Music Theory and Analysis:: Musical Semiotics 40 Years After [PDF]

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MUSIC THEORY AND ANALYSIS: MUSICAL SEMIOTICS − 40 YEARS AFTER * The Tenth International Conference of the Department of Music Theory Faculty of Music, University of Arts in Belgrade 8 - 10 November 2013

Conference Committee Mario Baroni (Università di Bologna) Michel Imberty (Université Paris X - Nanterre) Carlo Jacoboni (Università di Modena) Herbert Schneider (Universität des Saarlandes) Anna Rita Addessi (Università di Bologna) Anica Sabo (University of Arts in Belgrade) Jan Philipp Sprick (Hohschule für Musik und Theater Rostock) Ana Stefanović (University of Arts in Belgrade) Ivana Vuksanović (University of Arts in Belgrade) Editors: Ana Stefanović, Ivana Vuksanović, Atila Sabo Proof reader: Jelena Nikezić Cover design: Andrea Palašti Prepress: Darko Jovanović Publisher: Faculty of Music, University of Arts in Belgrade Print: Staze, Belgrade

Conference Venues: Faculty of Music, Kralja Milana 50 – Concert Hall Composers’ Association of Serbia, Mišarska 12-14 – Concert Hall Hall of National Bank of Serbia, Nemanjina 17 Studio 6 Radio Belgrade, Hilandarska 2

This conference is sponsored by the Ministry of Education, Science and Technological Development of the Republic of Serbia.

ISBN 978-86-88619-36-3

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Friday, 8 November 2013. Faculty of Music, Concert Hall

09.00-09.45

REGISTRATION

09.45-10.00

OPENING ADDRESS



Ljiljana Mrkić Popović, Rector of University of Arts in Belgrade Mirjana Zakić, Vice Dean, Faculty of Music in Belgrade

10.00-11.00

Round table dedicated to the memory of the conference of 1973

Participants: Mario Baroni, Michel Imberty, Carlo Jacoboni, Rossana Dalmonte Moderator: Ana Stefanović

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Friday, 8 November 2013. Faculty of Music, Concert Hall Keynote lecture 11.00-12.00 Michel Imberty: Après la sémiologie et le structuralisme, quelle approche de la musique aujourd’hui ? break Session 1: Chair: Mario Baroni 12.30.-13.00 Katarina Tomašević: Dragutin Gostuški and Musical Semiotics 13.00- 13.30 Marija Masnikosa: Playing with Signs in the Composition ’A Brief Account’… by Goran Kapetanović 13.30-14.00 Ivana Vuksanović: Intoned meaning, physiological metaphors and semantic range in variations titled ’Karakteri’ by Vojislav Kostić lunch break Session 2: Composers’ Association of Serbia, Concert Hall Chair: Michel Imberty 16.00-16.30 Mirjana Zakić: Ritual songs as systems of sound signs 16.30-17.00 Biljana Srećković: From sound object to sound as sign: Pierre Schaeffer’s musique concrete vs. Luc Ferrari’s music anecdotique 17.00-17.30 Srđan Atanasovski: The Affective Turn and the Critique of Semiotics: Challenges and New Vistas in Mapping Music Practices 18.00 Coctail 20.00 Concert: International Review of Composers, Studio 6 Radio Belgrade

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Saturday, 9 November 2013. Composers’ Association of Serbia – Concert Hall Keynote lecture  10.00-11.00 Mario Baroni/Rossana Dalmonte/Carlo Jacoboni: Affective procedures in a musical grammar Session 3 Chair: Rossana Dalmonte 11.00-11.30 Ana Stefanović: Topos of Transcendence and its Position in Narrative Configuration of Music Drama 11.30-12.00 Melita Milin: In Search of Narrative Programmes in Ljubica Marić’s Works break 12.30-13.00 Mina Božanić: Music analysis via musical semiotics: organisation of musical space in Josip Slavenski’s String quartet no. 1 (1923) 13.00-13.30 Atila Sabo: Narrative function of semiotic processes in second movement of Paul Hindemith’s Seventh String Quartet 13.30-14.00 Srdjan Teparić: On the transcendent characteristics of signs exemplified in music of Manuel De Falla, Igor Stravinsky and Dejan Despić lunch break Session 4 Chair: Ana Stefanović 15.30.-16.00 Jan Philipp Sprick: Analyzing Musical Ambiguity in Bach and Mozart 16.00-16.30 Filip Pavličić: Relation between music and verbal meaning in Schubert’s “Der Wanderer“, op.4 no.1 16.30-17.00 Aleksandra Ivković: Irony in lieder of early romantic composers break 17.30-18.00 Ivana Medić: The Challenges of Transition: Arvo Pärt’s ‘Transitional’ Symphony No. 3 between Polystylism and Tintinnabuli 18.00-18.30 Irena Alperyte: “Hi, this is Francisco Tárrega calling!“ 20.00 Concert: International Review of Composers Hall of the National Bank of Serbia

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Sunday, 10 November 2013 Composers’ Association of Serbia – Concert Hall Keynote lecture  09.30-10.30 Herbert Schneider: Olivier Messiaen as Theorist Session 5: Chair: Herbert Schneider 10.30-11.00 Anica Sabo: Berislav Popović’s methodological contribution to the analyses of symmetry in the musical flow 11.00-11.30 Sonja Marinković: Eastern and western concepts of hystory of music theory 11.30-12.00 Viktorija Kolarovska Gmirja: Problems of pitch organization in russian music theory 12.00-12.30 Valerija Kanački: Insight at Schumann’s Carnaval through the prism of Asafiev intonation theory break Session 6: Chair: Ivana Vuksanović 13.00-13.30 Kato Koichi: Another look at Schubertian Tonality 13.30-14.00 Jelena Mihajlović: Specific Ways of Modulation in the Music of Sergei Prokofiev – Proposal for a New Typology 14.00-14.30 Predrag Repanić: Imitation of Movable Counterpoints Revisited 14.30-15.00 Miloje Nikolić: Dynamic Forms of Vocal Music

15.00 Closing remarks

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ABSTRACTS

Irena Alperyte, Lithuanian Academy of Music and Theatre

HI, THIS IS FRANCISCO TÁRREGA CALLING! In 1993 Anssi Vanjoki, then Executive Vice President of Nokia, took the whole ‘Gran Vals’ by Francisco Tárrega to Lauri Kivinen (now Head of Corporate Affairs) and together they selected the excerpt that became the “Nokia tune”. This article is based on my teaching experience at the Arts Management Department, Lithuanian Academy of Music and Theatre, and aims at examining the role of sound as an attribute of brand identity. I often suggest my students do a simple test. Choose a YouTube story, and play it to a different soundtrack. (Last teaching season I used to play the piece “Cloud Gate AKA: “The Bean” at Sunset” recorded by Jim Davidson). In this little clip you can see the famous sculpture of a “bean” by Anish Kapoor, the centerpiece of the AT&T Plaza in Millennium Park, Chicago, Illinois, United States. The author’s intention was to embalm “The Bean” at sunset on video. Jim said he had taken one photo every 3 seconds for 90 minutes, and upon finishing his filming, added a soundtrack by Mozart (“Lacrimosa”). The effect was astounding – the “bean” embodied the fragility of the moment, and this wouldn’t have been possible without adding Mozart to it. At other times we can take a horror movie, turn off the phonograph, and see what impact it will make. Most of us managed to play with Murnau’s “Nosferatu” or Lang’s “Metropolis”. Success again: the change of the music track either ruins the initial emotion or transforms it into something completely different. And then we try another experiment: take a love scene, for example the scene “I’m Flying“ from the “Titanic”, and add to it any well-known rap melody. It immediately acquires another connotation and blows us away from the epoque. Even odder effects happen when we take, let’s say, an erotic scene and add some opposite, for instance, comic music. The results can surpass our expectations.

On the other side of the experiment is the option to listen to the movie without the video track. In this way, too, we can extract some very interesting effects. After these experiments, most of the students agree that only when both audio and video tracks are adjusted will the film cause distress where appropriate (Hitchcock’s shower scene in “Psycho”), or heart-breaking despair (‘Adagietto’ from Gustav Mahler’s 5th symphony in “Death in Venice” by Visconti). All this material is used by us studying the semantics of music at the lectures, but not the music subject! We do it at the arts marketing seminar. Why? Because the way we select an audio and/or visual concept often depends not only on our own taste, but also the ability to become good producers and predict the recipient’s reaction. Acoustic elements are commonly used in today’s brand development. The acoustic solutions of a brand’s visual identity are called an audio logotype, when a certain product is recognizable with the help of a logo sound. This audio logotype may become an integral part of a consistent part of brand strategy. After the experiments conducted with the students, we can see how differently one or the other visual material is perceived. In the article we base our insights on Roland Barthes’ teaching about the ‘Third Meaning’ and conclude the research with the need to deepen students’ knowledge in the multidisciplinary context.

Srđan Atanasovski, The Institute of Musicology, Serbian Academy of Sciences and Arts

THE AFFECTIVE TURN AND THE CRITIQUE OF SEMIOTICS: CHALLENGES AND NEW VISTAS IN MAPPING MUSIC PRACTICES In this paper I wish to explore the challenges which the so-called ‘affective turn’ in cultural studies poses to the semiotic models of music research and to map the potentialities of exploring

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music practices in this new key. Already in the 1970s strong voices appeared on the French theoretical stage questioning the limits of the linguistic turn in cultural studies and warned of the irreducibility of life itself to ‘text’. Unfolding both within semiotics circles (Roland Barthes) and outside them (Gilles Deleuze and Félix Guattari, Henri Lefebvre, etc.), these voices pointed out the importance of desire, pleasure and enjoyment, and the role of lived-through intensities placed into a concrete physical context. The critique was especially aimed at the question of materiality of the signifier and its capacity to influence, or even alter, the processes of coding and decoding, which could not be comprehensively scrutinized by the existing semiotic models. Affect theory, developed mainly in the 2000s and partly inspired by research on emotions and body conducted in feminist and queer theory, embraced some of the aforementioned authors as prophetic. In my research I will follow the strand of affect theory which identifies affect as Deleuzian intensity (Brian Massumi) and draws a conspicuous (ontological, as well as methodological) divide between affects and emotions. As the potential ramifications of affect theory often remain obscured, I believe it would be particularly fruitful to discuss three paths of enquiry which it opens, in deviation to standard semiotic models: the discovery of the non-signified materiality and its potentiality to generate affects, the argued potentiality of the excessive affect to de-signify, and, finally, the potentiality of the social machines to capture (‘overcode’) the produced affect through mechanisms which are not linguistic or representational. In order to demonstrate how these enquiries which have escaped the purview of semiotics can transform our interpretations of music practices I will particularly refer to the case of the often studied question of nationalism and music in Serbia at the end of the ‘long nineteenth century’. Examining the practices of Serbian choral societies and home music-making I will show how nationalism functions not through transmission of a message, but through harnessing the potential of music to produce affect in concrete material situations. Finally, my conclusion will refer to the need of musicology to rethink its core methodologies in order to respond to the theoretical challenges and make the most of the above-mentioned opportunities.

