Rethinking Prokofiev
Review of: Rethinking Prokofiev. Editors: Rita McAllister and Christina Guillaumier Oxford and New York: Oxford University Press, 2020. ISBN 978-0-19-067076-4 (hbk.); ISBN 978-0-19-067077 (pbk.).
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Review of: Rethinking Prokofiev. Editors: Rita McAllister and Christina Guillaumier Oxford and New York: Oxford University Press, 2020. ISBN 978-0-19-067076-4 (hbk.); ISBN 978-0-19-067077 (pbk.).
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Boris Asafiev, pen name Igor Glebov, was a Russian musicologist, composer, music critic, pedagogue, public figure, publicist; author of works devoted to the music of Igor Stravinsky. The article examines A Book about Stravinsky (1929), one of the earliest monographs on the composer in any language and the first one in Russian. It is characterized as an outstanding musicological study of Stravinsky’s works that had appeared by that time, that is, from the early period to the works completed in 1927 (Oedipus rex, Apollon musagète and The Fairy’s Kiss).
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In Memoriam Isidora Žebeljan (Belgrade, September 27, 1967 – Belgrade, September 29, 2020).
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Review of: Mirjana Živković i Ivica Petković Harmonija na dirkama. Beograd: Kreativni centar, 2019. ISMN 979-0-802019-05-8.
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In memoriam Jelena Milojković Đurić (Beograd, 2. prosinca 1931. – College Station, Texas, 22. lipnja 2019.).
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Review of: Vasilije Mokranjac: Complete Piano Works – World Premiere Recording Ratimir Martinović, piano. Grand Piano, 2 CDs, GP829/30, HNH International LTD, Germany. Distributed by Naxos. Grand Piano, 2 CDs, GP829/30, HNH International LTD, Germany. Distributed by Naxos.
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This text was presented as a report at a conference in homage to the 75th anniversary of the distinguished Bulgarian musical folklorist Luben Botuscharov. In 2023, a special section of the Bulgarian Musicology Journal was meant to mark his 85th birthday. However, his passing altered the dedication, and now it stands in memory of our dear colleague, whose work – illuminated by vast knowledge and insightful thought – will live on and continue to further inseminate the manifold scientific fields developed by him. Luben Botuscharov’s entire musicological oeuvre is connected with constructing a perspective on folklore. This is a process in which the musicologist sets himself up in such a way as to be called a “folklorist” in the fullest sense of the word. This sense encompasses multi-layered aspects, ranging from field researcher to theorist. Among them, the primary one is the aspect that defines Botuscharov as a methodologist. The path he follows (whether concentrating on a specific phenomenon or delving into a theoretical subject of the highest order) and the path towards which he directs others always commence with the music itself whose specifics (be it characteristic of a particular place in folk culture or pertaining to a given composer within the professional realm) he is “listening into”. The report explores a small part of Botuscharov’s research, revealing his immense contributions to the science of folklore.
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The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.
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Review of: Мирјана Закић-Душом и фрулом: Добривоје Тодоровић. Факултет музичке уметности, Универзитет уметности, Београд, 2015. ISBN 978-86-88619-59-2.
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Of particular importance for the artistic commitment and maturation of Kornelije Stanković, was his training in Vienna, which at that time represented the center of the Slavic elite. The whole cultural and social atmosphere of Vienna left a strong imprint on the young artist: a rich cultural and political life of the city, contacts with Serbian and Slavic circles and their ideas, especially studies under distinguished professor at the Conservatory – a composer, pianist and theorist Simon Sechter. By studying the inscriptions in the Serbian press from the 19th century (Srbski list, Vidovdan, Južna pčela, Danica, Trgovačke novine, Šumadinka) and preserved posters of Stankovic’s concerts, we have selected the compositions that were part of the Kornelije Stanković piano repertoire. Besides his own compositions, his repertoire included some works of Franz Liszt and Sigismund Thalberg, and even, then popular and now forgotten salon composers-pianists: Jacob Blumenthal, Louis Lacombe, Rudolf Willmers, Eduard M. Pirkhert, and a certain man named Wald. It is possible that this selection of works was influenced by Sechter himself. Blumental and Lacombe were his students. However, the fact remains that the compositions of those authors, which Stanković performed, also represented the most famous works of those composers, as well as the standards of the salon repertoire at the time. The aim of this paper is to highlight the equal importance and representation of the foreign composers within Stankovic’s piano repertoire, as well as the actuality of performed compositions, which has allowed us to gain an insight into the German press of the considered period.
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Review of: JOSIP SLAVENSKI (1896–1955) Povodom 120. godišnjice rođenja kompozitora [On the Occassion of the 120th Anniversary of the Composer’s Birth] Urednica Ivana Medić [Edited by Ivana Medić] Beograd, Muzikološki institut SANU, 2017. [Belgrade, The Institute of Musicology SASA, 2017] ISBN 978-86-80639-31-4.
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Review of: Vladimir Tošić - Redukcionistički principi konstrukcije muzičkog dela. Fakultet muzičke umetnosti, Beograd, 2017. ISBN 987-86-88619-52-3.
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In this article I explore the possibility of being able to hear the sound of a quantum superposition of two sounds. What would it mean and is it feasible to explore performing an experiment that would allow us to test this notion?
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Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science – to be precise, between music and quantum physics. Te idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. Te further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulflled the role and interest of the composer as well as representing the performing arts (dance and acting). Te aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. Tis article is writen as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument – the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesizer with analogue controls that allows diferent processing of acoustic and digital signals in real time and enables the pianists to continue to use concert pianos whilst equipping them with new colours and new, hitherto unexlplored expressive possibilities.
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Quantum music is an idea to compose music based on a fundamental physical theory, quantum theory. One of the underlying theses of the project is that by merging a deep theory of physics with music one can provide a more interesting musical landscape. An interesting problem opened by quantum music is whether this idea will, or will not, allow one to move closer to objective beauty, if such a thing exists. I will explore what the implications of quantum music are for this issue. Can the marriage of science and art permit the achievement of a richer set of aestetic outputs?
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We were pleasantly surprised to find out that Volume 22 of your esteemed journal Muzikologija/Musicology was dedicated to the relationship between music and the urban environment: Urban Sonic Ecology. Hence, we kindly request that you consider our views and comments concerning the scientific polemics (made primarily from the urban planners’ perspective) from the point of view of our profession and knowledge as well-intended and publish them in your journal.
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Why does a composer resort to changing any one of his compositions? Under what circumstances does the creative output need to be re-evaluated and perhaps reconsidered? Prokofev’s fnal Seventh Symphony presents two endings diferent in mood and character, one subtler and the other more vivid. Tis paper examines the background behind the appearance of the alternative ending – most specifcally an extended coda, which appeared as an indication of a conformist stance on Prokofev’s part, an atempt to appease the regime and probably obtain the Stalin Prize, so essential to him.
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Vera Stanojević’s timbrally-driven compositions, both acoustic and electro-acoustic, have increasingly garnered international recognition over the past two decades. A brief biographical overview, supported with commentary from the composer, is followed by a series of analytical vignetes of select repertoire. Te analyses provide brief sketches of the style and compositional approach taken in each work. Works discussed are posted on the composer’s Soundcloud website, allowing readers to directly engage, with audio, timbral complexities addressed within.
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In memoriam Vlastimir Trajković (Beograd, 17. juni 1947 – Beograd, 4. januar 2017).
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