MUSIC THEORY AND ANALYSIS:

MUSICAL SEMIOTICS 40 YEARS AFTER

*
The Tenth International Conference
of the Department of Music Theory
Faculty of Music, University of Arts in Belgrade
8 - 10 November 2013

Conference Committee
Mario Baroni (Universit di Bologna)
Michel Imberty (Universit Paris X - Nanterre)
Carlo Jacoboni (Universit di Modena)
Herbert Schneider (Universitt des Saarlandes)
Anna Rita Addessi (Universit di Bologna)
Anica Sabo (University of Arts in Belgrade)
Jan Philipp Sprick (Hohschule fr Musik und Theater Rostock)
Ana Stefanovi (University of Arts in Belgrade)
Ivana Vuksanovi (University of Arts in Belgrade)

Editors: Ana Stefanovi, Ivana Vuksanovi, Atila Sabo
Proof reader: Jelena Nikezi
Cover design: Andrea Palati
Prepress: Darko Jovanovi
Publisher: Faculty of Music, University of Arts in Belgrade
Print: Staze, Belgrade

Conference Venues:
Faculty of Music, Kralja Milana 50 Concert Hall
Composers Association of Serbia, Miarska 12-14 Concert Hall
Hall of National Bank of Serbia, Nemanjina 17
Studio 6 Radio Belgrade, Hilandarska 2

This conference is sponsored by the Ministry of Education, Science and Technological Development of the
Republic of Serbia.

ISBN 978-86-88619-36-3

Friday, 8 November 2013.

Faculty of Music, Concert Hall

09.00-09.45

REGISTRATION

09.45-10.00

OPENING ADDRESS

Ljiljana Mrki Popovi, Rector of University of Arts in Belgrade

Mirjana Zaki, Vice Dean, Faculty of Music in Belgrade

10.00-11.00

Round table dedicated to the memory of the conference of 1973

Participants: Mario Baroni, Michel Imberty, Carlo Jacoboni, Rossana Dalmonte

Moderator: Ana Stefanovi

Friday, 8 November 2013.

Faculty of Music, Concert Hall
Keynote lecture
11.00-12.00
Michel Imberty: Aprs la smiologie et le structuralisme, quelle approche de la musique
aujourdhui ?
break
Session 1:
Chair: Mario Baroni
12.30.-13.00 Katarina Tomaevi: Dragutin Gostuki and Musical Semiotics
13.00- 13.30 Marija Masnikosa: Playing with Signs in the Composition A Brief Account by Goran
Kapetanovi
13.30-14.00 Ivana Vuksanovi: Intoned meaning, physiological metaphors and semantic range in
variations titled Karakteri by Vojislav Kosti
lunch break
Session 2:
Composers Association of Serbia, Concert Hall
Chair: Michel Imberty
16.00-16.30 Mirjana Zaki: Ritual songs as systems of sound signs
16.30-17.00 Biljana Srekovi: From sound object to sound as sign: Pierre Schaeffers musique
concrete vs. Luc Ferraris music anecdotique
17.00-17.30 Sran Atanasovski: The Affective Turn and the Critique of Semiotics: Challenges and
New Vistas in Mapping Music Practices
18.00 Coctail
20.00 Concert: International Review of Composers, Studio 6 Radio Belgrade

Saturday, 9 November 2013.

Composers Association of Serbia Concert Hall
Keynote lecture
10.00-11.00
Mario Baroni/Rossana Dalmonte/Carlo Jacoboni: Affective procedures in a musical grammar
Session 3
Chair: Rossana Dalmonte
11.00-11.30 Ana Stefanovi: Topos of Transcendence and its Position in Narrative Configuration of
Music Drama
11.30-12.00 Melita Milin: In Search of Narrative Programmes in Ljubica Maris Works
break
12.30-13.00 Mina Boani: Music analysis via musical semiotics: organisation of musical space in
Josip Slavenskis String quartet no. 1 (1923)
13.00-13.30 Atila Sabo: Narrative function of semiotic processes in second movement of Paul
Hindemiths Seventh String Quartet
13.30-14.00 Srdjan Tepari: On the transcendent characteristics of signs exemplified in music of Manuel
De Falla, Igor Stravinsky and Dejan Despi
lunch break
Session 4
Chair: Ana Stefanovi
15.30.-16.00 Jan Philipp Sprick: Analyzing Musical Ambiguity in Bach and Mozart
16.00-16.30 Filip Pavlii: Relation between music and verbal meaning in Schuberts Der
Wanderer, op.4 no.1
16.30-17.00 Aleksandra Ivkovi: Irony in lieder of early romantic composers
break
17.30-18.00 Ivana Medi: The Challenges of Transition: Arvo Prts Transitional Symphony No. 3
between Polystylism and Tintinnabuli
18.00-18.30 Irena Alperyte: Hi, this is Francisco Trrega calling!
20.00 Concert: International Review of Composers
Hall of the National Bank of Serbia

Sunday, 10 November 2013

Composers Association of Serbia Concert Hall
Keynote lecture
09.30-10.30
Herbert Schneider: Olivier Messiaen as Theorist
Session 5:
Chair: Herbert Schneider
10.30-11.00 Anica Sabo: Berislav Popovis methodological contribution to the analyses of symmetry
in the musical flow
11.00-11.30 Sonja Marinkovi: Eastern and western concepts of hystory of music theory
11.30-12.00 Viktorija Kolarovska Gmirja: Problems of pitch organization in russian music theory
12.00-12.30 Valerija Kanaki: Insight at Schumanns Carnaval through the prism of Asafiev
intonation theory
break
Session 6:
Chair: Ivana Vuksanovi
13.00-13.30 Kato Koichi: Another look at Schubertian Tonality
13.30-14.00 Jelena Mihajlovi: Specific Ways of Modulation in the Music of Sergei Prokofiev
Proposal for a New Typology
14.00-14.30 Predrag Repani: Imitation of Movable Counterpoints Revisited
14.30-15.00 Miloje Nikoli: Dynamic Forms of Vocal Music

15.00 Closing remarks

ABSTRACTS

Irena Alperyte, Lithuanian Academy of

Music and Theatre

HI, THIS IS FRANCISCO TRREGA

CALLING!
In 1993 Anssi Vanjoki, then Executive Vice
President of Nokia, took the whole Gran Vals by
Francisco Trrega to Lauri Kivinen (now Head of
Corporate Affairs) and together they selected the
excerpt that became the Nokia tune. This article
is based on my teaching experience at the Arts
Management Department, Lithuanian Academy
of Music and Theatre, and aims at examining the
role of sound as an attribute of brand identity.
I often suggest my students do a simple
test. Choose a YouTube story, and play it to a
different soundtrack. (Last teaching season I
used to play the piece Cloud Gate AKA: The
Bean at Sunset recorded by Jim Davidson). In
this little clip you can see the famous sculpture
of a bean by Anish Kapoor, the centerpiece of
the AT&T Plaza in Millennium Park, Chicago,
Illinois, United States. The authors intention was
to embalm The Bean at sunset on video. Jim
said he had taken one photo every 3 seconds for
90 minutes, and upon finishing his filming, added
a soundtrack by Mozart (Lacrimosa). The
effect was astounding the bean embodied the
fragility of the moment, and this wouldnt have
been possible without adding Mozart to it.
At other times we can take a horror movie, turn
off the phonograph, and see what impact it will
make. Most of us managed to play with Murnaus
Nosferatu or Langs Metropolis. Success
again: the change of the music track either ruins
the initial emotion or transforms it into something
completely different. And then we try another
experiment: take a love scene, for example the
scene Im Flying from the Titanic, and add
to it any well-known rap melody. It immediately
acquires another connotation and blows us away
from the epoque. Even odder effects happen
when we take, lets say, an erotic scene and add
some opposite, for instance, comic music. The
results can surpass our expectations.

On the other side of the experiment is the

option to listen to the movie without the video
track. In this way, too, we can extract some very
interesting effects. After these experiments, most
of the students agree that only when both audio
and video tracks are adjusted will the film cause
distress where appropriate (Hitchcocks shower
scene in Psycho), or heart-breaking despair
(Adagietto from Gustav Mahlers 5th symphony
in Death in Venice by Visconti). All this material
is used by us studying the semantics of music at
the lectures, but not the music subject! We do
it at the arts marketing seminar. Why? Because
the way we select an audio and/or visual concept
often depends not only on our own taste, but also
the ability to become good producers and predict
the recipients reaction.
Acoustic elements are commonly used in
todays brand development. The acoustic solutions
of a brands visual identity are called an audio
logotype, when a certain product is recognizable
with the help of a logo sound. This audio logotype
may become an integral part of a consistent part of
brand strategy. After the experiments conducted
with the students, we can see how differently one
or the other visual material is perceived.
In the article we base our insights on Roland
Barthes teaching about the Third Meaning and
conclude the research with the need to deepen
students knowledge in the multidisciplinary
context.

Sran Atanasovski, The Institute of

Musicology, Serbian Academy of
Sciences and Arts

THE AFFECTIVE TURN AND

THE CRITIQUE OF SEMIOTICS:
CHALLENGES AND NEW VISTAS IN
MAPPING MUSIC PRACTICES
In this paper I wish to explore the challenges
which the so-called affective turn in cultural
studies poses to the semiotic models of music
research and to map the potentialities of exploring

music practices in this new key. Already in the

1970s strong voices appeared on the French
theoretical stage questioning the limits of the
linguistic turn in cultural studies and warned of
the irreducibility of life itself to text. Unfolding
both within semiotics circles (Roland Barthes) and
outside them (Gilles Deleuze and Flix Guattari,
Henri Lefebvre, etc.), these voices pointed out
the importance of desire, pleasure and enjoyment,
and the role of lived-through intensities placed
into a concrete physical context. The critique was
especially aimed at the question of materiality
of the signifier and its capacity to influence, or
even alter, the processes of coding and decoding,
which could not be comprehensively scrutinized
by the existing semiotic models. Affect theory,
developed mainly in the 2000s and partly inspired
by research on emotions and body conducted in
feminist and queer theory, embraced some of
the aforementioned authors as prophetic. In my
research I will follow the strand of affect theory
which identifies affect as Deleuzian intensity
(Brian Massumi) and draws a conspicuous
(ontological, as well as methodological) divide
between affects and emotions. As the potential
ramifications of affect theory often remain
obscured, I believe it would be particularly
fruitful to discuss three paths of enquiry which it
opens, in deviation to standard semiotic models:
the discovery of the non-signified materiality and
its potentiality to generate affects, the argued
potentiality of the excessive affect to de-signify,
and, finally, the potentiality of the social machines
to capture (overcode) the produced affect
through mechanisms which are not linguistic or
representational. In order to demonstrate how
these enquiries which have escaped the purview
of semiotics can transform our interpretations
of music practices I will particularly refer to the
case of the often studied question of nationalism
and music in Serbia at the end of the long
nineteenth century. Examining the practices of
Serbian choral societies and home music-making
I will show how nationalism functions not
through transmission of a message, but through
harnessing the potential of music to produce
affect in concrete material situations. Finally, my
conclusion will refer to the need of musicology to
rethink its core methodologies in order to respond
to the theoretical challenges and make the most of
the above-mentioned opportunities.

