@inbook{
author = "Medić, Ivana",
year = "2022",
abstract = "Ciklus koncerata savremene muzike Muzička moderna (izvorno nazvan Muzika
danas) emitovan je u direktnom prenosu na talasima Trećeg programa Radio Beograda od
1967. do 1985. godine. Tokom prve dve godine trajanja ovog ciklusa, posle svakog koncerta
vođene su diskusije o izvedenim delima, ali i o različitim problemima savremene muzike.
Moderator ovih javnih tribina u etru bio je Pavle Stefanović, a tom prilikom apostrofirani su
različiti problemi moderne, avangardne i eksperimentalne muzike, počev od tehničko-zanatskih,
do suštinskih pitanja smislenosti ove muzike i njenog dugoročnog opstanka i održivosti. Jedan
od Stefanovićevih sagovornika bio je Berislav Popović, koji je učestvovao u razgovoru povodom
koncerta održanog 28. decembra 1967. godine, na kojem su izvedene kompozicije Nikola
Kastiljonija (Niccolò Castiglioni), Andrea Žolivea (André Jolivet), Janisa Ksenakisa (Iannis
Xenakis), Vladana Radovanovića i Edgara Vareza (Edgard Varèse). Transkript razgovora, prekucan
na pisaćoj mašini, sačuvan je u arhivskoj dokumentaciji Trećeg programa. Komentarišući
kompozicije Kastiljonija, Žolivea, Vareza i posebno Ksenakisa, Berislav Popović je sa slušaocima
podelio svoje umetničke, muzičko-teorijske i filozofsko-estetičke stavove. Kroz razgovor – bolje
rečeno, polemiku – sa Pavlom Stefanovićem, hrvatskim muzikologom Petrom Selemom i dirigentom
Konstantinom Simonovićem, Berislav Popović je lucidno komentarisao zahteve koji su
postavljani pred tadašnje (evropske) kompozitore, zatim, pitanja originalnosti i doslednosti
muzičkih procesa, logike izgradnje ostvarenja „nove” muzike itd. Posebno je zanimljiva sintagma
konstruktivni motor muzike, kojom je Popović opisao oblikotvorne kompozitorske strategije
primenjivane u cilju izbegavanja nekoherentnosti, ili pak, manirizma muzičkog toka, u uslovima
nepostojanja jasnih i iole trajnih „pravila” za savremeno komponovanje. Cilj ovo rada je da,
sa vremenske distance od 55 godina, prokomentarišemo Popovićeve stavove i zapažanja, te
njegovu kritiku kako kompozitora koji svaki zvučni prostor „ispunjavaju sobom”, tako i onih
zavedenih ideologijom neponovljivosti i originalnosti po svaku cenu., The cycle of concerts of contemporary music called Musical Modernism (originally named
Music Today) was broadcast live on the waves of the Third Program of Radio Belgrade from
1967 to 1985. During the first two years, after each concert, there were discussions about the
performed works, but also about various problems of contemporary music. The moderator of
these public discussions on radio waves was Pavle Stefanović, and on those occasions various
problems of modern, avant-garde and experimental music were highlighted, ranging from technical
concerns to essential questions of the meaning of new music and the prospects of its longterm
survival and sustainability. One of Stefanović’s interlocutors was Berislav Popović, who took part in the conversation on the occasion of the concert held on 28 December 1967, at
which compositions by Niccolò Castiglioni, André Jolivet, Iannis Xenakis, Vladan Radovanović
and Edgard Varè se were performed. The transcript of the discussion, typed on a typewriter, is
preserved in the archival documentation of the Third Program of Radio Belgrade. While commenting
on the compositions of Castiglioni, Jolivet, Varèse, and especially Xenakis, Berislav
Popović shared with the listeners his own artistic, musical-theoretical and philosophical-aesthetic
views. Throughout the conversation – or rather, a polemic – with Pavle Stefanović,
Croatian musicologist Petar Selem and conductor Konstantin Simonović, Berislav Popović
lucidly commented on the demands placed on the European composers of that time, as well as
the questions of originality and consistency of musical processes, and the logic of creating the
works of “new music”. Of particular interest is his expression constructive engine of music, with
which Popović described formative compositional strategies applied in order to avoid incoherence,
or mannerism of the musical flow, in the absence of clear and lasting “rules” for contemporary
composition. The goal of this presentation is to comment (from a distance of 55 years)
on Popović’s viewpoint and observations, as well as his criticism of two opposite groups of
composers who “fill each empty sound space with themselves”, and those seduced by the ideology
of uniqueness and originality at any cost.",
publisher = "Beograd : Fakultet muzičke umetnosti",
journal = "Difrakcije kompozitorskog, muzičko-teorijskog, pedagoškog i društveno-kulturnog stvaranja Berislava Popovića",
booktitle = "Konstruktivni motor muzike: Berislav Popović i tribina Muzika danas / Muzička moderna Trećeg programa Radio Beograda, Constructive Engine of Music: Berislav Popović and the Series Music Today / Musical Modernism of the Third Program of Radio Belgrade",
pages = "260-271",
url = "https://hdl.handle.net/21.15107/rcub_dais_14267"
}