Jana Blažanović & Julija Novosel: Case Study: Bećarac Trial (Work in Progress)

Transcription

1 MEDNARODNI ŠTUDENTSKI SIMPOZIJ INTERNATIONAL STUDENTS SYMPOSIUM ČETRTEK THURSDAY 11.30, Modra soba The Blue Room Jana Blažanović & Julija Novosel: Case Study: Bećarac Trial (Work in Progress) Bećarac singing and playing in Eastern Croatia a tradition inscribed on the Representative List of Intangible Cultural Heritage (UNESCO) under this title consists of humorous, sometimes erotic and ambiguous verses. Through bećarac, people are allowed to express opinions permitted to say in the usual manner of speech. This kind of freedom of speech appeared in court last year as a policewoman found herself offended by a bećarac singer during the Ljeto valpovačko festival (Valpovo Summer festival). Although the lawsuit was dismissed, her charge caused greater public attention including feminists, tradition experts, popular singers etc. Researchers here attempt to analyze the content of the charge in purpose to conclude its (non)validity parallel with its echo in the public sphere. Furthermore, they want to examine the ensued dichotomy in understanding the tradition: the one which strongly defends the tradition and the other that puts it in question. Since the research is still in progress, researchers will present their most recent discoveries available for discussion. Peter Ninaus: Choro as Brazilian Identity The development of Brazilian music and culture starts in the late period of the Brazilian empire in the 19th century. Influenced by European musicians string- and wind-instruments have a big impact as well as African percussion. Informal groups played dance music, songs,... for the public amusement. Influenced by the french music of the late 19th century (e.g. Debussy) this choro-groups developed their own style and own repertoire to the first 'roda de choro'. Extended by other instruments the choro-repertoir became Brazilian music and the prototype of bossa nova, samba or musica erudita, the Brazilian classical music. But nowadays choro also stands for a political and cultural statement against mainstream and music from the favelas kratek odmor a short break

2 13.00, Modra soba The Blue Room Laura Lipovec: Anastasia Lagana: J. Stamitz in the Light of the Theory of F. Galeazzi This paper deals with the symphonies of Johann (Wenzel Anton) Stamitz ( ) in the light of the theory of Francesco Galeazzi ( ). The central research complex of questions are: in which historical context does Galeazzi s treatise concerni Stamitz s compositions stand? What advocates in favor to investigate Stamitz Symphonies with Galeazzi s music theory of the Disposition of Melodia? Which is the offer of this approach in music perception? Thomas Wozonig: The chamber music of Jan Ladislav Dusík The past decades have seen an increasing interest in the work of the Bohemian composer Jan Ladislav Dusík ( ), both from the perspective of concert life and musicology. Unfortunately, this interest is mostly focused on his compositions in which the piano is exploited soloistic, thus mostly his piano concertos and piano sonatas. This presentation tries to render a survey of his frequently ignored chamber music, its circumstances and correlations to his other works, but furthermore, the paper will try to examine Dusík s works in its relation to the idea of chamber music in the 18 th and early 19 th centuries odmor za kosilo lunch break

3 16.30, Modra soba The Blue Room Marlene Priller: The musical Salons arranged by Clara Schumann Clara and Robert Schumann s private circles served as very important institutions, especially for young, ambitious musicians and composers. There, Clara Schumann wanted to distribute the repertoire of late Romantic music as well. The Schumanns were connected very closely to the culture of the musical salons. Due to the sobriety, the severe discipline and the rigid organisation Clara had been stoked by these soirees of Fanny Hensel located in Berlin in These soirees represented the basement for Clara Schumann s own soirees. This paper aims at providing an insight into the different circles Clara Schumann as well as her husband had organised. Martin Schönbauer: Edmund Eysler Attempt of a Complete Biography The presentation of this PhD-Thesis will focus on the life and work of Edmund Eysler who was born on the 12 th of March 1874 and became one of the most renowned operetta composers in Austria until his death on the 9 th of October This presentation will deal with the actual musicological research up to this day as well as it will present new questions upon his life and furthermore with occurring issues concerning source material. Vedran Lesar: Bluebeard's Castle by Béla Bartók The single opera by Béla Bartók, Bluebeard's Castle, displays numerous peculiarities. Some of them, like lack of dramatic action, impose a question 'Is this Bartók's work really an opera?' Furthermore, apart from the question of genre, this Bartók's work could appear quite enigmatic for listener and analyst, because of excessive use of various symbols in the libretto and in music. This paper will through examination of different readings of Bartók's Bluebeard try to deal with questions raised above (though, without imposing some definitive answers). By tracing lines of influences on composer Béla Bartók and librettist Béla Balázs it will try to detect historical and aesthetic aspects, as well as music and dramatic conception of Bluebeard's Castle.

