8 research outputs found
The enigma of Vitruvian resonating vases and the relevance of the concept for today
The clarity of sound within Greek or Roman theatres (without any form of enhancement) will be impressive to any visitor. The seats arranged in curved rows around the circular orchestra form large horizontal reflecting surfaces. The paths of sound waves travel from the source (the actor or singer) to each of the listeners in a direct path (i.e. without obstruction or reflection). Vitruvius, however, claimed further enhancements could be made. In theatres, also, are copper vases and these are placed in chambers under the rows of seats in accordance with mathematical reckoning. The Greeks call them Echeia. The differences of the sounds which arise are combined into musical symphonies... β¦ it becomes fuller, and reaches the audience with a richer and sweeter note. Vitruvius, on Architecture, Book I, β on training of architects, Loeb This paper explores the notion of intent and purpose behind the Vitruvian concept and also addresses an arguably more complex issue, that of a potential fusion between archaeology, science and art.Peer reviewe
The architectural instrumentalist β exploring spatio-temporal interdependence in the composition of performed music and architectural space
Sound, space and time are inextricably linked. As an architect and musician, I am interested in the simultaneous capacities of architecture to influence the composition and experience of performed music β and of performed music to influence the composition and experience of architectural space. My architectural research project β the Augmented Instrumentalist (tAI) β sets out a methodology by which architectural spaces are understood as and designed to be instruments β as a means of replicating the unique acoustic profile of the city of Venice during the acqua alta. In tandem with the development of acoustically generative themes within my architectural research; my musical compositions actively appropriate architectural spaces as musical instruments, by responding to the acoustic qualities of specific performance spaces. When performed, my pieces exploit acoustical phenomena such as reverberance / echo and sympathetic resonance to articulate and augment musical motifs. For example, by using excessive reverberance to construct a harmonic sequence, or by suggesting