Mario Baroni, Università di Bologna Rossana Dalmonte, Università di Trento Carlo Jacoboni, Università di Modena

AFFECTIVE PROCEDURES IN A MUSICAL GRAMMAR Theoretical background and aims of the research In the theory of musical grammar published in 1999, we listed all the structural rules necessary for describing a number of arias by Giovanni Legrenzi, with a computer production aimed at the control of the completeness and consistency of the rules. By extension, we hypothesized that each musical genre in a given epoch and geographical place could be generated by grammatical rules like these. In our first model of grammar, we did not include the prescriptions of how to use the rules of the grammar in order to obtain specific musical expressive intentions (meta-rules) typically studied by the semiotic tradition. In 1999 we simply formulated the hypothesis that the metarules limit the choice of some grammatical rules and emphasize others. In the present paper we give specific examples of particular meta-rules: the emotional ones present in a repertoire of 18thcentury arias of Italian “opera seria”. To study emotions we took into account the theories of Patrick Juslin and others, particularly the relationships between the structural features of music and the emotional responses of listeners. In our repertoire implicit emotional responses are absolutely clear, being based on the dramaturgical plot, the meaning of the lyrics and the cultural conventions of 18th-century opera. A general description of opera conventions can be found in original sources and in today’s musicological studies. One of our aims is to propose a scientific textual-musical analysis of the repertoire and, consequently, a more precise description of the contents of such conventions. Method a) Choice of the repertoire In order to find a set of arias representative of different affects, we first examined a high number of librettos. Looking for a preliminary uniformity, we chose the majority of them from among

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Metastasio’s operas. The different plots offer a huge number of arias whose content expresses fury, vengeance, rebellion or anger. And given the prominence of love stories in 18th-century operas, there are also many arias which declare this affect or regret its loss. Obviously there are also other affective situations and more ambiguous expressive forms: for example, Metastasio’s intentions are often devoted to the doubtful behaviors of the characters. In our opinion, however, the best-characterized affects are fury, love and sorrow. In this first phase of our research we limited our analysis to these three emotions and to 12 arias, four for each emotion, taken from operas by Neapolitan composers (Vinci, Porpora, Sarro, Insanguine) and German ones (Handel, J. Chr. Bach, Gluck). b) Analysis The analysis was carried out on two main levels: macro-formal and micro-formal. On the former level the 12 compositions were examined taking into account the aria as a whole: general tempo, relationships between the number of lines and that of musical phrases (repetitions of words), segmentation into parts, motives and themes referred to in the poetic material, harmonic developments. On the micro-formal level attention was given to musical components such as rhythmic structure, melodic profiles, relationships between voice and instruments. Results We collected a great number of data taken from each measure of the 12 arias and organized them in different tables following the parameters indicated above and comparing them according to the three different emotions. Examples will be given and commented on during the Conference. In our analysis we found that the meta-rules of each of the three passions seemed to be similar in all the considered musicians apart from the obvious different styles of the composers. Another significant result regards the working mechanism of the meta-rules. The resulting affect is never due to the behavior of a single parameter: it is rather due to the concurrent effect of a number of parameters each governed by its meta-rule. Examples of mixtures like these will also be given during the Conference.

Our results indicate that the proposed methodology is appropriate and correct as regards the use of a musical grammar in order to obtain affective results. Obviously 12 arias cannot be considered enough for the study of such a complex subject: our research was conceived simply as a pilot study. Our project is to take into account a much wider repertoire of examples in order to verify the hypotheses we formulated in this first approach.

Mina Božanić, University of Arts in Belgrade

MUSIC ANALYSIS VIA MUSICAL SEMIOTICS: ORGANISATION OF MUSICAL SPACE IN JOSIP SLAVENSKI’S STRING QUARTET NO. 1 (1923) In this paper I would like to examine some competences of musical semiotics, i.e. the semiotics of musical space, for the purposes of music analysis. As a part of musical semiosis (the process of signification and creation of meaning), musical space can be interpreted as a specific analytical tool. It allows, I believe, thorough analysis which is based on examining the tonality and texture. The theoretical explanation for the syntagm musical space can be found in Eero Tarasti’s groundbreaking study A Theory of Musical Semiotics. Although Tarasti does not offer thorough examination of musical space and its competences as an analytical tool, there can be found some guidelines on applying the concept of musical space to music analysis. According to Tarasti, musical space is a metaphor used to describe the internal nature of music, or the geometrical order in a certain piece of music. He recognizes the real musical space (which refers to the organisation of pitches) and metaphorical or fictional musical space (which serves as a “transmitter” of meaning). In his analysis Tarasti focuses on real musical space. He notices that real musical space can be inner musical space (the organisation of tonality) and outer musical space (the texture of musical work). The connection of inner and outer musical space in Tarasti’s theory of musical semiotics is achieved through the concept of centre/periphery, i.e. the energy

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of musical flow. However, Tarasti’s theory is very flexible in its elaboration of musical space and its characteristics. In this respect, I tried to define some terms – such as centre, centred/ decentred space, focal points, and zero-space, more precisely. The analytical part of this paper will be focused on the first movement of Josip Slavenski’s String Quartet no. 1. In this movement I will be examining the key terms of the semiotics of musical space – centre, focal points, centred/ decentred space, zero-space – according to the musical form of the movement.

Michel Imberty, Université Paris X – Nanterre

AFTER SEMIOLOGY AND STRUCTURALISM, WHAT APPROACH TO MUSIC? Tracking the evolution of new approaches to music since 1973, the date of the first semiologic meeting in Belgrade, is not a simple thing. Here I would like to try to find a thread leading us towards a clarification of this evolution. The first evolution, at the beginning of the 80s, was certainly an extreme systematization of the idea itself of the structures developed in a grammar generating them ad infinitum and explaining everything that the human spirit is capable of inventing. References of that first evolution, the one of Chomskyan generativism, were, in fact, taken over from the philosophy of Enlightenment, especially those of Leibniz and Berkeley. It was therefore primarily related to the method. The fundamental idea of structuralism, the one already proposed by Lévy-Strauss in Les structures élémentaires de la parenté (1949) and in Mythologiques (1964-1971), the existence of one universal mathesis, remained a credo upon which musicologists and semiologists firmly relied, so that it could lead them through explorations of musical universals (necessarily structural ones). In short, music is universal only because its structures (languages, codes, grammatical rules) are themselves universal reflecting the functioning of structures of the human brain.

The second evolution consisted, on the contrary, in questioning the fact that it is necessary, at all costs, to search for musical universals on an “immanent” level (according to current terminology used by J. J. Nattiez and J. Molino). M. Baroni, R. Dalmonte and C. Jacoboni demonstrated to what degree the hypothesis of these universals explaining all of the music represents a serious handicap for understanding historical, ethnological and stylistic differences. In short, a useless hypothesis…, because, first of all, it is an unverifiable one. By rejecting it, these former participants of the 1973 conference began seriously to question the Lévy-Straussian dogmas of integral structuralism.The third evolution is more subtle and insidious. At the same time one continued to affirm the universality of structures, some people, especially psychologists, began asking about possible reasons for this universal structuralism. If all the products of the human (musical) spirit have minimal common structures, isn’t it a result of the fact that they had been created by organisms which all function in the same way, following the same processes? To think of music means, first of all, to think by using the musical brain, before music is comprehended and felt by means of culture. Biology offered some solid foundations for structuralism, or at least, it was thought so. And Chomsky himself wouldn’t say otherwise. However, some other discoveries in neurobiology and psychology would change these ideas. Firstly, psychologists and many philosophers and semiologists again discovered the importance of time, both in music and in human life on all levels of cognition, affectivity, culture. Particularly, time (the lived time, not the time of clocks) is organized, structured by the sense which, for the psychological subject (be it a musician or not), gets temporal directionality: the musical phrase, phrase in literary narration, leads the listener or reader from one starting point to one psychologically indispensable endpoint. Today we know that at the basis of that directionality there are the phenomena of dynamic tension and release (or distension), which exist also in origins of musical temporality, especially of tonal temporality, but not exclusively so. These phenomena appear in all musical cultures, their foundations can be found in the functioning of

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the human spirit. Today psychologists know that the succession of tension and release is a minimal form of time, and that it, by all means, represents a significant mechanism in controlling emotions and feelings. Isn’t then here the origin of universal structures – or, at least, the very general ones – that can be found in many musical cultures? Also, neurobiologists recently proposed that if lived, felt time structures vital experience, it is due to the fact that the brain itself produces an organization of time found everywhere around us, in stories that we tell one another about our everyday life, about events that mark it and about which we talk, the organization which we can call “proto-narrative”. That sheds new light not only upon the fact that verbal narratives have minimal common structures – which has been shown by structural semiotics – but also that tonality (in the musical sense) or other musical systems produce sequences or pieces which for the listener acquire meaning in the oriented dynamics of their development. Issues that arose in structuralism were removed from the exploration of the common features of musical cultures and systems towards understanding human capacities for music everywhere in the world and during the whole history of societies. Because music does not appear human by accident, but essentially so: beyond all cultures and all epochs, it is a source of all forms of expression, language and exchange.

Aleksandra Ivković, University of Kragujevac

IRONY IN LIEDER OF EARLY ROMANTIC COMPOSERS Bearing in mind that irony, as a special discursive technique, is primarily represented in literature (and language in general, spoken or written), the methodological standpoints in this work primarily concern songs of the early Romantics containing text. The ironic implications in the songs, which are the preoccupation of the composers of early Romanticism, such as Franz Schubert and Robert Schumann, can mostly be found in the poetry of Heinrich Heine and others. The problem is multifaceted. It lies primarily in

the text itself, in what was written and what could only have been understood, and also in relation to the composer’s literary text. Irony is, by nature, recognized more transparently in dialogue, spoken language, than in written text (the same goes for the performance of a composition in relation to notated text) when by gesticulation or other means a meaning could be suggested, often quite the opposite of that which was uttered. However, written rather than oral formulation (interpretation) is the subject of our interest. In written text (both in literary and musical work), it is impossible, at least from the standpoint of the author, to change the intentions of what existsin the dialogue / performance of a work. The text is, in fact, always the same, but its meaning is not; irony is only a latency, a possibility, where the meaning could be understood in a certain – ironic – sense, and the very understanding of things, in this particular case with a composer who puts the text  into music, may be different from case to case. The ironic understanding of things, depending on the  composer’s reading of a text, may be accompanied by his ignoring the ironic implications of the text (which is not uncommon in stanza or varied stanza songs); the composer can then, in his own way, with the incompatibility of music and text (in tragedy, text is followed by non-tragic elements of musical expression), cause a reconsideration of meaning, which opens the way for irony in music. Thus, in contrast with the atmosphere of the text, musical means may suggest an opposite meaning (e.g. Schubert exaggerates an experience, which is therefore called into question, for example, suffering becomes trivial). In the early Romantic period, these implications come from the literary text of Heine’s ironic statement. Considered independently of the text, in a strictly musical way, they can be ironic or not, and their meaning is not derived from a specfic segment, but is a consequence of the context. For our work it is a special analytical challenge to present their possible manifestations in the instrumental music of early Romanticism.

