INSAM Journal of Contemporary Music, Art and Technology
Pandora, a double concerto for viola, cello and chamber orchestra was written by Lazar Đorđević (... more Pandora, a double concerto for viola, cello and chamber orchestra was written by Lazar Đorđević (b. 1992) as the final work for his DMus degree, and premiered on 2 February 2022 in Belgrade. Pandora draws many parallels with the works by Đorđević’s supervisor, Zoran Erić (b. 1950), one of the most prominent Serbian postmodern composers; yet, Đorđević’s own “postmodernism” is very different from that of his predecessors. Pandora thus provides an opportunity to rethink various tendencies and trends among the Serbian composers of the second half of the 20th and the beginning of the 21st century, which have left an imprint on the youngest generation, including the several interchanging “cycles” (or circles) of avant-garde and postmodernism. Has Pandora, with its sonic qualities and experimental drive, escaped the trends or actually reinforced them?
Abstract: The question of the relationship between music and painting in the field of fine arts i... more Abstract: The question of the relationship between music and painting in the field of fine arts is a familiar one, especially if we are examining that relation in a specific era, such as during the first half of the twentieth century. In that manner, the main topic of this paper will be a comparison of the composition by Josip Slavenski called Muzika za kamerni orkestar (Music for Chamber Orchestra, here chosen as a case-study), completed in 1938, and the early avant-garde works by Natalia Goncharova. In addition to that, the question of the integration of folklore elements into a modernist work of art will be examined.Summary: This paper deals with the notion of modernist innovation via the use of folklore in the paintings of Natalia Goncharova and music of Josip Slavenski. By a brief analysis of their works (several Neoprimitivistic, Cubofuturistic and Rayonist paintings by Goncharova, and Music 38 by Slavenski), I tried to demonstrate the ways of creating modernist art by seeking...
The third volume in the biannual Young Musicology conference series was organized in Belgrade fro... more The third volume in the biannual Young Musicology conference series was organized in Belgrade from 24 to 26 September 2020 by the Institute of Musicology, Serbian Academy of Sciences and Arts
Led by common sense, one may assume that musical borrowing assumes composing by using existing mu... more Led by common sense, one may assume that musical borrowing assumes composing by using existing musical material (namely melodic, or motivic)
Odnos prema tradiciji predstavlja jedno od velikih pitanja koje na određeni način objašnjava poja... more Odnos prema tradiciji predstavlja jedno od velikih pitanja koje na određeni način objašnjava pojavu poznatu kao umereni modernizam. Ako modernizam podrazumeva progresivnu liniju razvoja umetnosti, a često i negiranje tradicije, postavlja se pitanje u kojoj meri tradicija fi gurira u umerenom modernizmu, kao na neki način, ublaženoj, širokoj publici prijemčivoj pojavnosti modernizma. Odnosno, na koji način i u kojim uslovima se određena u biti modernistička umetnost ispoljava kao ’umerena’. Stoga, pitanje odnosa tradicije i modernizma u određenim društveno-istorijskim okolnostima implicira njegovo artikulisanje kao ’umereni’. Odgovore na ova pitanja pokušaćemo da pronađemo u nekim od tumačenja modernističkih umetničkih ostvarenja i odnosa koji se prema njima uspostavio u javnosti.One of the significant questions which explain the phenomenon known as Moderated Modernism is the question of the relationship between tradition and Modernism. If Modernism assumes a progressive trajectory o...