a rhythm from an echo. Architectural acoustics have long had an effect on the development of musical ideas: β...in the old churches the walls were in fact powerful instruments which the ancients learned to play upon... [When it was discovered that] more than one tone could be heard at the same time with pleasing results, the harmonies produced by the coinciding of notes began to be regulated and used. From this partsinging developed [polyphonic music]β (Rasmussen, 1962: 230)
This article investigates spatio-temporal interdependence between architecture and performed music within the context of my ongoing research
Vozes da terra
Vozes da Terra Γ© um experimΓͺnto artΓstico em curso que busca conectar a tecnologia
ancestral da cerΓ’mica indΓgena com dispositivos sonoro-poΓ©ticos. Iniciado no atelier de
cerΓ’mica da UFRJ, desdobrou-se para uma residΓͺncia artΓstica numa aldeia indΓgena
da etnia Pankararu atravΓ©s do projeto βArte EletrΓ΄nica IndΓgenaβ, e teve como resultado
final uma exposição no MAM de Salvador/BA. Esse texto busca descrever o processo
artΓstico envolvendo todas as etapas de criação, e contextualizar o artefato poΓ©tico
destacando seu aspecto polΓtico-social para a memΓ³ria e difusΓ£o da cultura indΓgena
ΠΠΊΡΡΡΠΈΡΠΊΠΈ ΡΡΠ΄ΠΎΠ²ΠΈ ΠΊΠ°ΠΎ ΠΈΠ·ΡΠ°Π· ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΠ°Π΄ΠΈΡΠΈΡΠ° ΡΡΠΏΡΠΊΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΡΡΠ΅
Archaeoacoustics is a multidisciplinary field of research focused on the history
of the relatedness of the field of sound and architecture. The architectural history
of Europe, from Antiquity to the modern period, is abundant in the findings of
vessels, which are considered to have an acoustic purpose. This paper addresses
these acoustic vessels embedded in the massive walls of sacred architecture
in medieval Serbia (15 churches). We considered the wide context of current
archaeoacoustic research, in order to argue that this practice can be regarded as
an expression of a certain medieval musical tradition.ΠΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ Π·Π²ΡΠΊΠ° Ρ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠΈ Π·Π°Π²ΡΠ΅ΡΡΡΠ΅ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΠΌΠ΅ΡΡΠΎ Ρ ΡΡΡΠ΄ΠΈΡΠ°ΠΌΠ°
ΠΊΡΠ»ΡΡΡΠ½ΠΎΠ³ Π½Π°ΡΠ»Π΅ΡΠ°, Π·Π°Ρ
ΡΠ΅Π²Π°ΡΡΡΠΈ ΠΏΡΠΈΡΠΎΠΌ ΠΌΡΠ»ΡΠΈΠ΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ°Π½ ΠΏΡΠΈΡΡΡΠΏ. ΠΡΠΎΠ·
Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΠΊΡ ΠΈΡΡΠΎΡΠΈΡΡ ΠΠ²ΡΠΎΠΏΠ΅, ΠΎΠ΄ Π°Π½ΡΠΈΡΠΊΠΎΠ³ Π΄ΠΎ ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½ΠΎΠ³ Π΄ΠΎΠ±Π°, ΠΊΠΎΡΠΈΡΡΠ΅Π½ΠΈ
ΡΡ ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈ ΡΡΠ΄ΠΎΠ²ΠΈ, Π·Π° ΠΊΠΎΡΠ΅ ΡΠ΅ ΡΠΌΠ°ΡΡΠ° Π΄Π° ΡΡ ΠΈΠΌΠ°Π»ΠΈ Π°ΠΊΡΡΡΠΈΡΠΊΡ Π½Π°ΠΌΠ΅Π½Ρ. ΠΠ²Π°Ρ ΡΠ°Π΄
ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ° ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠ΅ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²Π° ΡΠ³ΡΠ°ΡΠ΅Π½ΠΈΡ
Ρ ΠΊΠ°ΠΌΠ΅Π½Π΅
Π·ΠΈΠ΄ΠΎΠ²Π΅ ΡΠ°ΠΊΡΠ°Π»Π½Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΎΠ΄Π³ΠΎΠ²Π°ΡΠ° Π½Π° ΠΏΠΈΡΠ°ΡΠ΅
Π΄Π° Π»ΠΈ ΡΠ΅ ΠΎΠ²Π° ΠΏΡΠ°ΠΊΡΠ° ΠΌΠΎΠΆΠ΅ ΡΠΌΠ°ΡΡΠ°ΡΠΈ ΠΈΠ·ΡΠ°Π·ΠΎΠΌ ΠΈΠ·Π²Π΅ΡΠ½Π΅ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΠ°Π΄ΠΈΡΠΈΡΠ΅. Π£
ΠΏΡΠ²ΠΎΠΌ Π΄Π΅Π»Ρ ΡΠ°Π΄Π° ΡΠ°Π³Π»Π΅Π΄Π°Π½ ΡΠ΅ ΡΠΈΡΠΈ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡ Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°
ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ ΠΠ²ΡΠΎΠΏΠ΅. ΠΡΠ΅Π΄ΡΡΠ°Π²ΡΠ΅Π½ΠΈ ΡΡ ΠΊΡΡΡΠ½ΠΈ ΠΈΠ·Π²ΠΎΠ΄ΠΈ ΠΈΠ· ΠΠΈΡΡΡΠ²ΠΈΡΠ΅Π²ΠΎΠ³ Π΄Π΅Π»Π°
ΠΠ΅ΡΠ΅Ρ ΠΊΡΠΈΠ³Π° ΠΎ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠΈ β Π½Π°ΡΡΡΠ°ΡΠΈΡΠ΅Π³ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠ° ΡΠ° ΠΎΠΏΠΈΡΠΎΠΌ Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²a. ΠΠ°ΡΠΈΠΌ, Π΄Π°Ρ je ΠΊΡΠ°ΡΠ°ΠΊ ΠΏΡΠ΅Π³Π»Π΅Π΄ ΡΠ΅Π»Π΅Π²Π°Π½ΡΠ½ΠΈΡ
Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΡΠ΄ΠΈΡΠ° ΠΈ
ΠΈΠ·Π²ΠΎΠ΄Π° ΠΊΠΎΡΠΈ ΠΈΠ»ΡΡΡΡΡΡΡ Π°ΠΊΡΡΡΠΈΡΠΊΠ΅ Π½Π°ΠΌΠ΅ΡΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½ΠΈΡ
Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΠ°. Π£ Π΄ΡΡΠ³ΠΎΠΌ
Π΄Π΅Π»Ρ ΡΠ°Π΄Π° ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ΅Π½ΠΈ ΡΡ Π½Π°Π»Π°Π·ΠΈ Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²Π° ΠΈΠ· ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π‘ΡΠ±ΠΈΡΠ΅
β ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ ΠΎΠΊΠ²ΠΈΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°, ΠΏΡΠ΅Π³Π»Π΅Π΄ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΠ²Π΅ ΡΠ΅ΠΌΠ΅ ΠΊΠΎΠ΄ Π½Π°Ρ,
ΠΏΠΎΠΏΠΈΡ Π½Π°Π»Π°Π·Π° (ΠΈΠ· ΡΠΊΡΠΏΠ½ΠΎ 15 ΡΡΠΊΠ°Π²Π°) ΠΈ Π΄ΠΎΡΠ°Π΄ ΡΠΏΡΠΎΠ²Π΅Π΄Π΅Π½Π΅ Π°ΠΊΡΡΡΠΈΡΠΊΠ΅ ΡΡΡΠ΄ΠΈΡΠ΅. Π£
ΡΡΠ΅ΡΠ΅ΠΌ Π΄Π΅Π»Ρ ΡΠ°Π΄Π° Π΄ΠΈΡΠΊΡΡΠΎΠ²Π°Π½a ΡΡ ΡΠΈΠ·ΠΈΡΠΊΠ° ΡΠ²ΠΎΡΡΡΠ²Π° Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²Π°, ΡΠΈΡ
