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The Heart of Arabs. Emirati Songs for Egypt

Author(s): Edyta Wolny-Abouelwafa / Language(s): English Issue: 2/2023

Creating patriotic songs in the Arab countries is very common. They can represent different types of music, can be connected to special occasions or be created without them, just from the ‘need a heart’. The author of the article has been doing research on contemporary Egyptian patriotic songs for years. On the basis of her results, she has decided to divide all the analysed songs into the those created by Egyptians for Egyptians and in addition created by other artists for Egypt and its citizens. The job of the latter she calls ‘patriotic songs’ as well and divided them into two main groups which are connected with the way they identify themselves. The article presents the results of the analysis of selected songs released by United Arab Emirates’ artists for Egypt. The article’s author’s goal was to check the songs’ topics and which one of the previously mentioned groups they represent. She also mentions the figure of Hussain Al Jassmi, the most popular, in recent years, Emirati singer creating patriotic songs for Egypt. She analysed the songs on the basis of the songs’ topics and combined it with the contemporary relations between United Arab Emirates and Egypt while mentioning their origins historically. All of this allowed her to reach the conclusions presented in the article.

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Материјалисти и идеалисти у нетраженом дијалогу: Часопис „Звук” (1932–1936) и музика западне европе

Author(s): Aleksandar Vasić / Language(s): Serbian Issue: 14/2013

The Zvuk magazine, one of the best Serbian and Yugoslav music reviews, was published in Belgrade from 1932 to 1936. It was founded and edited by a pianist, music historian and music critic Stana Ribnikar (1908– 1986). Her closest collaborators in the magazine were leftist musicians. Nevertheless, the editorial board was open for collaboration with writers who had different ideas on the relationship between art and society. This article deals with numerous essays on the nineteenth-century West European art music in the Zvuk magazine. Their topics are very diverse: some of the essays deal with individual composers, historical issues, various problems of writing music, and related subjects. Others tend to provide information and present art music in a popular manner. A signifi cant feature of the Zvuk magazine was the parallel presence of essays written by Marxist musicians and those written by other music writers, who did not believe in the social function of art, even though these two groups of authors did not engage in polemics. Pavao Markovac, a musicologist from Zagreb, was very critical towards Richard Wagner`s views on art and society. The Belgrade musicologist Vojislav Vučković shared his point of view. In his essays on the historical signifi cance of baroque music, Vučković opposed the idea of absolute autonomy of art. Both Markovac and Vučković believed that art and society were inseparable and they evaluated music accordingly. Other prominent Serbian music writers, such as Miloje Milojević, also voiced their opinions on the pages of the Zvuk magazine. Milojević published essays on Johannes Brahms and Richard Strauss. He was also in favour of evaluating music within the given social context, but he advocated the ideas of Hyppolyte Taine. Zvuk remains the only Serbian music magazine that published articles on ancient Greek music. Milos Djurić, a classical philologist, philosopher and literary translator, wrote on music in ancient Boeotia and Lesbos. This subject has remained untackled in Serbian musicology to this very day. In order to address the wider audience, the Zvuk magazine also featured contributions concerning the boundary areas between music and other disciplines. As many as three articles on Friedrich Nietzsche`s attitude towards music were published by Yuri Arbatsky and Matija Bravničar. Notwithstanding its professional profi le, this magazine was also open for popular articles for wider intellectual audience. The essays on West European art music in the Zvuk magazine contributed to widening the scope of knowledge and public interest. The policy of the editorial board was to bring together writers of different ideological standpoints, by publishing their essays side by side. In this way, the public was presented with different ideas and beliefs, but also with professional information. It was clear that one-sidedness was not the policy of this magazine. On the contrary, the editors proved that it was possible for writers who thought differently to engage in a dialogue, even if they had no prior intention of doing so.

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Les modèles économiques du genre de la comédie musicale en Serbie et en France depuis 2005

Author(s): Jelena Janković-Beguš / Language(s): French Issue: 14/2013

The genre of musical comedy – or musical in Anglo-Saxon terminology – represents a current subject in Serbian and French theatrical life. The last decade has given new impetus to the genre, but it is particularly the period since 2005 that is characterized by many significant changes in the industry that have contributed to the unprecedented success of the musical in Belgrade and abroad. Serbia. But also in France, in a context as different as possible from the Serbian context, the year 2005 brought many important changes to the musical theater sector with regard to the production and reception of the genre. When we observe musical comedy in Serbia and France, we must take into account differences in the terminological nature but also in the economic nature coming from different modes of exploitation of the shows.