Mario Baroni, Universit di Bologna

Rossana Dalmonte, Universit di Trento
Carlo Jacoboni, Universit di Modena

AFFECTIVE PROCEDURES IN A
MUSICAL GRAMMAR
Theoretical background and aims of the
research
In the theory of musical grammar published
in 1999, we listed all the structural rules necessary
for describing a number of arias by Giovanni
Legrenzi, with a computer production aimed at
the control of the completeness and consistency of
the rules. By extension, we hypothesized that each
musical genre in a given epoch and geographical
place could be generated by grammatical rules like
these. In our first model of grammar, we did not
include the prescriptions of how to use the rules
of the grammar in order to obtain specific musical
expressive intentions (meta-rules) typically
studied by the semiotic tradition. In 1999 we
simply formulated the hypothesis that the metarules limit the choice of some grammatical rules
and emphasize others. In the present paper we
give specific examples of particular meta-rules:
the emotional ones present in a repertoire of 18thcentury arias of Italian opera seria.
To study emotions we took into account the
theories of Patrick Juslin and others, particularly
the relationships between the structural features
of music and the emotional responses of listeners.
In our repertoire implicit emotional responses are
absolutely clear, being based on the dramaturgical
plot, the meaning of the lyrics and the cultural
conventions of 18th-century opera. A general
description of opera conventions can be found
in original sources and in todays musicological
studies. One of our aims is to propose a scientific
textual-musical analysis of the repertoire and,
consequently, a more precise description of the
contents of such conventions.
Method
a) Choice of the repertoire
In order to find a set of arias representative of
different affects, we first examined a high number
of librettos. Looking for a preliminary uniformity,
we chose the majority of them from among

Metastasios operas. The different plots offer a

huge number of arias whose content expresses
fury, vengeance, rebellion or anger. And given the
prominence of love stories in 18th-century operas,
there are also many arias which declare this
affect or regret its loss. Obviously there are also
other affective situations and more ambiguous
expressive forms: for example, Metastasios
intentions are often devoted to the doubtful
behaviors of the characters. In our opinion,
however, the best-characterized affects are fury,
love and sorrow. In this first phase of our research
we limited our analysis to these three emotions
and to 12 arias, four for each emotion, taken from
operas by Neapolitan composers (Vinci, Porpora,
Sarro, Insanguine) and German ones (Handel, J.
Chr. Bach, Gluck).
b) Analysis
The analysis was carried out on two main
levels: macro-formal and micro-formal. On the
former level the 12 compositions were examined
taking into account the aria as a whole: general
tempo, relationships between the number of
lines and that of musical phrases (repetitions
of words), segmentation into parts, motives
and themes referred to in the poetic material,
harmonic developments. On the micro-formal
level attention was given to musical components
such as rhythmic structure, melodic profiles,
relationships between voice and instruments.
Results
We collected a great number of data taken
from each measure of the 12 arias and organized
them in different tables following the parameters
indicated above and comparing them according
to the three different emotions. Examples will be
given and commented on during the Conference.
In our analysis we found that the meta-rules
of each of the three passions seemed to be similar
in all the considered musicians apart from the
obvious different styles of the composers. Another
significant result regards the working mechanism
of the meta-rules. The resulting affect is never
due to the behavior of a single parameter: it is
rather due to the concurrent effect of a number
of parameters each governed by its meta-rule.
Examples of mixtures like these will also be given
during the Conference.

Our results indicate that the proposed

methodology is appropriate and correct as regards
the use of a musical grammar in order to obtain
affective results. Obviously 12 arias cannot
be considered enough for the study of such a
complex subject: our research was conceived
simply as a pilot study. Our project is to take into
account a much wider repertoire of examples in
order to verify the hypotheses we formulated in
this first approach.

Mina Boani, University of Arts in

Belgrade

MUSIC ANALYSIS VIA MUSICAL

SEMIOTICS: ORGANISATION
OF MUSICAL SPACE IN JOSIP
SLAVENSKIS STRING QUARTET
NO. 1 (1923)
In this paper I would like to examine some
competences of musical semiotics, i.e. the
semiotics of musical space, for the purposes of
music analysis. As a part of musical semiosis (the
process of signification and creation of meaning),
musical space can be interpreted as a specific
analytical tool. It allows, I believe, thorough
analysis which is based on examining the
tonality and texture. The theoretical explanation
for the syntagm musical space can be found in
Eero Tarastis groundbreaking study A Theory
of Musical Semiotics. Although Tarasti does not
offer thorough examination of musical space and
its competences as an analytical tool, there can be
found some guidelines on applying the concept
of musical space to music analysis. According
to Tarasti, musical space is a metaphor used to
describe the internal nature of music, or the
geometrical order in a certain piece of music. He
recognizes the real musical space (which refers
to the organisation of pitches) and metaphorical
or fictional musical space (which serves as a
transmitter of meaning). In his analysis Tarasti
focuses on real musical space. He notices that real
musical space can be inner musical space (the
organisation of tonality) and outer musical space
(the texture of musical work). The connection
of inner and outer musical space in Tarastis
theory of musical semiotics is achieved through
the concept of centre/periphery, i.e. the energy

10

of musical flow. However, Tarastis theory is

very flexible in its elaboration of musical space
and its characteristics. In this respect, I tried
to define some terms such as centre, centred/
decentred space, focal points, and zero-space,
more precisely.
The analytical part of this paper will be
focused on the first movement of Josip Slavenskis
String Quartet no. 1. In this movement I will
be examining the key terms of the semiotics of
musical space centre, focal points, centred/
decentred space, zero-space according to the
musical form of the movement.

Michel Imberty, Universit Paris X

Nanterre

AFTER SEMIOLOGY AND

STRUCTURALISM, WHAT
APPROACH TO MUSIC?
Tracking the evolution of new approaches to
music since 1973, the date of the first semiologic
meeting in Belgrade, is not a simple thing. Here
I would like to try to find a thread leading us
towards a clarification of this evolution.
The first evolution, at the beginning of the
80s, was certainly an extreme systematization
of the idea itself of the structures developed in
a grammar generating them ad infinitum and
explaining everything that the human spirit is
capable of inventing. References of that first
evolution, the one of Chomskyan generativism,
were, in fact, taken over from the philosophy of
Enlightenment, especially those of Leibniz and
Berkeley. It was therefore primarily related to the
method. The fundamental idea of structuralism,
the one already proposed by Lvy-Strauss in Les
structures lmentaires de la parent (1949) and in
Mythologiques (1964-1971), the existence of one
universal mathesis, remained a credo upon which
musicologists and semiologists firmly relied, so
that it could lead them through explorations of
musical universals (necessarily structural ones).
In short, music is universal only because its
structures (languages, codes, grammatical rules)
are themselves universal reflecting the functioning
of structures of the human brain.

The second evolution consisted, on the

contrary, in questioning the fact that it is
necessary, at all costs, to search for musical
universals on an immanent level (according to
current terminology used by J. J. Nattiez and J.
Molino). M. Baroni, R. Dalmonte and C. Jacoboni
demonstrated to what degree the hypothesis
of these universals explaining all of the music
represents a serious handicap for understanding
historical, ethnological and stylistic differences.
In short, a useless hypothesis, because, first of
all, it is an unverifiable one. By rejecting it, these
former participants of the 1973 conference began
seriously to question the Lvy-Straussian dogmas
of integral structuralism.The third evolution is
more subtle and insidious. At the same time one
continued to affirm the universality of structures,
some people, especially psychologists, began
asking about possible reasons for this universal
structuralism. If all the products of the human
(musical) spirit have minimal common structures,
isnt it a result of the fact that they had been created
by organisms which all function in the same way,
following the same processes? To think of music
means, first of all, to think by using the musical
brain, before music is comprehended and felt by
means of culture. Biology offered some solid
foundations for structuralism, or at least, it was
thought so. And Chomsky himself wouldnt say
otherwise.
However, some other discoveries in
neurobiology and psychology would change
these ideas. Firstly, psychologists and many
philosophers and semiologists again discovered
the importance of time, both in music and in
human life on all levels of cognition, affectivity,
culture. Particularly, time (the lived time, not the
time of clocks) is organized, structured by the
sense which, for the psychological subject (be it a
musician or not), gets temporal directionality: the
musical phrase, phrase in literary narration, leads
the listener or reader from one starting point to one
psychologically indispensable endpoint. Today
we know that at the basis of that directionality
there are the phenomena of dynamic tension
and release (or distension), which exist also in
origins of musical temporality, especially of
tonal temporality, but not exclusively so. These
phenomena appear in all musical cultures, their
foundations can be found in the functioning of

11

the human spirit. Today psychologists know that

the succession of tension and release is a minimal
form of time, and that it, by all means, represents
a significant mechanism in controlling emotions
and feelings. Isnt then here the origin of universal
structures or, at least, the very general ones
that can be found in many musical cultures?
Also, neurobiologists recently proposed that
if lived, felt time structures vital experience, it is
due to the fact that the brain itself produces an
organization of time found everywhere around
us, in stories that we tell one another about our
everyday life, about events that mark it and about
which we talk, the organization which we can call
proto-narrative. That sheds new light not only
upon the fact that verbal narratives have minimal
common structures which has been shown by
structural semiotics but also that tonality (in the
musical sense) or other musical systems produce
sequences or pieces which for the listener acquire
meaning in the oriented dynamics of their
development.
Issues that arose in structuralism were
removed from the exploration of the common
features of musical cultures and systems towards
understanding human capacities for music
everywhere in the world and during the whole
history of societies. Because music does not
appear human by accident, but essentially so:
beyond all cultures and all epochs, it is a source of
all forms of expression, language and exchange.

Aleksandra Ivkovi, University of

Kragujevac

IRONY IN LIEDER OF EARLY

ROMANTIC COMPOSERS
Bearing in mind that irony, as a special
discursive technique, is primarily represented
in literature (and language in general, spoken
or written), the methodological standpoints in
this work primarily concern songs of the early
Romantics containing text. The ironic implications
in the songs, which are the preoccupation of the
composers of early Romanticism, such as Franz
Schubert and Robert Schumann, can mostly be
found in the poetry of Heinrich Heine and others.
The problem is multifaceted. It lies primarily in

the text itself, in what was written and what could

only have been understood, and also in relation to
the composers literary text. Irony is, by nature,
recognized more transparently in dialogue,
spoken language, than in written text (the same
goes for the performance of a composition in
relation to notated text) when by gesticulation
or other means a meaning could be suggested,
often quite the opposite of that which was uttered.
However, written rather than oral formulation
(interpretation) is the subject of our interest.
In written text (both in literary and musical
work), it is impossible, at least from the standpoint
of the author, to change the intentions of what
existsin the dialogue / performance of a work. The
text is, in fact, always the same, but its meaning
is not; irony is only a latency, a possibility, where
the meaning could be understood in a certain
ironic sense, and the very understanding of
things, in this particular case witha composer who
puts the text into music, may be different from
case to case. The ironic understanding of things,
depending on the composers reading of a text,
may be accompanied by his ignoring the ironic
implications ofthe text (which is not uncommon
in stanza or varied stanza songs); the composer
can then, in his own way, with the incompatibility
of music and text (in tragedy, text is followed
by non-tragic elements of musical expression),
cause a reconsideration of meaning, which opens
the way for irony in music. Thus, in contrast
with the atmosphere of the text, musical means
may suggest an opposite meaning (e.g. Schubert
exaggerates an experience, which is therefore
called into question, for example, suffering
becomes trivial).
In the early Romantic period, these
implications come from the literary text of Heines
ironic statement. Considered independently of
the text, in a strictly musical way, they can be
ironic or not, and their meaning is not derived
from a specfic segment, but is a consequence of
the context. For our work it is a special analytical
challenge to present their possible manifestations
in the instrumental music of early Romanticism.