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Valerija Kanački, University of Kragujevac

AN АNALYSIS OF ROBERT SCHUMANN’S CARNIVAL ТHROUGH THE LENS OF BORIS ASAFIEV’S INTONATION THEORY Intonation, the fundamental component of music according to Asafiev, implies design of sound, rather than a mere acknowledgement of its acoustic nature (true/false). More precisely, the concept of intonation encompasses the emergence of a sound through its relationship with the following sound. An awareness of these relationships in the time flow is equated with movement in music. The totality of sound relationships creates a continuous movement which results in a new whole, i.e. what is labeled as “form” in traditional music terminology. Movement in music creates form and, in turn, a (good) form consists of well-balanced and mutually related movements. Asafiev uses the term dynamism to describe this well-known dialectical essence of music. Therefore, the conception of music as a sound movement results in a musical form. A precondition for the relationship between sounds is their comparison, as well as an understanding of their similarities and differences. Form as a “musical speech”, i.e. a moving picture of a musical event, is borne out of a relationship between tension (inequality) and gravity (equality). Such an understanding of music was not alien to Robert Schumann who thought that a form is born simultaneously with a musical idea. He believed that an important feature is the “gravitational center” in music, and that a distribution of such gravitational centers in a musical course influences our perception of music, because we experience it as either tension or resolution. Generally speaking, the main issues and concerns of musical thought in the nineteenth century were as follows: the treatment of the musical material, the interpretation of the relationship between form and contents, the individual analysis of certain musical expressive means and their synthesis, as well as the issue of interpretation (both in terms of creation and listening). At the same time, these are the starting points for the theory of intonation and symphonism as a method of musical thinking.

The famous German thinker from the age of Enlightenment, Herder, introduced the notions of “organic principle” and “organism” into music. “The inner movement”, as manifested through a dialectic of balance and imbalance, is directly related to the theory of intonation and the phenomenon of symphonism. Aside from the inner flow, attention is paid to the inner ear which is the receptor for music and its inside events. Schumann believed that “a good musician understands music even without the score, and the score without the music”. This is closely related to the understanding of music as a unique “organism”, where Schumann points to the connections between the parts of a whole both on the macro and micro levels, thus creating a dense network of mutual interrelations between the whole and its parts. The Romantics were also concerned with the role of individual elements within a musical whole, most importantly the melody, which is the basis of all music. An analysis of motifs and their interrelations within a musical piece are of crucial importance for the understanding of phenomena of intonation and symphonism. By means of an intonational analysis of selected movements of Schumann’s Carnival I aim to explore the regulations of disturbances and (re)establishments of “order” within a given form. The aim of this paper is thus to recognize these intonational imperatives as a starting point of the “symphonicity” of the chosen examples.

Koichi Kato, independent scholar

ANOTHER LOOK AT SCHUBERTIAN TONALITY Schubert’s Impromptus Op. 90 will raise an issue of tonality. The recent attempt to analyze Op. 90 as a cycle through monotonizing in A♭major key (Fisk: 2001 and Damschroder: 2010) might seem to exemplify the typical attitude towards the music theory that is heavily grounded in Beethovenian prototype or ‘sonata principle’, as Clark (2011) would argue. However, without addressing that specific single key (the tonic of the last piece, retrospectively referring to No. 1), we will certainly lose a sense of unity, and this is a stark issue of tonality.

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Moreover, this is especially clear if we draw a parallel between Schubert’s Op. 90 and a fourmovement sonata, which reveals our conception of tonality that is influenced by a sonatainflected view, ideologically associated with tonal centricity, nationalism and the 19th-century conception of evolutionism. This is especially evident if we compare it with its sibling set, Impromptus Op. 142 (D. 935), which Schumann described as a sonata. However, Schumann cleverly omitted the third piece from Op. 142 to accommodate it into a typical tonal pattern of a minor tonic sonata (as in the case of Op. 142, draws F -A♭-F). On the contrary, in the case of Op. 90, the theoretical temptation might prove to be illusionary, collapsing into truly deconstructive fragmental pieces without addressing a tonal center, as Adorno (1928) asserted. Adorno said that Schubert’s Impromptus and Moment Musicaux are structured by what he termed ‘wandering circularity’, which characterizes Schubert’s music structure. Indeed, through the Adornian deconstructive scope, Op. 90 would show a genuine multiplicious or dualistic structure with an absence of a tonal center as an antithesis to a teleological ‘goal-directed’ process. This paper will analyze Op. 90, bringing together Op. 142 and Winterreise, the Lieder cycle associated with the character of ‘wanderer’ (in the tradition of the nineteenth-century Lieder cycle) and non-teleological, tonal de-centered, circularity (as Adorno asserted). The paper also considers its publication history, editions, and manuscript. The paper evaluates the recent issue of theories (monotonality and multi-tonality), and the concept of organic unity, and the idea of the romantic fragment, exploring the concept of tonality and attempting to seek a new approach to perceiving it.

Viktorija Kolarovska-Gmirja, Ss. Cyril and Methodius University in Skopje

PROBLEMS OF PITCH ORGANIZATION IN RUSSIAN MUSIC THEORY The issue of pitch organization in music is an essential issue as a phenomenon and fundamental to music theory – being recognized and researched, it has developed into a separate branch of science and is closely related to acoustics, psychology, aesthetics, etc. Different aspects of pitch organization – from the choice of elements that make up the music system to the system concept itself – have been the focus of attention of music theoreticians of different periods and areas. In Russian music theory, the elaboration of these issues has a long tradition which, on one hand, relies on the work of western-European theoreticians, and on the other hand, results in building its own theoretical points of view and attitudes, as well as its own terminology. In this sense, one of the key terms of Russian music theory that refers to pitch organization is the term “lad” (mode, order, system, harmony, coordination), which, according to the researchers of the history of Russian music science, was established in the first half of the 19th century (hereinafter we shall use the term “mode” as being the closest in meaning). Furthermore, accepted by the founders of formal music theory education in Russia (Rimsky-Korsakov and Tchaikovsky – authors of the first harmony textbooks), this term was used very often but not strictly – as a synonym for other categories related with the pitch aspect of music (“scale” etc.). In the papers of the next generations of Russian music theoreticians (Asafyev, Tyulin, Yavorsky, Ogolevets, Kholopov, Guljanitskaya, Bershadskaya and others) this term gets the independent meaning of a universal principle of music as a constructive-logical and aesthetic phenomenon. Consequently, the quantity of the “lad” (mode) systems in the different historical periods, as well as the possibility of their “construction” in real art practice, is recognized and accepted. Prominent Russian scientists differently interpret issues related to the theoretical clarification and classification of the different forms of “lad” (mode) from the aspect of their expansion and recognition, the functional

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element, the level of centralization, relation with the form etc. The dialectical dimension of “lad” (mode) has also been revealed: as a constructivegeneric system, it exists in music practice through concrete intonation structures which enable the system to be recognized and “learned” by the subject – carrier of a certain music culture, type of musicality and music thinking.

Sonja Marinković, University of Arts in Belgrade

EASTERN AND WESTERN CONCEPTS OF THE HISTORY OF MUSIC THEORY There are two representative, monumental works in the area of historiographic research of the theory of music, one in the Russian and another in the English language area, both created as a complex team effort in researching the development and concepts of music theory. In Russia this is the textbook for the subject Systems of Music Theory, created in the early 1960s at the Moscow Conservatory (Ю. Н. Холопов et al., Музыкально-теоретические системы, Москва, Композитор, 2006, 632). In the English language it is the book edited by Thomas Christensen, and published as ‘the first comprehensive history of Western music theory’ (T. Christensen, Ed., The Cambridge History of Western Music Theory, Cambridge, Cambridge University Press, 2008, 1002). The Russian concept is wider, because it includes the review of not only Western, but also Russian contribution to music theory, whereas Christensen’s book discusses in depth the crucial concepts of music theory. Each chapter has a tripartite conceptual division, comprising speculative, regulatory and analytic approaches (as suggested by Dahlhaus), and involving both diachronic (chronologically delimited) and synchronic (broadly thematic) approaches. Holopov’s book is categorised strictly as a “textbook” for a specific academic course. The Cambridge History of Western Music Theory “aims to be more a resource for scholars and students than a source itself” and uses rich illustrative material (musical examples, graphs, tables, text “windows”).

The aims of this article are to compare the key ideas and definitions of the discipline, understand the role of the most distinguished personalities, map out the main theoretical problems, and analyze the approach to classifications of subdisciplines and the relations between the basic methods. By analysing the concepts and contents of these two books, I wish to point out the importance of introducing these topics in the curriculum of the theory of music studies, not only as separate courses in doctoral studies, but as a part of studying each of the disciplines, as well as the need for the emancipation of the contents of some disciplines currently studied at the Faculty of Music. Marija Masnikosa, University of Arts in Belgrade

PLAYING WITH SIGNS IN THE COMPOSITION A BRIEF ACCOUNT… BY GORAN KAPETANOVIĆ A Brief Account of the Inexorable and Tragic Course of Destiny Which Led the Little Mermaid’s Fragile Being into Total Disaster (1994), for two sopranos, flute, clarinet/bass clarinet, bassoon, viola, double bass, piano and tape, is a provocative and extremely lucid postmodern composition by Serbian author Goran Kapetanović. The modus operandi of this work is a collage practice of quotations/simulations which ‘produces’ a fragmentary, textually heterogeneous structure, thus placing the composition’s paradigm on the trajectory of radical musical postmodernism (Jonathan D. Kramer). The dialogue of different musics taking place in this work (and producing an explosion of meanings!) builds a heterogeneous musical text which has neither a ‘centre’ nor an axiological hierarchy between the existent ‘appropriated’ or ‘imitated’ texts: the work is a genuine pastiche (Genette), representing the distinctively postmodern type of a ‘difficult whole’ (Venturi). This paper focuses on playing with signs and production of meaning in Kapetanović’s work. Bits of musical imagery that Kapetanović has ‘appropriated’ (Owens), and embedded into a new, polyvalent semantic entity, belong to the most diverse categories of musical signs. Index signs, quotations, simulacrums literally build

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this work guided by the dramaturgy of H. C. Andersen’s fairy tale about the Little Mermaid. All these categories of signs will be identified and considered using the analytical tools of musical semiotics (Tarasti, Monel, Hatten, Lidov). Finally, the identification of the type of intertextuality (Genette) in this work and the examination of the production of its musical and extramusical meanings will necessarily problematize the difference between the concepts of polysemy and dissemination (Derrida) and point to their unavoidable creative ‘interference’ in arts.