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„Нека је женско, али биће гуслар”– идеологија једног инструмента

Author(s): Smiljana Đorđević Belić / Language(s): Serbian Issue: 14/2013

Within the theoretical and methodological framework based on the concept of the ideology of tradition, I analyze a wide and complex repertoire of attitudes toward female gusle players. Aside from the techniques of representation demonstrated in scientifi c discourses, I examine the status of female gusle players by assessing the material obtained during several years of fi eld researches (the “male” perspective), and I also refer to the public (media) discourse, acknowledging the characteristics of media and popular culture. The “researcher’s voice” is also interpreted as part of a discourse on the ideology of tradition.

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Kivy and Langer on expressiveness in music

Author(s): Albert van der Schoot / Language(s): English Issue: 14/2013

From 1980 onwards, Peter Kivy has put forward that music does not so much express emotions but rather is expressive of emotions. The character of the music does not represent the character or mood of the composer, but refl ects his knowledge of emotional life. Unfortunately, Kivy fails to give credit to Susanne Langer, who brought these views to the fore as early as 1942, claiming that the vitality of music lies in expressiveness, not in expression.

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Black Swans And Many Worlds: Contemporary Models In Music, The Arts And Ideas

Author(s): Barbara Barry / Language(s): English Issue: 14/2013

Black Swans and Many Worlds are new models to help explain musical structures, and by extension, events in the social environment and in internal human experience. Many Worlds takes its departure point from quantum physics, and especially the work of Hugh Everett III, who used the defi ning point of a measurement in the sub-atomic world as initiating alternative courses of action. Everett extrapolated this idea to the macro-world: a defi ning point may initiate multiple outcomes, each with its own character and events, as parallel worlds. One application of this model is to consider musical works within a genre as Many Worlds. Black Swans derive from Nassim Taleb, who proposes that social, political, and in fact all aspects of today’s world are not understandable by logical processes or incremental change but are often rocked by extreme, unpredictable shocks. If Many Worlds provide new ways of thinking about potentiality, probability and innovation, Black Swans arrest us in our tracks by eruptions that threaten to derail contemporary life, and with it, music, the arts and ideas.

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Реч и мелодија у стваралаштву Момчила и Светомира Настасијевића

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 15/2013

In the house of artistically gifted family Nastasijević where renowned Belgrade artists used to gather together during the twenties and thirties of the previous century, music was nothing but an excuse for regular meetings. The art of sound represented a backbone of one system of poetics in the shaping of which Nastasijević brothers as well as their close contemporaries and faithful friends truly found the common ground. Rethinking the music phenomenon brought them close to their otherwise remote relatives by thought – to Greek philosophers, but also to French and especially Russian symbolists whose opinions they shared. A pursue for, on one hand, an authentically native but, on the other, cosmopolitan spirit and universal values, marked the creative output of Momčilo, a writer and a pivot of Nastasijević family, but also the overall creative engagement of his brothers. They all shared common aesthetic standards, attempting to apply these in their respective artistic media as well as in synergy, in their joint ventures. In music dramas entitled Međuluško blago and Đurađ Branković, for which Momčilo wrote the script and Svetomir composed the music, the brothers tried to transform into deeds the Nastasijević-like convictions regarding music. The aim was to re-fi nd and turn a native – homeland melody into sound. This melody represented a “golden ratio point” in which all arts meet; it is a kind of a spiritual totality embodying one form of spiritual existence which cannot be reached otherwise but from the “homeland soil”. They believed they would reach the archetype of national identity and, at the same time, of the universal being by harking at and perpetual crying for the forgotten sound of words. Momčilo’s poetic concept demanded necessary interventions in respect to the dramatic genre. In his essay Dramsko stvaralaštvo i pozorište kod nas, he unequivocally opposed to what he argued to be a decadent and artistically senseless Serbian stage, a place wherefrom an individual and the world he lives in are being superfi cially analyzed, a place that only serves for mass entertainment, propagation of political and social convictions, and which in its character is getting closer to movie industry. By discarding realistic procédé, the poet reached for a myth in Međuluško blago whereas in Đurađ Branković he turned to historical themes. In both of these he delved deep in the essence of drama. His poetic expression had therefore to become dense, more a premonition than a statement, so that it necessarily needed melody as an attribute. Music is a pivot of Međuluško blago, which Nastasijević brothers emphasized to be not an opera, or Wagnerian music drama, but a drama meant for being interpreted through singing and nothing but singing. The drama is a music one because the very storyline and the characters’ words were supposed to emanate music expression, and music was to drive the characters to a tragic confl ict and actualize the antique fatum that permeated, resonated in and guided all creatures. The words and the melody were meant to be inseparable in Đurađ Branković music drama as well. To what extent their music works actualized what the “Nastasijević manifesto” theoretically proclaimed is to be left to be considered in some other topical study.