Relativno je mali broj poznatih podataka o odnosu između kompozitora Josipa Slavenskog (1896–1955... more Relativno je mali broj poznatih podataka o odnosu između kompozitora Josipa Slavenskog (1896–1955) i zenitista, sa kojima se družio tokom svog boravka u Parizu sredinom dvadesetih godina prošlog veka. Jedini pouzdani podaci o tome tiču se poznanstva Slavenskog i Branka Ve Poljanskog (1897–1947). Stoga, pokušaćemo da sagledamo odnos zenitista prema muzici na osnovu muzičkih kritika u časopisu Zenit (a jedan od glavnih nosilaca časopisa bio je upravo Poljanski) i uporediti ih sa stvaralačkom poetikom Josipa Slavenskog, imajući u vidu sve njene osobenosti u odnosu na dominantne struje međuratne umetničke muzike. Osnovna istraživačka hipoteza bi se u ovom slučaju odnosila na postojanje kratkotrajne, ali čini se veoma intenzivne i plodonosne saradnje Josipa Slavenskog i zenitista tokom kompozitorovog boravka u Parizu 1925–1926. godine. Predstavićemo odlike Slavenskovog opusa, njegov odnos prema avangardi (istovremeno ukazujući na probleme definisanja avangarde u muzici), te pokušati da u...
U rukopisnoj zaostavštini Josipa Slavenskog (1896–1955) koja se čuva u Biblioteci Fakulteta muzič... more U rukopisnoj zaostavštini Josipa Slavenskog (1896–1955) koja se čuva u Biblioteci Fakulteta muzičke umetnosti u Beogradu, pored notnog materijala koji čini njen najveći deo, nalazi se pozamašan broj različitih beležaka, muzičkih skica i crteža. Taj možda manje poznati deo rukopisne zaostavštine svedoči o kompozitorovoj širokoj paleti interesovanja za fundamentalne nauke i njihovu potencijalnu vezu sa muzikom. Kada je reč o beleškama, one se najčešće tiču astroakustike i elektroakustičke muzike; crteži pak više otkrivaju kompozitorova pomenuta interesovanja za fundamentalne nauke, dok notne beleške, čini se, najviše ukazuju na načine na koje bi se sve različite naučne i umetničke grane koje je Slavenski poznavao, stapale u zvuk. Stoga, u ovom radu cilj je da se prikažu neke od najrazličitijih kompozitorovih beležaka iz rukopisne zaostavštine i samim tim osvetle neke, čini se manje poznate, strane njegove poetike.In this paper, the author tried to analyse various manuscripts from the ...
In 1957 Dusan Radić (1929-2010) composed a ballet entitled Balada o mesecu lutalici (The Ballad o... more In 1957 Dusan Radić (1929-2010) composed a ballet entitled Balada o mesecu lutalici (The Ballad of the Vagabond Moon) Op. 5, dubbed "A burlesque love game", with lyrics taken from the poem of the same name by Bora Cosić, which served as a libretto. The composer himself divided his works into serious pieces (with opus numbers) and non-serious works for entertainment. The ballet, premiered in 1960 in Belgrade, has an opus number, although Radić claimed he composed it for the purposes of entertainment. In this paper, we are going to examine several features of this ballet, bearing in mind the context in which the composer lived and worked
The main goal of this paper is to provide an answer to the question: what is Socialist Realism an... more The main goal of this paper is to provide an answer to the question: what is Socialist Realism and how did it present itself in Yugoslav arts and culture in the first years after the Second World War? Socialist Realism in Yugoslavia appeared as a doctrine in the early post-war years (roughly 1945–1950), with Soviet art as a model. This doctrine was never fully adopted and officially accepted – in 1948, Federal People’s Republic of Yugoslavia ‘stepped out’ of the People’s Democracies bloc, which caused the doctrine to fade in the early 1950s. The Socialist Realism era was characterised by the negation of Modernist art and the renouncement of everything Western as degenerate, formalist, and not suitable for the development of the state, but if the artistic practices were to create an optimal projection, does that not define Socialist Realism as a project of Modernity? Having this in mind, the poetics of several composers will be analysed (Josip Slavenski, Milan Ristić, Ljubica Marić, ...