12

Valerija Kanaki, University of Kragujevac

AN NALYSIS OF ROBERT
SCHUMANNS CARNIVAL HROUGH
THE LENS OF BORIS ASAFIEVS
INTONATION THEORY
Intonation, the fundamental component of
music according to Asafiev, implies design of
sound, rather than a mere acknowledgement of
its acoustic nature (true/false). More precisely,
the concept of intonation encompasses the
emergence of a sound through its relationship
with the following sound. An awareness of
these relationships in the time flow is equated
with movement in music. The totality of sound
relationships creates a continuous movement
which results in a new whole, i.e. what is labeled
as form in traditional music terminology.
Movement in music creates form and, in turn,
a (good) form consists of well-balanced and
mutually related movements. Asafiev uses the
term dynamism to describe this well-known
dialectical essence of music. Therefore, the
conception of music as a sound movement
results in a musical form. A precondition for the
relationship between sounds is their comparison,
as well as an understanding of their similarities
and differences. Form as a musical speech, i.e.
a moving picture of a musical event, is borne out
of a relationship between tension (inequality)
and gravity (equality). Such an understanding of
music was not alien to Robert Schumann who
thought that a form is born simultaneously with
a musical idea. He believed that an important
feature is the gravitational center in music, and
that a distribution of such gravitational centers
in a musical course influences our perception of
music, because we experience it as either tension
or resolution. Generally speaking, the main
issues and concerns of musical thought in the
nineteenth century were as follows: the treatment
of the musical material, the interpretation of
the relationship between form and contents, the
individual analysis of certain musical expressive
means and their synthesis, as well as the issue
of interpretation (both in terms of creation
and listening). At the same time, these are the
starting points for the theory of intonation and
symphonism as a method of musical thinking.

The famous German thinker from the age of

Enlightenment, Herder, introduced the notions
of organic principle and organism into
music. The inner movement, as manifested
through a dialectic of balance and imbalance, is
directly related to the theory of intonation and
the phenomenon of symphonism. Aside from
the inner flow, attention is paid to the inner ear
which is the receptor for music and its inside
events. Schumann believed that a good musician
understands music even without the score, and
the score without the music. This is closely
related to the understanding of music as a unique
organism, where Schumann points to the
connections between the parts of a whole both
on the macro and micro levels, thus creating a
dense network of mutual interrelations between
the whole and its parts. The Romantics were also
concerned with the role of individual elements
within a musical whole, most importantly the
melody, which is the basis of all music. An
analysis of motifs and their interrelations within
a musical piece are of crucial importance for the
understanding of phenomena of intonation and
symphonism. By means of an intonational analysis
of selected movements of Schumanns Carnival
I aim to explore the regulations of disturbances
and (re)establishments of order within a given
form. The aim of this paper is thus to recognize
these intonational imperatives as a starting point
of the symphonicity of the chosen examples.

Koichi Kato, independent scholar

ANOTHER LOOK AT
SCHUBERTIANTONALITY
Schuberts Impromptus Op. 90 will raise an
issue of tonality. The recent attempt to analyze Op.
90 as a cycle through monotonizing in Amajor
key (Fisk: 2001 and Damschroder: 2010) might
seem to exemplify the typical attitude towards
the music theory that is heavily grounded in
Beethovenian prototype or sonata principle,
as Clark (2011) would argue. However, without
addressing that specific single key (the tonic of
the last piece, retrospectively referring to No. 1),
we will certainly lose a sense of unity, and this is
a stark issue of tonality.

13

Moreover, this is especially clear if we draw

a parallel between Schuberts Op. 90 and a fourmovement sonata, which reveals our conception
of tonality that is influenced by a sonatainflected view, ideologically associated with
tonal centricity, nationalism and the 19th-century
conception of evolutionism.
This is especially evident if we compare it
with its sibling set, Impromptus Op. 142 (D. 935),
which Schumann described as a sonata. However,
Schumann cleverly omitted the third piece from
Op. 142 to accommodate it into a typical tonal
pattern of a minor tonic sonata (as in the case of
Op. 142, draws F -A-F).
On the contrary, in the case of Op. 90,
the theoretical temptation might prove to be
illusionary, collapsing into truly deconstructive
fragmental pieces without addressing a tonal
center, as Adorno (1928) asserted. Adorno
said that Schuberts Impromptus and Moment
Musicaux are structured by what he termed
wandering circularity, which characterizes
Schuberts music structure. Indeed, through the
Adornian deconstructive scope, Op. 90 would
show a genuine multiplicious or dualistic structure
with an absence of a tonal center as an antithesis
to a teleological goal-directed process.
This paper will analyze Op. 90, bringing
together Op. 142 and Winterreise, the Lieder
cycle associated with the character of wanderer
(in the tradition of the nineteenth-century Lieder
cycle) and non-teleological, tonal de-centered,
circularity (as Adorno asserted). The paper also
considers its publication history, editions, and
manuscript. The paper evaluates the recent issue
of theories (monotonality and multi-tonality),
and the concept of organic unity, and the idea of
the romantic fragment, exploring the concept of
tonality and attempting to seek a new approach to
perceiving it.

Viktorija Kolarovska-Gmirja, Ss. Cyril

and Methodius University in Skopje

PROBLEMS OF PITCH
ORGANIZATION IN RUSSIAN MUSIC
THEORY
The issue of pitch organization in music is an
essential issue as a phenomenon and fundamental
to music theory being recognized and
researched, it has developed into a separate branch
of science and is closely related to acoustics,
psychology, aesthetics, etc. Different aspects of
pitch organization from the choice of elements
that make up the music system to the system
concept itself have been the focus of attention
of music theoreticians of different periods and
areas. In Russian music theory, the elaboration of
these issues has a long tradition which, on one
hand, relies on the work of western-European
theoreticians, and on the other hand, results in
building its own theoretical points of view and
attitudes, as well as its own terminology. In this
sense, one of the key terms of Russian music theory
that refers to pitch organization is the term lad
(mode, order, system, harmony, coordination),
which, according to the researchers of the history
of Russian music science, was established in
the first half of the 19th century (hereinafter we
shall use the term mode as being the closest in
meaning). Furthermore, accepted by the founders
of formal music theory education in Russia
(Rimsky-Korsakov and Tchaikovsky authors of
the first harmony textbooks), this term was used
very often but not strictly as a synonym for other
categories related with the pitch aspect of music
(scale etc.). In the papers of the next generations
of Russian music theoreticians (Asafyev, Tyulin,
Yavorsky, Ogolevets, Kholopov, Guljanitskaya,
Bershadskaya and others) this term gets the
independent meaning of a universal principle
of music as a constructive-logical and aesthetic
phenomenon. Consequently, the quantity
of the lad (mode) systems in the different
historical periods, as well as the possibility
of their construction in real art practice, is
recognized and accepted. Prominent Russian
scientists differently interpret issues related to the
theoretical clarification and classification of the
different forms of lad (mode) from the aspect
of their expansion and recognition, the functional

14

element, the level of centralization, relation with

the form etc. The dialectical dimension of lad
(mode) has also been revealed: as a constructivegeneric system, it exists in music practice through
concrete intonation structures which enable the
system to be recognized and learned by the
subject carrier of a certain music culture, type
of musicality and music thinking.

Sonja Marinkovi, University of Arts in

Belgrade

EASTERN AND WESTERN

CONCEPTS OF THE HISTORY OF
MUSIC THEORY
There are two representative, monumental
works in the area of historiographic research
of the theory of music, one in the Russian and
another in the English language area, both
created as a complex team effort in researching
the development and concepts of music theory.
In Russia this is the textbook for the subject
Systems of Music Theory, created in the early
1960s at the Moscow Conservatory (. .
et al., -
, , , 2006, 632).
In the English language it is the book edited by
Thomas Christensen, and published as the first
comprehensive history of Western music theory
(T. Christensen, Ed., The Cambridge History of
Western Music Theory, Cambridge, Cambridge
University Press, 2008, 1002). The Russian
concept is wider, because it includes the review
of not only Western, but also Russian contribution
to music theory, whereas Christensens book
discusses in depth the crucial concepts of music
theory. Each chapter has a tripartite conceptual
division, comprising speculative, regulatory and
analytic approaches (as suggested by Dahlhaus),
and involving both diachronic (chronologically
delimited) and synchronic (broadly thematic)
approaches. Holopovs book is categorised
strictly as a textbook for a specific academic
course. The Cambridge History of Western Music
Theory aims to be more a resource for scholars
and students than a source itself and uses rich
illustrative material (musical examples, graphs,
tables, text windows).

The aims of this article are to compare the key

ideas and definitions of the discipline, understand
the role of the most distinguished personalities,
map out the main theoretical problems, and
analyze the approach to classifications of
subdisciplines and the relations between the
basic methods. By analysing the concepts and
contents of these two books, I wish to point out
the importance of introducing these topics in
the curriculum of the theory of music studies,
not only as separate courses in doctoral studies,
but as a part of studying each of the disciplines,
as well as the need for the emancipation of the
contents of some disciplines currently studied at
the Faculty of Music.
Marija Masnikosa, University of Arts in
Belgrade

PLAYING WITH SIGNS IN THE

COMPOSITION A BRIEF ACCOUNT
BY GORAN KAPETANOVI
A Brief Account of the Inexorable and Tragic
Course of Destiny Which Led the Little Mermaids
Fragile Being into Total Disaster (1994), for two
sopranos, flute, clarinet/bass clarinet, bassoon,
viola, double bass, piano and tape, is a provocative
and extremely lucid postmodern composition by
Serbian author Goran Kapetanovi.
The modus operandi of this work is a
collage practice of quotations/simulations which
produces a fragmentary, textually heterogeneous
structure, thus placing the compositions
paradigm on the trajectory of radical musical
postmodernism (Jonathan D. Kramer).
The dialogue of different musics taking place
in this work (and producing an explosion of
meanings!) builds a heterogeneous musical text
which has neither a centre nor an axiological
hierarchy between the existent appropriated
or imitated texts: the work is a genuine
pastiche (Genette), representing the distinctively
postmodern type of a difficult whole (Venturi).
This paper focuses on playing with signs
and production of meaning in Kapetanovis
work. Bits of musical imagery that Kapetanovi
has appropriated (Owens), and embedded into
a new, polyvalent semantic entity, belong to the
most diverse categories of musical signs. Index
signs, quotations, simulacrums literally build

15

this work guided by the dramaturgy of H. C.

Andersens fairy tale about the Little Mermaid.
All these categories of signs will be identified and
considered using the analytical tools of musical
semiotics (Tarasti, Monel, Hatten, Lidov). Finally,
the identification of the type of intertextuality
(Genette) in this work and the examination of
the production of its musical and extramusical
meanings will necessarily problematize the
difference between the concepts of polysemy
and dissemination (Derrida) and point to their
unavoidable creative interference in arts.