Ivana Medić, The Institute of Musicology, Serbian Academy of Sciences and Arts

THE CHALLENGES OF TRANSITION: ARVO PÄRT’S ‘TRANSITIONAL’ SYMPHONY NO. 3 BETWEEN POLYSTYLISM AND TINTINNABULI Written in 1971, Arvo Pärt’s Symphony No. 3 is often dismissed as a product of his creative crisis. It is the only work completed during the otherwise unproductive eight-year period between the completion of Credo (1968), Pärt’s ultimate polystylistic piece, and a rush of works from 1976-77, which showcased his trademark tintinnabuli style (Tabula Rasa, Für Alina, Fratres etc.). Whereas Credo was a manifesto of Pärt’s interest in religious themes, Symphony No. 3 revealed another influence that would become crucial for the genesis of the tintinnabuli style – namely, Pärt’s ‘obsession’ with early, pre-tonal music. The symphony is highly idiosyncratic. All the main motifs are modelled on Gregorian chants, and the work unfolds in a more-or-less similar mood throughout, unified by the same (or very similar) thematic material. Its three movements are joined attacca, emphasising the seamless flow and organic development. If we add to the equation the unusual effect produced by frequent employment of the archaic cadential cliché known as the ‘Landini cadence’, and the odd minimalistic-repetitive moment, the overall impression is that of a neo-style, rather than polystyle (as exhibited in his first two symphonies and other early works).

By analysing the formal, tonal, thematic and textural features of Symphony No. 3 I will examine Pärt’s ‘transition’ from the typically Soviet, collage-based polystylism of his youthful days to the ‘holy minimalism’ of his highly manneristic tintinnabuli works. At the same time, I will reconsider the analytical tools required to discuss a work which is a ‘one-off’, a ‘cul-de-sac’, an anomaly that did not produce any offspring.

Jelena Mihajlović-Marković, University of Arts in Belgrade

SPECIFIC WAYS OF MODULATION IN THE MUSIC OF SERGEI PROKOFIEV – PROPOSITION FOR A NEW TYPOLOGY The music of Sergei Prokofiev has been a continuous challenge for theorists in defining his music poetics. One of the key elements in determining his poetics is, most certainly, the specific tonal system. This system links in a paradigmatic way the stable, unquestionable tonality of the past stylistic layers on the one hand, with a new, differently organized tone space converged with modernity, on the other. Defining Prokofiev’s tonality and the structure of his harmonic language is a path which can show the changes in semantic codes and explain his specific individual style. However, it is the very definition of his tonal system that still remains open to interpretation. Searching for responses to this challenge, various theorists applied different methods of analyses, starting from the Russian functional and linear-melodic approach and twelve-degree diatonics or twelve-degree tonality theories (Aleksei Ogolevec, Juri Holopov) to wrong-note and chromatic displacement theories (Richard Bass, Deborah Rifkin, Olga Sologub). The author of this paper is also researching the ways in which Prokofiev’s tonal system is organized, and this work will focus on some of the specific techniques of modulation. The starting standpoint is based on the fact that aside from all the harmonic complexities within a highly expanded and chromatized system – yet pronounced in a diatonic manner – his music is, nonetheless, tonal and as such can be analyzed through conventional, traditionally based methods. The

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methods I applied in analyses are based on the post-Riemman functional approach, adapted and revised by Serbian theorists (Vlastimir Peričić, Dejan Despić, Mirjana Živković), also including comparative-contextual and other methods. It is well known that the chromatic ambivalence in his music enables tonal shifts to any new tonic and, what is more significant, that they act as a logical outcome regardless of the distance. But it is often the way in which some modulations are realized that is obscure. In terms of conventional methods in analyzing Prokofiev’s music, one can easily recognize diatonic, chromatic and enharmonic modulations which are applied in quite a traditional way. However, there are also – and more often – such modulation techniques that are not standardized. This paper will give an insight into and a theoretical explanation of three types of modulations, presented on examples from his piano sonatas. Modulations can be defined as ‘intonational link’, ‘leading-tone modulation’ and modulation by chromatic sliding. These types of modulations, characteristic of Prokofiev, are applicable in the analyses of other representatives of tonal music of the 20th century, and may contribute to the standard tonal-shift typology. Intonational link can resemble the Beethovenlike unisono modulation, but instead of linking through unisono, Prokofiev singles out one tone in a prolonged situation, differentiating it in various ways among other present tones, thus announcing the new tonic. Leading-tone modulation is a procedure in which a chromatic chord structure directly leads to a new tonic by semi-tone resolutions in both ascending and descending motions to the tones of the new tonic triad. Modulation by chromatic sliding is a process where diatonic chords slide in semi-tone succession and have no other function than to drive directly to a new tonic.

Melita Milin, The Institute of Musicology, Serbian Academy of Sciences and Arts

IN SEARCH OF NARRATIVE PROGRAMMES IN LJUBICA MARIĆ’S WORKS In the works of the Serbian female composer Ljubica Marić (1909–2003) it is possible to isolate a number of topics which could lead us to outline possible narrative programmes based on them. Among the most important topics in those works are those of lament, sigh, ringing of bells, timelessness, and quiet exaltation. Those topics can be detected in Marić’s works composed after 1956, that is, starting with her masterpiece, the cantata Songs of Space. Especially important for her creative work was her decision to compose Musica Octoicha, a cycle of pieces for different ensembles based on the eight modes of the Serbian Octoechos, a collection of traditional church songs similar to those found in the Greek Octoechos. All the composer’s subsequent works carried at least small fragments or almost imperceptible traces of those church melodies, which she regarded as perfect musical artefacts whose roots reached the deepest past. Especially fascinating for her was the fact that the Octoechos chant was still alive in Serbian oral practice. Although non-religious, Marić’s works possess a certain ritualistic, at times also mystical character and, taking into account the presence of the aforementioned topics, it is challenging to try to discern narrative programmes in them. Although Marić’s compositions with vocal parts will not be taken into consideration, they will provide a necessary referential frame. Marić’s works usually begin by stating a calm theme in low dynamics, leading gradually to a series of disturbing and tragic events with only temporary releases of tension, the final situation being designed as a state of transcendental vision, an anticipation of the beyond. The topics of lament, meditation, and ringing of bells are not difficult to discern in those works and their structural disposition can help the listener follow the vague narrative programme, of which the composer was certainly well aware. There are some works by Marić with different scenarios in which the feeling of quieter serenity or resignation

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in the final parts is more pronounced. At any rate, the narratives of all those works indicate rather clearly that the author almost always varied the same basic programme which has been sketched here. Some rare examples of quotations in Marić’s works (such as the signal from the “Sputnik” in Passacaglia and a self-quotation in her last piece) also deserve studying with regard to the mentioned narrative programmes. It would be challenging to analyse the symbolic functioning of the fragments from the Octoechos chant which Marić used to build her themes with. It should be possible to demonstrate that their presence is always linked to their functioning as a symbol of spirituality and timelessness. The fact that the first works in which she introduced them were meticulously elaborated compositions, structurally well defined, with the Octoechos melodies or their fragments markedly present, in varied ways, almost throughout the work, whereas in later ones they appear very discretely, almost as secret signs decoded only by those who know her music well, could indicate a loss of confidence in the narratives characteristic of her earlier Musica Octoicha works.

Miloje Nikolic, University of Arts in Belgrade

DYNAMIC FORMS OF VOCAL MUSIC WORKS This paper explores the nature, processes of configuration and basic cognitive functions of perceptual tension and overall perceptual dynamics which occur when listening to vocal music works. The title term dynamic form (taken, with modification, from Susanne Langer) is defined initially as the integral of the perception of dynamics (induced tension) of all perceptual units in a processual (here: vocal music) work, and is recognized as the oldest, deepest and, therefore, in essence, the most important factor in shaping the final understanding of the complete form i.e. the meaning of the analyzed work. Methodologically, the paper brings an intersection of personal hypotheses (ideas) and empirically verified results of the paper’s author, based on his decades-long experience – analytical,

pedagogical and as a conductor – with the referent cognitive theoretical principles, particularly those of the Gestalt theory. As tensions explored here are purely perceptual phenomena, they are observed as a process in the gestalt pre-structured abstract field of force. It can be proven that each dynamic form which is achieved as a result of the summation of vectors of external vocal musical impulses and internal basic gestalt formal constants inclines to one of the few simple gestalt “good” forms or is expressed as the superposition of several such patterns. The second part of the paper contributes to the currently available methodology of researching the dynamic form from the score (notation). The unfolding of the analyzed composition into synchronous layers (plans, components) is proposed, for which exist or can be established criteria for classification of partial tensions on direction and intensity (at least relative); the author offers some suggestions for establishing a scale of dynamics for each of them. Special attention is paid to researching the appropriate effect of the meaning of the text (discursive) plan, which dynamics, in a sense relevant here, derives indirectly, through the results of rational (discourse) analysis. As for the synthesis of feedback as the final stage of the analytical process, there are serious limitations to achieving precise and rounded final results (which is most likely the reason for the relatively low interest of theorists in this basic receptive phenomenon). The final part of the paper brings, therefore, a selection of examples of vocal music in which, due to the special constellation of the mentioned layers (plans), relatively complete results can still be obtained – it can be seen that not only is their number very respectable, but it is exactly in these kinds of compositions that the dynamic form is the crucial factor in understanding their complete form and meaning.

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Filip Pavličić, University of Arts in Belgrade

THE RELATION BETWEEN MUSIC AND VERBAL MEANING IN SCHUBERT’S “DER WANDERER”, OP.4 NO.1 The relation between music and words, from the birth of opera at the end of the 16th century to the present time, has always been a central one in the analysis of vocal works. This relation assumed special importance in the music of the romantic era, which was strongly influenced by its literature. Literary influence certainly shaped much if not all of the music of one of romantic music’s founding fathers Franz Schubert; in fact, it can be argued that the artistic adventure which Schubert undertook by exploring the unknown potential of the still developing genre of Lied, formed in the 18th century, was perhaps the real birthplace of musical romanticism. The shift of balance in romantic music, which was initiated by Schubert, brought the relation between verbal and musical meaning to the center of artistic attention as possibly never before in the history of music. In this paper, an attempt will be made at an analysis of the relation between two levels of meaning, music and verbal, in Franz Schubert’s lied “Der Wanderer” op.4 no.1, composed to the lyrics of Schmidt von Lübock. The analysis will start by examining verbal meaning, as an inevitable semantic background of Schubert’s song, and then proceed to the music meaning formed by it. The analysis of verbal meaning will give special attention to those meanings and the strategies of formation of verbal meaning that can be characterized as truly romantic: the greater and more sophisticated articulation and, especially, intensification of semantic oppositions (which Hatten outlined as a basis of his application of markedness theory in the classical style) in poetic texts chosen by romantic composers became one of the most basic strategies of the formation of meaning in romantic music composed to poetic text. Thus, verbal meanings with their two-fold semantic potential: primary, explicit, transparent, and even more so secondary, metaphorical, non-transparent, will in this paper be always considered as a starting point of the analysis of meaning in music.

