Godina izdanja: Ostalo
ISBN: Ostalo
Autor: Domaći
Jezik: Engleski
Oblast: Muzika

Izdavac - University of Arts in Belgrade - Fakulty of Music , Beograd , 2005.
Autori - Tatjana Markovic , Vesna Mikic
Mek povez , 308 strana , format 24x17 , latinica , engleski jezik
Ocuvana veoma dobro , kao na slici

Music & Networking (editors Tatjana Marković and Vesna Mikić)
The Seventh International Conference
Department of Musicology and Ethnomusicology
Faculty of Music, University of Arts
Belgrade, 2005
Music & Networking is the title of a printed edition of the papers presented at the international
conference organized in 2004 for the seventh time by the Department of Musicology and
Ethnomusicology of the Faculty of Music in Belgrade.
Over thirty authors from Serbia, Croatia, Slovenia, Macedonia, Austria, Germany, the
Netherlands and Great Britain made their contribution to the analysis of the “assigned topic”
of the conference – the problem of the networking of music, which, furthermore, can be
considered the basic problem in the poststructuralist approach to the study of music art.
However, the ambiguity of the very notion of networking provided researchers with the
possibility of choosing between the most diverse thematic and methodological frameworks,
but also between the poststructuralist and “traditional” musicological positions.
The papers in the collection are grouped into seven chapters. The first chapter,
entitled Theory Networks, examines the diverse “faces of music” from a philosophicalesthetical
perspective (Miško Šuvaković, Other Faces of Music: Strategies and Tactics of
Networking /Philosophy of Music in the Age of Culture – Three Case Studies/) in view of, as
the author underlines, the changeable nature of music and its “discursive networking”, that is,
the complex network of relationships between the composer, performer, listener and
interpreter. Developing the stated thesis, the author arrives at the conclusion that networking
cannot be examined from one (philosophical) position, but only from individual theoretical
theses, and, using the example of J. S. Bach’s Goldberg Variations and music from the films
In Bed With Madonna and The Matrix, he specifies some of the possible models of
incorporating a music work into the discursive network. Referring to Miško Šuvaković’s
theoretical positions on intermusicality, Marcel Cobussen (Music and Network: A Becoming
Insect of Music) analyzes the problem of the networking of music from a different angle – as
a problem of defining the boundaries of the music text. Taking the example of the first
movement (Night of the Electric Insects) of George Crumb’s composition Black Angels
(Thirteen Images From the Dark Land), the author examines the following questions: what is
the difference between technological sound and the sounds of the tropical rainforest, for
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example, between electronic and acoustic sounds, between human and artificial sounds and,
finally, between culture and nature in general. Realizing the impossibility of viewing the
music text as a stable entity, Cobussen concludes that consequently there are no answers to
the questions from the beginning of the text. The author believes that the networking of
sounds means that musicology itself is also networked, which exposes it to new interpretative
problems. Leon Štefanija (Historicizing Postmodernity and Its Range With Regard to
Slovenian Music of the Last Quarter of the 20th Century) also points out, among other things,
the questions that are raised for the so-called new musicology, underlining, however, the
doubt of certain scholars (and apparently his own) about the possibility of drawing a sharp
line between “contextual” and “structural-formalistic” interpretations of music works.
Engaging in a dialogue with the theoretical views of Mirjana Veselinović Hofman and
Wolfgang Welsch, the author focuses on the networking of Slovenian postmodernist music
into “the music of the past” (and, in that regard, on its semanticity).