Ivana Medi, The Institute of Musicology,

Serbian Academy of Sciences and Arts

THE CHALLENGES OF TRANSITION:

ARVO PRTS TRANSITIONAL
SYMPHONY NO. 3 BETWEEN
POLYSTYLISM AND TINTINNABULI
Written in 1971, Arvo Prts Symphony No.
3 is often dismissed as a product of his creative
crisis. It is the only work completed during
the otherwise unproductive eight-year period
between the completion of Credo (1968), Prts
ultimate polystylistic piece, and a rush of works
from 1976-77, which showcased his trademark
tintinnabuli style (Tabula Rasa, Fr Alina,
Fratres etc.). Whereas Credo was a manifesto of
Prts interest in religious themes, Symphony No.
3 revealed another influence that would become
crucial for the genesis of the tintinnabuli style
namely, Prts obsession with early, pre-tonal
music.
The symphony is highly idiosyncratic. All
the main motifs are modelled on Gregorian
chants, and the work unfolds in a more-or-less
similar mood throughout, unified by the same
(or very similar) thematic material. Its three
movements are joined attacca, emphasising the
seamless flow and organic development. If we
add to the equation the unusual effect produced
by frequent employment of the archaic cadential
clich known as the Landini cadence, and the
odd minimalistic-repetitive moment, the overall
impression is that of a neo-style, rather than polystyle (as exhibited in his first two symphonies and
other early works).

By analysing the formal, tonal, thematic

and textural features of Symphony No. 3 I will
examine Prts transition from the typically
Soviet, collage-based polystylism of his youthful
days to the holy minimalism of his highly
manneristic tintinnabuli works. At the same time,
I will reconsider the analytical tools required to
discuss a work which is a one-off, a cul-de-sac,
an anomaly that did not produce any offspring.

Jelena Mihajlovi-Markovi, University of

Arts in Belgrade

SPECIFIC WAYS OF MODULATION

IN THE MUSIC OF SERGEI
PROKOFIEV PROPOSITION FOR A
NEW TYPOLOGY
The music of Sergei Prokofiev has been a
continuous challenge for theorists in defining
his music poetics. One of the key elements in
determining his poetics is, most certainly, the
specific tonal system. This system links in a
paradigmatic way the stable, unquestionable
tonality of the past stylistic layers on the one
hand, with a new, differently organized tone
space converged with modernity, on the other.
Defining Prokofievs tonality and the structure of
his harmonic language is a path which can show
the changes in semantic codes and explain his
specific individual style. However, it is the very
definition of his tonal system that still remains
open to interpretation.
Searching for responses to this challenge,
various theorists applied different methods of
analyses, starting from the Russian functional
and linear-melodic approach and twelve-degree
diatonics or twelve-degree tonality theories
(Aleksei Ogolevec, Juri Holopov) to wrong-note
and chromatic displacement theories (Richard
Bass, Deborah Rifkin, Olga Sologub).
The author of this paper is also researching
the ways in which Prokofievs tonal system is
organized, and this work will focus on some of the
specific techniques of modulation. The starting
standpoint is based on the fact that aside from all the
harmonic complexities within a highly expanded
and chromatized system yet pronounced in
a diatonic manner his music is, nonetheless,
tonal and as such can be analyzed through
conventional, traditionally based methods. The

16

methods I applied in analyses are based on the

post-Riemman functional approach, adapted and
revised by Serbian theorists (Vlastimir Perii,
Dejan Despi, Mirjana ivkovi), also including
comparative-contextual and other methods.
It is well known that the chromatic ambivalence
in his music enables tonal shifts to any new tonic
and, what is more significant, that they act as a
logical outcome regardless of the distance. But it
is often the way in which some modulations are
realized that is obscure. In terms of conventional
methods in analyzing Prokofievs music, one
can easily recognize diatonic, chromatic and
enharmonic modulations which are applied in
quite a traditional way. However, there are also
and more often such modulation techniques
that are not standardized. This paper will give an
insight into and a theoretical explanation of three
types of modulations, presented on examples from
his piano sonatas. Modulations can be defined as
intonational link, leading-tone modulation and
modulation by chromatic sliding. These types
of modulations, characteristic of Prokofiev, are
applicable in the analyses of other representatives
of tonal music of the 20th century, and may
contribute to the standard tonal-shift typology.
Intonational link can resemble the Beethovenlike unisono modulation, but instead of linking
through unisono, Prokofiev singles out one tone in
a prolonged situation, differentiating it in various
ways among other present tones, thus announcing
the new tonic.
Leading-tone modulation is a procedure in
which a chromatic chord structure directly leads
to a new tonic by semi-tone resolutions in both
ascending and descending motions to the tones of
the new tonic triad.
Modulation by chromatic sliding is a
process where diatonic chords slide in semi-tone
succession and have no other function than to
drive directly to a new tonic.

Melita Milin, The Institute of Musicology,

Serbian Academy of Sciences and Arts

IN SEARCH OF NARRATIVE
PROGRAMMES IN LJUBICA
MARIS WORKS
In the works of the Serbian female composer
Ljubica Mari (19092003) it is possible to
isolate a number of topics which could lead us to
outline possible narrative programmes based on
them. Among the most important topics in those
works are those of lament, sigh, ringing of bells,
timelessness, and quiet exaltation. Those topics
can be detected in Maris works composed after
1956, that is, starting with her masterpiece, the
cantata Songs of Space. Especially important for
her creative work was her decision to compose
Musica Octoicha, a cycle of pieces for different
ensembles based on the eight modes of the Serbian
Octoechos, a collection of traditional church songs
similar to those found in the Greek Octoechos. All
the composers subsequent works carried at least
small fragments or almost imperceptible traces
of those church melodies, which she regarded as
perfect musical artefacts whose roots reached the
deepest past. Especially fascinating for her was
the fact that the Octoechos chant was still alive in
Serbian oral practice.
Although non-religious, Maris works
possess a certain ritualistic, at times also mystical
character and, taking into account the presence
of the aforementioned topics, it is challenging
to try to discern narrative programmes in them.
Although Maris compositions with vocal parts
will not be taken into consideration, they will
provide a necessary referential frame.
Maris works usually begin by stating a calm
theme in low dynamics, leading gradually to a
series of disturbing and tragic events with only
temporary releases of tension, the final situation
being designed as a state of transcendental
vision, an anticipation of the beyond. The topics
of lament, meditation, and ringing of bells are
not difficult to discern in those works and their
structural disposition can help the listener follow
the vague narrative programme, of which the
composer was certainly well aware. There are
some works by Mari with different scenarios in
which the feeling of quieter serenity or resignation

17

in the final parts is more pronounced. At any rate,

the narratives of all those works indicate rather
clearly that the author almost always varied the
same basic programme which has been sketched
here. Some rare examples of quotations in Maris
works (such as the signal from the Sputnik
in Passacaglia and a self-quotation in her last
piece) also deserve studying with regard to the
mentioned narrative programmes.
It would be challenging to analyse the symbolic
functioning of the fragments from the Octoechos
chant which Mari used to build her themes with.
It should be possible to demonstrate that their
presence is always linked to their functioning as
a symbol of spirituality and timelessness. The
fact that the first works in which she introduced
them were meticulously elaborated compositions,
structurally well defined, with the Octoechos
melodies or their fragments markedly present, in
varied ways, almost throughout the work, whereas
in later ones they appear very discretely, almost as
secret signs decoded only by those who know her
music well, could indicate a loss of confidence in
the narratives characteristic of her earlier Musica
Octoicha works.

Miloje Nikolic, University of Arts in

Belgrade

DYNAMIC FORMS OF VOCAL

MUSIC WORKS
This paper explores the nature, processes
of configuration and basic cognitive functions
of perceptual tension and overall perceptual
dynamics which occur when listening to vocal
music works. The title term dynamic form (taken,
with modification, from Susanne Langer) is
defined initially as the integral of the perception of
dynamics (induced tension) of all perceptual units
in a processual (here: vocal music) work, and is
recognized as the oldest, deepest and, therefore,
in essence, the most important factor in shaping
the final understanding of the complete form i.e.
the meaning of the analyzed work.
Methodologically, the paper brings an
intersection of personal hypotheses (ideas) and
empirically verified results of the papers author,
based on his decades-long experience analytical,

pedagogical and as a conductor with the referent

cognitive theoretical principles, particularly
those of the Gestalt theory. As tensions explored
here are purely perceptual phenomena, they are
observed as a process in the gestalt pre-structured
abstract field of force. It can be proven that each
dynamic form which is achieved as a result
of the summation of vectors of external vocal
musical impulses and internal basic gestalt formal
constants inclines to one of the few simple gestalt
good forms or is expressed as the superposition
of several such patterns.
The second part of the paper contributes to the
currently available methodology of researching
the dynamic form from the score (notation).
The unfolding of the analyzed composition
into synchronous layers (plans, components) is
proposed, for which exist or can be established
criteria for classification of partial tensions on
direction and intensity (at least relative); the
author offers some suggestions for establishing a
scale of dynamics for each of them.
Special attention is paid to researching the
appropriate effect of the meaning of the text
(discursive) plan, which dynamics, in a sense
relevant here, derives indirectly, through the
results of rational (discourse) analysis.
As for the synthesis of feedback as the final
stage of the analytical process, there are serious
limitations to achieving precise and rounded final
results (which is most likely the reason for the
relatively low interest of theorists in this basic
receptive phenomenon). The final part of the
paper brings, therefore, a selection of examples
of vocal music in which, due to the special
constellation of the mentioned layers (plans),
relatively complete results can still be obtained
it can be seen that not only is their number very
respectable, but it is exactly in these kinds of
compositions that the dynamic form is the crucial
factor in understanding their complete form and
meaning.

18

Filip Pavlii, University of Arts in Belgrade

THE RELATION BETWEEN MUSIC

AND VERBAL MEANING IN
SCHUBERTS DER WANDERER,
OP.4 NO.1
The relation between music and words, from
the birth of opera at the end of the 16th century
to the present time, has always been a central
one in the analysis of vocal works. This relation
assumed special importance in the music of the
romantic era, which was strongly influenced by
its literature. Literary influence certainly shaped
much if not all of the music of one of romantic
musics founding fathers Franz Schubert; in fact,
it can be argued that the artistic adventure which
Schubert undertook by exploring the unknown
potential of the still developing genre of Lied,
formed in the 18th century, was perhaps the real
birthplace of musical romanticism. The shift of
balance in romantic music, which was initiated by
Schubert, brought the relation between verbal and
musical meaning to the center of artistic attention
as possibly never before in the history of music.
In this paper, an attempt will be made at an
analysis of the relation between two levels of
meaning, music and verbal, in Franz Schuberts
lied Der Wanderer op.4 no.1, composed to
the lyrics of Schmidt von Lbock. The analysis
will start by examining verbal meaning, as an
inevitable semantic background of Schuberts
song, and then proceed to the music meaning
formed by it.
The analysis of verbal meaning will give
special attention to those meanings and the
strategies of formation of verbal meaning that can
be characterized as truly romantic: the greater and
more sophisticated articulation and, especially,
intensification of semantic oppositions (which
Hatten outlined as a basis of his application of
markedness theory in the classical style) in poetic
texts chosen by romantic composers became one
of the most basic strategies of the formation of
meaning in romantic music composed to poetic
text. Thus, verbal meanings with their two-fold
semantic potential: primary, explicit, transparent,
and even more so secondary, metaphorical,
non-transparent, will in this paper be always
considered as a starting point of the analysis of
meaning in music.

During the course of the analysis, the relation

between verbal and music meaning will always
be at the forefront, given the fact that these two
kinds of meaning are inextricably linked in music
works that contain lyrics. Still, special attention
will be given to those moments during which these
two meanings, usually running parallel in music
time, begin to diverge. This is most apparent in
those instances where music meaning seems to go
ahead, anticipating verbal meanings that come
later in the lyrics.
The analysis will be based on modern
methods of analysis of meaning in music, with
special attention being given to the principle of
markedness, taken from linguistics by Robert
Hatten and applied to meaning in music. The
analytical method in the paper will be based upon
semantic oppositions to Hatten outlined in the
classical style, considering the fact that Schuberts
music can be said to represent the process during
which the typically romantic meanings gradually
evolved from the still present classical unmarked
background.

