Crossroads of European Cultural History 1 and 2

Tijana Popović Mladjenović

Typology: Lecture, Seminar

This course addresses to MA and PhD students

Introduction:

1. The course and seminar aim at introducing the most important interpretations of the phenomenon of appearance of a musical work in a writing from the perspective of the European theory, philosophy and aesthetics of music (musical text as a piece of music; notation as a copy of the original; score as an intentional object; musical writing and time structure; music does not exist in score), i.e. from the perspective of the importance of the appearance of the musical writing and the necessity of creative musical analysis of musical text (that is, the creative use, reading and interpretation of musical text of musical works) in the context of an individual interpretative-performing gesture. Based on case studies of specific analysis, insights into literature, and the seminar paper, the course examines and applies a range of options of integrative and creative approach to performing the music piece which is based on the awareness of the existence of those relatively autonomous layers (“liberated area”) of music text.
2. The course includes the major theoretical approaches to fantasy and ballad principle, as well as to phantasms and narrative in the music (and beyond, art) creation of a wide range from psychoanalytic theories of Freud, Adler and Jung to Lacan and Michael Adams, through the study of the psychology of art (Predrag Ognjenović), “period of aesthetics” (Danko Grlić), theory of creativity (Milos Ilić) , or the attempt to found a philosophy imaginary , that is, a “transcendental fiction” (Gilbert Durand), to the questions of living metaphors, story and experiences of time (Paul Ricoeur), rules of art (Pierre Bourdieu), the philosophy of “unconscious processes” (Gordon Globus and Remo Bodei) and psychological and psychoanalytical approach to music (Anthony Storr and Michel Emberty). At the same time, these theoretical approaches are considered in the field of musical fantasies and ballads in the history of music from the Middle Ages to the present day.

Crossroads of European Cultural History 1 – The Fantasy and Ballad Principle in Music (Interdisciplinary Approach):

1. European history of the fantasy as a musical genre
2. European history of the ballad as a musical genre
3. Musical fantasy as the “second scene” of music
4. Space as the a priori form of fantastic; time and fantasy
5. Ballad and its music protonarative cocoon; narrated time and the time of narration, narrative and discourse, diegetic and mimetic, temporal distance and performativity

Crossroads of European Cultural History 2 – Music Interpretation and Music Text in the Context of Intertextuality (Interdisciplinary Approach):

1. The phenomenon of music text
2. Integrative and creative approach to performing music text
3. Intertextual European traces – case study of Claude Debussy: Prélude à l’après-midi d’un faune
4. Intertextual European traces – case study of Richard Strauss: Ariadne auf Naxos
5. Intertextua Europeanl traces – case study of Pierre Boulez: Le Marteau sans maître; and Luciano Berio: Sequenza VI for viola solo

Bibliography:

 (1)

