MUSIC BEFORE THE MIND’S EYES: THE SUBLIME PRACTICE OF MUSICA RESERVATA AND SECONDA PRATTICA IN THE LIGHT OF THE TRANSFORMATIVE LUDUS PERFORMING AND LISTENING EXPERIENCE

Милена  Медић

doi:10.5937/newso2260269M

Милена Медић Универзитет уметности у Београду, Факултет музичке уметности, Катедра за музичку теорију

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Кључне речи: Ekphrasis, madrigalisms, musica reservata and seconda prattica, musica osservata and prima prattica, ludus

Сажетак

The paper starts from a critical confrontation of the modern, deforming and the ancient, original meaning and use of the term ekphrasis with regard to the concepts of pictura and logos as their contrasting basis. The ancient rhetorical meaning of ekphrasis was revived on a continuous cultural line from the mannerist musica reservata to the baroque seconda prattica at the turn of the 16th and 17th centuries as the poetic foundation of the vocal practice of madrigals and motets, whose new expressive and representational compositional manners of defamiliarization (madrigalisms) rooted in the logos concept were deviations from the Renaissance practice of musica osservata and prima prattica. The two distinctive lines of vocal practices are illuminated through their ludic functions in culture.

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Milena Medić je doktorirala na Katedri za muzikologiju Fakulteta muzičke umetnosti u Beogradu u klasi dr Mirjane Veselinović-Hofman i docent je na Katedri za muzičku teoriju istog fakulteta od 2010. godine. Pored brojnih naučnih članaka i poglavlja, objavila je dve naučne monografije: Arhetip anime i transformacija stvaralačke svesti od Vagnerove Izolde do Bergove Lulu (2012) i Musica ante oculos: ekfraza i njene vrline enargeia i ekplexis u vokalnoj muzici na razmeđu 16. i 17. veka (2020). Kourednik je Histories and Narratives of Music Analysis u izdanju Cambridge Scholars Publishing (2013) i urednik Musica Movet: Affectus, Ludus, Corpus (2019).