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    ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° / Musicology (34 I/2023)

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    ОбСлСТавањС ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° јС ΠΏΡ€Π΅ΠΌΠΈΠ½ΡƒΠΎ Π˜Π³ΠΎΡ€ Бтравински (1882–1971) ΠΏΡ€ΠΎΡ‚Π΅ΠΊΠ»ΠΎ јС Ρƒ сСнци пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° сС Π½Π°ΡƒΡ‡Π½ΠΎ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅ подстакнуто Ρ‚ΠΎΠΌ Π³ΠΎΠ΄ΠΈΡˆΡšΠΈΡ†ΠΎΠΌ ΠΏΡ€ΠΎΠ΄ΡƒΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ сС ΡšΠ΅ΠΌΡƒ ΠΏΡ€ΠΈΠ΄Ρ€ΡƒΠΆΡƒΡ˜Π΅ ΠΈ Π“Π»Π°Π²Π½Π° Ρ‚Π΅ΠΌΠ° Ρƒ Π½ΠΎΠ²ΠΎΠΌ Π±Ρ€ΠΎΡ˜Ρƒ ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π΅ (34), с Π½ΠΈΠ·ΠΎΠΌ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° посвСћСних Бтравинском, којС ΠΏΠΎΡ‚ΠΈΡ‡Ρƒ ΠΈΠ· излагања Π½Π° Π‘Ρ‚ΡƒΠ΄ΠΈΡ˜ΡΠΊΠΎΠΌ Π΄Π°Π½Ρƒ ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини. ЗаступљСнС Ρ‚Π΅ΠΌΠ΅ ΠΏΠΎΠΊΡ€ΠΈΠ²Π°Ρ˜Ρƒ ΡˆΠΈΡ€ΠΎΠΊ спСктар ΠΏΡ€ΠΎΠ±Π»Π΅ΠΌΠ°Ρ‚ΠΈΠΊΠ΅ Ρƒ Π²Π΅Π·ΠΈ са свим Ρ‚Ρ€ΠΈΠΌΠ° Ρ„Π°Π·Π°ΠΌΠ° ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског (руска, нСокласична ΠΈ ΡΠ΅Ρ€ΠΈΡ˜Π°Π»Π½Π°), ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ ΠΏΡ€ΠΈ Ρ‚ΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠ° СстСтикС, ΠΊΠ°ΠΎ ΠΈ ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΈ Ρ€Π΅Ρ†Π΅ΠΏΡ†ΠΈΡ˜Π΅ њСговог Π΄Π΅Π»Π°. Бтаматис Зохиос ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡ‚Π²Π°Ρ€Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ Π²Π΅Π·Π΅ Бтравинског с руским Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€ΠΎΠΌ, ΠΊΠΎΠ½Ρ‚Π΅ΠΊΡΡ‚ΡƒΠ°Π»ΠΈΠ·ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈΠ· Ρ‚Π°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ β€žΡ€ΡƒΡΠΊΠΎΠ³β€ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Π° с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° Π½Π° ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜Π°Ρ‚ рускС фолклористикС. Зохиос Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜Π΅ Π΄Π° јС Бтравински ΠΏΡ€Π°Ρ‚ΠΈΠΎ ΠΏΡƒΡ‚ ΡΠ²ΠΎΡ˜ΠΈΡ… ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (Π“Π»ΠΈΠ½ΠΊΠ° ΠΈ ΠŸΠ΅Ρ‚ΠΎΡ€ΠΈΡ†Π°) Ρƒ ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈ Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Π½ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° Π·Π° својС ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π΅, Π°Π»ΠΈ, Π·Π° Ρ€Π°Π·Π»ΠΈΠΊΡƒ ΠΎΠ΄ ΡšΠΈΡ…, нијС користио ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Π½Π°ΡΡ‚Π°Ρ˜Π°Π»Π΅ Ρƒ њСговом Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ; стога, нијС сС упустио Ρƒ СкстСнзивну ΠΈ дубинску ΠΏΡ€Π΅Ρ‚Ρ€Π°Π³Ρƒ ΠΏΠΎΡΡ‚ΠΎΡ˜Π΅Ρ›ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° ΠΎ руском Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Ρƒ, Π²Π΅Ρ› сС умСсто Ρ‚ΠΎΠ³Π° ослањао Π½Π° ΠΏΡ€ΠΎΠ²Π΅Ρ€Π΅Π½Π΅ ΠΈΠ·Π²ΠΎΡ€Π΅ ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ Ивана ΠœΡƒΠ΄ΠΈΡ˜Π° освСтљава Π΄Π΅ΠΎ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског с фокусом Π½Π° њСгова Π΄ΡƒΡ…ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· пСрспСктивС њСговог познавања Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜Π΅ Π–Π°ΠΊΠ° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½Π°, Π° Ρƒ контСксту филозофских потрСса Ρƒ ΠΌΠ΅Ρ’ΡƒΡ€Π°Ρ‚Π½ΠΎΡ˜ Π€Ρ€Π°Π½Ρ†ΡƒΡΠΊΠΎΡ˜. ΠœΡƒΠ΄ΠΈ ΠΎΠ±Ρ€Π°Ρ›Π° посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π° Ρ‚ΠΎ ΠΊΠ°ΠΊΠΎ Бтравински ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚ΠΈΡ€Π° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½ΠΎΠ²Ρƒ ΠΈΠ΄Π΅Ρ˜Ρƒ homo faber-a, β€žΡ‡ΠΎΠ²Π΅ΠΊΠ°-творца”. Π˜ΡΡ‚ΠΎΠ²Ρ€Π΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°Ρ€ΡƒΡ˜Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²ΠΎ руско ΠΏΠΎΡ€Π΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π° су Π΄Π΅Π»Π° која су ΠΎΠ²Π΄Π΅ саглСдавана јСднако ΡƒΡ‚Π΅ΠΌΠ΅Ρ™Π΅Π½Π° Ρƒ руском ΠΏΠΎΡ€Π΅ΠΊΠ»Ρƒ Бтравинског ΠΊΠ°ΠΎ ΠΈ Ρƒ њСговим искуствима Π½Π° Π—Π°ΠΏΠ°Π΄Ρƒ. ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½Π° Π›Π΅Π²ΠΈΠ΄Ρƒ дајС Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΡƒ ΠΌΡƒΠ·ΠΈΠΊΠ΅, Π° Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ Π½Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ доприноса ΠŸΡ˜Π΅Ρ€Π° Бувчинског ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Ρƒ. ЊСно ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΊΡ€Π΅Ρ›Π΅ сС ΠΈΠ·Π²Π°Π½ ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½ΠΈΡ… мСста Π·Π° ΠΏΠΎΡΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅, односно ΠΈΠ·Π²Π°Π½ ΠΏΠ΅Ρ‚ΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²Ρ™Π° (којС јС написао Бувчински) ΠΈ Π΄ΠΎΠ±Ρ€ΠΎ ΠΏΠΎΠ·Π½Π°Ρ‚Π΅ Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π΅ ΠΊΠ° идСјама Бувчинског ΠΎ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΈ Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ. На Ρ‚Π°Ρ˜ Π½Π°Ρ‡ΠΈΠ½ Ρ›Π΅ ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΠ° ΠΈΠ½Ρ‚Ρ€ΠΈΠ³Π°Π½Ρ‚Π½ΠΎ постати најмањС ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°Ρ‚Ρ„ΠΎΡ€ΠΌΠ° Π·Π° ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΡ˜Ρƒ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°Ρ†ΠΈΡ˜Ρƒ ΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ… с ΠΎΠ΄Ρ€Π΅Ρ’Π΅Π½ΠΈΠΌ Π½ΠΈΡ‚ΠΈΠΌΠ° β€žΠ΅Π²Ρ€ΠΎΠ°Π·ΠΈΡ˜ΡΡ‚Π²Π°β€, руског Смигрантског ΠΈΠ½Ρ‚Π΅Π»Π΅ΠΊΡ‚ΡƒΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡ‚ΠΈΡ‡ΠΊΠΎΠ³ ΠΏΠΎΠΊΡ€Π΅Ρ‚Π°, с којим јС Бувчински Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠšΡ€ΠΈΡΡ‚ΠΎΡ„ Π€Π»Π°ΠΌ фокусирао сС Π½Π° касно ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²ΠΎ Бтравинског ΠΈ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΠΎ Π³Π° ΠΈΠ· пСрспСктивС СкспрСсивности. ΠšΠΎΠ½ΠΊΡ€Π΅Ρ‚Π½ΠΎ, овај Π°ΡƒΡ‚ΠΎΡ€ јС истакао СкспрСсивнС, сСмантичкС ΠΈ ΡΠ°ΠΌΠΎΡ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π½Π΅ димСнзијС Ρƒ касним Π΄Π΅Π»ΠΈΠΌΠ°, којС сС Ρƒ њима ΠΏΠΎΡ˜Π°Π²Ρ™ΡƒΡ˜Ρƒ с Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎΠΌ Ρ˜Π°ΡΠ½ΠΎΡ›ΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡ‡Π½ΠΎ ΠΏΡ€ΠΎΡ‚ΠΈΠ²Ρ€Π΅Ρ‡Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ΠΈΠΌ ΠΎΡ†Π΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ апстрактнС ΠΈ конструктивистичкС, Π° Ρ‚Π°ΠΊΠΎΡ’Π΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°Ρ˜Ρƒ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²Π΅ Π»ΠΈΡ‡Π½Π΅ изјавС. Π‘ Ρ‡Π»Π°Π½ΠΊΠΎΠΌ Π•Π΄Π²Π°Ρ€Π΄Π° КСмбСла ΠΎΡΡ‚Π°Ρ˜Π΅ΠΌΠΎ Ρƒ послСратном Π΄ΠΎΠ±Ρƒ, Π°Π»ΠΈ сС фокус ΠΏΠΎΠΌΠ΅Ρ€Π° с Π΄Π΅Π»Π° Бтравинског ΠΏΠΎ сСби Π½Π° ΡƒΡ‚ΠΈΡ†Π°Ρ˜ њСговог Ρ€Π°Π΄Π° Π½Π° Ρ„Ρ€Π°Π½ΠΊΠΎΡ„ΠΎΠ½Ρƒ послСратну Π°Π²Π°Π½Π³Π°Ρ€Π΄Ρƒ, односно Π½Π° ΠŸΡ˜Π΅Ρ€Π° Π‘ΡƒΠ»Π΅Π·Π°, Π–Π°Π½Π° Π‘Π°Ρ€Π°ΠΊΠ°, ΠΠ½Ρ€ΠΈΡ˜Π° ΠŸΡƒΡΠ΅Ρ€Π° ΠΈ МишСла Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. КСмбСлова Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°Ρ‡ΠΈ Π½Π° ΠΏΠΎΠ²Ρ€ΡˆΠΈΠ½Ρƒ ΡƒΡ‚ΠΈΡ†Π°Ρ˜ који јС Бтравински ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° Ρ€ΠΈΡ‚ΠΌΠΈΡ‡ΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°Ρ†ΠΈΡ˜Π΅, ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±Π΅ звучности, Ρ…Π°Ρ€ΠΌΠΎΠ½ΠΈΡ˜Π°, инструмСнталнС бојС, ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ Ρ„ΠΎΡ€ΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°Ρ€ΠΈΡ‚Π΅Ρ‚Π° висинС Ρ‚ΠΎΠ½Π°. ПослСдња Π΄Π²Π° Ρ‡Π»Π°Π½ΠΊΠ° ΠΏΡ€ΠΈΠ»Π°Π·Π΅ Ρ€Π°Π΄Ρƒ Бтравинског ΠΈΠ· пСрспСктивС СстСтикС, с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° ΠΊΠ° Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜ΠΈ њСговог саврСмСника, Π₯Π΅Π»ΠΌΡƒΡ‚Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€Π°. Јаковос Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ расправља ΠΎ Π·Π½Π°Ρ‡Π΅ΡšΡƒ тСлСсности ΠΈ плСса Ρƒ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Ρƒ Бтравинског, ΠΎΠ΄Π»Π°Π·Π΅Ρ›ΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π΄ΠΎΠΊΡƒΠΌΠ΅Π½Ρ‚ΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½Ρ‚Π΅Ρ€Π΅ΡΠΎΠ²Π°ΡšΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° Π·Π° балСтску ΠΌΡƒΠ·ΠΈΠΊΡƒ. БалСтска ΠΌΡƒΠ·ΠΈΠΊΠ° Бтравинског, ΠΊΠ°ΠΊΠΎ Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜Π΅, постиТС ΡΡ‚Π°ΡšΠ΅ β€žΠΏΠΎΡΡ€Π΅Π΄ΠΎΠ²Π°Π½Π΅ нСпосрСдности”, ΠΎΠ΄Ρ€ΠΆΠ°Π²Π°Ρ˜ΡƒΡ›ΠΈ Ρ‚Π°ΠΊΠΎ дистанцу Ρƒ односу Π½Π° ΡΡƒΠ±Ρ˜Π΅ΠΊΡ‚ΠΈΠ²Π½ΠΈ ΠΈΠ·Ρ€Π°Π·, Π±Π΅Π· којСг, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡ‚Π°Ρ˜Π΅ апстрактна. ΠšΠΎΠ½Π°Ρ‡Π½ΠΎ, ΠœΠ°Ρ€ΠΊΠΎΡ ЦСцос Π½ΡƒΠ΄ΠΈ Π½ΠΎΠ²Ρƒ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΡƒ АдорновС ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ΅ Бтравинског, Ρ€Π΅Ρ„Π΅Ρ€ΠΈΡ€Π°Ρ˜ΡƒΡ›ΠΈ Π½Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€ΠΎΠ²Ρƒ филозофску Π°Π½Ρ‚Ρ€ΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡ˜Ρƒ. Он, стога, ΠΈΠ·Π°Π·ΠΈΠ²Π° АдорновС ΠΏΠΎΠ³Π»Π΅Π΄Π΅ који Бтравинског ΡΠ²Ρ€ΡΡ‚Π°Π²Π°Ρ˜Ρƒ Ρƒ Π½Π΅Ρ…ΡƒΠΌΠ°Π½Π΅ ΠΈ ΠΏΡ€ΠΈΠΌΠΈΡ‚ΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜ΡƒΡ›ΠΈ умСсто Ρ‚ΠΎΠ³Π° Π΄Π° њСгова ΠΌΡƒΠ·ΠΈΠΊΠ° достиТС, Ρƒ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°Ρ‚Π½ΠΈΠΌ ΠΌΠΎΠ΄Π΅Ρ€Π½ΠΈΠΌ Ρ‚Π΅Ρ€ΠΌΠΈΠ½ΠΈΠΌΠ°, конститутивну рСфлСксивност људског ΠΎΡ‚Π΅Π»ΠΎΡ‚Π²ΠΎΡ€Π΅Π½ΠΎΠ³ ΡΡ‚Π°ΡšΠ°. Π ΡƒΠ±Ρ€ΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ јС ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡˆΡ‚ΠΎ ΡΠ°ΠΆΠ΅Ρ‚ΠΈΡ˜Π° – доноси Ρ‚Ρ€ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅, Π°Π»ΠΈ су њима ΠΌΠ°Ρ€ΠΊΠΈΡ€Π°Π½Π° Ρ€Π°Π·Π»ΠΈΡ‡ΠΈΡ‚Π° ΠΏΠΎΡ™Π° ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°. Π‘ΠΎΡ˜Π°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ› студиозно сС Π±Π°Π²ΠΈΠ»Π° ΠΏΡ€ΠΎΡƒΡ‡Π°Π²Π°ΡšΠ΅ΠΌ СкспрСсивних срСдстава Ρƒ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° глас српског ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠˆΡƒΠ³Π° ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° односа ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π°. Π¦ΠΈΡ™ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Π° Π±ΠΈΠΎ јС Π΄Π° ΠΏΡƒΡ‚Π΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±Ρ€Π°Π½ΠΈΡ… ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° допринСсС ΠΎΡΠ²Π΅Ρ‚Ρ™Π°Π²Π°ΡšΡƒ ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡ‚ΠΈΡ‡Π½ΠΎΠ³ стила, ΠΊΠ°ΠΎ ΠΈ Π΄Π° сС ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π° Ρƒ ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½Π΅ ΠΊΡ€ΡƒΠ³ΠΎΠ²Π΅ стваралаца који сС гласом Π±Π°Π²Π΅ Π½Π° Π½Π΅Ρ‚Ρ€Π°Π΄ΠΈΡ†ΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°Ρ‡ΠΈΠ½Π΅. Π˜ΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠœΠ°Ρ€ΠΈΡ˜Π΅ Π”ΠΈΠ½ΠΎΠ² прСдстављСно ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ односи сС Π½Π° кинСстСтичкС гСстовС, односно тСлСснС ΠΏΠΎΠΊΡ€Π΅Ρ‚Π΅ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π° Ρ‚ΠΎΠΊΠΎΠΌ пСрформанса, Π° ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ сопствСна ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈΡ‡ΠΊΠ° искуства, посСбну јС ΠΏΠ°ΠΆΡšΡƒ посвСтила Π‘Π΅Ρ‚ΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ клавирским сонатама. ОбјашњСњС ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΊΠ°Ρ€Π°ΠΊΡ‚Π΅Ρ€Π° Ρ„ΠΈΠ·ΠΈΡ‡ΠΊΠΈΡ… ΠΏΠΎΠΊΡ€Π΅Ρ‚Π° Ρ‚Π΅Π»Π° Π½Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎ Π΄Π΅Π»ΠΎ ΡƒΠΊΡ™ΡƒΡ‡ΠΈΠ»ΠΎ јС осврт Π½Π° ΡΡ‚Π²Π°Ρ€Π°ΡšΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° с Π΄Ρ€ΡƒΠ³Π΅ странС ΠΈ Π½Π° ΡΠ΅Π½Π·Π°Ρ†ΠΈΡ˜Π΅ Ρ‚ΠΎΠΊΠΎΠΌ њСговог ΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠ°, ΡˆΡ‚ΠΎ јС сугСрисало ΡˆΠΈΡ€ΠΈ Π·Π°ΠΊΡ™ΡƒΡ‡Π°ΠΊ ΠΎ посСбној ваТности Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΠ° ’кинСтичкС Π΅Π½Π΅Ρ€Π³ΠΈΡ˜Π΅ музикС’. ПослСдњи Ρƒ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρƒ часописа јС Ρ‡Π»Π°Π½Π°ΠΊ Π”ΠΈΠ½Π΅ Π’ΠΎΡ˜Π²ΠΎΠ΄ΠΈΡ› Николић, посвСћСн ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° ΠŸΠ΅Ρ‚Ρ€Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ†Π°, ΠΊΠ°ΠΎ посСбно Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρƒ њСговог доприноса ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π½ΠΎΡ˜ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΠΈ ΠΈ ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜ΠΈ. Анализирани су тСкстови ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρƒ часопису Мисао, ΡƒΠΊΠ°Π·Π°Π½ΠΎ јС Π½Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ‡Π΅Π² Π½Π°Ρ‡ΠΈΠ½ ΠΌΠΈΡˆΡ™Π΅ΡšΠ° ΠΈ ΠΌΠ΅Ρ‚ΠΎΠ΄ Ρ€Π°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°Ρ€Π°Ρ‚ΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ с ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° Π΄Ρ€ΡƒΠ³ΠΈΡ… Π°ΡƒΡ‚ΠΎΡ€Π° Π΄Π°Ρ‚Π° јС основа Π·Π° њСгово ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π°ΡšΠ΅ Ρƒ ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΡ˜ ΠΊΡ€ΠΈΡ‚ΠΈΡ†ΠΈ Ρƒ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Ρƒ ΠΈΠ·ΠΌΠ΅Ρ’Ρƒ Π΄Π²Π°Ρ˜Ρƒ свСтских Ρ€Π°Ρ‚ΠΎΠ²Π°, ΠΊΠ°Π΄Π° јС ΠΏΠΎΠΌΠ΅Π½ΡƒΡ‚ΠΈ часопис ΠΈΠ·Π»Π°Π·ΠΈΠΎ. ΠŸΡ€ΠΈΠ»ΠΎΠ·ΠΈ Ρƒ Ρ€ΡƒΠ±Ρ€ΠΈΡ†ΠΈ Научна ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° односС сС Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄Ρ€ΠΆΠ°Π½ Π½Π°ΡƒΡ‡Π½ΠΈ скуп ΠΈ Π½Π° Π·Π±ΠΎΡ€Π½ΠΈΠΊ Π·Π° који јС изостала Π΄ΡƒΠΆΠ½Π° паТња Π·Π±ΠΎΠ³ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡšΠ° Ρ‚ΠΎΠΊΠΎΠΌ пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠœΠ°Ρ€ΠΈΡ˜Π° Маглов ΠΏΡ€ΠΈΠΏΡ€Π΅ΠΌΠΈΠ»Π° јС ΠΊΡ€ΠΈΡ‚ΠΈΡ‡ΠΊΠΈ осврт Π½Π° ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌ посвСћСн Ρ€Π°Π½ΠΎΡ˜ Π΄ΠΈΡΠΊΠΎΠ³Ρ€Π°Ρ„ΡΠΊΠΎΡ˜ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜ΠΈ, Π°ΠΊΡ‚ΡƒΠ΅Π»Π½ΠΎΡ˜ Ρ‚Π΅ΠΌΠΈ Ρƒ контСксту ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΠΌΠ΅Π΄ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΈ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅, који су ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ хрватскС ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°Ρ€Ρ‚Π° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. Овај ΠΏΡ€ΠΈΠ»ΠΎΠ³ Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ јС Π²Π°ΠΆΠ°Π½, с ΠΎΠ±Π·ΠΈΡ€ΠΎΠΌ Π½Π° Ρ‚ΠΎ Π΄Π° сС Π½Π΅ ΠΎΡ‡Π΅ΠΊΡƒΡ˜Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ тСматски Π·Π±ΠΎΡ€Π½ΠΈΠΊ Ρ€Π°Π΄ΠΎΠ²Π° свих учСсника ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌΠ°. Ни Π·Π±ΠΎΡ€Π½ΠΈΠΊ Rethinking Prokofiev, који јС прСдставио Милош Π‘Ρ€Π°Π»ΠΎΠ²ΠΈΡ›, нијС настао Π½Π° основу Π½Π°ΡƒΡ‡Π½ΠΎΠ³ скупа, Π²Π΅Ρ› јС Ρ€Π΅Π·ΡƒΠ»Ρ‚Π°Ρ‚ ΠΎΡ€ΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ… архивских, Π°Π½Π°Π»ΠΈΡ‚ΠΈΡ‡ΠΊΠΈΡ…, односно ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡ΠΊΠΎ-ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ‚ΠΈΠ²Π½ΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° опуса ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π°. Π Π΅Ρ‡ јС ΠΎ ΠΈΠ·Π΄Π°ΡšΡƒ Π½Π° којСм су Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅Ρ›ΠΈ ΡΡ‚Ρ€ΡƒΡ‡ΡšΠ°Ρ†ΠΈ Ρƒ ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ†ΠΈΡ˜ΠΈ ΠΎΡΡ‚Π²Π°Ρ€Π΅ΡšΠ° ΠŸΡ€ΠΎΠΊΠΎΡ„Ρ˜Π΅Π²Π°, ΠΎΠ΄ ΡƒΡ€Π΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡƒΡ‚ΠΎΡ€Π°, Ρ‚Π΅ Π·Π°Π²Ρ€Π΅Ρ’ΡƒΡ˜Π΅ посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π°ΡƒΡ‡Π½Π΅ Ρ˜Π°Π²Π½ΠΎΡΡ‚ΠΈ. Π Π΅Π΄Π°ΠΊΡ†ΠΈΡ˜Π° часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° срдачно Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ Π½Π° ΡΠ°Ρ€Π°Π΄ΡšΠΈ Π΄Ρ€ ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½ΠΈ Π›Π΅Π²ΠΈΠ΄Ρƒ, Π΄ΠΎΡ†Π΅Π½Ρ‚Ρƒ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини, која јС ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡ€Π΅ΡƒΠ·Π΅Π»Π° дуТност Π³ΠΎΡˆΡ›Π΅-ΡƒΡ€Π΅Π΄Π½ΠΈΡ†Π΅ Π·Π° Ρ€ΡƒΠ±Ρ€ΠΈΠΊΡƒ Π’Π΅ΠΌΠ° Π±Ρ€ΠΎΡ˜Π°. Π˜Π·ΡƒΠ·Π΅Ρ‚Π½Ρƒ захвалност ΠΈΠ·Ρ€Π°ΠΆΠ°Π²Π°ΠΌΠΎ свим ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° којС су ΠΏΡ€ΠΈΡ…Π²Π°Ρ‚Π°Π»Π΅ посао Ρ€Π΅Ρ†Π΅Π½Π·Π΅Π½Π°Ρ‚Π° ΠΈ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡ‚Π΅Ρ‚Ρƒ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°.The commemoration of the fiftieth anniversary of Igor Stravinsky’s death (1882–1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composer’s opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinsky’s creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work. Stamatis Zochios revisits the question of Stravinsky’s relationship with Russian folklore, by contextualising the composer’s output of the so-called β€œRussian” period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moody’s article sheds light on Stravinsky’s output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritain’s philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinsky’s interpretation of Maritain’s idea of homo faber, β€œman the maker”. At the same time, he does not ignore the composer’s Russian origins, concluding that the works under examination are equally grounded in Stravinsky’s Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinsky’s contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky’s ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of β€œEurasianism”, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated. Christoph Flamm focuses on Stravinsky’s late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composer’s own statements. With Edward Campbell’s article we remain in the post-War era, yet the focus shifts from Stravinsky’s work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbell’s analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity. The last two articles approach Stravinsky’s work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinsky’s contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinsky’s work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinsky’s ballet music, as Steinhauer demonstrates, attains a β€œmediated immediacy”, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adorno’s criticism of Stravinsky with reference to Plessner’s philosophical anthropology. He, therefore, challenges Adorno’s view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition. On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ‡ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ‡, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing Marković’s selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinov’s research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethoven’s piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the β€œkinetic energy of music”. The last article in this section of the journal is Dina VojvodiΔ‡ Nikolić’s article dedicated to Petar Bingulac’s music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulac’s texts published in the journal Misao [Thought] and points to Bingulac’s way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulac’s writings within Serbian music criticism from the interwar period, when the journal Misao was published. Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ‡, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofiev’s oeuvre. This collection has gathered together leading experts on Prokofiev’s works, from the editors to the authors, and it deserves special attention from the scientific community. The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies

    Unsupervised representation learning with recognition-parametrised probabilistic models

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    We introduce a new approach to probabilistic unsupervised learning based on the recognitionparametrised model (RPM): a normalised semiparametric hypothesis class for joint distributions over observed and latent variables. Under the key assumption that observations are conditionally independent given latents, the RPM combines parametric prior and observation-conditioned latent distributions with non-parametric observation marginals. This approach leads to a flexible learnt recognition model capturing latent dependence between observations, without the need for an explicit, parametric generative model. The RPM admits exact maximum-likelihood learning for discrete latents, even for powerful neuralnetwork-based recognition. We develop effective approximations applicable in the continuouslatent case. Experiments demonstrate the effectiveness of the RPM on high-dimensional data, learning image classification from weak indirect supervision; direct image-level latent Dirichlet allocation; and recognition-parametrised Gaussian process factor analysis (RP-GPFA) applied to multi-factorial spatiotemporal datasets. The RPM provides a powerful framework to discover meaningful latent structure underlying observational data, a function critical to both animal and artificial intelligence

    Contributions and applications around low resource deep learning modeling

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    El aprendizaje profundo representa la vanguardia del aprendizaje automΓ‘tico en multitud de aplicaciones. Muchas de estas tareas requieren una gran cantidad de recursos computacionales, lo que limita su adopciΓ³n en dispositivos integrados. El objetivo principal de esta tesis es estudiar mΓ©todos y algoritmos que permiten abordar problemas utilizando aprendizaje profundo con bajos recursos computacionales. Este trabajo tambiΓ©n tiene como objetivo presentar aplicaciones de aprendizaje profundo en la industria. La primera contribuciΓ³n es una nueva funciΓ³n de activaciΓ³n para redes de aprendizaje profundo: la funciΓ³n de mΓ³dulo. Los experimentos muestran que la funciΓ³n de activaciΓ³n propuesta logra resultados superiores en tareas de visiΓ³n artificial cuando se compara con las alternativas encontradas en la literatura. La segunda contribuciΓ³n es una nueva estrategia para combinar modelos preentrenados usando destilaciΓ³n de conocimiento. Los resultados de este capΓ­tulo muestran que es posible aumentar significativamente la precisiΓ³n de los modelos preentrenados mΓ‘s pequeΓ±os, lo que permite un alto rendimiento a un menor costo computacional. La siguiente contribuciΓ³n de esta tesis aborda el problema de la previsiΓ³n de ventas en el campo de la logΓ­stica. Se proponen dos sistemas de extremo a extremo con dos tΓ©cnicas diferentes de aprendizaje profundo (modelos de secuencia a secuencia y transformadores). Los resultados de este capΓ­tulo concluyen que es posible construir sistemas integrales para predecir las ventas de mΓΊltiples productos individuales, en mΓΊltiples puntos de venta y en diferentes momentos con un ΓΊnico modelo de aprendizaje automΓ‘tico. El modelo propuesto supera las alternativas encontradas en la literatura. Finalmente, las dos ΓΊltimas contribuciones pertenecen al campo de la tecnologΓ­a del habla. El primero estudia cΓ³mo construir un sistema de reconocimiento de voz Keyword Spotting utilizando una versiΓ³n eficiente de una red neuronal convolucional. En este estudio, el sistema propuesto es capaz de superar el rendimiento de todos los puntos de referencia encontrados en la literatura cuando se prueba contra las subtareas mΓ‘s complejas. El ΓΊltimo estudio propone un modelo independiente de texto a voz de ΓΊltima generaciΓ³n capaz de sintetizar voz inteligible en miles de perfiles de voz, mientras genera un discurso con variaciones de prosodia significativas y expresivas. El enfoque propuesto elimina la dependencia de los modelos anteriores de un sistema de voz adicional, lo que hace que el sistema propuesto sea mΓ‘s eficiente en el tiempo de entrenamiento e inferencia, y permite operaciones fuera de lΓ­nea y en el dispositivo.Deep learning is the state of the art