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„Eгзотичност” опере Гилгамеш Рудолфа Бручија у парадигми „Музика у целокупном контексту” Ралфа Лока

Author(s): Nemanja Sovtić / Language(s): Serbian Issue: 15/2013

In this text, Rudolf Brucci’s opera Gilgamesh is viewed in the light of Ralph Locke’s “All the Music in the Full Context” Paradigm which promotes the approach that one should search for the exotic elements in musical works fi rst in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a “horizon of expectations” of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, “exoticism” of the opera Gilgamesh is detected at the level of the music material and compositional procedures, but not in the dramaturgical profi ling of characters, narrative adaptation of the Sumerian epic, costumes and scenery. The plot, costumes and the scenery of the opera do not construct the Orient with either positive or negative projections attributed to it by the Western European Orientalist discourse, but portray Gilgamesh and Enkidu as ancient mythic protagonists on the margin of the (not-always) exoticist once/now binarism. The musical language of the opera, which abounds in the usage of oriental musical scales and citations, indicates that oriental/exotic was one of the author’s “target levels” when conceiving and composing Gilgamesh. Brucci, however, did not build the “ethnological model” in his opera, but gave oriental scales and “exotic” musical citations their meaning within the Western musical tradition, which is why his approach can be compared with the “veiled exoticism” of the French composers of the late nineteenth and the early twentieth centuries. In the light of the self/other binarism, reaching for the exotic in Gilgamesh can be presented as an auto-exotic creative behavior of Brucci as a composer who perceives his “minority identity” in a relation to an imaginary referential system of the Center. However, I am more inclined to see Brucci’s identifi cational intention in his advocacy of the Yugoslav NAM (Non-Aligned Movement) project, and his dealing with the “exotic” as part of his strategy to support cultural achievements of the Third World which predominantly participated in that project.

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Music as word: Film music - superlibretto?

Author(s): Marija Ćirić / Language(s): English Issue: 15/2013

The aim of his paper is to prove that fi lm music can be understood as authentic narrative force: fi lm music as word / discourse and its superlibretto status. Superlibretto is the status of music in a fi lm which is constructing its own (aural) reality and is narrating, speaking its own text which creates a wholesome fi lm meaning. The existence of superlibretto is substantiated by fundamental theoretic concepts of fi lm music and practically proven by analyses of examples taken from the opus of Serbian fi lm composer Zoran Simjanović.

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Die „Leipziger schule”. Zur geschichte der kirchenmusik Im 20. jahrhundert

Author(s): Helmut Loos / Language(s): German Issue: 15/2013

The Institute for Church Music at the Leipzig Conservatory was founded in 1921 on Karl Straube's initiative. Together with his master student Günther Ramin, he designed the church music in St. Thomas for many years. After the end of the First World War, the Bach movement became of central importance for Protestantism, especially since Leipzig profiled itself as a pioneering center and formed a “Leipzig School” with the “Straube-Ramin era”. Although Straube and Ramin did not compose themselves, their work at the Leipzig Conservatory of Music was particularly important for the formation of the “Leipzig School” as a renewal movement for Protestant church music. The article analyzes the fate of these efforts and their protagonists during the catastrophic economic circumstances and the growing National Socialism.