In this study derived from MA thesis written for the final examination at the Department of Music... more In this study derived from MA thesis written for the final examination at the Department of Musicology, Faculty of Music in Belgrade, we tried to define the main characteristics of Josip Slavenski’s opus in order to position his three string quartets in it. Having concluded that Slavenski’s opus is mainly expressionistic, in the introductory chapter, with great influence of musical folklore, but it also corresponds to constructivism which came about between the First and Second World War, when the quartets have been composed. By analysing string quartets in the second chapter, “Analytical overview of the string quartets” a great number of elements of constructivism is found. It is manifested in both the treatment of musical language and treatment of the thematic material, ranging from chromatic, 20th century tonality to tone rows (still with a tonal centre), or interchanging several fragments of thematic material to interchanging melodic-rhythmical cells (as a specific treatment of ...
Predsjednica Programskog odbora / The Program Committee Chairwoman dr. sc. Davorka Radica, izv. p... more Predsjednica Programskog odbora / The Program Committee Chairwoman dr. sc. Davorka Radica, izv. prof., Odjel za glazbenu umjetnost Umjetniike akademrye u
The basic idea of this paper is to demonstrate the different ways in which a composer may use the... more The basic idea of this paper is to demonstrate the different ways in which a composer may use the techniques of simulation or stylistic allusion, not to resemble a certain composer or style, but to perfect their own compositional techniques and develop individual style. With this in mind, two orchestral pieces from Serbian music history have been analysed, both written in the 1950s: Suita giocosa (1956) by Milan Ristić (1908–1982) and Passacaglia for orchestra (1957) by Ljubica Marić (1909–2003). Through the analysis of these pieces, I explore the similarities between their compositional techniques with those of the great European masters. In the case of Milan Ristić, the techniques of Paul Hindemith (1895–1963), presented in the textbook Unterweisung im Tonsatz, are the base which Ristić used to perfect his own musical language. In Passacaglia by Ljubica Marić one may notice strong influences of development variation, as explained by Arnold Schoenberg (1874–1951) on Johannes Brahms...
INSAM Journal of Contemporary Music, Art and Technology
Pandora, a double concerto for viola, cello and chamber orchestra was written by Lazar Đorđević (... more Pandora, a double concerto for viola, cello and chamber orchestra was written by Lazar Đorđević (b. 1992) as the final work for his DMus degree, and premiered on 2 February 2022 in Belgrade. Pandora draws many parallels with the works by Đorđević’s supervisor, Zoran Erić (b. 1950), one of the most prominent Serbian postmodern composers; yet, Đorđević’s own “postmodernism” is very different from that of his predecessors. Pandora thus provides an opportunity to rethink various tendencies and trends among the Serbian composers of the second half of the 20th and the beginning of the 21st century, which have left an imprint on the youngest generation, including the several interchanging “cycles” (or circles) of avant-garde and postmodernism. Has Pandora, with its sonic qualities and experimental drive, escaped the trends or actually reinforced them?
Abstract: The question of the relationship between music and painting in the field of fine arts i... more Abstract: The question of the relationship between music and painting in the field of fine arts is a familiar one, especially if we are examining that relation in a specific era, such as during the first half of the twentieth century. In that manner, the main topic of this paper will be a comparison of the composition by Josip Slavenski called Muzika za kamerni orkestar (Music for Chamber Orchestra, here chosen as a case-study), completed in 1938, and the early avant-garde works by Natalia Goncharova. In addition to that, the question of the integration of folklore elements into a modernist work of art will be examined.Summary: This paper deals with the notion of modernist innovation via the use of folklore in the paintings of Natalia Goncharova and music of Josip Slavenski. By a brief analysis of their works (several Neoprimitivistic, Cubofuturistic and Rayonist paintings by Goncharova, and Music 38 by Slavenski), I tried to demonstrate the ways of creating modernist art by seeking...