for several machine learning tasks. Many of these tasks require large amount of computational resources, which limits their adoption in embedded devices. The main goal of this dissertation is to study methods and algorithms that allow to approach problems using deep learning with restricted computational resources. This work also aims at presenting applications of deep learning in industry. The first contribution is a new activation function for deep learning networks: the modulus function. The experiments show that the proposed activation function achieves superior results in computer vision tasks when compared with the alternatives found in the literature. The second contribution is a new strategy to combine pre-trained models using knowledge distillation. The results of this chapter show that it is possible to significantly increase the accuracy of the smallest pre-trained models, allowing high performance at a lower computational cost. The following contribution in this thesis tackles the problem of sales fore- casting in the field of logistics. Two end-to-end systems with two different deep learning techniques (sequence-to-sequence models and transformers) are pro- posed. The results of this chapter conclude that it is possible to build end-to-end systems to predict the sales of multiple individual products, at multiple points of sale and different times with a single machine learning model. The proposed model outperforms the alternatives found in the literature. Finally, the last two contributions belong to the speech technology field. The former, studies how to build a Keyword Spotting speech recognition system using an efficient version of a convolutional neural network. In this study, the proposed system is able to beat the performance of all the benchmarks found in the literature when tested against the most complex subtasks. The latter study proposes a standalone state-of-the-art text-to-speech model capable of synthesizing intelligible voice in thousands of voice profiles, while generating speech with meaningful and expressive prosody variations. The proposed approach removes the dependency of previous models on an additional voice system, which makes the proposed system more efficient at training and inference time, and enables offline and on-device operations

    Musiktheorie als interdisziplinΓ€res Fach: 8. Kongress der Gesellschaft fΓΌr Musiktheorie Graz 2008

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    Im Oktober 2008 fand an der UniversitΓ€t fΓΌr Musik und darstellende Kunst Graz (KUG) der 8. Kongress der Gesellschaft fΓΌr Musiktheorie (GMTH) zum Thema Β»Musiktheorie als interdisziplinΓ€res FachΒ« statt. Die hier vorgelegten gesammelten BeitrΓ€ge akzentuieren Musiktheorie als multiperspektivische wissenschaftliche Disziplin in den Spannungsfeldern Theorie/Praxis, Kunst/Wissenschaft und Historik/Systematik. Die sechs Kapitel ergrΓΌnden dabei die Grenzbereiche zur Musikgeschichte, MusikΓ€sthetik, zur Praxis musikalischer Interpretation, zur kompositorischen Praxis im 20. und 21. Jahrhundert, zur Ethnomusikologie sowie zur Systematischen Musikwissenschaft. Insgesamt 45 AufsΓ€tze, davon 28 in deutscher, 17 in englischer Sprache, sowie die Dokumentation einer Podiumsdiskussion zeichnen in ihrer Gesamtheit einen hΓΆchst lebendigen und gegenwartsbezogenen Diskurs, der eine einzigartige Standortbestimmung des Fachs Musiktheorie bietet.The 8th congress of the Gesellschaft fΓΌr Musiktheorie (GMTH) took place in October 2008 at the University for Music and Dramatic Arts Graz (KUG) on the topic Β»Music Theory and InterdisciplinarityΒ«. The collected contributions characterize music theory as a multi-faceted scholarly discipline at the intersection of theory/practice, art/science and history/system. The six chapters explore commonalties with music history, music aesthetics, musical performance, compositional practice in twentieth- and twenty-first-century music, ethnomusicology and systematic musicology. A total of 45 essays (28 in German, 17 in English) and the documentation of a panel discussion form a vital discourse informed by contemporaneous issues of research in a broad number of fields, providing a unique overview of music theory today. A comprehensive English summary appears at the beginning of all contributions

    The westernization of Chinese traditional music and an investigation of Chinese contemporary piano music

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    Westernization of Chinese traditional music occupies a significant portion of Chinese music history and has had a tremendous influence on Chinese contemporary music. This dissertation will discuss why almost all contemporary Chinese music has been integrated with Western musical elements. It will also address the evolution of Chinese music, the differences between traditional Chinese music and contemporary Chinese music, the way contemporary Chinese music combines Chinese traditional music with Western music, Chinese peoples’ views towards Chinese traditional music and contemporary music, and the significance of the above with respect to the preservation of Chinese culture and cultural diversity in the world

    Complexity Science in Human Change

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    This reprint encompasses fourteen contributions that offer avenues towards a better understanding of complex systems in human behavior. The phenomena studied here are generally pattern formation processes that originate in social interaction and psychotherapy. Several accounts are also given of the coordination in body movements and in physiological, neuronal and linguistic processes. A common denominator of such pattern formation is that complexity and entropy of the respective systems become reduced spontaneously, which is the hallmark of self-organization. The various methodological approaches of how to model such processes are presented in some detail. Results from the various methods are systematically compared and discussed. Among these approaches are algorithms for the quantification of synchrony by cross-correlational statistics, surrogate control procedures, recurrence mapping and network models.This volume offers an informative and sophisticated resource for scholars of human change, and as well for students at advanced levels, from graduate to post-doctoral. The reprint is multidisciplinary in nature, binding together the fields of medicine, psychology, physics, and neuroscience

    Artificial Intelligence Within the Creative Process of Contemporary Classical Music

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    This submission consists of nine pieces of original music in addition to a reflective and critical commentary. With one exception, these pieces are each for live performance, written for ensembles and soloists of various descriptions. The exception is an audio-visual work for fixed media. These pieces were written as part of my practice-based research PhD and concern the relationship between artificial intelligence and my compositional process. They outline the development of my compositional practice, resulting in the piece Silicon for orchestra and electronics which forms a major part of this submission. The commentary details the algorithms used in the creation of this music, and the aesthetic concerns I developed through working with artificial intelligence. These include the relationship between future and past, authorship, authenticity, musical structuralism, and agency, amongst others. It also describes methods and techniques relating to specific musical elements I developed through working with AI which have had a significant impact on my work. This research builds upon the areas of research related to my own, especially contemporary classical music, creativity and its relationship to artificial intelligence, machine learning, and algorithmic music practice. It is intended to contribute to the growing field of artistic research that exists within and between these areas

    Arrangements as a creative tool towards the performance of J. S. Bach’s Six Sonatas and Partitas for Solo Violin BWV 1001–1006

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    A performer’s musical interpretation reflects that performer’s creative discourse and praxis, which is often shaped by the performer’s exposure to concerts, recordings and pedagogical experiences. As a performance practice project, this dissertation proposes a way to expand a performer’s creative sources beyond these means by using arrangements as a creative tool. It models a process of score study that leads a performer to musical interpretations that are new to that performer. The author is a violinist and focuses the study on J. S. Bach’s Six Sonatas and Partitas for Solo Violin, BWV 1001–1006 (hereafter the Solos), dated 1720. Three case studies demonstrate the use of arrangements as a creative tool, studying arrangements for harpsichord, organ, lute, piano and piano accompaniment drawn from the entire time span from Bach’s time to today. Each case study comprises detailed score studies of various passages in the Solos, each leading to musical interpretations that are new to the author. This dissertation’s contribution to knowledge is the process rather than the author’s particular outcomes. As every violinist is different, every violinist will find different aspects of these arrangements relevant and interesting, resulting in different interpretive findings. This is not only recognised but celebrated, as it makes the world of musical possibilities all the richer

    Theorizing Music Perception and Cognition through Visualization of Sonic Phenomena and Mood Immersion

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    This thesis offers an in-depth examination of the VisualEars Project which exploresΒ music perception and cognition, as well as the experience of mood immersion through visualization of music as a sonic, gestural phenomenon by visual artists and aΒ consequentΒ immersive experience of simultaneous music-listening and art-observing by a widespread, virtual audience.Β The methodologies include ethnographic research, musical and visual analysis, self-reflexive observation, and a randomized and controlled PANAS scale to measure mood in a group. Based upon the general theories of perception such as gestalt and metaphoric understanding in musical and visual perception as well as the longstanding benefits of the arts on wellbeing, this thesis highlights cross-cultural commonalities in musical perception and demonstrates the positive impact of the exhibition on the audience’s mood
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