66 KB1340 KB58 KB196520252007Veselinović-Hofman, Mirjanaštevilka:2letnik:43str. 333-357ISSN:0580-373XCOBISSID:36327778URN:URN:NBN:SI:doc-CTVQ0AEYenFilozofska fakulteta, Oddelek za muzikologijoMuzikološki zbornikčasovno-prostorska enovitostfenomenologija prostora glasbeglasbahermenevtični "akord suspenza"musictišina v glasbiTišina kot hermenevtična oaza glasbe| Silence as a hermeneutic oasis of music|This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic "oasis" of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific "suspension" space that offers 'some more time and place' for various streams of emotion and thoughts, for their "authentication" and justification; for establishing and "specifying" narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan HofmanBesedilo želi prikazati možnost trenutkov glasbene tišine znotraj glasbenega toka in glasbenega zvoka, ki jih prikazuje kot specifične hermenevtične oaze glasbe. Za glasbeno tišino štejejo predvsem kompozicijsko dobljeni segmenti, kjer se tišina uteleša s sredstvi zvoka. In kjer umirjenost stanja zvoka glasbene tišine preskoči v neki drugi prostor: prostor neintencionalnega, ki dejansko spodbuja asociativne in kognitivne poti. Zadeva specifični suspenz prostora, ki ponuja nekoliko več časa in prostoraza različne tokove emocij in misli, za njihovo avtentifikacijo in utemeljitev; za vzpostavitev in opredelitev naracij in celo njihovega opuščanja. Ta teza se obravnava na primeru treh skladb srbske glasbe iz devetdesetih let 20. Stoletja. Gre za naslednja glasbena dela: The Abnormal Beats of Dogon za basklarinet, klavir, ustno harmoniko, tolkala in živo elektroniko (1991) ter Nisam govorio za altovski saksofon, basovsko ustno harmoniko, recitorja in mešani zbor (1995) Zorana Erića in Nocturne of the Belgrade Spring 1999 AD za komorni ansambel, živo elektroniko in avdio trak (1999) Srđana HofmanaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta