Raskršća evropske kulturne istorije 1 i 2

Tijana Popović Mlađenović

Tip nastavne aktivnosti: predavanje, seminar

Kurs je namenjen studentima master i doktorskih akademskih studija. 

Uvod:

  1. Kurs i seminar imaju za cilj da upoznaju studente sa najznačajnijim tumačenjima fenomena pojave muzičkog dela u pisanoj formi, iz perspektive evropske teorije, filozofije I estetike muzike (muzički tekst kao delo muzike; notacija kao kopija originala; partitura kao intencionalni objekat; muzičko pismo I vremenska struktura; muzika ne postoji u partituri), tj. iz perspektive značaja pojave muzičkog pisma i potrebe kreativne muzičke analize muzičkog teksta (tj. kreativne upotrebe, čitanja I interpretacije muzičkog teksta muzičkog dela), u kontekstu individualnog interpretativno-izvođačkog gesta. Zasnovan na studijama slučaja specifičnih analiza, uvidima u literaturu i seminarskim radovima, kurs istražuje i primenjuje raspon mogućnosti integrativnog i kreativnog pristupa izvođenju muzičkog dela, baziranog na svesti o postojanju relativno autonomnih nivoa (“slobodnog prostora”) muzičkog teksta.
  2. Kurs uključuje glavne teorijske pristupe fantazijskom i baladnom principu, fantazmima i narativu u muzičkoj (i šire, umetničkoj) kreaciji, u širokom rasponu od psihoanalitičkih teorija Frojda, Adlera i Junga, do Lakana i Majkla Adamsa, preko studija iz psihologije umetnosti (Predrag Ognjenović), “perioda estetike” (Danko Grlić), teorije kreativnosti (Miloš Ilić) ili pokušaja pronalaženja imaginarnog, tj. “transcedentne fikcije”  (Žilber Duran), do pitanja živih metafora, priča i iskustva vremena (Pol Riker), pravila umetnosti (Pjer Burdije), filozofije “nesvesnih procesa” (Gordon Globus I Remo Bodei) i psihološkog i psihoanalitičkog pristupa muzici (Entoni Stor I Mišel Emberti). U isto vreme, ovi teorijski pristupi su primenjeni u sferi izučavanja muzičkih fantazija i balada u istoriji muzike, od srednjeg veka do današnjih dana.

Raskršća evropske kulturne istorije 1 – Fantazijski i baladni princip u muzici (interdisciplinarni pristup): 

  1. Evropska istorija fantazije kao muzičkog žanra
  2. Evropska istorija balade kao muzičkog žanra
  3. Muzička fantazija kao “druga scena” muzike
  4. Prostor kao a priori forma fantastičnog; vreme i fantazija
  5. Balada i njen muzički protonarativni kokon; narativno vreme i vreme naracije, narativ i diskurs, dijegetičko i mimetičko, temporalna distanca i performativnost

Raskršća evropske kulturne istorije 2 – Muzička interpretacija i muzički tekst u kontekstu intertekstualnosti (interdisciplinarni pristup):

  1. Fenomen muzičkog teksta
  2. Integrativni i kreativni pristup izvođenju muzičkog teksta
  3. Intertekstualni evropski tragovi – studija slučaja Kloda Debisija: Prelid za popodne jendog fauna
  4. Intertekstualni evropski tragovi – studija slučaja Riharda Štrausa: Arijadna na Naksosu
  5. Intertekstualni evropski tragovi – studija slučaja Pjera Buleza i Lučana Berija: Čekić bez gospodara i Sekvenca VI za solo violu

Bibliografija:

(1)