4 PETEK FRIDAY 9.30, Modra soba The Blue Room Monika Voithofer: Aesthetic Concepts in Music This presentation will provide a brief (historical) overview of the term concept and its meaning within the musical context. The focus will lie on so-called concept music a genre which emerged primarily in Germany at the beginning of the 21 st century. Strongly drawing on conceptual art with it's zenith in the 1960ies and 1970ies, composers of concept music are expanding their musical material by using digital techniques. In the course of the presentation it will be discussed, how this influence can build a bridge between contemporary music and new media art. Urška Rihtaršič: Between Body and Mind. Classical Music Performer in Postmodernism. In 1885 Guido Adler published the article Umfang, Methode und Ziel der Musikwissenschaft in which he terminologically defined and systematically arranged areas of musicology. One can find it strange that music performer is not mentioned in this distinction, even though 19 th century was a time of highly appreciated virtuoso performers. This anomaly is actually a consequence of several cultural and societal processes that shaped the tradition of western art music and conceptions of composer, performer and musical work. Probably the most important of these processes is emergence of workconcept (Lydia Goehr), which established the role of performer as inferior to composer and work. In this context the best performance is the one that reveals as much work as possible and as little performer as possible. This paper will discuss the ways in which these popular beliefs and concepts still dominate today s musical practise and especially the role of classical music performer. Jelena Sviben: Barthes as Listener Taking Roland Barthes' essays on music written during the 1970s as a starting point, in this paper I shall discuss his way of conceptualizing the problem of listening. In the focus of my attention will be the importance and the role of listening in his writings, his identification of the listening object, as well as some important terms he constantly uses when speaking on music ( body, pleasure, activity etc.) kratek odmor a short break

5 11.30, Modra soba The Blue Room Markus Schauermann: Augustinus Franz Kropfreiter s Occupation with Twelve-tone Music Most writings about the Austrian composer Augustinus Franz Kropfreiter say, that he occupied himself with twelve-tone music around the year of But if you consider the details of his biography you ll find out, that this occupation was not centered on this year, but rather lasted from 1960 to The purpose for this paper is to show the different states of this occupation and therefore to provide a more detailed knowledge about the composer s biography and musical work. Lev Fišer: Nejc Kuhar's Black Hole Black hole, a solo guitar work by Nejc Kuhar, shows several interesting compositional techniques and a unique artistic attitude towards the extramusical. The author of the presentation will first explain the connection between the title Black hole, its literal meaning and Kuhar's perception of it. Then the focus will switch to other musical properties, one of them being Kuhar's intertextuality. This contribution is merely a start of a more detailed research of the composer's work. Julijan Golavšek: "Wagneroutai? Stromae ici." kratek odmor a short break

6 13.30, Modra soba The Blue Room Andrea Višak: Papa Was a Rolling Stone: Ethnographic Story of Individual Amateur Musician This paper deals with issues of ethnographic research of individual musicians. This theme has been approached from two ways. The first is through the consulted ethnomusicology literature, which focuses on topics that are usually neglected in ethnomusicology, and are based on research methods and mediating the life story of individual musicians. Furthermore, considering the theme of the popular music scene, this paper is based on the author s personal experience in the town of Križevci, the author s hometown. The author has, for the needs of this research, interviewed and observed a local amateur band from her home town. In the time of research, the band s drummer was her father, who, as an individual musician, became the subject of this paper. Through his life story, the life in the town of Križevci was shown through the perspective of an amateur musician, along with the problems and different kinds of situations that the individual musician highlights in his conversation for this research. Gabriela Paradžik: Musicology Students' Views on Popular Music This study focuses on musicology students' views on popular music. It explores students' perceptions of good music and bad music, their preferences when it comes to classical and/or popular music, concerts they attend, bars and clubs they go to. The goal of the study was to discover if musicology students have any prejudice towards popular music genres and, if they do, why? Another goal was to see if the prejudice are more frequent when it comes to younger or the older students and to examine how musicology students' listening habits are influenced by the Academy's syllabus. This study also draws conclusions on how students link the music they listen to or think they should listen to to the sense of identity. The research was conducted in 2015 at the Music Academy in Zagreb.