During the course of the analysis, the relation between verbal and music meaning will always be at the forefront, given the fact that these two kinds of meaning are inextricably linked in music works that contain lyrics. Still, special attention will be given to those moments during which these two meanings, usually running parallel in music time, begin to diverge. This is most apparent in those instances where music meaning seems to go “ahead”, anticipating verbal meanings that come later in the lyrics. The analysis will be based on modern methods of analysis of meaning in music, with special attention being given to the principle of markedness, taken from linguistics by Robert Hatten and applied to meaning in music. The analytical method in the paper will be based upon semantic oppositions to Hatten outlined in the classical style, considering the fact that Schubert’s music can be said to represent the process during which the typically romantic meanings gradually evolved from the still present classical – unmarked – background.

Predrag Repanić, University of Arts in Belgrade

IMITATION OF MOVABLE COUNTERPOINTS REVISITED In my previous paper “Imitation and Movable Counterpoint Canons”, published in the Proceedings from the Fourth Music Theory and Analysis Conference, I addressed the issue of analysis, description and classifications of a separate category of compositions which combine techniques of imitation with movable (moving) counterpoint. My aim was to fill a gap in the existing literature with a theoretically verified type I called the imitation of movable counterpoints, or “movable imitation”. I determined that imitations in each group differ in their precisely defined (and exclusive for that group) range of choices of imitation parameters. Each group is further divided into subgroups according to the level of complexity. The paper drew upon the analytical sample from Renaissance sacred vocal literature, including a number of motets, canons and movements from masses in

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which the technique in question was partially or consistently applied. Extensive analyses suggested that the proposed classification was definitive: all analyzed examples fitted into one of the three groups of movable counterpoint imitations. However, further research has discovered a few rare, almost unique examples of three-voiced stretto imitation, not classifiable in any of the previously defined groups. A need for expanding the proposed classification therefore arose, and another group was added. The new, fourth group of movable counterpoints represents a combination of sorts of movable (moving) counterpoints of the 2nd group (in which the moving is based on the calculation of vertically movable counterpoints) and 3rd group (in which the movement is based on the calculation of dually movable counterpoints). Even though the new group seemingly only comprises the moving representing mutual vertical convergence or divergence of counterpoint lines, they nevertheless have to be adjusted beforehand in such a way as to abide by the rules of multiply inverted counterpoints, e.g. being simultaneously inverted in the tenth, eighth and twelfth! The present paper explores the cited and other conditions that make possible the composition of movable-imitative music flow in accordance with the newly discovered characteristics, and the expansion of the previously established theoretical framework.

Anica Sabo, University of Arts in Belgrade

BERISLAV POPOVIĆ’S METHODOLOGICAL CONTRIBUTION TO THE ANALYSES OF SYMMETRY IN THE MUSICAL FLOW The book by Berislav Popović, entitled Music Form or Meaning in Music, published at the very end of the 20th century, opened a new chapter in understanding the musical form. Even though the traditional method represents the basis of the author’s analyses, his focus shifts from the formalistic approach to the study of the phenomenon of musical flow. Popović emphasizes the universal rules of shaping the form, and establishes connections to other fields of research, creating a new space for investigating

the effects that symmetry has on the process of creating the musical form. Starting from the critical overview of Popović’s methodological postulates I intend to point to the basic underpinnings of his analyses of the musical flow. In doing so, I will highlight the importance of symmetry in achieving unity among segments that make up a whole. The paper will examine the basic terms used to interpret the musical flow, pinpoint the main underpinnings of the analyses of symmetry and offer an interpretation of dynamic symmetries and typologies of axis of symmetry. By highlighting the special status that symmetry has in the realization of the musical flow, the notion that it lies “in the basis of those musical laws which provide the continuity and firmness of the music form” (Popović, 89) is being affirmed. By placing the analyses of the phenomenon of musical flow at the foundation of the analyses of symmetry, we are able to see the key features of a musical work, which are the basis for its understanding. The features of symmetry are in that way removed from their primary surroundings (the geometrical transformations) and put into a new context, a context of the musical piece, which, in turn, requires the appreciation of music content as the origin of manifestation of symmetry. The proposed way of understanding symmetry is innovative and authentic, and enables us to study this phenomenon even in situations when it is hidden in the deepest layers of a musical piece.

Atila Sabo, University of Arts in Belgrade

THE NARRATIVE FUNCTION OF SEMIOTIC PROCESSES IN THE SECOND MOVEMENT OF PAUL HINDEMITH’S SEVENTH STRING QUARTET For Paul Hindemith, tonality represents the basic form of organization of music material. A strong connection with tradition allows this author to enrich the musical language of the past with some modernistic tendencies of his time. In the majority of his works, the classical principles of form organization are retained, so, in a way, a new and original harmonic content is introduced into a recognizable framework.

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In this paper, I start from the hypothesis that the harmonic language, although significantly transformed and modified, remains one of the key generators of musical narrative. Similar semiotic processes, such as those that can be found in the music of Beethoven, are recognizable in the second movement of Hindemith’s Seventh String Quartet. Compound relationships within the functional major-minor system, which for several centuries in various ways contributed to the formation of meaning in music, are replaced by contemporary harmonic procedures. In the Classical period, as noted by David Lidov, a “change of context which, as here, is primarily a harmonic or tonal change is phenomenologically a change of space. The mediation of these contrasts occurs in a new place foreign to the realm where the conflicts were first established, a new texture, a different theme, a distant key” (Lidov, 2005:51.). A very similar principle can be seen in the selected example, with appropriate adjustments to the context of the time to which the piece belongs. The musical space in the twentieth century was significantly expanded, when a new atonal compositional technique was applied, so the range of expressive means became much wider. Although tonality predominates in the second movement of the Seventh String Quartet, some atonal segments have a very prominent role in making a contrast. They also represent the key points for understanding the musical narrative. Moving through the inner musical space, which Eero Tarasti defines “through the category of center/periphery, that is, centripetal/centrifugal tendencies within a musical text”, adding that “some place in a musical universe or space can be chosen as the center, in relation to which other places are more or less peripheral” (Tarasti, 1994: 78–79.), is also significantly modified, but some analogies with the Classical period are still very remarkable. By using certain principles of Tarasti’s and Lidov’s theories, I will discuss the second movement of Hindemith’s Seventh String Quartet, showing one possible insight into musical narrative.

Herbert Schneider, Universität des Saarlandes

OLIVIER MESSIAEN AS A THEORIST Like Arnold Schönberg, Messiaen published lots of texts, commentaries and literary texts, but also gave many interviews. No composer or teacher has ever bequeathed such a monumental theoretical work as Messiaen has. He unified his main ideas, principles, preferences and the substance of his teaching in his comprehensive Traité de rythme, de couleur, et d’ornithologie, which appeared posthumously (1994-2002), edited and arranged in some smaller parts by Yvonne Loriod-Messiaen. The seven volumes reflect his personal interests, mainly philosophy of time and rhythm, specific rhythmic systems such as from ancient Greece and India, “musique mesurée à l’antique”, all sorts of permutations, colours and chord colours – like his brother, the poet Alain Messiaen, he was a highly developed synesthete – and songs of birds in the whole world. During the conference I will present some of the main problems of and insights into the methods of Messiaen.

Jan Philipp Sprick, Hohschule für Musik und Theater Rostock

ANALYZING MUSICAL AMBIGUITY IN BACH AND MOZART In the music of Bach and Mozart we are frequently confronted with a kind of musical ambiguity that has its origin in the flexible and almost ‘floating’ use of major and minor keys. Generally, major and minor are considered harmonic states with a very clear expression or ‘meaning’. I will argue that Bach and Mozart use the change between major and minor in a very idiosyncratic way that leads to an almost permanent state of ambiguity. With examples from both instrumental and vocal music of the two composers I try to give an overview of different ways to evoke ambiguity with harmonic means. The broader theoretical aim of the paper is to think about the disciplinary need in music theory to label things and come up with clear analytical solutions on the one hand and the ambiguous state of large portions of music on the other. The aim

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of coming up with possibilities to separate and describe different types of ambiguity leads to some fundamental problems of analytical methodology and therefore to fundamental problems of music theory itself.

Biljana Srećković, University of Arts in Belgrade

FROM SOUND OBJECT TO SOUND AS SIGN: PIERRE SCHAEFFER’S MUSIQUE CONCRETE VS. LUC FERRARI’S MUSIQUE ANECDOTIQUE In this paper I am going to examine the idea of (non-)referential qualities of sound in the context of Pierre Schaeffer’s poetical discourse, and its critique and re-evaluation by his collaborators and disciples, especially Luc Ferrari. I will try to follow the path of relational ‘evolution’ of sound in the early decades of the second half of the 20th century, from, as Seth Kim-Cohen calls it, sound-in-itself to sound-out-of-itself, or, from pure, introverted sound – in Schaeffer’s terminology sound object (objet sonore) to sound as sign, which refers to something beyond itself. To that end, I will first talk about Schaeffer’s musique concrète concept (1948), based on the idea of composing with concrete sonic materials taken from the real sonorous fund that can be adequately perceived only by reduced listening (écoute réduite) – listening based exclusively on the observation of acoustic properties of sound, rather than its meaning, semantic relations or narratives associated with their sources and causes. Schaeffer’s intention was to make un-recognizable concrete sounds and throw away every external association. This essential characteristic of concrete music was at the same time the point of its critique, firstly implemented by Schaeffer’s close collaborators at the GRM (the so-called Schaefferians or post-Schaefferians). Those composers, among them Luc Ferrari, tried to expose the other side of concrete sound; the side which reveals that sound always indicates something, becoming a medium for transmission of different messages. A paradigmatic model is Ferrari’s concept called musique anecdotique (1968), a complete opposite

to concrete music, and actually the concept which marked a rupture with Schaeffer’s aesthetics. Unlike Schaeffer, Ferrari wants to use recorded sound (son mémorisé) as a narrative medium, shifting the focus from its acoustic/acousmatic qualities to its referential potential (its source, origin, context, intention, etc) and thus breaking down the boundaries between art and life.

