• Nemanja Sovtić University of Novi Sad, Academy of Arts, Department of Musicology and Ethnomusicology
Keywords: Szilárd Mezei, differentiated congruence, identical, homogeneous, heterogeneous, opposite


A look at the morphology of the musical language of the Vojvodina composer Szilárd Mezei reveals different relations among its composing layers. On a selection of fifteen of Mezei’s chamber compositions, the basis of their compositional structure was abstracted and typologically classified into four fundamental ways of co-existence of textural layers. These modalities are defined as differentiated congruence. The chosen syntagm does not refer to the mathematico-logical meaning of congruence, but to the resemantization of that notion in the context of the fact-object reality of musical space-time. Although none of these four types of congruence is specific only to the musical world of Szilárd Mezei, the fact that they appear in the composer’s work somewhat proportionally indicates specific ideological aspirations included in the poetic plane of the work.

Author Biography

Nemanja Sovtić, University of Novi Sad, Academy of Arts, Department of Musicology and Ethnomusicology

Nemanja Sovtić, Ph.D., is a musicologist and trombonist from Novi Sad. He received his Ph.D. in Musicology from the Faculty of Music in Belgrade. He is an Assistant Professor at the Department of Musicology and Ethnomusicology of the Academy of Arts, University of Novi Sad. Nemanja Sovtić is a member of the Board of the Department of Stage Arts and Music of Matica Srpska and the Board of the Serbian Musicological Society. He is the author of monographs Miroslav Čangalović: Singer-Actor (Serbian National Theatre and Matica Srpska, 2021) and The Non-Aligned Humanism of Rudolf Bruči – the Composer and the Society of Self-Management Socialism (Matica Srpska, 2017), as well as collections of studies, articles and essays titled Musicology as a Reading Reflex (Academy of Arts Novi Sad, 2014).