Predrag Repani, University of Arts in

Belgrade

IMITATION OF MOVABLE
COUNTERPOINTS REVISITED
In my previous paper Imitation and
Movable Counterpoint Canons, published in
the Proceedings from the Fourth Music Theory
and Analysis Conference, I addressed the issue
of analysis, description and classifications of a
separate category of compositions which combine
techniques of imitation with movable (moving)
counterpoint. My aim was to fill a gap in the
existing literature with a theoretically verified type
I called the imitation of movable counterpoints, or
movable imitation. I determined that imitations
in each group differ in their precisely defined
(and exclusive for that group) range of choices of
imitation parameters.
Each group is further divided into subgroups
according to the level of complexity. The paper
drew upon the analytical sample from Renaissance
sacred vocal literature, including a number of
motets, canons and movements from masses in

19

which the technique in question was partially or

consistently applied. Extensive analyses suggested
that the proposed classification was definitive: all
analyzed examples fitted into one of the three
groups of movable counterpoint imitations.
However, further research has discovered a few
rare, almost unique examples of three-voiced
stretto imitation, not classifiable in any of the
previously defined groups. A need for expanding
the proposed classification therefore arose, and
another group was added. The new, fourth group of
movable counterpoints represents a combination
of sorts of movable (moving) counterpoints of the
2nd group (in which the moving is based on the
calculation of vertically movable counterpoints)
and 3rd group (in which the movement is based on
the calculation of dually movable counterpoints).
Even though the new group seemingly only
comprises the moving representing mutual vertical
convergence or divergence of counterpoint lines,
they nevertheless have to be adjusted beforehand
in such a way as to abide by the rules of multiply
inverted counterpoints, e.g. being simultaneously
inverted in the tenth, eighth and twelfth!
The present paper explores the cited and other
conditions that make possible the composition
of movable-imitative music flow in accordance
with the newly discovered characteristics, and
the expansion of the previously established
theoretical framework.

Anica Sabo, University of Arts in Belgrade

BERISLAV POPOVIS
METHODOLOGICAL
CONTRIBUTION TO THE ANALYSES
OF SYMMETRY IN THE MUSICAL
FLOW
The book by Berislav Popovi, entitled
Music Form or Meaning in Music, published at
the very end of the 20th century, opened a new
chapter in understanding the musical form.
Even though the traditional method represents
the basis of the authors analyses, his focus
shifts from the formalistic approach to the study
of the phenomenon of musical flow. Popovi
emphasizes the universal rules of shaping the
form, and establishes connections to other fields
of research, creating a new space for investigating

the effects that symmetry has on the process of

creating the musical form.
Starting from the critical overview of
Popovis methodological postulates I intend to
point to the basic underpinnings of his analyses
of the musical flow. In doing so, I will highlight
the importance of symmetry in achieving unity
among segments that make up a whole. The
paper will examine the basic terms used to
interpret the musical flow, pinpoint the main
underpinnings of the analyses of symmetry and
offer an interpretation of dynamic symmetries and
typologies of axis of symmetry. By highlighting
the special status that symmetry has in the
realization of the musical flow, the notion that
it lies in the basis of those musical laws which
provide the continuity and firmness of the music
form (Popovi, 89) is being affirmed. By placing
the analyses of the phenomenon of musical flow
at the foundation of the analyses of symmetry,
we are able to see the key features of a musical
work, which are the basis for its understanding.
The features of symmetry are in that way
removed from their primary surroundings (the
geometrical transformations) and put into a new
context, a context of the musical piece, which, in
turn, requires the appreciation of music content
as the origin of manifestation of symmetry. The
proposed way of understanding symmetry is
innovative and authentic, and enables us to study
this phenomenon even in situations when it is
hidden in the deepest layers of a musical piece.

Atila Sabo, University of Arts in Belgrade

THE NARRATIVE FUNCTION OF

SEMIOTIC PROCESSES IN THE
SECOND MOVEMENT OF PAUL
HINDEMITHS SEVENTH STRING
QUARTET
For Paul Hindemith, tonality represents the
basic form of organization of music material.
A strong connection with tradition allows this
author to enrich the musical language of the past
with some modernistic tendencies of his time. In
the majority of his works, the classical principles
of form organization are retained, so, in a way, a
new and original harmonic content is introduced
into a recognizable framework.

20

In this paper, I start from the hypothesis that

the harmonic language, although significantly
transformed and modified, remains one of the key
generators of musical narrative. Similar semiotic
processes, such as those that can be found in
the music of Beethoven, are recognizable in
the second movement of Hindemiths Seventh
String Quartet. Compound relationships within
the functional major-minor system, which for
several centuries in various ways contributed to
the formation of meaning in music, are replaced
by contemporary harmonic procedures. In the
Classical period, as noted by David Lidov, a
change of context which, as here, is primarily a
harmonic or tonal change is phenomenologically
a change of space. The mediation of these
contrasts occurs in a new place foreign to the
realm where the conflicts were first established,
a new texture, a different theme, a distant key
(Lidov, 2005:51.). A very similar principle can
be seen in the selected example, with appropriate
adjustments to the context of the time to which the
piece belongs. The musical space in the twentieth
century was significantly expanded, when a new
atonal compositional technique was applied,
so the range of expressive means became much
wider. Although tonality predominates in the
second movement of the Seventh String Quartet,
some atonal segments have a very prominent role
in making a contrast. They also represent the key
points for understanding the musical narrative.
Moving through the inner musical space, which
Eero Tarasti defines through the category of
center/periphery, that is, centripetal/centrifugal
tendencies within a musical text, adding that
some place in a musical universe or space can
be chosen as the center, in relation to which
other places are more or less peripheral (Tarasti,
1994: 7879.), is also significantly modified, but
some analogies with the Classical period are still
very remarkable. By using certain principles of
Tarastis and Lidovs theories, I will discuss
the second movement of Hindemiths Seventh
String Quartet, showing one possible insight into
musical narrative.

Herbert Schneider, Universitt des

Saarlandes

OLIVIER MESSIAEN AS A THEORIST

Like Arnold Schnberg, Messiaen published
lots of texts, commentaries and literary texts,
but also gave many interviews. No composer or
teacher has ever bequeathed such a monumental
theoretical work as Messiaen has. He unified
his main ideas, principles, preferences and the
substance of his teaching in his comprehensive
Trait de rythme, de couleur, et dornithologie,
which appeared posthumously (1994-2002),
edited and arranged in some smaller parts by
Yvonne Loriod-Messiaen. The seven volumes
reflect his personal interests, mainly philosophy
of time and rhythm, specific rhythmic systems
such as from ancient Greece and India, musique
mesure lantique, all sorts of permutations,
colours and chord colours like his brother, the
poet Alain Messiaen, he was a highly developed
synesthete and songs of birds in the whole world.
During the conference I will present some of the
main problems of and insights into the methods
of Messiaen.

Jan Philipp Sprick, Hohschule fr Musik

und Theater Rostock

ANALYZING MUSICAL AMBIGUITY

IN BACH AND MOZART
In the music of Bach and Mozart we are
frequently confronted with a kind of musical
ambiguity that has its origin in the flexible and
almost floating use of major and minor keys.
Generally, major and minor are considered
harmonic states with a very clear expression or
meaning. I will argue that Bach and Mozart
use the change between major and minor in a
very idiosyncratic way that leads to an almost
permanent state of ambiguity. With examples
from both instrumental and vocal music of the two
composers I try to give an overview of different
ways to evoke ambiguity with harmonic means.
The broader theoretical aim of the paper is to
think about the disciplinary need in music theory
to label things and come up with clear analytical
solutions on the one hand and the ambiguous state
of large portions of music on the other. The aim

21

of coming up with possibilities to separate and

describe different types of ambiguity leads to some
fundamental problems of analytical methodology
and therefore to fundamental problems of music
theory itself.

Biljana Srekovi, University of Arts in

Belgrade

FROM SOUND OBJECT TO SOUND

AS SIGN: PIERRE SCHAEFFERS
MUSIQUE CONCRETE VS.
LUC FERRARIS MUSIQUE
ANECDOTIQUE
In this paper I am going to examine the idea of
(non-)referential qualities of sound in the context
of Pierre Schaeffers poetical discourse, and its
critique and re-evaluation by his collaborators
and disciples, especially Luc Ferrari. I will try
to follow the path of relational evolution of
sound in the early decades of the second half
of the 20th century, from, as Seth Kim-Cohen
calls it, sound-in-itself to sound-out-of-itself, or,
from pure, introverted sound in Schaeffers
terminology sound object (objet sonore) to
sound as sign, which refers to something
beyond itself. To that end, I will first talk about
Schaeffers musique concrte concept (1948),
based on the idea of composing with concrete
sonic materials taken from the real sonorous
fund that can be adequately perceived only by
reduced listening (coute rduite) listening
based exclusively on the observation of acoustic
properties of sound, rather than its meaning,
semantic relations or narratives associated with
their sources and causes. Schaeffers intention
was to make un-recognizable concrete sounds
and throw away every external association. This
essential characteristic of concrete music was
at the same time the point of its critique, firstly
implemented by Schaeffers close collaborators
at the GRM (the so-called Schaefferians or
post-Schaefferians). Those composers, among
them Luc Ferrari, tried to expose the other side
of concrete sound; the side which reveals that
sound always indicates something, becoming a
medium for transmission of different messages.
A paradigmatic model is Ferraris concept called
musique anecdotique (1968), a complete opposite

to concrete music, and actually the concept which

marked a rupture with Schaeffers aesthetics.
Unlike Schaeffer, Ferrari wants to use recorded
sound (son mmoris) as a narrative medium,
shifting the focus from its acoustic/acousmatic
qualities to its referential potential (its source,
origin, context, intention, etc) and thus breaking
down the boundaries between art and life.

Ana Stefanovi, University of Arts in

Belgrade

THE TOPOS OF TRANSCENDENCE

AND ITS POSITION IN THE
NARRATIVE CONFIGURATION OF
MUSIC DRAMA
The article examines the topos of
transcendence which occupies a significant place
in the narrative chain of music drama. Founding
this paper on our previous works, in which this
topos is positioned as the final link of a narrative
sequence, we firstly propose a vertical semiotic
analysis on three levels, wherein the level of
topos occupies the middle layer: between the
music-rhetoric figure, taken as the narrowest unit
of meaning and initial impulse for the forming
of topos, on the one hand, and the expressive
genre (a term borrowed from R. Hatten and used
in a somewhat reformulated sense), taken as the
widest semiotic field, formed of constituent topoi,
on the other hand. All three levels represent fields
consisting of musical and literary loci communes
which form both semiotic and stylistic constants
of music drama. This analysis is then incorporated
into the examination of multiple analogies
between time, story, style and meaning in the
syntagmatic chain, leaning on Ricurs concept
of triple mimesis. The topos of transcendence,
in the framework of the expressive genre of
tragedy, in the position of a tragic denouement
of the dramatic flow, reflects the concept of refigured time, which, in Ricurs examinations of
relations of time and story, represents the point at
which real, non-figured time is overwhelmed by
configured, narrative time. Thus, the three ways of
setting the time in music drama reflect analogies
with three expressive genres: drama (conflict
and action), pastorale (narration and fiction), and
tragedy (transcending of the real and conflicting

22

with the help of the narrative and fictional).

