Hans Rudolf Zeller attempts to find the sources of the serialism in Mallarmé's Le Livre, especially in connection with the Third Piano Sonata by Boulez. Mallarmé's idea, however, also left the traces ...in some of Boulez's theoretical concepts concerning the author's anonymity and withdrawal ofall auctorial traces from the work/composition.
How can the category of the »musical emblem« become a »signal«? Probably the earliest musical emblem could have been the »Toccata« from Monteverdi's Orfeo. However, there are also cell phone signals, ...which could be treated vice versa as musical emblems of the providers. But there are also pure signals (for example the one from Nokia) that tend to be treated artistically, i.e. as pure compositions. The research is based on two sources: 1) on the offers of the main Croatian providers (T-com, Vip and Tele2) which can be downloaded in the hand-held phones; 2) on the material fund at 60 cell phones which belong to users of different age, ranging from 15 to 65. The content of the offers by the main Croatian providers has been analyzed according to the criteria of identity that could influence the choice of the user, the repertoire in 60 cell phones, however, has been analyzed on the basis of the content, which primarily does not exist in the offers by providers. In the second case the hand-held phones are supposed also to be »music boxes« that provide the listener with music that has nothing to do with the emblematic functions of the elementary sound signs (ringing tone, sign of incoming SMS message etc.). Kako kategorija »glazbenoga amblema« može postati »signal«? Zasigurno bi najraniji glazbeni amblem mogla biti Toccata iz Monteverdievog Orfea. Ali postoje i signali na mobilnim telefonima koji bi se – obratno – mogli tretirati kao amblemi, npr. ponuðivača usluga. No postoje i čisti signali (npr. onaj Nokie) koje se tretira posve umjetnički, tj. kao prave skladbe. Istraživanje se temelji na dva izvora: 1) na ponudama glavnih ponuðivača signalnih znakova za mobilne telefone (T-com, Vip and Tele2) koji se mogu preko tih telefona i preuzeti; 2) na 60 mobitela koji pripadaju korisnicima različite dobi, od 15 do 65 godina. Sadržaj ponuda glavnih hrvatskih ponuðivača analizirao se po kriteriju identiteta koji bi mogao utjecati na izbor korisnika, a repertoari kod 60 mobitela analizirali su se na temelju sadržaja koji ne postoji kod ponuðivača. U drugome je slučaju mobitel poput »glazbene kutije« koja slušaocu osigurava glazbu bez ikakve veze s amblematskom funkcijom elementarnog zvukovnog signala (ton mobitelskog zvona, ton najave SMS poruke itd.). (Napomena: odlomci iz zvučnih i glazbenih primjera pristupačni su na: http://niksa-gligo.from.hr/.).
Uvodna riječ Botica, Tomislava Bošnjak; Gligo, Nikša
Rasprave Instituta za hrvatski jezik i jezikoslovlje,
01/2018, Volume:
44, Issue:
2
Journal Article
* 21. Dezember 1940 in Split (Kroatien), † 13. Mai 2024 in Köln, Komponist, Dirigent, Pianist und Sänger. Foretić studierte von 1959 bis 1965 Komposition bei M. Kelemen an der Musikakad. in Zagreb. ......
* 6. April 1946 in Split (Kroatien), † 10. Februar 2024 in Zagreb, Musikwissenschaftler. Gligo machte sein Diplom in den Fächern englische Literatur und vergleichende Literaturwissenschaft an der ...Un...
* 19. Mai 1931 in Split (Kroatien), † 28. Juli 2021 in Zagreb, Komponist und Musikpädagoge. Die musikalische Grundausbildung erhielt Radica von seinem Großvater Jos. Hatze. Er studierte Dirigieren ...(19...
* 9. Februar 1935 in Šibenik (Kroatien), † 6. März 2017 in Wien, Komponist und Dirigent. Er studierte an der Muzička akademija in Zagreb (Dirigieren bei Milan Horvat und Igor Gjadrov, Diplom 1962; ...K...
11. Juli 1931 in Zagreb, 7. August 2016 in Zagreb, Komponist, Organist und Pädagoge. Klobučar absolvierte 1955 die theoretisch-historische Abteilung der Musikakad. in Zagreb und studierte dort ...ansch...
The author's experience with musicological research of contemporary music developed his critical attitude towards musicology in general, especially towards the one that considers music only as text ...and limits the approaches to musical works on philological methodology. Both Schering's Experimentelle Musikgeschichte (1913) and Kerman's requests for musicology as fusion of scholarly musicological work and sense for music as art (1985) attempt to get rid of this »philological burden«. A further problem, however, is the equality of all kinds of music, requested by the New musicology and the impossibility to develop appropriate analytical tools for each of them. Harrison's suggestion of ethnomusicological (i.e. sociological) approach is not sufficiently convincing, because – as proven by the quotation from Treitler – the contextual (i.e. social) meaning of any musical work is not so easily to decipher. The author pleads for consciously critical approach to musicological research which permits even contrary readings of the same text, and points out that this is the way in which he persuades his students to cope with the lacunae of their subjects of interest.
Brkanović Gligo, Nikša; Sedak, Eva
MGG Online,
01/2020
Reference
Ivan, 27. Dez. 1906 in Škaljari bei Kotor (Montenegro), 20. Feb. 1987 in Zagreb, Komponist, Dirigent und Pädagoge. Brkanović studierte an der Musikakad. in Zagreb von 1928 bis 1935 Komposition b...
PDF