Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића
The Fate of the Postmodern World: on Melancholy and Rebellion by Milan Mihajlović
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Предмет рада су два нова дела Милана Михајловића изведена у оквиру трибине
Нови звучни простори на фестивалу БУНТ у Београду, новембра 2015.
године. Композиције Меланхолија (2014) и Револт (2015) у раду се анализирају
и тумаче као својеврстан диптих, с обзиром на њихову сродност у композиционо-техничком
и структурном смислу, на комплементарност емотивних
тонуса сугерисаних насловима дела и на интертекстуалне релације композиција.
Кроз анализу ових композиција, а у поређењу са претходним ауторовим
остварењима, у раду се прати испољавање аутентичних и препознатљивих
црта ауторовог стила, као и круг семантичких идеја у његовом опусу.
The musical оеuvre of Milan Mihajlović (b. 1945) enjoys a high reputation and
position in contemporary Serbian music. This has been proven by the many awards he has
received, countless performances of his compositions at home and abroad, and especially
by the warm and approving reactions of the audience.
The stylistic consistency in his oeuvre is a result of his creative use of Scriabin’s
scale. The concept of this scale was first theoretically elaborated in an extensive study
written by Mihajlović in 1980 and, since then the scale has been functioning as a crucial
cohesive element in all Mihajlović’s compositions. The novelty in his oeuvre, composed
during the 1990s, were intertextual references made by using citations from his own works
and those of other composers (Monteverdi, Mozart, Stravinsky, Rachmaninov, Vasilije
Mokranjac).
The most characteristic features of his mature style are also recognizable in his recent
works Melancholy (2014) and Rebellion (2015). The inte...rval structure of Skriabin’s
scale is projected along the horizontal (melodical) and vertical (harmonical) axes of the
both works while the formal design resulted from shifts of tensions and relaxations. Developmental
sections are based on variation and improvisation of the small number of
different motifs (three basic ones in Melancholy, four in Rebellion) above the metrically
moveable ostinato layers and the releases are marked by change of tempo, dynamic, meter
and texture. The most significant and radical release is the one which marks the abrupt
ending of Rebellion by the physical gesture of slamming down the keyboard lid. As the
composition was written for the BUNT festival (Belgrade) it fits the festival’s idea of expressing
resistance to the government’s neglect of academic musicians and institutions.
In the wider sense, it becomes a sign of the resistance to the world we live in, and that is
the world of lost ideals.
Both works are composed for the wind instrument and the piano quartet and in the
both cases the author’s voice, with its figures of sorrow and anger, is personified in singing,
narrative lines of the wind instrument (the oboe in Melancholy and French horn in
Rebellion respectively). These two compositions also demonstrate the specific concept of
a circle that is intuitively searched for and ingeniously implemented. It is manifested by
the cyclic concept of Scriabin’s scale and projected in all of the author’s compositional
procedures as a vehicle for the expression of lament and resignation.
Кључне речи:
Милан Михајловић / меланхолија / цитатност / концепт круга / постмодернаИзвор:
Музикологија / Musicology, 2016, II, 21, 87-107Издавач:
- Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
Финансирање / пројекти:
- Идентитети српске музике у светском културном контексту (RS-MESTD-Basic Research (BR or ON)-177019)
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Вуксановић, Ивана PY - 2016 UR - https://dais.sanu.ac.rs/123456789/3786 AB - Предмет рада су два нова дела Милана Михајловића изведена у оквиру трибине Нови звучни простори на фестивалу БУНТ у Београду, новембра 2015. године. Композиције Меланхолија (2014) и Револт (2015) у раду се анализирају и тумаче као својеврстан диптих, с обзиром на њихову сродност у композиционо-техничком и структурном смислу, на комплементарност емотивних тонуса сугерисаних насловима дела и на интертекстуалне релације композиција. Кроз анализу ових композиција, а у поређењу са претходним ауторовим остварењима, у раду се прати испољавање аутентичних и препознатљивих црта ауторовог стила, као и круг семантичких идеја у његовом опусу. AB - The musical оеuvre of Milan Mihajlović (b. 1945) enjoys a high reputation and position in contemporary Serbian music. This has been proven by the many awards he has received, countless performances of his compositions at home and abroad, and especially by the warm and approving reactions of the audience. The stylistic consistency in his oeuvre is a result of his creative use of Scriabin’s scale. The concept of this scale was first theoretically elaborated in an extensive study written by Mihajlović in 1980 and, since then the scale has been functioning as a crucial cohesive element in all Mihajlović’s compositions. The novelty in his oeuvre, composed during the 1990s, were intertextual references made by using citations from his own works and those of other composers (Monteverdi, Mozart, Stravinsky, Rachmaninov, Vasilije Mokranjac). The most characteristic features of his mature style are also recognizable in his recent works Melancholy (2014) and Rebellion (2015). The interval structure of Skriabin’s scale is projected along the horizontal (melodical) and vertical (harmonical) axes of the both works while the formal design resulted from shifts of tensions and relaxations. Developmental sections are based on variation and improvisation of the small number of different motifs (three basic ones in Melancholy, four in Rebellion) above the metrically