So, the topos of transcendence is not univalent
in terms of meaning, but, on the contrary, is
polyvalent, as it integrates, in itself, opposing
semantic impulses of previous narrative fields.
This moment is primarily identified in the closing
monologues of the main characters, which also
encompass the moment of catharsis. The analysis
is performed with the use of selected examples
from musical-dramatic works of the 17th, 18th, and
19th centuries, namely, works of Lully, Gluck and
Berlioz, in which a parallelism of semiotic and
narrative structures is found in spite of changes at
the level of musical language and style. The genre
continuity of music drama can also be explained
by the persistence of these stable narrative and
semiotic configurations.

Sran Tepari, University of Arts in

Belgrade

ON THE TRANSCENDENT
CHARACTERISTICS OF SIGNS
EXEMPLIFIED IN THE MUSIC
OF MANUEL DE FALLA, IGOR
STRAVINSKY AND DEJAN DESPI
Every scrutiny of the transference of signs
from one temporal period to another must take
into consideration the fact that a sign does not
have some universal trait whereby the aptitude
for self-transcending is its primary feature. Eero
Tarastis examination, presented in his study
Existential Semiotics, will be a guiding principle
of this research. Referring to Heideggers concept
of Da-Sein, this author believes that each character
is able to produce a fictitious intuitive duplicate
within a certain time period. There is, therefore,
a possibility of separating the character from the
original Da-Sein, its existence in the transcendental
space, as well as the possibility of its reactivation
in a certain time period. Central to this research
will be Tarastis conception that implies the
possibility of transition of signs between two
stylistic periods, or from Da-Sein 1 into Da-Sein
2. These duplicates will be examined through
an analysis of several examples of 20th-century
music that refer to some of the old languagestyle systems, such as Concerto for Harpsichord
by Manuel de Falla, Stravinskys Violin Concerto

and Concerto for Piano and Orchestra op. 30

by Dejan Despi. Given that with respect to DaSein 1 signs depart from their original nature, in
relation to Da-Sein 2 they can be interpreted in
completely different ways. The level of negation,
that is, the contemporary level, denotes the sign in
its firstness so that the sign would be incomplete
without the movement towards a new level its
affirmation. Here Da-Sein 1 will be examined with
respect to recognition, while Da-Sein 2 will be
examined with respect to the overall capacity for
negation and affirmation of the original sign. The
level of sign transcending goes from acceptance
to rejection of the given signs various traits,
depending on the effect of receiving modalities
and sending modalities. In the case of De Falla
and Stravinsky, the signs related to Da-Sein 1 will
be denoted according to resemblance, whence
their nature and origin will be reconstructable.
In the case of Despis music, Da-Sein 1 will
be considered in its broadest sense, and then the
possibility of the signs positive interpretation in
Da-Sein 2 will also be highlighted, even in the
case where the original relation is lost. Even
though Tarasti has offered a classification of
signs according to the states that precede and
follow their formation, in the selected examples
the sign will be examined from a different
standpoint. The already formed sign will be taken
into consideration and the features which led to
transcendence will be examined. Those features
are concerned with the signs primary traits, thus
a methodology of moving towards strategies of
activation bringing about the signs transcendence
will also be offered.

Katarina Tomaevi, The Institute of

Musicology, Serbian Academy of Sciences
and Arts

DRAGUTIN GOSTUKI AND

MUSICAL SEMIOTICS
In spite of the fact that Dragutin Gostuki
(1923-1998) was one of the initiators, as well
as the president of the organizing committee, of
the First International Congress on Semiotics of
Music, held in Belgrade in 1973, contemporary
music scholars have not yet devoted adequate
attention to the significant role Gostuki played

23

in the development of the discipline, both in the

national and international context. The evolution
of his theoretical views and contributions to
the study of the problems of meaning, time in
arts and style, which can be traced back to the
very beginnings of his theoretical work in the
early 1950s, has not yet been thoroughly and
meticulously researched either. Erudite scholar,
composer and art historian by education, theorist,
musicologist and esthetician by vocation,
renowned music critic, Dragutin Gostuki belongs
to the very top of the intellectual elite of his time.
Grounded in the methods of comparative
aesthetics, Gostukis broad interdisciplinary
research on the key topics of art(s) and, especially,
music had from the very beginning included
the achievements of the then contemporary
linguistics; with particular attention Gostuki
also promptly followed and critically reacted to
the first significant results in the field of musical
semiotics. The relevance of his theoretical
concepts of meaning, time, form and style, or the
actuality of his subtle analyses of the relationship
between poetic language and music, are best
evidenced in his capital book The Time of Art
(published in Serbian in 1968); unfortunately, this
study has not yet been translated and published in
any of the world languages.
Reaching the zenith of his professional
maturity, in 1970 Gostuki became Director
of the Institute of Musicology of the Serbian
Academy of Sciences and Arts. With verve and
enthusiasm the very same year he launched the
prominent public forum called Discussions on
science and art, dedicated to the most attractive
contemporary issues in the fields of science and
humanities. The question of the relationship
between language and music, as well as between
linguistics and musicology, was the subject of a
number of meetings at which the introductory
lectures were held by, among others, worldfamous linguists (e.g. Ranko Bugarski). The
fact that musical semiotics was at the time one
of Gostukis central focuses is best evidenced
by his organizational efforts to gather leading
experts in the field in Belgrade in 1973. At the
Congress Gostuki presented a paper entitled
Ralite, musique, langage. Contribution a ltude
de la problem de la signification, in which he

openly entered into a critical dialogue with the

most prominent authors and laid the foundations
for his own theory of the screen as a proposed
methodological platform for future strategies of
musical semiotics.
To reconsider the circumstances under which
preparations for the First International Congress
on Semiotics of Music took place, to show the
evolution of semiotic ideas in Gostukis work,
as well as to reestablish his theoretical opus in the
historical context of the discipline, these are the
main goals of this paper.

Ivana Vuksanovi, University of Arts in

Belgrade

INTONED MEANING,
PHYSIOLOGICAL METAPHORS
AND THE SEMANTIC RANGE IN
VARIATIONS ENTITLED KARAKTERI
BY VOJISLAV KOSTI
The theoretical frame for the paper I propose
here is built (mainly) upon four articles: The
Cognitive Value of Music by James Young,
Bodily hearing: Physiological Metaphors
and Musical Understanding by Andrew
Mead, The Intonational Nature of Music by
Valentina Kholopova and The Range of Musical
Semantics by Joseph Swain. In a way, these
articles reconcile western and eastern (Russian)
theoretical and analytical investigations in the
field of musical semantics. They interweave and
unify the most important and intriguing aspects
of various theories Gestalt theory, topics theory,
Kivys theory of musical isomorphisms and
Asafievs intonation theory. They all deal, each
article in its own way, with the potential of music
to convey semantic content.
According to Young, the arts contribute to our
knowledge by means of immediate demonstration
placing someone in a position to recognize that
something is the case. Immediate demonstration
can be achieved using interpretative or affective
representation. Music employs both of them:
it can indirectly represent emotional states by
representing the movements with which those
emotions are associated (interpretative) or it
arouses feeling in some listeners and, in so
doing, shows them something about the affect

24

in question (affective). Kholopova, on the

other hand, offers a list of the basic types of
intonational semantics in music: 1) emotionalexpressive 2) object-depictive 3) musical genre 4)
musical-stylistic and 5) musical-compositional.
Finally, Meads observations on physiological
metaphors demonstrate how musics path to the
mind inevitably happens through the body.
There is no doubt that music cannot convey
semantic content with the same kind of precision
that is attributed to language. But, on the other
hand, language itself could be imprecise. A
passage of music could have a semantic range
that is just like that of any word in a language
in its essence, only much broader in its scope,
sharing the same kind of elasticity, but an
elasticity of a much greater degree than is typical
of language. As Joseph Swain states, semantic
range is determined by context and vice versa;
the context selects the meaning from the range
while the range constrains the appropriateness of
the context.
In dealing with the aforementioned semantic
issues I will present the analysis of the composition
Karakteri (Characters, 1958) by Serbian
composer Vojislav Kosti. The author took his
inspiration from Theophrastus collection of
short character-sketches (dating from the late 4th
century BC); he chose seven croquis (of the thirty
in the book) and composed a cycle of variations
for clarinet, piano and 18 percussion instruments.
The comparison with Paul Hindemiths
composition Four Temperaments is inevitable
and it will (supposedly) provide the needed
arguments for the circularity of the relationship
between semantic range and context.

Mirjana Zaki, University of Arts in

Belgrade

RITUAL SONGS AS SYSTEMS OF

SOUND SIGNS
This paper deals with the ritual song as a
musical or musical-poetic phenomenon that
possesses its own sign system, which presents a
corresponding idea of the ritual. The description
of the ritual song as a sound-sign system is
directly connected with its signifying feature
in representing the other, which is the basic
dimension of communication in a ritual process.

This significant dimension, as one of the main

functions in semiotics, is expressed in the
modelative secondary system of the ritual,
whose signifying functions, iconic, indexical
and symbolic, are interpreted first of all in the
intertwining of temporal, locative, personal and
actional systems.
In comparing with an internal signifying
feature of the music, in keeping with which
individual musical units acquire meaning only in
relation towards other units of the musical context,
the external signifying quality of music is read
from the direct link with the other systems of the
ritual, that is, from the context of the situation.
The results of the structural analysis of music
represent the necessary base for considering
the semantic dimension, which, in the chain of
the external musical semiosis, articulates the
relation towards non-musical objects. Therefore,
a musical structure is considered a semanticised
syntactic dimension, the meaning of which is
determined by the context in which it is used.
Contextual analysis established, first of all, the
relation between the musical structure and other
structures in the ritual, leading to the interpretation
of the homologies between the units, segments
and opposite structural values in music and the
corresponding elements in other ritual systems.
The specifics and the differences in the
degree of informative (semantic and numeric)
values of the system in a ritual are especially
elaborated at the level of relation between poetic
and musical texts. The registration of a large
number of poetic texts and an (almost) universal
musical model for one ritual (in the same area)
leads to a key connection of the poetic system
with real objects denotata which ensure the
syntagmatics of the ritual procession, and the
connectivity of the musical system with a specific
mutual concept designatum marking the
paradigm of the ritual. The different functions of
these systems via their concretizations musical
and poetic texts complementarily contribute
to the efficiency of the ritual process. The point
is in the different informative aspect of their
appearance, which leads towards the creation of
the integral ritual message. Such ascertainment
is in direct connection with the interpretation of
ritual syncretism as a unity of differences.

25

BIOGRAPHIES
Irena Alperyte
Irena Alperyte is currently lecturing at the
UNESCO Cultural Management and Cultural
Policy Chair of the Vilnius Academy of Fine Arts,
as well as the Academy of Music and Theatre,
Lithuania. She led a project called Synaxis Baltica
in 2010 and participated in the project Brain Gain
through Culture in Grlitz (Germany) in 2012.
She is a member of the Lithuanian Marketing
Association.

