ON MUSICAL MEMORY IN ĐORĐE MARKOVIĆ’S  MONUMENTS: OVERTURE FOR PEACE

Ljubica Ilić

doi:10.5937/newso2260135I

Ljubica Ilić University of Novi Sad, Academy of Arts, Department of Musicology and Ethnomusicology

DOI: https://doi.org/10.5937/newso2260135I

Keywords: musical memory, Đorđe Marković, Monuments: Overture for Peace, Ninth Symphony, Threnody for the Victims of Hiroshima

Abstract

By looking at various theoretical perspectives on the role of memory in contemporary culture and examining the problem of musical memory, this paper explores the significance of reminiscences of Ludwig van Beethoven’s Ninth Symphony and Krzysztof Penderecki’s Threnody for the Victims of Hiroshima in Đorđe Marković’s (b. 1978) symphonic composition Monuments: Overture for Peace (2022). The conclusion is that, due to increasingly rapid social change and the dominance of information and media culture, the urge to refer to the past as is done in Marković’s work originates from the tendency to resist both the fear of forgetting and the uncertainty of what is to come.

Author Biography

Ljubica Ilić, University of Novi Sad, Academy of Arts, Department of Musicology and Ethnomusicology

Ljubica Ilić, PhD, is an Assistant Professor at the Academy of Arts, University of Novi Sad. She holds degrees from the University of Arts in Belgrade (BA in musicology) and the University of California, Los Angeles (MA and PhD in musicology), where she was a Chancellor’s Fellow. She was an Ahmanson-Getty Postdoctoral Fellow (2007–2008), and a Visiting Professor in the Department of Musicology at UCLA (2008–2009). Her research interests revolve around sonic experiences of selfhood in modern Western culture.