Ana Stefanović, University of Arts in Belgrade

THE TOPOS OF TRANSCENDENCE AND ITS POSITION IN THE NARRATIVE CONFIGURATION OF MUSIC DRAMA The article examines the topos of transcendence which occupies a significant place in the narrative chain of music drama. Founding this paper on our previous works, in which this topos is positioned as the final link of a narrative sequence, we firstly propose a ‘vertical’ semiotic analysis on three levels, wherein the level of topos occupies the middle layer: between the music-rhetoric figure, taken as the narrowest unit of meaning and initial impulse for the forming of topos, on the one hand, and the “expressive genre” (a term borrowed from R. Hatten and used in a somewhat reformulated sense), taken as the widest semiotic field, formed of constituent topoi, on the other hand. All three levels represent fields consisting of musical and literary loci communes which form both semiotic and stylistic constants of music drama. This analysis is then incorporated into the examination of multiple analogies between time, story, style and meaning in the syntagmatic chain, leaning on Ricœur’s concept of triple mimesis. The topos of transcendence, in the framework of the expressive genre of tragedy, in the position of a tragic denouement of the dramatic flow, reflects the concept of refigured time, which, in Ricœur’s examinations of relations of time and story, represents the point at which real, non-figured time is overwhelmed by configured, narrative time. Thus, the three ways of setting the time in music drama reflect analogies with three expressive genres: drama (conflict and action), pastorale (narration and fiction), and tragedy (transcending of the real and conflicting

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with the help of the narrative and fictional). So, the topos of transcendence is not univalent in terms of meaning, but, on the contrary, is polyvalent, as it integrates, in itself, opposing semantic impulses of previous narrative fields. This moment is primarily identified in the closing monologues of the main characters, which also encompass the moment of catharsis. The analysis is performed with the use of selected examples from musical-dramatic works of the 17th, 18th, and 19th centuries, namely, works of Lully, Gluck and Berlioz, in which a parallelism of semiotic and narrative structures is found in spite of changes at the level of musical language and style. The genre continuity of music drama can also be explained by the persistence of these stable narrative and semiotic configurations.

Srđan Teparić, University of Arts in Belgrade

ON THE TRANSCENDENT CHARACTERISTICS OF SIGNS EXEMPLIFIED IN THE MUSIC OF MANUEL DE FALLA, IGOR STRAVINSKY AND DEJAN DESPIĆ Every scrutiny of the transference of signs from one temporal period to another must take into consideration the fact that a sign does not have some universal trait whereby the aptitude for self-transcending is its primary feature. Eero Tarasti’s examination, presented in his study Existential Semiotics, will be a guiding principle of this research. Referring to Heidegger’s concept of Da-Sein, this author believes that each character is able to produce a “fictitious intuitive duplicate” within a certain time period. There is, therefore, a possibility of separating the character from the original Da-Sein, its existence in the transcendental space, as well as the possibility of its reactivation in a certain time period. Central to this research will be Tarasti’s conception that implies the possibility of transition of signs between two stylistic periods, or from Da-Sein 1 into Da-Sein 2. These “duplicates” will be examined through an analysis of several examples of 20th-century music that refer to some of the “old” languagestyle systems, such as Concerto for Harpsichord by Manuel de Falla, Stravinsky’s Violin Concerto

and Concerto for Piano and Orchestra op. 30 by Dejan Despić. Given that with respect to DaSein 1 signs depart from their original nature, in relation to Da-Sein 2 they can be interpreted in completely different ways. The level of negation, that is, the contemporary level, denotes the sign in its firstness so that the sign would be incomplete without the movement towards a new level – its affirmation. Here Da-Sein 1 will be examined with respect to recognition, while Da-Sein 2 will be examined with respect to the overall capacity for negation and affirmation of the original sign. The level of sign transcending goes from acceptance to rejection of the given sign’s various traits, depending on the effect of receiving modalities and sending modalities. In the case of De Falla and Stravinsky, the signs related to Da-Sein 1 will be denoted according to resemblance, whence their nature and origin will be reconstructable. In the case of Despić’s music, Da-Sein 1 will be considered in its broadest sense, and then the possibility of the sign’s positive interpretation in Da-Sein 2 will also be highlighted, even in the case where the original relation is lost. Even though Tarasti has offered a classification of signs according to the states that precede and follow their formation, in the selected examples the sign will be examined from a different standpoint. The already formed sign will be taken into consideration and the features which led to transcendence will be examined. Those features are concerned with the sign’s primary traits, thus a methodology of moving towards strategies of activation bringing about the sign’s transcendence will also be offered.

Katarina Tomašević, The Institute of Musicology, Serbian Academy of Sciences and Arts

DRAGUTIN GOSTUŠKI AND MUSICAL SEMIOTICS In spite of the fact that Dragutin Gostuški (1923-1998) was one of the initiators, as well as the president of the organizing committee, of the First International Congress on Semiotics of Music, held in Belgrade in 1973, contemporary music scholars have not yet devoted adequate attention to the significant role Gostuški played

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in the development of the discipline, both in the national and international context. The evolution of his theoretical views and contributions to the study of the problems of meaning, time in arts and style, which can be traced back to the very beginnings of his theoretical work in the early 1950s, has not yet been thoroughly and meticulously researched either. Erudite scholar, composer and art historian by education, theorist, musicologist and esthetician by vocation, renowned music critic, Dragutin Gostuški belongs to the very top of the intellectual elite of his time. Grounded in the methods of comparative aesthetics, Gostuški’s broad interdisciplinary research on the key topics of art(s) and, especially, music had from the very beginning included the achievements of the then contemporary linguistics; with particular attention Gostuški also promptly followed and critically reacted to the first significant results in the field of musical semiotics. The relevance of his theoretical concepts of meaning, time, form and style, or the actuality of his subtle analyses of the relationship between poetic language and music, are best evidenced in his capital book The Time of Art (published in Serbian in 1968); unfortunately, this study has not yet been translated and published in any of the world languages. Reaching the zenith of his professional maturity, in 1970 Gostuški became Director of the Institute of Musicology of the Serbian Academy of Sciences and Arts. With verve and enthusiasm the very same year he launched the prominent public forum called Discussions on science and art, dedicated to the most attractive contemporary issues in the fields of science and humanities. The question of the relationship between language and music, as well as between linguistics and musicology, was the subject of a number of meetings at which the introductory lectures were held by, among others, worldfamous linguists (e.g. Ranko Bugarski). The fact that musical semiotics was at the time one of Gostuški’s central focuses is best evidenced by his organizational efforts to gather leading experts in the field in Belgrade in 1973. At the Congress Gostuški presented a paper entitled Réalite, musique, langage. Contribution a l’étude de la problem de la signification, in which he

openly entered into a critical dialogue with the most prominent authors and laid the foundations for his own theory of the screen as a proposed methodological platform for future strategies of musical semiotics. To reconsider the circumstances under which preparations for the First International Congress on Semiotics of Music took place, to show the evolution of semiotic ideas in Gostuški’s work, as well as to reestablish his theoretical opus in the historical context of the discipline, these are the main goals of this paper.

Ivana Vuksanović, University of Arts in Belgrade

INTONED MEANING, PHYSIOLOGICAL METAPHORS AND THE SEMANTIC RANGE IN VARIATIONS ENTITLED KARAKTERI BY VOJISLAV KOSTIĆ The theoretical frame for the paper I propose here is built (mainly) upon four articles: “The Cognitive Value of Music” by James Young, “Bodily hearing: Physiological Metaphors and Musical Understanding” by Andrew Mead, “The Intonational Nature of Music” by Valentina Kholopova and “The Range of Musical Semantics” by Joseph Swain. In a way, these articles “reconcile” western and eastern (Russian) theoretical and analytical investigations in the field of musical semantics. They interweave and “unify” the most important and intriguing aspects of various theories – Gestalt theory, topics theory, Kivy’s theory of musical isomorphisms and Asafiev’s intonation theory. They all deal, each article in its own way, with the potential of music to convey semantic content. According to Young, the arts contribute to our knowledge by means of immediate demonstration – placing someone in a position to recognize that something is the case. Immediate demonstration can be achieved using interpretative or affective representation. Music employs both of them: it can indirectly represent emotional states by representing the movements with which those emotions are associated (interpretative) or it arouses feeling in some listeners and, in so doing, shows them something about the affect

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in question (affective). Kholopova, on the other hand, offers a “list” of the basic types of intonational semantics in music: 1) emotionalexpressive 2) object-depictive 3) musical genre 4) musical-stylistic and 5) musical-compositional. Finally, Mead’s observations on physiological metaphors demonstrate how music’s path to the mind inevitably happens through the body. There is no doubt that music cannot convey semantic content with the same kind of precision that is attributed to language. But, on the other hand, language itself could be imprecise. A passage of music could have a semantic range that is just like that of any word in a language in its essence, only much broader in its scope, sharing the same kind of elasticity, but an elasticity of a much greater degree than is typical of language. As Joseph Swain states, semantic range is determined by context and vice versa; the context selects the meaning from the range while the range constrains the appropriateness of the context. In dealing with the aforementioned semantic issues I will present the analysis of the composition Karakteri (Characters, 1958) by Serbian composer Vojislav Kostić. The author took his inspiration from Theophrastus’ collection of short character-sketches (dating from the late 4th century BC); he chose seven croquis (of the thirty in the book) and composed a cycle of variations for clarinet, piano and 18 percussion instruments. The comparison with Paul Hindemith’s composition Four Temperaments is inevitable and it will (supposedly) provide the needed arguments for the circularity of the relationship between semantic range and context.

Mirjana Zakić, University of Arts in Belgrade

RITUAL SONGS AS SYSTEMS OF SOUND SIGNS This paper deals with the ritual song as a musical or musical-poetic phenomenon that possesses its own sign system, which presents a corresponding idea of the ritual. The description of the ritual song as a sound-sign system is directly connected with its signifying feature in representing “the other”, which is the basic dimension of communication in a ritual process.

This significant dimension, as one of the main functions in semiotics, is expressed in the modelative “secondary” system of the ritual, whose signifying functions, “iconic, indexical and symbolic”, are interpreted first of all in the intertwining of temporal, locative, personal and actional systems. In comparing with an internal signifying feature of the music, in keeping with which individual musical units acquire meaning only in relation towards other units of the musical context, the external signifying quality of music “is read” from the direct link with the other systems of the ritual, that is, from the context of the situation. The results of the structural analysis of music represent the necessary base for considering the semantic dimension, which, in the chain of the external musical semiosis, articulates the relation towards non-musical objects. Therefore, a musical structure is considered a semanticised syntactic dimension, the meaning of which is determined by the context in which it is used. Contextual analysis established, first of all, the relation between the musical structure and other structures in the ritual, leading to the interpretation of the homologies between the units, segments and opposite structural values in music and the corresponding elements in other ritual systems. The specifics and the differences in the degree of informative (semantic and numeric) values of the system in a ritual are especially elaborated at the level of relation between poetic and musical texts. The registration of a large number of poetic texts and an (almost) universal musical model for one ritual (in the same area) leads to a key connection of the poetic system with real objects – denotata – which ensure the syntagmatics of the ritual procession, and the connectivity of the musical system with a specific mutual concept – designatum – marking the paradigm of the ritual. The different functions of these systems via their concretizations – musical and poetic texts – complementarily contribute to the efficiency of the ritual process. The point is in the different informative aspect of their appearance, which leads towards the creation of the integral ritual message. Such ascertainment is in direct connection with the interpretation of ritual syncretism as a unity of differences.

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BIOGRAPHIES Irena Alperyte Irena Alperyte is currently lecturing at the UNESCO Cultural Management and Cultural Policy Chair of the Vilnius Academy of Fine Arts, as well as the Academy of Music and Theatre, Lithuania. She led a project called Synaxis Baltica in 2010 and participated in the project Brain Gain through Culture in Görlitz (Germany) in 2012. She is a member of the Lithuanian Marketing Association.