  • Busoni, Ferrucio, L’ésthétique musicale, Paris, 1990.
  • Dalhaus, Karl, Estetika muzike, Novi Sad, 1992.
  • Ingarden, Roman, Ontologija umetnosti, Novi Sad, 1991.
  • Jankelevič, Vladimir, Muzika i neizrecivo, Novi Sad, 1987.
  • Popović Mladjenović, Tijana, Muzičko pismo, Beograd, 1996.
  • Popović Mladjenović, Tijana, Pojam i elementi ’analitičke’ interpretacije, u: Mirjana Veselinović-Hofman (ur.), Aspekti interpretacije, Beograd, 1989, 135–150.
  • Popović Mladjenović, Tijana, Procesi panstilističkog muzičkog mišljenja, Beograd, 2009.
  • Krumhansl, C. L. (1996). A perceptual analysis of Mozart’s piano sonata K. 282: segmentation, tension, and musical ideas. Music Perception, 13, 3, 401–432.
  • Clarke, E. F. & Krumhansl, C. L. (1990). Perceiving musical time. Music Perception, 7, 3, 213–252.
  • Cook, N. & Clarke, E. (2004). Introduction: What is empirical musicology? In E. Clarke & N. Cook (Eds.), Empirical musicology: Aims, methods, prospects (pp. 3-14). Oxford: Oxford University Press.
  • Cook, N. (1994). Perception: A perspective from music theory. In R. Aiello & J. A. Sloboda (Eds.), Musical Perceptions (pp. 64-95). Oxford: Oxford University Press.
  • Cross, I. (1998). Music Analysis and Music Perception. Music Analysis, 17, 1, 3–20.
  • Austin, William W. (ed.), Debussy, Prelude to „The Afternoon of a Faun“ (A Norton Critical Score), New York, W. W. Norton & Company, INC., 1970.
  • Berman, Laurence D., Prelude to the Afternoon of a Faun and Jeux: Debussy’s Summer Rites, 19th Century Music, 1980, 3 (3), 225–238.
  • Cummnis, Linda, Debussy and the Fragment, Amsterdam, New York, Rodopi, 2006.
  • Jarocinski, Stefan, Debussy, impressionnisme et symbolisme, Paris, Éditions du Seuil, 1970.
  • Latham, Edward D. & Meglin, Joellen, Motivic Design and Physical Gesture in L’après-midi d’un faune, in: R. Parncutt, A. Kessler & F. Zimmer (eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIMO4), Graz, 15–18 April, 2004.
  • McCombie, Elizabeth, Mallarmé and Debussy. Unheard Music, Unseen Text, Oxford, Oxford University Press, 2003.
  • Popović Mladjenović, Tijana, A Fragment on the Emotion, “Mathesis“ and Time Dimension of the Purely Musical. Marginalia with Prelude to the Afternoon of a Faun by Claude Debussy, u: Leon Stefanija & Katarina Bogunović Hočevar (Eds.), Rationalism of a Magic Tinge: Music as a Form of Abstract Perception, Musicological Annual, vol. XLIII/2, Ljubljana, 2007, 305–332.
  • Trezise, Simon (ed.), Cambridge Companion to Debussy, Cambridge, Cambridge University Press, 2003.
  • Popović Mladjenović, Tijana, Ariadne’s Thread of Hofmannsthal’s and Strauss’s Opera in the Opera, or the Labyrinth of the Crossroads of European Cultural History, in: Evi Nika-Sampson, Giorgos Sakallieros, Maria Alexandru, Giorgos Kitsios & Emmanouil Giannopoulos (Ed.), Crossroads – Greece as an intercultural pole of musical thought and creativity, Aristotle University of Thessaloniki, School of Music Studies & International Musicological Society, 2013, 681–698.
  • Walter Frisch, German Modernism: Music and the Arts. (Berkeley, Los Angeles, London: University of California Press, 2005)
  • Mary A. Cicora, Wagner’s Ring and German Drama. Comparative Studies in Mythology and History in Drama (Westport, Connecticut & London: Greenwood Press, 1999), 91–129.
  • Theresia Birkenhauer, “Theatrical Transformation, Media Superimposition and Scenic Reflection: Pictorial Qualities of Modern Theatre and the Hofmannsthal/Strauss Opera, Ariadne auf Naxos”, in The Play within the Play. The Performance of Meta-Theatre and Self-Reflection, ed. Gerhard Fischer and Bernhard Greiner (Amsterdam, New York: Rodopi, 2007), 347–357.