The third volume in the biannual Young Musicology conference series was organized in Belgrade fro... more The third volume in the biannual Young Musicology conference series was organized in Belgrade from 24 to 26 September 2020 by the Institute of Musicology, Serbian Academy of Sciences and Arts
Led by common sense, one may assume that musical borrowing assumes composing by using existing mu... more Led by common sense, one may assume that musical borrowing assumes composing by using existing musical material (namely melodic, or motivic)
Odnos prema tradiciji predstavlja jedno od velikih pitanja koje na određeni način objašnjava poja... more Odnos prema tradiciji predstavlja jedno od velikih pitanja koje na određeni način objašnjava pojavu poznatu kao umereni modernizam. Ako modernizam podrazumeva progresivnu liniju razvoja umetnosti, a često i negiranje tradicije, postavlja se pitanje u kojoj meri tradicija fi gurira u umerenom modernizmu, kao na neki način, ublaženoj, širokoj publici prijemčivoj pojavnosti modernizma. Odnosno, na koji način i u kojim uslovima se određena u biti modernistička umetnost ispoljava kao ’umerena’. Stoga, pitanje odnosa tradicije i modernizma u određenim društveno-istorijskim okolnostima implicira njegovo artikulisanje kao ’umereni’. Odgovore na ova pitanja pokušaćemo da pronađemo u nekim od tumačenja modernističkih umetničkih ostvarenja i odnosa koji se prema njima uspostavio u javnosti.One of the significant questions which explain the phenomenon known as Moderated Modernism is the question of the relationship between tradition and Modernism. If Modernism assumes a progressive trajectory o...
Relativno je mali broj poznatih podataka o odnosu između kompozitora Josipa Slavenskog (1896–1955... more Relativno je mali broj poznatih podataka o odnosu između kompozitora Josipa Slavenskog (1896–1955) i zenitista, sa kojima se družio tokom svog boravka u Parizu sredinom dvadesetih godina prošlog veka. Jedini pouzdani podaci o tome tiču se poznanstva Slavenskog i Branka Ve Poljanskog (1897–1947). Stoga, pokušaćemo da sagledamo odnos zenitista prema muzici na osnovu muzičkih kritika u časopisu Zenit (a jedan od glavnih nosilaca časopisa bio je upravo Poljanski) i uporediti ih sa stvaralačkom poetikom Josipa Slavenskog, imajući u vidu sve njene osobenosti u odnosu na dominantne struje međuratne umetničke muzike. Osnovna istraživačka hipoteza bi se u ovom slučaju odnosila na postojanje kratkotrajne, ali čini se veoma intenzivne i plodonosne saradnje Josipa Slavenskog i zenitista tokom kompozitorovog boravka u Parizu 1925–1926. godine. Predstavićemo odlike Slavenskovog opusa, njegov odnos prema avangardi (istovremeno ukazujući na probleme definisanja avangarde u muzici), te pokušati da u...
U rukopisnoj zaostavštini Josipa Slavenskog (1896–1955) koja se čuva u Biblioteci Fakulteta muzič... more U rukopisnoj zaostavštini Josipa Slavenskog (1896–1955) koja se čuva u Biblioteci Fakulteta muzičke umetnosti u Beogradu, pored notnog materijala koji čini njen najveći deo, nalazi se pozamašan broj različitih beležaka, muzičkih skica i crteža. Taj možda manje poznati deo rukopisne zaostavštine svedoči o kompozitorovoj širokoj paleti interesovanja za fundamentalne nauke i njihovu potencijalnu vezu sa muzikom. Kada je reč o beleškama, one se najčešće tiču astroakustike i elektroakustičke muzike; crteži pak više otkrivaju kompozitorova pomenuta interesovanja za fundamentalne nauke, dok notne beleške, čini se, najviše ukazuju na načine na koje bi se sve različite naučne i umetničke grane koje je Slavenski poznavao, stapale u zvuk. Stoga, u ovom radu cilj je da se prikažu neke od najrazličitijih kompozitorovih beležaka iz rukopisne zaostavštine i samim tim osvetle neke, čini se manje poznate, strane njegove poetike.In this paper, the author tried to analyse various manuscripts from the ...
