithuanian Periodicals, 1914–1915: A Review of the Lithuanian News Daily ............ 68 Paolo Ribaldini A Conceptual Connection between Classic Heavy Metal and World War I: The Case of Iron Maiden’s ‘Paschendale’ and Motörhead’s ‘1916’ .................................................................................... 96 Jeffrey Wood The Great War and the Challenge of Memory ........................................ 109 * * * Stefan Schmidl Music of the Great War. Observations on Neglected Repertoire ............ 121 Ivana Perković The Written-Oral Paradigm in the Transcriptions of Church Music by Stevan Stojanović Mokranjac ............................................................. 133 Roksanda Pejović An Attempt to Evaluate Serbian Music Between World Wars (1919–1941) ................................................................................... 143 3 New Sound 44, II/2014 Andrija Filipović Human, all too Human: Bare Repetition and Organism in Minimal Music ........................................................................................ 156 NEW WORKS Ira Prodanov Krajišnik, Nataša Crnjanski Beyond Zero: 1914–1918. A Century after .............................................. 169 STUDENTS’ PAPERS Miloš Bralović The Collage-Shaped Worlds of Gustav Mahler’s Rückert Symphonies ... 179 FESTIVALS AND SYMPOSIA Marina Marković The 22nd Obzorja na Tisi – Dani Josifa Marinkovića [The Tisa Horizons: Days of Josif Marinković] ....................................... 199 REVIEWS Jelena Janković Beguš Dragana Stojanović Novičić: Vinko Globokar: muzička odiseja jednog emigranta [Vinko Globokar: The Musical Odyssey of an Émigré] .......... 203 Radoš Mitrović Dragana Jeremić-Molnar, Aleksandar Molnar: Adornov Šubert. Put ka teoriji mimezisa [Adorno’s Schubert. A Path towards the Theory of Mimesis] ................................................................................... 207 Radoš Mitrović Dragana Jeremić-Molnar: Zimsko putovanje Vilhelma Milera i Franca Šuberta [The Winter Journey of Wilhelm Müller and Franz Schubert] ... 209 Marija Masnikosa Ivana Petković, Olga Jokić: Stevan Stojanović Mokranjac u napisima „drugih“ [Stevan Stojanović Mokranjac in the Writings of “Others”] ............................................................................................. 211 Ivana Neimarević Review of the CD “Marko Nikodijević dark/rooms”, col legno, 2013 .... 214 Contributors to this Issue ...................................................................................... 219 4 Goran Kapetanović (1969 –2014) As preparations for the present issue of New Sound were under way, we were struck by the devastating news of the loss of our esteemed translator, composer Goran Kapetanović. As the creator of the composition The Little Mermaid which was awarded the Second Prize at the International Review of Composers in 1994, the same year in which his Alcune le stesse cose was selected for the finale of the International “Gaudeamus” Competition in the Netherlands, and when he re- ceived the Youth October Award for creativity; also as the author of the composi- tion Speed which was awarded the First Students’ Prize in 1996, Kapetanović will be remembered in the history of contemporary Serbian music as an extraordi- narily powerful, imaginative and authentic creator. After his personal decision to relinquish his position at the Faculty of Music in 2002, Kapetanović devoted himself entirely to translation. A superb expert in both the Serbian and the English language, a highly creative artist of impres- sive musical and general erudition, he approached with equal intensity, and was equally successful in translating both literary texts and scholarly texts on music. Thus, for the “Laguna” publishing house alone, he translated more than twenty novels in only five years, including Barbara Kingsolver’s famous The Poisonwood Bible. The latter, recognized by experts as an anthological piece of translation, testifies to the complexity of his understanding of translation as a process of the creative transfer of all – even the most subtle – dimensions of a certain text into another linguistic system with its different logic. Such was Kapetanović’s creative poetics of translation, as we might call it, and he applied it when working on the most diverse genres of musical texts: from very intricate musicological studies to strictly analytical ones, and from aesthetic-phil- osophical interpretations to critical reviews. He covered this broad range of tex- tual genres with supreme mastery and a unique sensitivity to different authorial styles, as he worked on contributions to all the rubrics of New Sound. During the 1990s and the first years of this century, he translated for New Sound only occasionally, but after 2006, this journal became his primary institution and he was its chief translator. And not only in view of that role: it was also his readiness to promptly and ef- ficaciously intervene should any obstacle arise while an issue of the journal was being prepared and, above all, his professional solidarity and friendship, which made Goran Kapetanović one of the pillars of New Sound. He ceased to be with us in the fall of 2014. M. V. H 5 New Sound 44, II/2014 6 EDITOR’S NOTE In 2014, both issues of the New Sound International Journal of Music (Nos. 43 and 44) are dedicated to problems of music / musical creativity / musical life / musical culture… under the socio-historical, ideological-political, artistic and philosophical-aesthetical conditions in European countries and Serbia during / regarding / ‘around’ the First World War. In that context, we devote special attention to Stevan Stojanović Mokranjac (1856–1914), Serbian composer and author of a genuinely based stylistic and methodological-theoretical system and artistic ‘sound-map’ in approaching folk music. Although both issues contain contributions marking both centenaries, No. 43 is nevertheless mostly focused on Mokranjac’s work and No. 44 on Serbian and European music of / ‘around’ the Great War. Also, the thematic section related to European music in No. 44 is guest-edited by Dario Martinelli, musi- cologist and professor at Kaunas University of Technology, Lithuania, who has collaborated over the past few years with the Department of Musicology under the auspices of the Tempus Programme. The thematic areas of Nos. 43 and 44 were preceded, as a sort of theo- retical prequel, by the core issue of the New Sound No. 42, “Music – Politics – Language”. Interpretation of this topic from different angles – musicological and philosophical-aesthetical – was designed to establish a broader context for analysing the aforementioned range of issues, related directly or indirectly to the artistic and political ‘vibrations’ of a historically complex, creatively rather restless, innovative, artistically densely ‘punctuated’, and richly layered period in the development of art music during the first few decades of the 20th century. Therefore today, a century later, the year 1914, which in many ways symbolizes that period, is a strong incentive for scholarly ‘recollections’, reassessments, and new research, the kind of which will also be recognized on the pages of this year’s issues of the New Sound. M. V. H. 7 New Sound 44, II/2014 8 Mikić, V.: A Look at the Mirror/Screen – Pop-up Interview with Srđan Hofman COMPOSER SPEAKS Article received on 30th October 2014 Article accepted on 31st October 2014 UDC: 78.071.1:929 Хофман С.(047.53) Vesna Mikić* Department of Musicology, Faculty of Music, University of Arts, Belgrade A LOOK AT THE MIRROR/SCREEN1 Pop-up Interview with Srđan Hofman The