The second chapter (Networks of Culture and Ideology) examines the networking of
“Western art” music and “non-Western” (African) music tradition (Cornelia Szabó-Knotik,
Bach to Africa, Mozart in Egypt: How Universal is the Musical Universe?) from the
perspective of the problematics of “the music business” based on creating trendy hybrid
“music products” which are based on the stereotypical perception of music cultures and which
therefore make no contribution whatsoever to “intercultural dialogue”. Certain authors,
however, analyze with precision the “dialogue communication” of cultures, using the example
of the “canonic” (Viennese) and the “peripheral” (Serbian) 19th century music cultures and
examining the social, political and artistic networking of the two cultures (Tatjana Marković,
Strategies of Networking Viennese Culture). Wladimir Fischer (A Polyphony of Belongings:
/Turbo/ Folk, Power, and Migrants) focuses on analyzing the network as a constant flow of
the most heterogeneous symbols and on the practice of turbo-folk music of the Serbian
immigrant community in Vienna in the 1990s, postulating a thesis on the transnational
character of Serbian turbo-folk music – contrary to the common view of most theoreticians
about turbo-folk as a Serbian nationalist project. Ivana Vuksanović (Popular Music in Serbia
During the Sixties /The Breakthrough of Popular Music in the Cultural Life of Belgrade/)
examines the networking of “Western” pop music into Serbian (Belgrade) culture of the
1960s and emphasizes the subversive effect of jazz music on Serbian music culture in the
same period, while Bojana Cvejić (Hit Me With Your Rhythm Stick ! Music in the Cultural
Protocols of Media Mythologies: The Case of „Vožd“ /1989/) points to the networking of
different ideological systems, taking the example of the use of a musical excerpt from Igor
Stravinsky’s The Rite of Spring in the Serbian television commercial Vožd je stigao (The Vožd
Has Arrived) and calling attention to the transmutation of the (initial) ideological framework
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of the Russian author’s composition into a nationalist (totalitarian) ideology incorporated into
the Serbian commercial. The final text in this chapter (Jelena Janković, The Time Machine of
Despot Stefan – A Small Overview of Serbian History for the Musical Stage) analyzes the
networking of numerous arts (artists) and art institutions on the example of a complex work of
art – Vremeplov despota Stefana (The Time Machine of Despot Stefan).
The third chapter (Technology Networks) discusses a theory of the possibility of
drawing a parallel between the phenomenon of music institutions such as music libraries and
archives, on the one hand, and the phenomenon of world music, on the other (Mirjana
Veselinović Hofman, Multimedia Networking and World Music). Developing this thesis
leads, among other things, to the conclusion that both the potential (virtual) world music
library and world music are in fact based on the characteristics of local libraries or music
traditions, so that the process of globalization should not really pose a threat of losing
individual national identities. While Vesna Mikić (The Notion of a Virus in the Net of Music)
uses the examples of Vladan Radovanović’s composition Audiospacijal (Audiospatial), Srđan
Hofman’s Duel (Duel) and Jasna Veličković’s VrisKrik.EXE (ScreamCry.EXE) to analyze
music work as a network of sound information and (in that regard) the possibility of a virus
appearing in the network, Dragana Stojanović-Novičić (Sound In A Paper Roll: The Creative
Network of Conlon Nancarrow) analyzes the oeuvre of composer Samuel Conlon Nancarrow
and Jelena Novak (Prosthetic Music) and examines the networking of the instrument and the
body of the performer, that is, the phenomenon of the performer as a cyborg, citing examples
of Steven Reich’s and Michel van der Aa’s last works.
The fourth chapter (Networking Opera) is devoted to analyzing the problems of
Baroque opera poetics (Ana Stefanović, Allégorie et métaphore: deux modes poétiques de
l’opéra baroque), the networking of diverse theatre traditions and contemporary practices and
their redefinition in Harrison Birtwistle’s opera The Mask of Orpheus (David Beard, MetaNarratives
and Multidimensional Opera: Harrison Birtwistle’s “The Mask of Oerpheus”), as
well as to the examination of the structure of Karlheinz Stockhausen’s opera cycle Licht
(Ivana Medić, … And There Was Light) and the criticism of the postcolonial view of Giuseppe
Verdi’s opera Aida, striving to analyze the said opera from the viewpoint of the theory of
biopolitics and to reexamine past interpretations of imperial ideology incorporated into the
opera Aida – in view of the contemporary erasure of the sovereignty of nations-states and the
consequently redefined understanding of the very notion of empire (Ksenija Stevanović,
Patria perduta).
In the fifth chapter (Networks of History), Sonja Marinković (The Dichotomy
European-National As the Criterion of Systematizations in the History of Serbian Music)
emphasizes the phenomenon of the Romantic perception of the world in binary oppositions
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such as fantastic/real, traditional/new, objective/subjective, individual/collective and, in that
sense, particularly focuses on Serbian historiography and its dominant dichotomy between the
European and the national, which, according to the author, needs to be redefined nowadays,
that is, the changes in its meaning in different periods of Serbian music history need to be
considered. While Danijela Špirić (Canon at the Periphery: Contextualising the Music of
Josip Slavenski) critically analyzes the previously common approach (in Yugoslav, Serbian
and Croatian musicology) to interpreting Josip Slavenski’s Simfonija Orijenta (The Symphony
of the Orient) by comparing it to Igor Stravinsky’s The Rite of Spring and points out the
importance of completely different sociopolitical circumstances, that is, geopolitic