In 1957 Dusan Radić (1929-2010) composed a ballet entitled Balada o mesecu lutalici (The Ballad o... more In 1957 Dusan Radić (1929-2010) composed a ballet entitled Balada o mesecu lutalici (The Ballad of the Vagabond Moon) Op. 5, dubbed "A burlesque love game", with lyrics taken from the poem of the same name by Bora Cosić, which served as a libretto. The composer himself divided his works into serious pieces (with opus numbers) and non-serious works for entertainment. The ballet, premiered in 1960 in Belgrade, has an opus number, although Radić claimed he composed it for the purposes of entertainment. In this paper, we are going to examine several features of this ballet, bearing in mind the context in which the composer lived and worked
The main goal of this paper is to provide an answer to the question: what is Socialist Realism an... more The main goal of this paper is to provide an answer to the question: what is Socialist Realism and how did it present itself in Yugoslav arts and culture in the first years after the Second World War? Socialist Realism in Yugoslavia appeared as a doctrine in the early post-war years (roughly 1945–1950), with Soviet art as a model. This doctrine was never fully adopted and officially accepted – in 1948, Federal People’s Republic of Yugoslavia ‘stepped out’ of the People’s Democracies bloc, which caused the doctrine to fade in the early 1950s. The Socialist Realism era was characterised by the negation of Modernist art and the renouncement of everything Western as degenerate, formalist, and not suitable for the development of the state, but if the artistic practices were to create an optimal projection, does that not define Socialist Realism as a project of Modernity? Having this in mind, the poetics of several composers will be analysed (Josip Slavenski, Milan Ristić, Ljubica Marić, ...
In this study derived from MA thesis written for the final examination at the Department of Music... more In this study derived from MA thesis written for the final examination at the Department of Musicology, Faculty of Music in Belgrade, we tried to define the main characteristics of Josip Slavenski’s opus in order to position his three string quartets in it. Having concluded that Slavenski’s opus is mainly expressionistic, in the introductory chapter, with great influence of musical folklore, but it also corresponds to constructivism which came about between the First and Second World War, when the quartets have been composed. By analysing string quartets in the second chapter, “Analytical overview of the string quartets” a great number of elements of constructivism is found. It is manifested in both the treatment of musical language and treatment of the thematic material, ranging from chromatic, 20th century tonality to tone rows (still with a tonal centre), or interchanging several fragments of thematic material to interchanging melodic-rhythmical cells (as a specific treatment of ...
Predsjednica Programskog odbora / The Program Committee Chairwoman dr. sc. Davorka Radica, izv. p... more Predsjednica Programskog odbora / The Program Committee Chairwoman dr. sc. Davorka Radica, izv. prof., Odjel za glazbenu umjetnost Umjetniike akademrye u
The basic idea of this paper is to demonstrate the different ways in which a composer may use the... more The basic idea of this paper is to demonstrate the different ways in which a composer may use the techniques of simulation or stylistic allusion, not to resemble a certain composer or style, but to perfect their own compositional techniques and develop individual style. With this in mind, two orchestral pieces from Serbian music history have been analysed, both written in the 1950s: Suita giocosa (1956) by Milan Ristić (1908–1982) and Passacaglia for orchestra (1957) by Ljubica Marić (1909–2003). Through the analysis of these pieces, I explore the similarities between their compositional techniques with those of the great European masters. In the case of Milan Ristić, the techniques of Paul Hindemith (1895–1963), presented in the textbook Unterweisung im Tonsatz, are the base which Ristić used to perfect his own musical language. In Passacaglia by Ljubica Marić one may notice strong influences of development variation, as explained by Arnold Schoenberg (1874–1951) on Johannes Brahms...
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Papers by Miloš Bralović