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The sketches for Alfred Schnittke’s Symphony no. 3, and what they (don’t) tell us?

Author(s): Ivana Medić / Language(s): English Issue: 15/2013

The analysis of Alfred Schnittke’s Symphony No. 3 that I present in this paper is based on my study of Schnittke’s sketches from the Juilliard Manuscripts Collection. The importance of these manuscripts, which (to my knowledge) are discussed in a peer reviewed publication for the fi rst time, is twofold. On the one hand, the sketches make it possible to correct errors found in earlier analyses of this symphony; in particular, they provide plenty of information on Schnittke’s manipulation of thematic material and the overall constructive principles. On the other hand, although the sketches fail to broach a coherent narrative, they do hint at Schnittke’s hidden intentions and provide clues for an informed reading of this idiosyncratic work and its possible meanings.

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"-Et, ô ces voix d’enfants chantant dans la coupole!" Dimension symbolique de l’architecture et Mises en scène contemporaines du Parsifal de Richard Wagner

Author(s): Delphine Vincent / Language(s): French Issue: 15/2013

Parsifal represents a dilemma between sensuality and the aspiration to purity, which Wagner notably synthesized visually in his stage directions. Today, many directors refuse this message of renunciation of sensuality. This article analyzes three contemporary shows (Hans Hollmann, Harry Kupfer, Nikolaus Lehnhoff) from the angle of the architectural dimension, in order to determine the links between the directors' biases regarding the settings and the message given to the work , as well as the relationship to Wagnerian didascalies.

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Политика у контексту „оперског питања“ у народном позоришту пред Први светски рат

Author(s): Biljana Milanović / Language(s): Serbian Issue: 12/2012

Part of the history of the National Theatre in Belgrade in the decade before the First World War relates to processes of discontinuity in the professionalization and modernization of the musical section in this institution and its repertoire. It had to do with abrupt changes refl ected in three short-lived phases: improvements in musical ensemble and opera performances (1906– 1909), the annulment of these efforts and results with a return to the old repertoire, and then again a new beginning once more with a fresh attempt to establish the Opera (1913–14). These dynamics were affected by the social and political context. It was dependent on frequent changes of the Theatre’s management staff whose main representatives had mutually confl icting views on important questions concerning the functioning of their institution. Relations between them were strongly marked by contested political motives. Theatre managers were appointed by ministers of education who could also be relieved of their posts, and members of the management staff were always active in political parties. These facts acted as a decisive factor in their communication which was similar to the behaviour and customs of public political life where an opponent is seen as an enemy, not as a partner in solving common problems. Critical and polemical discourses on important aspects of organization and programme strategy of the Theatre were burdened by political rivalry which also found its place in discussions on the cultivation of music. Questions relating to music were considered in a declarative way, so that music was instrumentalized as a means of political empowerment. The facts about music in the National Theatre raise many issues related to aspects of modernization, national identifi cation, transfers of high and popular musical cultures as well as to other problems of social, historical and cultural contexts that were intertwined in the operation of the Theatre. The context of political problems in the National Theatre opens some important topics discussed in the text: the discontinuous process of the development of the musical ensemble and its repertoire in conditions of changing management staff; prominent musical professionals and ideologists of cultural life and their relations to the musical and dramatic repertoire as well as to their audiences; potential Belgrade audience reception and their reactions to the musical and dramatic repertoire of the National Theatre. An integral analysis of these may show inconsistency between ideological and artistic intentions of individuals and the needs of the audience during the course of modernization.