• Busoni, Ferrucio, L’ésthétique musicale, Paris, 1990.
• Dalhaus, Karl, Estetika muzike, Novi Sad, 1992.
• Ingarden, Roman, Ontologija umetnosti, Novi Sad, 1991.
• Jankelevič, Vladimir, Muzika i neizrecivo, Novi Sad, 1987.
• Popović Mladjenović, Tijana, Musical Writing, Belgrade, 1996.
• Popović Mladjenović, Tijana, Pojam i elementi ’analitičke’ interpretacije, u: Mirjana Veselinović-Hofman (ur.), Aspekti interpretacije, Beograd, 1989, 135–150.
• Popović Mladjenović, Tijana, Processes of Panstylistic Musical Thinking, Belgrade, 2009.
• Krumhansl, C. L. (1996). A perceptual analysis of Mozart’s piano sonata K. 282: segmentation, tension, and musical ideas. Music Perception, 13, 3, 401–432.
• Clarke, E. F. & Krumhansl, C. L. (1990). Perceiving musical time. Music Perception, 7, 3, 213–252.
• Cook, N. & Clarke, E. (2004). Introduction: What is empirical musicology? In E. Clarke & N. Cook (Eds.), Empirical musicology: Aims, methods, prospects (pp. 3-14). Oxford: Oxford University Press.
• Cook, N. (1994). Perception: A perspective from music theory. In R. Aiello & J. A. Sloboda (Eds.), Musical Perceptions (pp. 64-95). Oxford: Oxford University Press.
• Cross, I. (1998). Music Analysis and Music Perception. Music Analysis, 17, 1, 3–20.
• Austin, William W. (ed.), Debussy, Prelude to „The Afternoon of a Faun“ (A Norton Critical Score), New York, W. W. Norton & Company, INC., 1970.
• Berman, Laurence D., Prelude to the Afternoon of a Faun and Jeux: Debussy’s Summer Rites, 19th Century Music, 1980, 3 (3), 225–238.
• Cummnis, Linda, Debussy and the Fragment, Amsterdam, New York, Rodopi, 2006.
• Jarocinski, Stefan, Debussy, impressionnisme et symbolisme, Paris, Éditions du Seuil, 1970.
• Latham, Edward D. & Meglin, Joellen, Motivic Design and Physical Gesture in L’après-midi d’un faune, in: R. Parncutt, A. Kessler & F. Zimmer (eds.), Proceedings of the Conference on Interdisciplinary Musicology (CIMO4), Graz, 15–18 April, 2004.
• McCombie, Elizabeth, Mallarmé and Debussy. Unheard Music, Unseen Text, Oxford, Oxford University Press, 2003.
• Popović Mladjenović, Tijana, A Fragment on the Emotion, “Mathesis“ and Time Dimension of the Purely Musical. Marginalia with Prelude to the Afternoon of a Faun by Claude Debussy, u: Leon Stefanija & Katarina Bogunović Hočevar (Eds.), Rationalism of a Magic Tinge: Music as a Form of Abstract Perception, Musicological Annual, vol. XLIII/2, Ljubljana, 2007, 305–332.
• Trezise, Simon (ed.), Cambridge Companion to Debussy, Cambridge, Cambridge University Press, 2003.
• Popović Mladjenović, Tijana, Ariadne’s Thread of Hofmannsthal’s and Strauss’s Opera in the Opera, or the Labyrinth of the Crossroads of European Cultural History, in: Evi Nika-Sampson, Giorgos Sakallieros, Maria Alexandru, Giorgos Kitsios & Emmanouil Giannopoulos (Ed.), Crossroads – Greece as an intercultural pole of musical thought and creativity, Aristotle University of Thessaloniki, School of Music Studies & International Musicological Society, 2013, 681–698.
• Walter Frisch, German Modernism: Music and the Arts. (Berkeley, Los Angeles, London: University of California Press, 2005)
• Mary A. Cicora, Wagner’s Ring and German Drama. Comparative Studies in Mythology and History in Drama (Westport, Connecticut & London: Greenwood Press, 1999), 91–129.
• Theresia Birkenhauer, “Theatrical Transformation, Media Superimposition and Scenic Reflection: Pictorial Qualities of Modern Theatre and the Hofmannsthal/Strauss Opera, Ariadne auf Naxos”, in The Play within the Play. The Performance of Meta-Theatre and Self-Reflection, ed. Gerhard Fischer and Bernhard Greiner (Amsterdam, New York: Rodopi, 2007), 347–357.