Srđan Atanasovski Srđan Atanasovski (1983, Kumanovo, Macedonia) graduated from the Department of Musicology of the Faculty of Music in Belgrade in 2009, where he is currently a PhD student of musicology and is working on a dissertation entitled “Music Practices and Production of the National Territory“ with advisor Tatjana Marković. He has participated in international conferences in Austria, Bosnia and Herzegovina, Croatia, Germany, Great Britain, Greece, the Netherlands, Italy, Serbia, Slovenia and Turkey, and was a member of the program committee of two international student symposiums. He has published his papers in the journals Musicologica Austriaca, Musicology, and Musicological Annual. He works as an associate in the transcription and editing of unpublished compositions of Joseph von Friebert (assistant editor, Don Juan Archiv Wien Forschungsverlag), Felix Mendelssohn, and Ernst Krenek. Since 2011 he has worked at the Institute of Musicology SASA as a research assistant.

Mario Baroni Mario Baroni has been a professor, and then a director, at the Department of Musicology of the University of Bologna. In the 1990s he founded the Italian Association for the Analysis and Theory of Music (Gruppo Analisi e Teoria Musicale) and the Rivista di Analisi e Teoria Musicale. He was one of the promoters of the foundation of ESCOM (European Society for the Cognitive Sciences of Music), and ESCOM President from 2003 to 2006.

His research interests lie in music analysis, systematic musicology, music education and 20thcentury music (particularly Bruno Maderna and Giacinto Scelsi). Le regole della musica (on the concept of musical grammar), a book written in collaboration with R. Dalmonte and C. Jacoboni, was published in Italian and translated into English and French. Results of his research have been presented in the Enciclopedia della Musica, edited by J. J. Nattiez, with the collaboration of R. Dalmonte, M. Bent and M. Baroni (Einaudi, Torino 20012005, French edition by Actes Sud). Mario Baroni is one of the consulting editors of the journals Music Perception (1995) and Musicae Scientiae.

Mina Božanić Mina Božanić (1988) is a PhD student at the Faculty of Music, University of Arts in Belgrade. She received her BA and MA degrees at the same faculty. Her master’s thesis, The organisation of musical space in chamber works of Josip Slavenski and Ljubica Marić, deals with the problems of the semiotics of musical space in the analysis of the chamber works of the two most prominent Serbian modernist composers. In her PhD thesis she will be focusing on the analytical possibilities of musical semiotics and musical modernism. She participated in several student conferences in Belgrade – in 2009, 2010, and 2011. Two of her student papers were published: “Egon Wellesz and his analytical approach to Byzantine music: the question of formulae“ (2010), and “Motifs and themes of life and death in the Sixth Symphony of Gustav Mahler“ (2011).

Rossana Dalmonte Rossana Dalmonte was an assistant at the University of Bologna (1972-1986) and a full professor of Musicology at the University of Trento (1986-2009). She was Chief of the Department of History of European Civilisation and sat on the board for 9 years. She has published:

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a) critical editions of Schubert, Rossini and Maderna (the whole collection: 20 volumes); b) works in the field of music analysis and theory (with Mario Baroni and Carlo Jacoboni, The rules of music. A computer-aided inquiry on music composition, Lewinston N.Y, 2003). She is co-editor of the journal Rivista di Analisi e Teoria Musicale; c) many books on the history of music, and especially on Luciano Berio and Franz Liszt. Since 1997 she has been the President of the Fondazione Istituto Liszt Onlus of Bologna and editor of two collections: Quaderni dell’Istituto Liszt and Liszt’s Rarities (together with the London Liszt Society).

Michel Imberty Michel Imberty is prefessor emeritus at the University of Paris X – Nanterre, as well as visiting professor at many foreign universities, especially in Bologna, Rome, Granada, Pamplona, and ​​Liege. His research interests covers the vast field of philosophical, psychological and musicological issues. Michel Imberty is the author of over 180 publications (in french, italian and english language) on various themes, such as: the musical development of the child, the relation between music and the unconscious, the temporal structures and narrativity in music, the music perception and cognition (especially in the case of atonal music), spectral music, etc. He was the first President of European Society for the Cognitive Sciences of Music (ESCOM). His most important publications are: L’acquisition des structures tonales chez l’enfant. 1969; Entendre la musique. Sémantique psychologique de la musique, 1969; Les écritures du temps. Sémantique psychologique de la musique, 1971; Suoni, emozioni, significati. Per una semantica psicologica della musica, 1986; La Musique creuse le temps. De Wagner à Boulez  : musique, psychologie, psychanalyse, 2005.

Aleksandra Ivković Aleksandra Ivković graduated from the Faculty of Music in Belgrade in 2007, at the Department of General Music Pedagogy (majoring in harmony with harmonic analysis in the class of Assistant Professor Garun Malaev). In 2009 she

completed her specialist studies, defending the thesis The conception and meaning of melody in individual style of Robert Schumann, in the class of professor Ana Stefanović, PhD. She has taken part in several national and international conferences. At the moment she is a postgraduate of doctoral studies at the Department of Music Theory and Analysis in Belgrade in the class of Ana Stefanović, PhD, and working as Assistant Professor at the Faculty of Philology and Arts in Kragujevac at the Department of Music Pedagogy and Theory.

Carlo Jacoboni Carlo Jacoboni is professor emeritus of Physics at the University of Modena and Reggio Emilia, Italy, where he taught theoretical physics for several decades. His main field of research is the dynamics of electrons inside semiconductor materials and devices. In such a field he has published several books and about 200 papers in international scientific magazines. He has been Director of the Physics Department, Chairman of the School of Sciences of the University of Modena and Reggio Emilia, and the principal investigator of many research contracts. He has founded and headed several national and international schools of semiconductor physics and computer science. He is a Fellow of the American Physical Society. Together with musicologists of the Universities of Bologna and Trento, he has performed studies in the field of musical communication, publishing several scientific papers and the book Le regole della musica, E.D.T. Torino 1999.

Valerija Kanački She was born in 1972. She earned her bachelor’s degree at the Faculty of Music in Belgrade, 1997, at the Department of Music Pedagogy. She defended her MA thesis in music theory at the same faculty. She has held a post at the Faculty of Philology and Arts in Kragujevac (Serbia) since its foundation in 2002, first as

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a teaching assistant and then as an assistant professor (in 2007) in Analysis of Music Work and Music Form at the Music Department. Her main field of research is the analysis of musical form of Romanticism. She has presented her scientific and scholarly papers at scientific conferences throughout Serbia (Belgrade, Soko Banja, Kragujevac, Niš) and abroad (Poland, Bosnia). She is a member of the Organizing Committee of the scientific conference Serbian Language, Literature, Art held in Kragujevac. She has been the member of the editorial board of the international journal Heritage (Serbian: Nasleđe) since 2012.

Koichi Kato Koichi Kato obtained his master’s degree from the Royal Holloway University of London, UK (studying under the direction of  Prof. Jim Samson). After a further research training at the UK university, he presented conference papers in both national and international meetings including the RMA annual conference (UK) (2009), New Zealand and Australian Joint annual conference (2010), and the first biennial conference at IMS in the East Asian region (2011).

Viktorija Kolarovska-Gmirja Viktorija Kolarovska-Gmirja graduated from the Musicology Department of St. Petersburg Conservatory “N.A.Rimsky-Korsakov” (class of Prof. E. Ruchyevskaya, PhD). Since 1989, she has lived and worked in Macedonia as professor at Ss. Cyril and Methodius University – Faculty of Music Art in Skopje. At the same Faculty she graduated from the Piano Department and earned her MA and PhD degrees. She writes papers about contemporary Macedonian music and music education and takes part in many international conferences and seminars. She is a member of the Editorial Board of the journal “Muzika” published by the Association of Composers of Macedonia. She also performs as a piano accompanist and a member of chamber ensembles at musical festivals in Macedonia and abroad.

Sonja Marinković Sonja Marinković, PhD, musicologist, professor at the Department of Musicology of the Faculty of Music in Belgrade, teaches the history of music and research methodology. She is a member of the Editorial Board of the International Magazine for Music “New Sound” and editor-in-chief of the magazine “Mokranjac”. She is engaged in research work concerning the national history of music of the 20th century, especially dealing with the problem of the relationship between folklore and composers’ creativity (her doctoral thesis was National Music Features in Serbian Music in the First Half of the 20th Century) as well as the problem of social art. She is the author of high-school textbooks in the subjects music culture, history of music and national history of music.

Marija Masnikosa Marija Masnikosa, PhD, musicologist, works as Assistant Professor at the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. Her research is focused primarily on the problems of musical minimalism, postminimalism and musical semiotics. The subject of her doctoral dissertation was Postminimalism in Serbian Music. Marija Masnikosa has participated in numerous national and international symposia and published her papers in musicological journals and international symposia proceedings. She is involved in some research projects supported by the Serbian Ministry of Science, and she is a member of the editorial staff of the national musical magazine Musical Wave (Belgrade). Marija Masnikosa has been a member of the Society for Music and Minimalism since its foundation in September 2007.

Ivana Medić Ivana Medić, PhD, completed her undergraduate and postgraduate studies at the Department of Musicology, Faculty of Music in Belgrade. She obtained her PhD from the University of Manchester, United Kingdom, funded by the prestigious Overseas Research Award and Graduate Teaching Assistantship. Prior

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to moving to the UK she worked as a Teaching Assistant with the Department of Music Theory, Faculty of Music, and the Music Editor-in-Chief at Radio Belgrade 3, Serbian Broadcasting Corporation. After completing her doctoral studies, she worked as an Associate Lecturer with the Open University, where she taught modules in music theory and songwriting. Since February 2013 she has been a Researcher with the Institute of Musicology, Serbian Academy of Sciences and Arts. She has published two books and over thirty journal articles.

Jelena Mihajlović-Marković Musicologist, Teacher at the Faculty of Music in Belgrade – Department of Music Theory. She graduated from the Department of Musicology; her graduation work was awarded the Belgrade October Prize for students. She completed her doctoral studies at the University of Arts in Belgrade. Her field of research includes theory of harmony and harmonic analyses. She is currently working on her doctoral thesis, which, through modifying the classical and functional methodological approaches, focuses on analyzing complex harmonic structures and tonal systems in the music of Sergei Prokofiev. Her main fields of teaching are Harmony and Methodology of Teaching Theoretical Disciplines; she has mentored over ten graduation works dealing with Harmonic Analyses. She has participated in the Music Theory and Analyses symposiums organized by the Department of Music Theory of the Faculty of Music; her papers have been published in the periodical Music Theory and Analyses. She has translated articles from Serbian into English, also published in periodicals Musicology and New Sound.

