New Sound International Journal of Music

The Wonderful Colourfulness of Our Discipline. A Conversation with Dušan Mihalek

Ana Kotevska — 2024-08-12

Conversation with a musicologist

IN MEMORIAM Zoran Erić (1950–2024)

Tatjana Milošević Mijanović — 2024-08-12

In memoriam

Vertical Time in Arts

Miloš Milovanović — 2024-08-12

The paper elucidates the concept of vertical time that has originated from Gaston Bachelards. The topic is elaborated in a relation to the intrinsic time by Étienne Souriau that concerns the plastic arts. It fits to the time operator formalism of complex systems whose defining feature is existence of the intrinsic time operator. The complex system model is based upon statistical causality which occurs through inheritance in the vertical temporality. The model is derived for one-dimensional signals, but it is easily generalizable to two-dimensional and three-dimensional ones. The aesthetics of verticality is demonstrated to be significant for music, poetry, architecture and film as well.

Exploring Sound through the Synthesizer in Ludmila Frajt’s Nocturne

Neda Nikolić — 2024-08-12

The constants and characteristics of the poetic expression of the composer Ludmila Frајt can be found in her composition Nocturne. Her desire to examine sound, nuances, and effects, led to exploring all the possibilities that electroacoustic devices, specifically the synthesizer, can bring forth. One of the constants that can be observed in the composition is the presence of the bordun basis, which was reproduced using an electroacoustic device and was formed as a cluster. Through its hybridity, it stands out as flexible enough to embody the deepest layers of man, but also to be a suitable ground for depicting the atmosphere of the night. The aim of this paper is to look at the way the synthesizer was used to explore the sound in Nocturne by Ludmila Frajt.

Teleological Strategies of Non-Tonal Music: The Case of György Ligeti’s Lux Aeterna

Miloš Zatkalik — 2024-08-12

In Ligeti’s Lux aeterna micropolyphony and the lack of an apparent system of pitch organization comparable to functional tonality seem to preclude goal-directed processes of musical motion. Yet, this article will demonstrate the existence of goals and paths leading toward them on various levels (short-, medium-, and long-term). These teleological procedures include contextually establishing intonational centers as goals; directed linear motion; the completion of twelve-tone aggregates as well as the extension of the completion idea to other parameters. As a final observation, while goal-directed processes span the entire composition, some of them, in conjunction with the text, transcend the work itself, and project goals into infinity.

Redžep-Rečko Međedović as an Interpreter of the Vocal-Instrumental Practice of Pazar Song

Sanja Ranković — 2024-08-12

Redžep-Rečko Međedović is the best known performer of “Pazar song” an element of the traditional musical heritage in Novi Pazar. Starting from the seventies of the 20th century till today, Međedović has been performing Pazar and other songs accompanied by a stringed instrument – the đumbuš/banjo at weddings, dance parties and other gatherings, and enjoys huge popularity in the local community. For the purposes of this paper, field research was conducted several times in Novi Pazar, from 2011 till today, when valuable ethnographic data were collected and invaluable musical material was recorded. Međedović’s interpretations and testimonies helped to define the characteristics of the Pazar song, as a subgenre of urban music in Serbia, that is, to better understand the semantics of its current practice.

Српски Звуци – Serbian Sounds, Rhapsodies for Piano by Jovan Paču (Presenting the Sheet Music Edition and CD)

Marijana Kokanović Marković — 2024-08-12

The life journey of the medical doctor and musician Jovan Paču (1847–1902) brought together the various branches of his prolific and richly creative personality, providing him with a prominent place in the history of Serbian 19th-century music. Although his primary vocation was medicine, he had also acquired education in music from early childhood, also working, during his active creative period, as a composer, pianist, music teacher, and writer. This first printed edition of Paču’s piano rhapsodies titled Српски звуци (“Serbian Sounds”) comprises eight of his 12 rhapsodies, which are kept in manuscript form at the Archive of the Institute of Musicology at the Serbian Academy of Sciences and Arts in Belgrade. The edition also comprises a CD with recordings of the same works rendered by our renowned pianists and piano teachers (Dušan Trbojević, Zorica Dimitrijević Stošić, Dubravka Jovičić, and Mirjana Šuica Babić).

Big Festival Jubilee. Review of the 60th Music Panel (November 3–5, 2023)

Miloš Marinković — 2024-08-12

Established in the early 1960s in Opatija, the Yugoslav Music Panel (today, the Music Rostrum) had been a unique setting for interaction and communication among Yugoslav composers of various aesthetic, poetic and stylistic backgrounds until the disintegration of Yugoslavia (1990). This festival had long ceased to be Yugoslav, and since recently, it is not even an Opatija festival any more. However, despite all the misfortunes, it has kept going as an essential gathering place for contemporary music. Last year, from November 3 to 5 in Osijek, under the auspices of the Croatian Composers’ Society and Cantus d.o.o., the 60th jubilee MR was held, which sought to reaffirm some issues from the past, give an overview of the current trends of contemporary music, and most importantly, to open perspectives for its future.