  • Brian Soucek, “Giovanni auf Naxos”, in The Don Giovanni Moment. Essays on the Legacy of an Opera, ed. Lydia Goehr & Daniel Herwitz (New York: Columbia University Press, 2006), 193–210.
  • Frieder von Ammon, “Opera on Opera (on Opera). Self-Referential Negotiations of a Difficult Genre”, in Self-Reference in Literature and Music, ed. Walter Bernhart and Werner Wolf (Amsterdam, New York: Rodopi, 2010).
  • Karen Forsyth, Ariadne auf Naxos by Hugo von Hofmannsthal and Richard Strauss (Oxford: Oxford University Press, 1982).
  • David B. Greene, Listening to Strauss Operas. The Audience’s Multiple Standpoints (New York: Gordon and Breach, 1991), 119–184 (Chapter 4: Ariadne auf Naxos).
  • Popović Mladjenović, Tijana, Les maîtres du marteau, du faune et du temps. Proposition d’une nouvelle lecture du Marteau sans maître, dans: Emmanuel Ducreux (ed.), Une musique française après 1945?, Lyon, Éditions Symétrie & Conservatoire National Supérieur Musique et Danse de Lyon, 2014 (in press).
  • Decarsin, François, ’Artisanat furieux’, Contrechamps, no. 3, L’Age d’Homme, Lausanne, 1984.
  • Koblyakov, L., P. Boulez, ’Le Marteau sans maître’: Analyse of Pitch Structure, Zeitschrift für Musiktheorie, 8, 1977.
  • Lerdahl, Fred, Cognitive Constraints on Compositional Systems, in: John A. Sloboda (Ed.), Generative Processes in Music: The Psychology of Performance, Improvisation and Composition, Oxford, Clarendon Press, 1988.
  • Popović, Berislav, Music Form or Meaning in Music, Clio, Belgrade, 1998.
  • Stacey, Peter F., Boulez and the Modern Concept, Scolar Press, Aldershot, 1987.
  • Winick, Steven D., Symmetry and Pitch-Duration Associations in Boulez’s ’Le Marteau sans maître’, Perspectives of New Music, vol. 24, no. 2, Spring-Summer 1986.
  • Deliège, I. & El Ahmadi, A. (1990). Mechanisms of cue extraction in musical groupings: A study of perception on Sequenza VI for viola solo by Luciano Berio. Psychology of Music, 18, 18-44.
  • Deliège, I. & Mélan, M. (1997). Cue abstraction in the representation of musical form. In I. Deliège & J. Sloboda (Eds.), Perception and Cognition of Music (387−412). Hove: Psychology Press.
  • Bogunović, B., Popović Mladjenović, T., & Perković, I., Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication, Journal of Interdisciplinary Music Studies, Fall 2010, vol. 4, issue 2, 55–84.
  • Berio, L. (1998). Sequenzas. Liner notes for Berio: Sequenzas 20/21 Series. Hamburg: Deutsche Grammophon GmbH, CD 457 038-2 GH3.
  • Berio, L. (2006). Remembering the Future. Cambridge, Mass., London: Harvard, University Press.
  • Halfyard, J. K. (2007). Foreword. In J. K. Halfyard (Ed.), Berio’s Sequenzas. Essays on Performance, Composition and Analysis (ixx−xxii). Hampshire: Ashgate.
  • Halfyard, J. K. (2007). Provoking acts: The theatre of Berio’s Sequenzas. In J. K. Halfyard (Ed.), Berio’s Sequenzas. Essays on Performance, Composition and Analysis (99−116). Hampshire: Ashgate.
  • Hander−Powers, J. (1988). Strategies of meaning: A study of the aesthetic and the musical language of Luciano Berio. University of Southern California: Ph.D. Diss.
  • Imberty, M. (2003). Music, biology, cognition: questions for the music of XXth century. 3rd International Conference Understanding and Creating Music, Napoli, December 11–15.
  • Juslin, P.N. (2003). Five facets of musical expression: a psychologist’s perspective on music performance, Psychology of Music, 31, 3, 273-302.