• Brian Soucek, “Giovanni auf Naxos”, in The Don Giovanni Moment. Essays on the Legacy of an Opera, ed. Lydia Goehr & Daniel Herwitz (New York: Columbia University Press, 2006), 193–210.
• Frieder von Ammon, “Opera on Opera (on Opera). Self-Referential Negotiations of a Difficult Genre”, in Self-Reference in Literature and Music, ed. Walter Bernhart and Werner Wolf (Amsterdam, New York: Rodopi, 2010).
• Karen Forsyth, Ariadne auf Naxos by Hugo von Hofmannsthal and Richard Strauss (Oxford: Oxford University Press, 1982).
• David B. Greene, Listening to Strauss Operas. The Audience’s Multiple Standpoints (New York: Gordon and Breach, 1991), 119–184 (Chapter 4: Ariadne auf Naxos).
• Popović Mladjenović, Tijana, Les maîtres du marteau, du faune et du temps. Proposition d’une nouvelle lecture du Marteau sans maître, dans: Emmanuel Ducreux (ed.), Une musique française après 1945?, Lyon, Éditions Symétrie & Conservatoire National Supérieur Musique et Danse de Lyon, 2014 (in press).
• Decarsin, François, ’Artisanat furieux’, Contrechamps, no. 3, L’Age d’Homme, Lausanne, 1984.
• Koblyakov, L., P. Boulez, ’Le Marteau sans maître’: Analyse of Pitch Structure, Zeitschrift für Musiktheorie, 8, 1977.
• Lerdahl, Fred, Cognitive Constraints on Compositional Systems, in: John A. Sloboda (Ed.), Generative Processes in Music: The Psychology of Performance, Improvisation and Composition, Oxford, Clarendon Press, 1988.
• Popović, Berislav, Music Form or Meaning in Music, Clio, Belgrade, 1998.
• Stacey, Peter F., Boulez and the Modern Concept, Scolar Press, Aldershot, 1987.
• Winick, Steven D., Symmetry and Pitch-Duration Associations in Boulez’s ’Le Marteau sans maître’, Perspectives of New Music, vol. 24, no. 2, Spring-Summer 1986.
• Deliège, I. & El Ahmadi, A. (1990). Mechanisms of cue extraction in musical groupings: A study of perception on Sequenza VI for viola solo by Luciano Berio. Psychology of Music, 18, 18-44.
• Deliège, I. & Mélan, M. (1997). Cue abstraction in the representation of musical form. In I. Deliège & J. Sloboda (Eds.), Perception and Cognition of Music (387−412). Hove: Psychology Press.
• Bogunović, B., Popović Mladjenović, T., & Perković, I., Theatrical Expressivity of Berio’s Sequenza for Viola: Levels of Communication, Journal of Interdisciplinary Music Studies, Fall 2010, vol. 4, issue 2, 55–84.
• Berio, L. (1998). Sequenzas. Liner notes for Berio: Sequenzas 20/21 Series. Hamburg: Deutsche Grammophon GmbH, CD 457 038-2 GH3.
• Berio, L. (2006). Remembering the Future. Cambridge, Mass., London: Harvard, University Press.
• Halfyard, J. K. (2007). Foreword. In J. K. Halfyard (Ed.), Berio’s Sequenzas. Essays on Performance, Composition and Analysis (ixx−xxii). Hampshire: Ashgate.
• Halfyard, J. K. (2007). Provoking acts: The theatre of Berio’s Sequenzas. In J. K. Halfyard (Ed.), Berio’s Sequenzas. Essays on Performance, Composition and Analysis (99−116). Hampshire: Ashgate.
• Hander−Powers, J. (1988). Strategies of meaning: A study of the aesthetic and the musical language of Luciano Berio. University of Southern California: Ph.D. Diss.
• Imberty, M. (2003). Music, biology, cognition: questions for the music of XXth century. 3rd International Conference Understanding and Creating Music, Napoli, December 11–15.
• Juslin, P.N. (2003). Five facets of musical expression: a psychologist’s perspective on music performance, Psychology of Music, 31, 3, 273-302.

