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dc.creatorRadovanović, Bojana
dc.date.accessioned2018-07-15T23:17:47Z
dc.date.available2018-07-15T23:17:47Z
dc.date.issued2018
dc.identifier.issn0354-818X (print)
dc.identifier.issn1821-3782 (online)
dc.identifier.urihttp://www.newsound.org.rs/pdf/en/ns51/08_Radovanovic.pdf
dc.identifier.urihttps://dais.sanu.ac.rs/123456789/3499
dc.description.abstractWritten as a twofold dissertation on Ph.D. studies of composition at the Faculty of Music in Belgrade, which consists of the piece and the autopoetic text, Ana Gnjatović's Phonations for voice and electronics (2016), raises, among others, questions of performance of music for voice and electronics, as well as issues of the composer's/performers voice, and the topic of (musical) memory. Focusing on these problem points, this paper deals with Ana Gnjatovićs 'vocal identity', represented and performed in the layering sounds of voice and electronics, with Edward T. Cone's notion of 'composers voice' in mind.en
dc.language.isoensr
dc.publisherBelgrade : Department of Musicology, Faculty of Musicsr
dc.rightsopenAccesssr
dc.sourceNew Sound International Journal of Musicsr
dc.subjectPhonationssr
dc.subjectAna Gnjatovićsr
dc.subjectcomposer's voicesr
dc.subjectelectrovocal musicsr
dc.subjectperformancesr
dc.titleWhat does the Humming Avatar Remember? Composer's Voice and Memory in Ana Gnjatović's Phonationsen
dc.typearticlesr
dc.rights.licenseARRsr
dcterms.abstractРадовановић, Бојана;
dc.citation.spage133
dc.citation.epage143
dc.citation.volumeI
dc.citation.issue51
dc.description.otherThis paper originated from one written under the mentorship of Prof. Dr. Vesna Mikić, as the final paper for the Electroacoustic Music Course (2016/2017) on Ph. D studies of musicology at the Faculty of Music in Belgrade.en
dc.type.versionpublishedVersionsr
dc.identifier.fulltexthttps://dais.sanu.ac.rs/bitstream/id/11153/bitstream_11153.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_dais_3499


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