Melita Milin Melita Milin is a senior researcher at the Institute of Musicology in Belgrade. She finished her studies in musicology at the Faculty of Music in Belgrade, where she also obtained her MA degree. She received her PhD degree from the Faculty of Philosophy in Ljubljana. Her main research area is 20th-century Serbian music in the

European context, with emphasis on the output of Ljubica Marić. She was a member of two international projects organised by Prof. Helmut Loos from Leipzig University (on musicians’ correspondences and on migrating composers of central and eastern Europe). M. Milin was also head of the Serbian team of the project on Serbian and Greek art music (the head of the Greek team was Ekaterini Romanou). She was editor-in-chief of the first five issues of the journal Musicology. Her works include: The Traditional and the New in Serbian Music after World War II (1945-65); A Typology of 20th-century Serbian Compositions for the Musical Stage; Surviving with Sounds – Eastern Europe after the Turn 1989; Musicology and Sister Disciplines Today; Old Serbian Church Music in the Works of Contemporary Composers; The Idea of Serbian National Music in the 20th Century; “Ancestral Memories” in the Works of Ljubica Marić.

Miloje Nikolic Miloje Nikolic, theoretician of music and conductor, was born in 1948 in Kragujevac. He works as a full professor of the Theory of Music at the Faculty of Music in Belgrade and also teaches at the faculties of music in Kragujevac and Eastern Sarajevo. He is the author of a considerable number of scientific and specialized works in the field of vocal music analysis and knowledge of vocal, especially choral literature. As a long-standing conductor of wellknown Belgrade choirs Lola and Španac and ACC Liceum from Kragujevac, he has received many prizes at choral festivals and competitions. He has had many successful concerts in Serbia and in many foreign countries: Bulgaria, Czech Republic, England, France, Germany, Hungary, Mexico, Poland, Romania, Russia, Slovakia, Spain, Switzerland, Turkey and in the republics of former Yugoslavia. He is the founder, author of the basic conception, and artistic director of the International Festival of Chamber Choirs in Kragujevac. He is one of the initiators of the establishment of the international association Balkan Choral Forum and a member of its Managing Board. He is the founder and president of the Managing Board of the association Balkan Choral Forum – Serbia.

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Filip Pavličić Filip Pavličić was born in 1978 in Podgorica, Montenegro. He graduated in 2003 from the Faculty of Music, Belgrade, presenting the degree essay “Similarities and Differences in Harmonic Language of Piano Concertos of Schumann and Grieg”, in the subject harmony and harmonic analysis. The first part of his master’s thesis, “Semantic Interaction in George Gershwin’s Concerto in F” was approved in February 2006 at the same Faculty. As of 2008 he has been enrolled in doctoral studies in music theory, within the framework of which he submitted in October 2010 a summary and explanation of his doctoral thesis entitled “Processes Leading to the Formation of Meaning in German Romantic Music.” He has been working at the Faculty of Philology and Art in Kragujevac, Serbia, since 2005, first as a Trainee Assistant and then since 2009 as an Assistant in the subjects Harmony and Harmonic Analysis and the Analysis of Music Styles. He participated in annual congresses of the Department of Theoretical Subjects of the Faculty of Music in 2007, 2009 and 2010, At a meeting of experts called Language-Literature-Art of the Faculty of Philology and Arts in Kragujevac, he presented his essays “Small Dominant Sept-chord – a Cry of Early Romaticism” and “Archaic and Modern Harmonic Patterns in Echoes (Odjeci) by Vasilije Mokranjac” in 2007 and 2008 respectively, which were published in the collection of essays presented at the meetings. He wrote studies on jazz music, which were published on the fan website Jazzin.rs.

Predrag Repanić Composer, music theorist and pedagogue; professor of Music Theory at the Faculty of Music, University of Arts in Belgrade. Born in 1958 in Slavonski Brod (now in the Republic of Croatia), he settled in Belgrade and studied music first privately, and then at the Faculty of Music with a grant from the University of Arts. He obtained his bachelor’s and master’s degrees in the class of Professor Srđan Hofman. His pieces include various forms and genres, vocal and instrumental, from solo to symphony orchestra. With a grant from the Contemporary Music Institute from Germany (IMD) he attended lectures of H. Lachenmann and J. Xenakis at the 35th International Course for New Music in

Darmstadt in 1990 and actively participated in the course held by B. Ferneyhough. After a research leave in Berlin in 1995, he wrote an extensive study “Canon in the Sacred Vocal Polyphony in the Renaissance” and began his teaching career at the Department of Music Theory, Faculty of Music. His principal research interests are in the domain of Renaissance composing techniques, movable counterpoint, canon and the techniques of stretto imitation. He has presented his research at numerous domestic and international conferences.

Anica Sabo Anica Sabo (1954) was born in Belgrade. She obtained her bachelor’s (1980) and master’s degree (1986) in composition at the Faculty of Music in Belgrade, and finished two years of bassoon studies at the same institution. In 2007, she completed her PhD studies at the University of Arts in Belgrade, at the Department of Theory of Art and Media. She is currently an associate professor at the Department of Music Theory of the Faculty of Music in Belgrade. Her activities encompass both compositional and theoretical work. As a composer, she creates mostly in the domain of chamber music. Lately, most of her inspiration comes from literary works. The focal points of her research into music theory and analyses are the questions of symmetry and musical form. An important place in her theoretical output is also reserved for Serbian music.

Atila Sabo Atila Sabo graduated in Harmony with Harmonic Analysis from the Faculty of Music in Belgrade in October 2004 and defended the first part of his MA thesis in February 2006. He is currently working on his PhD thesis in Music Theory “Post-tonal context and narrative function of harmonic language in the music of Shostakovich, Hindemith and Bartók” at the Faculty of Music in Belgrade. He has taken part in international conferences of the Department of Theoretical Subjects of the Faculty of Music in Belgrade, international conferences Language-Literature-Art in Kragujevac, and international conferences Vlado S. Milošević: Ethnomusicologist, Composer, and Pedagogue in Banja Luka.

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In the period from 2004 to 2011 he was a teaching assistant at the Faculty of Philology and Arts in Kragujevac. He is currently employed as a teaching assistant at the Department of Theoretical Subjects of the Faculty of Music in Belgrade. He graduated in viola from the Department of String Instruments of the Faculty of Music in Belgrade in the class of Professor Dejan Mlađenović. From 2005 to 2012 he was a regular member of the Belgrade Strings orchestra “Dušan Skovran”.

Herbert Schneider Herbert Schneider is professor emeritus of Saarland University. He is the general editor of the Musikwissenschaftliche Publikationen (37 volumes published) and of Lully’s Œuvres complètes (with J. de la Gorce). He has organised international conferences on Lully, opéracomique, timbre and vaudeville, Austrian lied, translation of libretto, Théodore Gouvy, etc. He has written on a wide variety of topics, including many articles in the second edition of MGG. His principal areas are French music and music theory, the relation between German and French music, chanson, and comparative translation of sung genres. Recently he translated the unpublished early treatises by Antoine Reicha (two volumes and a score with 24 piano compositions) and edited and translated with two other translators a selection of Messiaen’s “Traité de rythme, de couleur, et de l’ornithologie” (with a critical apparatus) and in volume 2 of “Olivier Messiaen. Texte, Analysen, Zeiugnisse” he dedicated an article to Alain Messiaen’s numerous collections of poems on music.

Jan Philipp Sprick Jan Philipp Sprick studied music theory, viola, musicology and history in Hamburg, Harvard and Berlin. He took his PhD at the Humboldt University of Berlin with a dissertation on the sequence in German music theory around 1900. Since 2006 he has been teaching music theory at the Hochschule für Musik und Theater Rostock. In the winter quarter of 2012 he was Visiting Assistant Professor at the University of Chicago. His main research interests are the history of music theory, contemporary analytical

methodology and the disciplinary relations of music theory and musicology.

Biljana Srećković Biljana Srećković (1982, Belgrade), musicologist, works as an assistant teacher in the field of musicology at the Department of Musicology of the Faculty of Music of the University of Arts in Belgrade. Currently, she is doing her PhD studies at the Faculty of Music in Belgrade, working on her thesis dedicated to the critical review of relations between music and sound art. Her research interests include sound studies, sound art, contemporary experimental electroacoustic music, as well as esthetics, philosophy, and theory of art.

Ana Stefanović Ana Stefanović, musicologist, received her MA degree at the Faculty of Music in Belgrade. She received her PhD in musicology at the University Paris IV - Sorbonne. She is employed as Associate Professor at the Faculty of Music in Belgrade. She also works as associate researcher at University Paris IV - Sorbonne (research team: Patrimoines et Langages musicaux, EA 4807), and collaborates with the Centre de musique baroque de Versailles. The main areas of her research are the relationship between music and text in opera and lied, as well as questions of music style and style analysis. She is the author of a large number of articles published in reviews for musicology and music theory and in collected papers. Her doctoral thesis was published under the title La musique comme métaphore. La relation de la musique et du texte dans l’opéra baroque francais: de Lully à Rameau, Paris, L’Harmattan, 2006. She is also the author of the Anthology of Serbian Art Song (I-V), Belgrade, UKS, 2008.

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Srđan Teparić

Mirjana Zakić

Srđan Teparić was born in 1974. He graduated from the Faculty of Music in Belgrade in 1999 at the Department of Music Pedagogy. He received his master’s degree in 2004 by successfully defending the thesis Neoclassical Concept of Tonality of Igor Stravinsky - Resemantization. He has been working with the Department of Music Theory of the Faculty of Music in Belgrade since April 2000. On many occasions he has taken part in conferences organized by the Department and in conferences in Kragujevac and Banjaluka. He is working on his doctoral dissertation, Resementization of Tonality between 1917-1945.

Mirjana Zakić, PhD, graduated from the Faculty of Music in Belgrade, at the Department of Ethnomusicology. During her studies she was a one-year fellowship holder of the Republic Community for International Cooperation and specialized in the field of ethnomusicology at the Conservatory “P. I. Tchaikovsky” in Moscow. Her  doctoral dissertation Ritual songs of the winter Season – systems of sound signs in the tradition of southeastern Serbia was published in 2009. She is especially interested in ritual music, instrumental music, musical semiotics, and the relation between text and context.

Katarina Tomašević Katarina Tomašević, PhD, Senior Research Associate at the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade. The author of the book Serbian Music on the Crossroads between East and West? On Dialogue between Tradition and Modernism in Serbian Music between Two World Wars (Belgrade 2009), she has published numerous articles in Serbia and abroad and served as editorin-chief of the international journal Musicology (Institute of Musicology SASA, 2006–2010).

Ivana Vuksanović Ivana Vuksanović (Belgrade, 1963) is an Assistant Professor at the Department of Music Theory, Faculty of Music in Belgrade. She received her PhD in musicology in 2010 with the thesis Humour in 20th-century Serbian Music. Her wider research interests include contemporary Serbian music, popular culture, as well as the history of music theory and questions of musical form. Her MA thesis was published in 2006 under the title Aspects and Resignification of the Elements of Trivial Genres in 20th-century Serbian Music. She is the author of many articles published in reviews for musicology and music theory and in collections of papers.

Since 1990 she has been employed at the Faculty of Music in Belgrade at the Department of Ethnomusicology. She has been the chairman of the Serbian Ethnomusicological Society since its establishment in 2002.

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