(2)

• Tijana Popović Mladjenović, Blanka Bogunović, and Ivana Perković, Interdisciplinary Approach to Music: Listening, Performing, Composing, Belgrade, Faculty of Music (Tempus project), 2014
• Adams, Mishael Vannoy, The Fantasy Principle: Psychoanalysis of the Imagination, New York, 2004.
• Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton, 1991.
• Berger, Karol, Diegesis and Mimesis: The Poetic Modes and the Metter of Artistic Presentation, Journal of Musicology, 1994, 12, 407–433.
• Berger, Karol, The Form of Chopin’s „Ballade“, Op. 23, 19th-Century Music, 1996, 1, 46-71.
• Бурдије, Пјер, Правила уметности, Нови Сад, 2003.
• Durand, Gilbert, Antropološke strukture imaginarnog. Uvod u opću arhetipologiju, Zagreb, 1991.
• Globus, Gordon, The Postmodern Brain, Amsterdam, 1995.
• Grlić, Danko, Estetika II. Epoha estetike: XVII, XVIII i početak XIX stoljeća, Zagreb, 1983.
• Ilić, Miloš, Teorija i filozofija stvaralaštva, Beograd, 1979.
• Imberty, Michel, La musique creuse le temps. De Wagner à Boulez: Musique, psychologie, psychanalyse, Paris, 2005.
• Imberty, Michel, Narrative, splintered temporalities and the Unconscious in the music of the XXth Century, Bologna, 2006.
• Klein, Michael, Chopin’s Fourth Ballade as Musical Narrative, Music Theory Spectrum, 2004, 1, 23–56.
• Kramer, Lawrence, Musical Narratology: A Theoretical Outline, у: Classical Music and Postmodern Knowledge, Los Angeles, 1995.
• Lakan, Žak, Spisi (izbor), Beograd, 1983.
• Ognjenović, Predrag, Psihološka teorija umetnosti, Beograd, 2003.
• Storr, Anthony, Music and the Mind, New York, 1992.
• Popović Mladjenović, T., Bogunović, B., Masnikosa, M. & Perković Radak, I. (2009). A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response. Journal of interdisciplinary music studies, 3, 1&2, 95-117.
• Cook, N. (1999). Analysing performance and performing analysis. In N. Cook & M. Everist (Eds.), Rethinking Music (pp. 239-261). Oxford: Oxford University Press.
• Popović, B. (1998). Music form or meaning in music. Belgrade: Clio, Belgrade Culture Centre.
• Waltron, K. (1997). Listening with imagination: Is music representational? In J. Robinson (Ed.), Music and meaning (pp. 37-82). Ithaca and London: Cornell University Press.
• Wiegandt, M. (1995). More a Fantasy or More a Sonata? Historical and Analytical Considerations Concerning Joachim Raff’s Op. 168. Preface. Raff Joachim, Stuttgart: Nordstern.
• Zuckerkandl, V. (1973). Man the musician: Sound and symbol. Princeton: Princeton University Press.
• Juslin, P. N. & Sloboda, J. A.  (Eds.). (2001). Music and emotion (pp. 275-289). New York: Oxford. University Press.
• Popović Mladjenović, Tijana, The Story of the Ballad in Music, [in:], New Sound, 30, 2007, pp. 15–33.
• Popović Mladjenović, Tijana, Reminiscences about Ballad, Chopin, and Transgression, in: Proceedings of the 11th International Congress on Musical Signification – Music: Function and Value, Krakow, Akademia Muzyczna w Krakow, 2011. (u štampi)
• Samson, Jim, Extended forms: the ballades, scherzos and fantasies, [in:] Jim Samson (ed.), The Cambridge Companion to Chopin, Cambridge University Press, Cambridge-New York-Melbourne 1992, pp. 101–123.
• Tarasti, Eero, Signs of Music. A Guide to Musical Semiotics, Mouton de Gruyter, Berlin-New York 2002.
• Imberty, Michel, Les écritures du temps. Sémantique psychologique de la musique, Paris, Dunod, 1981.
• Bodeï, Remo, Logiques du délire. Raison, affects, folie [Logiche del delirio. Ragione, affetti, follia, Laterza, Bari 2000], Aubier Philosophie, Paris 2002.
• Ricoeur, Paul, La métaphore vive, Paris, Seuil, 1975.

Impact

By the end of this course, students will be able to:

• understand the key dimension of the emerging power of cultural and artistic European integration;
• identify and describe the major issues on musical intertextuality;
• discuss and outline the main issues such as “Europeanization” and transformative power of music.

	1st acad. year:	2nd acad. year:		3rd acad. year:	Total over 3 years:
N° of hours	15	15		15	45
N° of students	40	40		40	120
Discipline of audience	Musicology, Music Performance
Year/type of study	2nd cycle (Masters)		Doctoral studies
Nature	Compulsory		Existing