moveable ostinato layers and the releases are marked by change of tempo, dynamic, meter and texture. The most significant and radical release is the one which marks the abrupt ending of Rebellion by the physical gesture of slamming down the keyboard lid. As the composition was written for the BUNT festival (Belgrade) it fits the festival’s idea of expressing resistance to the government’s neglect of academic musicians and institutions. In the wider sense, it becomes a sign of the resistance to the world we live in, and that is the world of lost ideals. Both works are composed for the wind instrument and the piano quartet and in the both cases the author’s voice, with its figures of sorrow and anger, is personified in singing, narrative lines of the wind instrument (the oboe in Melancholy and French horn in Rebellion respectively). These two compositions also demonstrate the specific concept of a circle that is intuitively searched for and ingeniously implemented. It is manifested by the cyclic concept of Scriabin’s scale and projected in all of the author’s compositional procedures as a vehicle for the expression of lament and resignation. PB - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts T2 - Музикологија / Musicology T1 - Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића T1 - The Fate of the Postmodern World: on Melancholy and Rebellion by Milan Mihajlović SP - 87 EP - 107 VL - II IS - 21 DO - 10.2298/MUZ1621087V UR - https://hdl.handle.net/21.15107/rcub_dais_3786 ER -
@article{ author = "Вуксановић, Ивана", year = "2016", abstract = "Предмет рада су два нова дела Милана Михајловића изведена у оквиру трибине Нови звучни простори на фестивалу БУНТ у Београду, новембра 2015. године. Композиције Меланхолија (2014) и Револт (2015) у раду се анализирају и тумаче као својеврстан диптих, с обзиром на њихову сродност у композиционо-техничком и структурном смислу, на комплементарност емотивних тонуса сугерисаних насловима дела и на интертекстуалне релације композиција. Кроз анализу ових композиција, а у поређењу са претходним ауторовим остварењима, у раду се прати испољавање аутентичних и препознатљивих црта ауторовог стила, као и круг семантичких идеја у његовом опусу., The musical оеuvre of Milan Mihajlović (b. 1945) enjoys a high reputation and position in contemporary Serbian music. This has been proven by the many awards he has received, countless performances of his compositions at home and abroad, and especially by the warm and approving reactions of the audience. The stylistic consistency in his oeuvre is a result of his creative use of Scriabin’s scale. The concept of this scale was first theoretically elaborated in an extensive study written by Mihajlović in 1980 and, since then the scale has been functioning as a crucial cohesive element in all Mihajlović’s compositions. The novelty in his oeuvre, composed during the 1990s, were intertextual references made by using citations from his own works and those of other composers (Monteverdi, Mozart, Stravinsky, Rachmaninov, Vasilije Mokranjac). The most characteristic features of his mature style are also recognizable in his recent works Melancholy (2014) and Rebellion (2015). The interval structure of Skriabin’s scale is projected along the horizontal (melodical) and vertical (harmonical) axes of the both works while the formal design resulted from shifts of tensions and relaxations. Developmental sections are based on variation and improvisation of the small number of different motifs (three basic ones in Melancholy, four in Rebellion) above the metrically moveable ostinato layers and the releases are marked by change of tempo, dynamic, meter and texture. The most significant and radical release is the one which marks the abrupt ending of Rebellion by the physical gesture of slamming down the keyboard lid. As the composition was written for the BUNT festival (Belgrade) it fits the festival’s idea of expressing resistance to the government’s neglect of academic musicians and institutions. In the wider sense, it becomes a sign of the resistance to the world we live in, and that is the world of lost ideals. Both works are composed for the wind instrument and the piano quartet and in the both cases the author’s voice, with its figures of sorrow and anger, is personified in singing, narrative lines of the wind instrument (the oboe in Melancholy and French horn in Rebellion respectively). These two compositions also demonstrate the specific concept of a circle that is intuitively searched for and ingeniously implemented. It is manifested by the cyclic concept of Scriabin’s scale and projected in all of the author’s compositional procedures as a vehicle for the expression of lament and resignation.", publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts", journal = "Музикологија / Musicology", title = "Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића, The Fate of the Postmodern World: on Melancholy and Rebellion by Milan Mihajlović", pages = "87-107", volume = "II", number = "21", doi = "10.2298/MUZ1621087V", url = "https://hdl.handle.net/21.15107/rcub_dais_3786" }
Вуксановић, И.. (2016). Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића. in Музикологија / Musicology Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts., II(21), 87-107. https://doi.org/10.2298/MUZ1621087V https://hdl.handle.net/21.15107/rcub_dais_3786
Вуксановић И. Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића. in Музикологија / Musicology. 2016;II(21):87-107. doi:10.2298/MUZ1621087V https://hdl.handle.net/21.15107/rcub_dais_3786 .
Вуксановић, Ивана, "Усуд постмодерног света: о Меланхолији и Револту Милана Михајловића" in Музикологија / Musicology, II, no. 21 (2016):87-107, https://doi.org/10.2298/MUZ1621087V ., https://hdl.handle.net/21.15107/rcub_dais_3786 .