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Учење певања уз гусле у Србији у XXI веку

Author(s): Danka Lajić-Mihajlović / Language(s): Serbian Issue: 12/2012

In this paper, learning to sing with the accompaniment of the gusle is reconsidered within the concept of the preservation of traditional folk music as an intangible cultural heritage, that is, as a specific form of music education. Having dealt with a traditional way of providing continuity in the practice of guslars` (i. e. gusle players) – which is learning by observing and imitating more experienced family members or guslars from nearby surrounding – some crucial moments in the history of singing with the accompaniment of the gusle, which also infl uenced the process of transmitting this skill, are demonstrated. In recent times, singing with the accompaniment of the gusle has been mastered not only within family circles but also in associations of guslars, at private schools of music, and lately there has also been an opportunity to learn this skill at some state schools of music. Accordingly, interviews with the members of an Association of guslars association that is particularly distinguished by the fostering young guslars, and interviews with gusle teachers and pupils who attend schools of music were used as primary sources for this paper, together with the specifi c experience of the author as a president of the jury in a young guslars’ competition. Since the poetic content of the songs is primarily learnt from printed collections or audio recordings, future guslars in fact master the musical skills of playing and singing along the instrument, that is, the skill of the vocal interpretation of a chosen written poetic text. Concerning these, some programmes and methods are discussed, as well as their effects on young guslars’ competence, principally from the point of style and aesthetics. Attention is particularly drawn to fl aws in the teaching concept of future gusle players at state schools of music. In conclusion, the necessity of applying ethnomusicological fi ndings to activities concerning the preservation of an intangible cultural heritage, in other words, the necessity of including teams of professionals in reforming the educational system and national cultural policy is established.

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Музика у ‘бескласном друштву’: делање чланова и симпатизера кпјиској на теоријском и практичном утемељењу новог музичког поретка (1919–1941)

Author(s): Ivana Vesić / Language(s): Serbian Issue: 13/2012

On account of its illegal status in the Kingdom of Yugoslavia, the CPY underwent many transformations in its organizational structure and methods of political struggle during the 1920s and 1930s. Although there are different periodizations of the pre-Second World war history of the CPY, most historiographers designate as most important moments the termination of the fi ve-year long dictatorship of King Aleksandar in 1934 and the implementation of new policies in Comintern in 1935. After that, the CPY began very dynamic political campaigning attempting to reach different parts of the population which affected the defi nition and application of its cultural policies. Closer alignment with the leftist element of the fi eld of culture created fertile ground for the construction of a broad cultural programme as well as the institutional circuit that enabled the implementation of some of its parts. A group of music specialists among the left-oriented cultural actors contributed to the process of the conceptual and practical articulation of the parts of the programme regulating musical practice. The so-called “left music front” activists developed plural perspectives in the discussion of the music order in a classless society, interpreting the problem of the popularization of high-art music as well as the emancipation of proletarian music from different ideological positions. In that process they leaned on a specifi c version of the canon of composers both in the local and international music traditions and also on a historical narrative grounded in a dialectical materialism that was deduced from the Soviet model of the history of music. At the dawn of the Second World War, “left music front” became more homogenized which was the result of strict ideological disciplining of members of the CPY in that period. Unlike the leftist segment of the literary fi eld in which party policies were strongly opposed and criticized publicly, there were no ideological confl icts of that sort in its musical counterpart. Because of strict political control of the public sphere, activists of the “left music front” had diffi culties in the implementation of their cultural programme. They focused mostly on cultural work within workers’ and students’ organizations and societies that gave them an opportunity to promote in the public some of the core concepts of that programme. Although the activities in the abovementioned organizations gave modest results in the process of the institutionalization of the CPY’s cultural policies, they could be seen as an important basis for the development of musical practices after the Second World War. Together with other artistic projects in the leftist part of the cultural fi eld, the musical undertakings of the members and ‘fellow travellers’ of the CPY contributed to the pluralisation and differentiation of that fi eld, creating an alternative understanding of the production of music as well as of cultural policies on music.

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Gubaidulina, misunderstood

Author(s): Ivana Medić / Language(s): English Issue: 13/2012

Since the early 1980s Sofi a Gubaidulina has received numerous accolades, and her music has been performed and recorded worldwide. However, the critics’ reaction to her works has often been resoundingly negative. In particular, Western critics have been baffl ed by Gubaidulina’s penchant for long durations, the employment of seemingly literal musical symbolism verging on the kitch and, last but not least, the composer’s religious fervour. Starting from the reviews of two ambitious events that served as introductions of Gubaidulina’s music to British audiences, I will discuss the main objections directed towards her oeuvre and demonstrate that Gubaidulina’s idiosyncratic compositional method has been misunderstood by British critics.