Sran Atanasovski
Sran Atanasovski (1983, Kumanovo,
Macedonia) graduated from the Department of
Musicology of the Faculty of Music in Belgrade
in 2009, where he is currently a PhD student
of musicology and is working on a dissertation
entitled Music Practices and Production of
the National Territory with advisor Tatjana
Markovi. He has participated in international
conferences in Austria, Bosnia and Herzegovina,
Croatia, Germany, Great Britain, Greece, the
Netherlands, Italy, Serbia, Slovenia and Turkey,
and was a member of the program committee of
two international student symposiums. He has
published his papers in the journals Musicologica
Austriaca, Musicology, and Musicological Annual.
He works as an associate in the transcription and
editing of unpublished compositions of Joseph
von Friebert (assistant editor, Don Juan Archiv
Wien Forschungsverlag), Felix Mendelssohn,
and Ernst Krenek. Since 2011 he has worked at
the Institute of Musicology SASA as a research
assistant.

Mario Baroni
Mario Baroni has been a professor, and then
a director, at the Department of Musicology
of the University of Bologna. In the 1990s he
founded the Italian Association for the Analysis
and Theory of Music (Gruppo Analisi e Teoria
Musicale) and the Rivista di Analisi e Teoria
Musicale. He was one of the promoters of the
foundation of ESCOM (European Society for
the Cognitive Sciences of Music), and ESCOM
President from 2003 to 2006.

His research interests lie in music analysis,

systematic musicology, music education and 20thcentury music (particularly Bruno Maderna and
Giacinto Scelsi). Le regole della musica (on the
concept of musical grammar), a book written in
collaboration with R. Dalmonte and C. Jacoboni,
was published in Italian and translated into
English and French.
Results of his research have been presented
in the Enciclopedia della Musica, edited by J. J.
Nattiez, with the collaboration of R. Dalmonte,
M. Bent and M. Baroni (Einaudi, Torino 20012005, French edition by Actes Sud).
Mario Baroni is one of the consulting editors
of the journals Music Perception (1995) and
Musicae Scientiae.

Mina Boani
Mina Boani (1988) is a PhD student at the
Faculty of Music, University of Arts in Belgrade.
She received her BA and MA degrees at the same
faculty. Her masters thesis, The organisation of
musical space in chamber works of Josip Slavenski
and Ljubica Mari, deals with the problems of
the semiotics of musical space in the analysis of
the chamber works of the two most prominent
Serbian modernist composers. In her PhD thesis
she will be focusing on the analytical possibilities
of musical semiotics and musical modernism.
She participated in several student conferences in
Belgrade in 2009, 2010, and 2011. Two of her
student papers were published: Egon Wellesz
and his analytical approach to Byzantine music:
the question of formulae (2010), and Motifs and
themes of life and death in the Sixth Symphony of
Gustav Mahler (2011).

Rossana Dalmonte
Rossana Dalmonte was an assistant at
the University of Bologna (1972-1986) and a
full professor of Musicology at the University
of Trento (1986-2009). She was Chief of the
Department of History of European Civilisation
and sat on the board for 9 years.
She has published:

26

a) critical editions of Schubert, Rossini and

Maderna (the whole collection: 20 volumes);
b) works in the field of music analysis and
theory (with Mario Baroni and Carlo Jacoboni,
The rules of music. A computer-aided inquiry on
music composition, Lewinston N.Y, 2003). She is
co-editor of the journal Rivista di Analisi e Teoria
Musicale;
c) many books on the history of music, and
especially on Luciano Berio and Franz Liszt.
Since 1997 she has been the President of the
Fondazione Istituto Liszt Onlus of Bologna and
editor of two collections: Quaderni dellIstituto
Liszt and Liszts Rarities (together with the
London Liszt Society).

Michel Imberty
Michel Imberty is prefessor emeritus at the
University of Paris X Nanterre, as well as
visiting professor at many foreign universities,
especially in Bologna, Rome, Granada, Pamplona,
and Liege. His research interests covers the
vast field of philosophical, psychological and
musicological issues. Michel Imberty is the
author of over 180 publications (in french, italian
and english language) on various themes, such as:
the musical development of the child, the relation
between music and the unconscious, the temporal
structures and narrativity in music, the music
perception and cognition (especially in the case of
atonal music), spectral music, etc. He was the first
President of European Society for the Cognitive
Sciences of Music (ESCOM). His most important
publications are: Lacquisition des structures
tonales chez lenfant. 1969; Entendre la musique.
Smantique psychologique de la musique, 1969;
Les critures du temps. Smantique psychologique
de la musique, 1971; Suoni, emozioni, significati.
Per una semantica psicologica della musica,
1986; La Musique creuse le temps. De Wagner
Boulez : musique, psychologie, psychanalyse,
2005.

Aleksandra Ivkovi
Aleksandra Ivkovi graduated from the
Faculty of Music in Belgrade in 2007, at the
Department of General Music Pedagogy (majoring
in harmony with harmonic analysis in the class of
Assistant Professor Garun Malaev). In 2009 she

completed her specialist studies, defending the

thesis The conception and meaning of melody
in individual style of Robert Schumann, in the
class of professor Ana Stefanovi, PhD. She has
taken part in several national and international
conferences. At the moment she is a postgraduate
of doctoral studies at the Department of Music
Theory and Analysis in Belgrade in the class of
Ana Stefanovi, PhD, and working as Assistant
Professor at the Faculty of Philology and Arts in
Kragujevac at the Department of Music Pedagogy
and Theory.

Carlo Jacoboni
Carlo Jacoboni is professor emeritus of
Physics at the University of Modena and Reggio
Emilia, Italy, where he taught theoretical physics
for several decades.
His main field of research is the dynamics
of electrons inside semiconductor materials and
devices. In such a field he has published several
books and about 200 papers in international
scientific magazines.
He has been Director of the Physics
Department, Chairman of the School of Sciences
of the University of Modena and Reggio Emilia,
and the principal investigator of many research
contracts.
He has founded and headed several national
and international schools of semiconductor
physics and computer science.
He is a Fellow of the American Physical
Society.
Together with musicologists of the Universities
of Bologna and Trento, he has performed studies
in the field of musical communication, publishing
several scientific papers and the book Le regole
della musica, E.D.T. Torino 1999.

Valerija Kanaki
She was born in 1972. She earned her
bachelors degree at the Faculty of Music in
Belgrade, 1997, at the Department of Music
Pedagogy. She defended her MA thesis in music
theory at the same faculty. She has held a post at
the Faculty of Philology and Arts in Kragujevac
(Serbia) since its foundation in 2002, first as

27

a teaching assistant and then as an assistant

professor (in 2007) in Analysis of Music Work
and Music Form at the Music Department. Her
main field of research is the analysis of musical
form of Romanticism. She has presented her
scientific and scholarly papers at scientific
conferences throughout Serbia (Belgrade, Soko
Banja, Kragujevac, Ni) and abroad (Poland,
Bosnia). She is a member of the Organizing
Committee of the scientific conference Serbian
Language, Literature, Art held in Kragujevac.
She has been the member of the editorial board
of the international journal Heritage (Serbian:
Naslee) since 2012.

Koichi Kato
Koichi Kato obtained his masters degree
from the Royal Holloway University of London,
UK (studying under the direction of Prof. Jim
Samson). After a further research training atthe UK
university, he presented conference papers in both
national and international meetings includingthe
RMA annual conference (UK) (2009), New
Zealand and Australian Joint annual conference
(2010), and the first biennial conference at IMS in
the East Asian region (2011).

Viktorija Kolarovska-Gmirja
Viktorija Kolarovska-Gmirja graduated from
the Musicology Department of St. Petersburg
Conservatory N.A.Rimsky-Korsakov (class of
Prof. E. Ruchyevskaya, PhD). Since 1989, she
has lived and worked in Macedonia as professor
at Ss. Cyril and Methodius University Faculty
of Music Art in Skopje. At the same Faculty she
graduated from the Piano Department and earned
her MA and PhD degrees. She writes papers about
contemporary Macedonian music and music
education and takes part in many international
conferences and seminars. She is a member of the
Editorial Board of the journal Muzika published
by the Association of Composers of Macedonia.
She also performs as a piano accompanist and
a member of chamber ensembles at musical
festivals in Macedonia and abroad.

Sonja Marinkovi
Sonja Marinkovi, PhD, musicologist,
professor at the Department of Musicology of
the Faculty of Music in Belgrade, teaches the
history of music and research methodology.
She is a member of the Editorial Board of the
International Magazine for Music New Sound
and editor-in-chief of the magazine Mokranjac.
She is engaged in research work concerning the
national history of music of the 20th century,
especially dealing with the problem of the
relationship between folklore and composers
creativity (her doctoral thesis was National Music
Features in Serbian Music in the First Half of
the 20th Century) as well as the problem of social
art. She is the author of high-school textbooks in
the subjects music culture, history of music and
national history of music.

Marija Masnikosa
Marija Masnikosa, PhD, musicologist, works
as Assistant Professor at the Department of
Musicology of the Faculty of Music, University
of Arts in Belgrade.
Her research is focused primarily on the
problems of musical minimalism, postminimalism
and musical semiotics. The subject of her doctoral
dissertation was Postminimalism in Serbian
Music.
Marija Masnikosa has participated in
numerous national and international symposia and
published her papers in musicological journals
and international symposia proceedings. She is
involved in some research projects supported
by the Serbian Ministry of Science, and she is
a member of the editorial staff of the national
musical magazine Musical Wave (Belgrade).
Marija Masnikosa has been a member of
the Society for Music and Minimalism since its
foundation in September 2007.

Ivana Medi
Ivana Medi, PhD, completed her
undergraduate and postgraduate studies at the
Department of Musicology, Faculty of Music
in Belgrade. She obtained her PhD from the
University of Manchester, United Kingdom,
funded by the prestigious Overseas Research
Award and Graduate Teaching Assistantship. Prior

28

to moving to the UK she worked as a Teaching

Assistant with the Department of Music Theory,
Faculty of Music, and the Music Editor-in-Chief
at Radio Belgrade 3, Serbian Broadcasting
Corporation. After completing her doctoral
studies, she worked as an Associate Lecturer with
the Open University, where she taught modules
in music theory and songwriting. Since February
2013 she has been a Researcher with the Institute
of Musicology, Serbian Academy of Sciences and
Arts. She has published two books and over thirty
journal articles.

Jelena Mihajlovi-Markovi
Musicologist, Teacher at the Faculty of Music
in Belgrade Department of Music Theory. She
graduated from the Department of Musicology;
her graduation work was awarded the Belgrade
October Prize for students. She completed her
doctoral studies at the University of Arts in
Belgrade.
Her field of research includes theory
of harmony and harmonic analyses. She is
currently working on her doctoral thesis, which,
through modifying the classical and functional
methodological approaches, focuses on analyzing
complex harmonic structures and tonal systems in
the music of Sergei Prokofiev.
Her main fields of teaching are Harmony
and Methodology of Teaching Theoretical
Disciplines; she has mentored over ten graduation
works dealing with Harmonic Analyses.
She has participated in the Music Theory
and Analyses symposiums organized by the
Department of Music Theory of the Faculty of
Music; her papers have been published in the
periodical Music Theory and Analyses. She has
translated articles from Serbian into English, also
published in periodicals Musicology and New
Sound.

