Voices of earthmen (1995) by Vladan Radovanović: A review
Vladan Radovanović: Glasovi Zemljana (1995) - prikaz
Abstract
This paper discusses the compositional technique and the poetic level of the composition Glasovi Zemljana (Voices of Earthmen) composed by Vladan Radovanović in 1995. The work is based on the composer’s own musical principle, which he called hyperpoliphony, established in his early work Polyphony No. 9, and applied in his entire musical opus to date. The composition contains three movements, although the disposition of each section implies integration at a higher level of its structure, enabling us to interpret this work as an organic, textually unified three-part whole. Even though so-called hyperpolyphony creates and pervades the whole composition, this music is not the outcome of some rigid system. It breathes and it has its own ′warm′ and even 'confessing' sections, especially in the unexpected instrumental and vocal 'solo-episodes'. Although this work was composed in an age of musical postmodernism, and shows a very strong imprint of musical expressionism, its atonality and very s...pecific modernist musical technique define it as a modernist work, which places it in the huge trajectory of musical modernism of the second half of the twentieth century.
Kratka studija posvećena kompoziciji Glasovi Zemljana za mešoviti hor i orkestar Vladana Radovanovića, razmatra kompoziciono-tehničku i poetičku ravan ovog dela u kontekstu muzike visokog i kasnog modernizma. Kao i mnoga dela ovog kompozitora koja su joj prethodila, razmatrana kompozicija je izgrađena na principu Radovanovićeve hiperpolifonije kao svojevrsnog kompozitorovog muzičkog modusa menti. Ova kompozicija nedvosmisleno pripada korpusu muzičkog modernizma druge polovine 20. veka. To se očituje u njenom muzičkom jeziku, kompozicionoj tehnici i fizionomiji muzičkog materijala koji je izgrađuje. Najznačajniji iskorak koji ovo delo ostvaruje u odnosu na rigidne postulate visokog i kasnog muzičkog modernizma, ogleda se u prisustvu autentične ekspresije koja je proizvela njegovo poetičko središte.
Keywords:
modernizam / hiperpolifonija / atonalnost / ekspresijaSource:
Музикологија / Musicology, 2007, 7, 295-302Collections
Institution/Community
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Masnikosa, Marija PY - 2007 UR - https://dais.sanu.ac.rs/123456789/2624 AB - This paper discusses the compositional technique and the poetic level of the composition Glasovi Zemljana (Voices of Earthmen) composed by Vladan Radovanović in 1995. The work is based on the composer’s own musical principle, which he called hyperpoliphony, established in his early work Polyphony No. 9, and applied in his entire musical opus to date. The composition contains three movements, although the disposition of each section implies integration at a higher level of its structure, enabling us to interpret this work as an organic, textually unified three-part whole. Even though so-called hyperpolyphony creates and pervades the whole composition, this music is not the outcome of some rigid system. It breathes and it has its own ′warm′ and even 'confessing' sections, especially in the unexpected instrumental and vocal 'solo-episodes'. Although this work was composed in an age of musical postmodernism, and shows a very strong imprint of musical expressionism, its atonality and very specific modernist musical technique define it as a modernist work, which places it in the huge trajectory of musical modernism of the second half of the twentieth century. AB - Kratka studija posvećena kompoziciji Glasovi Zemljana za mešoviti hor i orkestar Vladana Radovanovića, razmatra kompoziciono-tehničku i poetičku ravan ovog dela u kontekstu muzike visokog i kasnog modernizma. Kao i mnoga dela ovog kompozitora koja su joj prethodila, razmatrana kompozicija je izgrađena na principu Radovanovićeve hiperpolifonije kao svojevrsnog kompozitorovog muzičkog modusa menti. Ova kompozicija nedvosmisleno pripada korpusu muzičkog modernizma druge polovine 20. veka. To se očituje u njenom muzičkom jeziku, kompozicionoj tehnici i fizionomiji muzičkog materijala koji je izgrađuje. Najznačajniji iskorak koji ovo delo ostvaruje u odnosu na rigidne postulate visokog i kasnog muzičkog modernizma, ogleda se u prisustvu autentične ekspresije koja je proizvela njegovo poetičko središte. T2 - Музикологија / Musicology T1 - Voices of earthmen (1995) by Vladan Radovanović: A review T1 - Vladan Radovanović: Glasovi Zemljana (1995) - prikaz SP - 295 EP - 302 IS - 7 DO - 10.2298/MUZ0707295M UR - https://hdl.handle.net/21.15107/rcub_dais_2624 ER -
@article{ author = "Masnikosa, Marija", year = "2007", abstract = "This paper discusses the compositional technique and the poetic level of the composition Glasovi Zemljana (Voices of Earthmen) composed by Vladan Radovanović in 1995. The work is based on the composer’s own musical principle, which he called hyperpoliphony, established in his early work Polyphony No. 9, and applied in his entire musical opus to date. The composition contains three movements, although the disposition of each section implies integration at a higher level of its structure, enabling us to interpret this work as an organic, textually unified three-part whole. Even though so-called hyperpolyphony creates and pervades the whole composition, this music is not the outcome of some rigid system. It breathes and it has its own ′warm′ and even 'confessing' sections, especially in the unexpected instrumental and vocal 'solo-episodes'. Although this work was composed in an age of musical postmodernism, and shows a very strong imprint of musical expressionism, its atonality and very specific modernist musical technique define it as a modernist work, which places it in the huge trajectory of musical modernism of the second half of the twentieth century., Kratka studija posvećena kompoziciji Glasovi Zemljana za mešoviti hor i orkestar Vladana Radovanovića, razmatra kompoziciono-tehničku i poetičku ravan ovog dela u kontekstu muzike visokog i kasnog modernizma. Kao i mnoga dela ovog kompozitora koja su joj prethodila, razmatrana kompozicija je izgrađena na principu Radovanovićeve hiperpolifonije kao svojevrsnog kompozitorovog muzičkog modusa menti. Ova kompozicija nedvosmisleno pripada korpusu muzičkog modernizma druge polovine 20. veka. To se očituje u njenom muzičkom jeziku, kompozicionoj tehnici i fizionomiji muzičkog materijala koji je izgrađuje. Najznačajniji iskorak koji ovo delo ostvaruje u odnosu na rigidne postulate visokog i kasnog muzičkog modernizma, ogleda se u prisustvu autentične ekspresije koja je proizvela njegovo poetičko središte.", journal = "Музикологија / Musicology", title = "Voices of earthmen (1995) by Vladan Radovanović: A review, Vladan Radovanović: Glasovi Zemljana (1995) - prikaz", pages = "295-302", number = "7", doi = "10.2298/MUZ0707295M", url = "https://hdl.handle.net/21.15107/rcub_dais_2624" }
Masnikosa, M.. (2007). Voices of earthmen (1995) by Vladan Radovanović: A review. in Музикологија / Musicology(7), 295-302. https://doi.org/10.2298/MUZ0707295M https://hdl.handle.net/21.15107/rcub_dais_2624
Masnikosa M. Voices of earthmen (1995) by Vladan Radovanović: A review. in Музикологија / Musicology. 2007;(7):295-302. doi:10.2298/MUZ0707295M https://hdl.handle.net/21.15107/rcub_dais_2624 .
Masnikosa, Marija, "Voices of earthmen (1995) by Vladan Radovanović: A review" in Музикологија / Musicology, no. 7 (2007):295-302, https://doi.org/10.2298/MUZ0707295M ., https://hdl.handle.net/21.15107/rcub_dais_2624 .