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Барокне референце у делима Властимира Трајковића

Author(s): Ana Stefanović / Language(s): Serbian Issue: 13/2012

The article examines Baroque references in three Trajković’s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des zéphyres ou “Zefi ro torna” op. 25 (2001) and solo song Renouveau from the cycle Cinq poèmes de Stéphane Mallarmé op. 29, in its version for voice, fl ute and piano (2003), all these compositions being unifi ed by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajković’s search for new paths in music, opposite to “gothic” tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajković’s works refl ect fundamentally generic, arche-textual relations. Compositions Arion and Zefi ro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini’s collection of madrigals – Le Nuove Musiche, 1601, and Monteverdi’s madrigal Zefi ro torna, 1614, after Petrarch’s sonnet). Zefi ro torna, with a primarily French title and subtitles of the “scenes” given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi’s madrigal with the same title composed after Rinuccini’s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th-century music can be inferred.

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Ibsen’s Danse Macabre: The importance of auditory elements in Henrik Ibsen’s drama John Gabriel Borkman

Author(s): Sofija Todić / Language(s): English Issue: 13/2012

In the drama John Gabriel Borkman Ibsen attributes great importance to sounds. The contrast between presence and absence of sounds, other sound effects and especially the Danse Macabre played on the piano emphasize the drama’s eerie atmosphere. Danse Macabre can be also seen as the drama’s key metaphor, and it connects the fi rst and the second acts and creates unity of time and action. The allegorical meanings of this composition can serve as a paradigm in the interpretation of each character, their relations, and the whole dramatic action even. The focus of this work is on the auditory layer of the drama, emphasizing the important function of the auditory as part of a dramatic work.

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Однос сфере државе према певачким удружењима у Србији и Краљевини Југославији

Author(s): Biljana Milanović / Language(s): Serbian Issue: 11/2011

Financial dependence of singing societies in the state of Serbia and Kingdom of Yugoslavia is particularly analyzed in the paper, with a view to pointing to problems which hindered the advancement of music culture in the civil society. As other similar institutions of civic type, choirs did not have at their disposal sufficient financial, social and symbolic capital independent of the state, so they did not possess the power to influence on the government authorities. Although the period between World Wars brought evident improvement in the state treatment of music institutions, it could not be interpreted as a fundamental shift. The treatment of the Yugoslav singing union (Juţnoslovenski pevački savez), which fought for promotion of music culture in the Yugoslav society, is particularly indicative. This largest music organization in the country, fostering ideology of integral Yugoslavism, strived to contribute to ethnic and social cohesion of different regions through singing. In its plans for improving singing practice this organization exhibited a clear vision for activism in favor of the nation and state, but the state authorities did not know how or did not desire to make use of it. Certain information suggests indolent and at times negative, discouraging attitude of authorities towards different ways of improvement of music practice, both art and society wise, which opens a new horizon for future studies and for better comprehension of contemporary problems as well.

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Хамлет – мало познато дело Енрика Јосифа – између књижевно-теоријских, филозофских и музиколошких погледа

Author(s): Nataša Marjanović / Language(s): Serbian Issue: 11/2011

Hamlet is well-known as the most famous tragedy written by William Shakespeare. This dramatic work has, throughout the centuries, lead numerous writers, poets, literary-critics and philosophers to think about universal issues of life, human nature, love, loyalty and friendship. Hamlet has not just been the subject of discussion from the point of view of the theory of literature and human psychology and philosophy, it has also directly inspired the creation of many artistic works. One of those works which forms the main subject-matter of this paper is the almost unknown music for Hamlet by Enriko Josif. Enriko Josif was an extraordinary figure, a versatile artist and thinker, almost a kind of philosopher. In his opinion and in accordance with his inner feeling, art was a matter of divine creation first of all. He admired those artists who dealt with difficult issues of life in their works of art and William Shakespeare was to him one of the most prominent among them. In general terms, we have highlighted certain general points about Josif”s views on an artist‟s life and work and have presented our notions about his piece. Specifically, we have tried to point out personal views that Josif held about Hamlet, as well as the most important features of Josif‟s music, which are broadly in accordance with the literary, ethical, philosophical and theological critical tradition surrounding this masterpiece.

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