Melita Milin
Melita Milin is a senior researcher at the
Institute of Musicology in Belgrade. She finished
her studies in musicology at the Faculty of Music
in Belgrade, where she also obtained her MA
degree. She received her PhD degree from the
Faculty of Philosophy in Ljubljana. Her main
research area is 20th-century Serbian music in the

European context, with emphasis on the output

of Ljubica Mari. She was a member of two
international projects organised by Prof. Helmut
Loos from Leipzig University (on musicians
correspondences and on migrating composers of
central and eastern Europe). M. Milin was also
head of the Serbian team of the project on Serbian
and Greek art music (the head of the Greek team
was Ekaterini Romanou). She was editor-in-chief
of the first five issues of the journal Musicology.
Her works include: The Traditional and the New
in Serbian Music after World War II (1945-65);
A Typology of 20th-century Serbian Compositions
for the Musical Stage; Surviving with Sounds
Eastern Europe after the Turn 1989; Musicology
and Sister Disciplines Today; Old Serbian Church
Music in the Works of Contemporary Composers;
The Idea of Serbian National Music in the 20th
Century; Ancestral Memories in the Works of
Ljubica Mari.

Miloje Nikolic
Miloje Nikolic, theoretician of music and
conductor, was born in 1948 in Kragujevac. He
works as a full professor of the Theory of Music
at the Faculty of Music in Belgrade and also
teaches at the faculties of music in Kragujevac
and Eastern Sarajevo. He is the author of a
considerable number of scientific and specialized
works in the field of vocal music analysis and
knowledge of vocal, especially choral literature.
As a long-standing conductor of wellknown Belgrade choirs Lola and panac and
ACC Liceum from Kragujevac, he has received
many prizes at choral festivals and competitions.
He has had many successful concerts in Serbia
and in many foreign countries: Bulgaria, Czech
Republic, England, France, Germany, Hungary,
Mexico, Poland, Romania, Russia, Slovakia,
Spain, Switzerland, Turkey and in the republics
of former Yugoslavia.
He is the founder, author of the basic
conception, and artistic director of the International
Festival of Chamber Choirs in Kragujevac.
He is one of the initiators of the establishment
of the international association Balkan Choral
Forum and a member of its Managing Board.
He is the founder and president of the Managing
Board of the association Balkan Choral Forum
Serbia.

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Filip Pavlii
Filip Pavlii was born in 1978 in Podgorica,
Montenegro. He graduated in 2003 from the
Faculty of Music, Belgrade, presenting the degree
essay Similarities and Differences in Harmonic
Language of Piano Concertos of Schumann and
Grieg, in the subject harmony and harmonic
analysis. The first part of his masters thesis,
Semantic Interaction in George Gershwins
Concerto in F was approved in February 2006
at the same Faculty. As of 2008 he has been
enrolled in doctoral studies in music theory,
within the framework of which he submitted in
October 2010 a summary and explanation of his
doctoral thesis entitled Processes Leading to
the Formation of Meaning in German Romantic
Music. He has been working at the Faculty of
Philology and Art in Kragujevac, Serbia, since
2005, first as a Trainee Assistant and then since
2009 as an Assistant in the subjects Harmony and
Harmonic Analysis and the Analysis of Music
Styles. He participated in annual congresses of the
Department of Theoretical Subjects of the Faculty
of Music in 2007, 2009 and 2010, At a meeting
of experts called Language-Literature-Art of the
Faculty of Philology and Arts in Kragujevac, he
presented his essays Small Dominant Sept-chord
a Cry of Early Romaticism and Archaic and
Modern Harmonic Patterns in Echoes (Odjeci) by
Vasilije Mokranjac in 2007 and 2008 respectively,
which were published in the collection of essays
presented at the meetings. He wrote studies on
jazz music, which were published on the fan
website Jazzin.rs.

Predrag Repani
Composer, music theorist and pedagogue;
professor of Music Theory at the Faculty of
Music, University of Arts in Belgrade. Born in
1958 in Slavonski Brod (now in the Republic
of Croatia), he settled in Belgrade and studied
music first privately, and then at the Faculty
of Music with a grant from the University of
Arts. He obtained his bachelors and masters
degrees in the class of Professor Sran Hofman.
His pieces include various forms and genres,
vocal and instrumental, from solo to symphony
orchestra. With a grant from the Contemporary
Music Institute from Germany (IMD) he attended
lectures of H. Lachenmann and J. Xenakis at
the 35th International Course for New Music in

Darmstadt in 1990 and actively participated in the

course held by B. Ferneyhough.
After a research leave in Berlin in 1995, he
wrote an extensive study Canon in the Sacred
Vocal Polyphony in the Renaissance and began
his teaching career at the Department of Music
Theory, Faculty of Music. His principal research
interests are in the domain of Renaissance
composing techniques, movable counterpoint,
canon and the techniques of stretto imitation. He
has presented his research at numerous domestic
and international conferences.

Anica Sabo
Anica Sabo (1954) was born in Belgrade.
She obtained her bachelors (1980) and masters
degree (1986) in composition at the Faculty of
Music in Belgrade, and finished two years of
bassoon studies at the same institution. In 2007,
she completed her PhD studies at the University
of Arts in Belgrade, at the Department of Theory
of Art and Media. She is currently an associate
professor at the Department of Music Theory of
the Faculty of Music in Belgrade.
Her activities encompass both compositional
and theoretical work. As a composer, she creates
mostly in the domain of chamber music. Lately,
most of her inspiration comes from literary works.
The focal points of her research into music theory
and analyses are the questions of symmetry and
musical form. An important place in her theoretical
output is also reserved for Serbian music.

Atila Sabo
Atila Sabo graduated in Harmony with
Harmonic Analysis from the Faculty of Music
in Belgrade in October 2004 and defended the
first part of his MA thesis in February 2006.
He is currently working on his PhD thesis in
Music Theory Post-tonal context and narrative
function of harmonic language in the music of
Shostakovich, Hindemith and Bartk at the
Faculty of Music in Belgrade.
He has taken part in international conferences
of the Department of Theoretical Subjects of
the Faculty of Music in Belgrade, international
conferences
Language-Literature-Art
in
Kragujevac, and international conferences Vlado
S. Miloevi: Ethnomusicologist, Composer, and
Pedagogue in Banja Luka.

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In the period from 2004 to 2011 he was a

teaching assistant at the Faculty of Philology and
Arts in Kragujevac. He is currently employed as a
teaching assistant at the Department of Theoretical
Subjects of the Faculty of Music in Belgrade.
He graduated in viola from the Department
of String Instruments of the Faculty of Music
in Belgrade in the class of Professor Dejan
Mlaenovi. From 2005 to 2012 he was a regular
member of the Belgrade Strings orchestra Duan
Skovran.

Herbert Schneider
Herbert Schneider is professor emeritus of
Saarland University. He is the general editor
of the Musikwissenschaftliche Publikationen
(37 volumes published) and of Lullys uvres
compltes (with J. de la Gorce). He has organised
international conferences on Lully, opracomique, timbre and vaudeville, Austrian lied,
translation of libretto, Thodore Gouvy, etc. He
has written on a wide variety of topics, including
many articles in the second edition of MGG. His
principal areas are French music and music theory,
the relation between German and French music,
chanson, and comparative translation of sung
genres. Recently he translated the unpublished
early treatises by Antoine Reicha (two volumes
and a score with 24 piano compositions) and
edited and translated with two other translators
a selection of Messiaens Trait de rythme, de
couleur, et de lornithologie (with a critical
apparatus) and in volume 2 of Olivier Messiaen.
Texte, Analysen, Zeiugnisse he dedicated an
article to Alain Messiaens numerous collections
of poems on music.

Jan Philipp Sprick

Jan Philipp Sprick studied music theory,
viola, musicology and history in Hamburg,
Harvard and Berlin. He took his PhD at the
Humboldt University of Berlin with a dissertation
on the sequence in German music theory around
1900. Since 2006 he has been teaching music
theory at the Hochschule fr Musik und Theater
Rostock. In the winter quarter of 2012 he was
Visiting Assistant Professor at the University
of Chicago. His main research interests are the
history of music theory, contemporary analytical

methodology and the disciplinary relations of

music theory and musicology.

Biljana Srekovi
Biljana Srekovi (1982, Belgrade),
musicologist, works as an assistant teacher
in the field of musicology at the Department
of Musicology of the Faculty of Music of the
University of Arts in Belgrade. Currently, she is
doing her PhD studies at the Faculty of Music in
Belgrade, working on her thesis dedicated to the
critical review of relations between music and
sound art. Her research interests include sound
studies, sound art, contemporary experimental
electroacoustic music, as well as esthetics,
philosophy, and theory of art.

Ana Stefanovi
Ana Stefanovi, musicologist, received her
MA degree at the Faculty of Music in Belgrade.
She received her PhD in musicology at the
University Paris IV - Sorbonne. She is employed
as Associate Professor at the Faculty of Music in
Belgrade. She also works as associate researcher
at University Paris IV - Sorbonne (research team:
Patrimoines et Langages musicaux, EA 4807), and
collaborates with the Centre de musique baroque
de Versailles. The main areas of her research are
the relationship between music and text in opera
and lied, as well as questions of music style and
style analysis. She is the author of a large number
of articles published in reviews for musicology
and music theory and in collected papers. Her
doctoral thesis was published under the title
La musique comme mtaphore. La relation de
la musique et du texte dans lopra baroque
francais: de Lully Rameau, Paris, LHarmattan,
2006. She is also the author of the Anthology of
Serbian Art Song (I-V), Belgrade, UKS, 2008.

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Sran Tepari

Mirjana Zaki

Sran Tepari was born in 1974. He graduated

from the Faculty of Music in Belgrade in 1999 at
the Department of Music Pedagogy. He received
his masters degree in 2004 by successfully
defending the thesis Neoclassical Concept of
Tonality of Igor Stravinsky - Resemantization. He
has been working with the Department of Music
Theory of the Faculty of Music in Belgrade since
April 2000. On many occasions he has taken part
in conferences organized by the Department and
in conferences in Kragujevac and Banjaluka.
He is working on his doctoral dissertation,
Resementization of Tonality between 1917-1945.

Mirjana Zaki, PhD, graduated from the

Faculty of Music in Belgrade, at the Department
of Ethnomusicology. During her studies she was
a one-year fellowship holder of the Republic
Community for International Cooperation and
specialized in the field of ethnomusicology at the
Conservatory P. I. Tchaikovsky in Moscow.
Her doctoral dissertation Ritual songs of the
winter Season systems of sound signs in the
tradition of southeastern Serbia was published in
2009. She is especially interested in ritual music,
instrumental music, musical semiotics, and the
relation between text and context.

Katarina Tomaevi
Katarina Tomaevi, PhD, Senior Research
Associate at the Institute of Musicology of
the Serbian Academy of Sciences and Arts in
Belgrade. The author of the book Serbian Music
on the Crossroads between East and West? On
Dialogue between Tradition and Modernism
in Serbian Music between Two World Wars
(Belgrade 2009), she has published numerous
articles in Serbia and abroad and served as editorin-chief of the international journal Musicology
(Institute of Musicology SASA, 20062010).

Ivana Vuksanovi
Ivana Vuksanovi (Belgrade, 1963) is an
Assistant Professor at the Department of Music
Theory, Faculty of Music in Belgrade. She
received her PhD in musicology in 2010 with the
thesis Humour in 20th-century Serbian Music. Her
wider research interests include contemporary
Serbian music, popular culture, as well as the
history of music theory and questions of musical
form. Her MA thesis was published in 2006
under the title Aspects and Resignification of
the Elements of Trivial Genres in 20th-century
Serbian Music. She is the author of many articles
published in reviews for musicology and music
theory and in collections of papers.

Since 1990 she has been employed at the

Faculty of Music in Belgrade at the Department
of Ethnomusicology. She has been the chairman
of the Serbian Ethnomusicological Society since
its establishment in 2002.

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