(2)

  • Tijana Popović Mladjenović, Blanka Bogunović, and Ivana Perković, Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project), 2014
  • Adams, Mishael Vannoy, The Fantasy Principle: Psychoanalysis of the Imagination, New York, 2004.
  • Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton, 1991.
  • Berger, Karol, Diegesis and Mimesis: The Poetic Modes and the Metter of Artistic Presentation, Journal of Musicology, 1994, 12, 407–433.
  • Berger, Karol, The Form of Chopin’s „Ballade“, Op. 23, 19th-Century Music, 1996, 1, 46-71.
  • Бурдије, Пјер, Правила уметности, Нови Сад, 2003.
  • Durand, Gilbert, Antropološke strukture imaginarnog. Uvod u opću arhetipologiju, Zagreb, 1991.
  • Globus, Gordon, The Postmodern Brain, Amsterdam, 1995.
  • Grlić, Danko, Estetika II. Epoha estetike: XVII, XVIII i početak XIX stoljeća, Zagreb, 1983.
  • Ilić, Miloš, Teorija i filozofija stvaralaštva, Beograd, 1979.
  • Imberty, Michel, La musique creuse le temps. De Wagner à Boulez: Musique, psychologie, psychanalyse, Paris, 2005.
  • Imberty, Michel, Narrative, splintered temporalities and the Unconscious in the music of the XXth Century, Bologna, 2006.
  • Klein, Michael, Chopin’s Fourth Ballade as Musical Narrative, Music Theory Spectrum, 2004, 1, 23–56.
  • Kramer, Lawrence, Musical Narratology: A Theoretical Outline, у: Classical Music and Postmodern Knowledge, Los Angeles, 1995.
  • Lakan, Žak, Spisi (izbor), Beograd, 1983.
  • Ognjenović, Predrag, Psihološka teorija umetnosti, Beograd, 2003.
  • Storr, Anthony, Music and the Mind, New York, 1992.
  • Popović Mladjenović, T., Bogunović, B., Masnikosa, M. & Perković Radak, I. (2009). A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response. Journal of interdisciplinary music studies, 3, 1&2, 95-117.
  • Cook, N. (1999). Analysing performance and performing analysis. In N. Cook & M. Everist (Eds.), Rethinking Music (pp. 239-261). Oxford: Oxford University Press.
  • Popović, B. (1998). Music form or meaning in music. Belgrade: Clio, Belgrade Culture Centre.
  • Waltron, K. (1997). Listening with imagination: Is music representational? In J. Robinson (Ed.), Music and meaning (pp. 37-82). Ithaca and London: Cornell University Press.
  • Wiegandt, M. (1995). More a Fantasy or More a Sonata? Historical and Analytical Considerations Concerning Joachim Raff’s Op. 168. Preface. Raff Joachim, Stuttgart: Nordstern.
  • Zuckerkandl, V. (1973). Man the musician: Sound and symbol. Princeton: Princeton University Press.
  • Juslin, P. N. & Sloboda, J. A.  (Eds.). (2001). Music and emotion (pp. 275-289). New York: Oxford. University Press.
  • Popović Mladjenović, Tijana, The Story of the Ballad in Music, [in:], New Sound, 30, 2007, pp. 15–33.
  • Popović Mladjenović, Tijana, Reminiscences about Ballad, Chopin, and Transgression, in: Proceedings of the 11th International Congress on Musical Signification – Music: Function and Value, Krakow, Akademia Muzyczna w Krakow, 2011. (u štampi)
  • Samson, Jim, Extended forms: the ballades, scherzos and fantasies, [in:] Jim Samson (ed.), The Cambridge Companion to Chopin, Cambridge University Press, Cambridge-New York-Melbourne 1992, pp. 101–123.
  • Tarasti, Eero, Signs of Music. A Guide to Musical Semiotics, Mouton de Gruyter, Berlin-New York 2002.
  • Imberty, Michel, Les écritures du temps. Sémantique psychologique de la musique, Paris, Dunod, 1981.
  • Bodeï, Remo, Logiques du délire. Raison, affects, folie [Logiche del delirio. Ragione, affetti, follia, Laterza, Bari 2000], Aubier Philosophie, Paris 2002.
  • Ricoeur, Paul, La métaphore vive, Paris, Seuil, 1975.

Uticaj

Do kraja ovog kursa studenti će biti osposobljeni da:

  • razumeju ključnu dimenziju rastuće snage evropskih integracija u kulturnom i umetničkom pogledu;
  • identifikuju i opišu glavne probleme vezane muzičku intertekstualnost;
  • skiciraju glavna pitanja kao što su “evropeizacija” i transformativna moć muzike i da diskutuju o njima.
    1. akad. godina: 2. akad. godina:    3. akad.  godina: Ukupno za 3 godine:
Broj časova 15 15 15 45
Broj studenata 40 40 40 120
Studijski programi Muzikologija, Muzičko izvođaštvo
Godina/nivo

studija

 Master akademske Doktorske akademske
Status kursa Obavezan Postojeći
FacebookTwitterGoogle+Share