ΠΎΠ² ΡΠ°ΡΠΏΠΎΡΠ΅Π΄, ΠΏΠΎΠ·ΠΈΡΠΈΡΠ° ΠΈ ΠΎΡΠΈΡΠ΅Π½ΡΠ°ΡΠΈΡΠ° Ρ Π·ΠΈΠ΄Ρ, Π°ΠΊΡΡΡΠΈΡΠΊΠ΅ ΠΎΠ΄Π»ΠΈΠΊΠ΅, ΠΈΡΠ΄. ΠΠΎΠΊΠ°Π·Π°Π½ΠΎ
ΡΠ΅ Π΄Π° ΠΏΠΎΡΡΠΎΡΠΈ ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈ Π½ΠΈΠ²ΠΎ ΠΏΡΠ°Π²ΠΈΠ»Π½ΠΎΡΡΠΈ Ρ ΠΏΠΎΡΡΠ°Π²ΡΠ°ΡΡ ΡΡΠ΄ΠΎΠ²Π°, ΠΊΠ°ΠΎ ΠΈ Ρ
ΡΠΈΡ
ΠΎΠ²ΠΈΠΌ ΡΠΈΠ·ΠΈΡΠΊΠΈΠΌ ΡΠ²ΠΎΡΡΡΠ²ΠΈΠΌΠ°. ΠΡΠΎΠ½Π°ΡΠ΅Π½ΠΈ ΡΡ Ρ ΡΠ²ΠΈΠΌ ΠΎΡΡΠ°Π»ΠΈΠΌ Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΠΊΠΈΠΌ
ΠΏΠ΅ΡΠΈΠΎΠ΄ΠΈΠΌΠ° ΠΎΡΠΈΠΌ Ρ Π²ΠΈΠ·Π°Π½ΡΠΈΡΡΠΊΠΎΡ Π³ΡΡΠΏΠΈ ΡΠΏΠΎΠΌΠ΅Π½ΠΈΠΊΠ° (Π΄ΠΎΠΌΠΈΠ½Π°Π½ΡΠ½ΠΎ Ρ Π Π°ΡΠΊΠΎΡ, XIIXIII
Π²Π΅ΠΊ). ΠΠΎΡΠ΅Π΄ ΡΠΎΠ³Π° ΡΡΠΎ ΡΠ΅ ΠΏΠΎΠΊΠ°Π·Π°Π½ΠΎ Π΄Π° ΡΠ΅ ΠΏΡΠ°ΠΊΡΠ° ΡΠ·ΠΈΡΠΈΠ²Π°ΡΠ° Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²Π° ΠΌΠΎΠΆΠ΅ ΡΠΌΠ°ΡΡΠ°ΡΠΈ ΠΈΠ·Π²Π΅ΡΠ½ΠΈΠΌ ΠΈΠ·ΡΠ°Π·ΠΎΠΌ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΠ°Π΄ΠΈΡΠΈΡΠ΅ ΡΠ°ΠΊΡΠ°Π»Π½Π΅
Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π‘ΡΠ±ΠΈΡΠ΅, ΡΠ°ΠΊΠΎΡΠ΅ ΡΠ΅ ΡΠΊΠ°Π·Π°Π½ΠΎ Π½Π° Π½Π΅ΠΎΠΏΡ
ΠΎΠ΄Π½ΠΎΡΡ
Π΄Π°ΡΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° β Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΠΌΠ΅ΡΠ΅ΡΠ° in situ, ΠΈΡΠΏΠΈΡΠΈΠ²Π°ΡΠ° ΡΠ°ΡΡΠ½Π°ΡΡΠΊΠΈΡ
ΠΌΠΎΠ΄Π΅Π»Π° ΠΈΠ»ΠΈ Π»Π°Π±ΠΎΡΠ°ΡΠΎΡΠΈΡΡΠΊΠΈΡ
ΠΌΠ΅ΡΠ΅ΡΠ° ΡΡΠ΄ΠΎΠ²Π°. ΠΠΎΠ²ΡΡ
ΡΠ²Π΅Π³Π°, ΠΎΠ²Π°Ρ ΡΠ°Π΄ ΠΎΠΌΠΎΠ³ΡΡΠΈΠΎ
ΡΠ΅ Π΄Π° ΡΠ΅ Π½Π°Π»Π°Π·ΠΈ Π°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΡΡΠ΄ΠΎΠ²Π° ΠΈΠ· ΡΡΠΏΡΠΊΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅
ΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½ΠΈΡΠ°ΡΡ Π½Π° Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΎΡ ΠΌΠ°ΠΏΠΈ ΠΠ²ΡΠΎΠΏΠ΅ ΠΈ ΡΠ°ΠΊΠΎ Π΄ΠΎΠΏΡΠΈΠ½Π΅ΡΡ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΡ
ΠΎΠ΄Π½ΠΎΡΠ° Π·Π²ΡΠΊΠ° ΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΊΡΠΎΠ· ΠΈΡΡΠΎΡΠΈΡΡ Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΡΠ²Π°.The paper is a result of research on the project Society, spiritual and material culture and communication
on the Balkans in prehistory and early history of Balkans (No. 177012) and the project Theory and practice of
science in society: multidisciplinary, educational and intergenerational perspectives (No. 179048). The Ministry
of Education, Science and Technological Development of the Republic of Serbia finances both projects.
We are grateful for the help that we received from Jean-Christophe Valière from the University of Poitiers
and Emilija PejoviΔ from the Republic Institute for Protection of Cultural Monuments, Belgrade
γγΌγγ½γ³γ°γγ€γ’γ’γ³γγγγΈγ§γ―γγ«γγγη©Ίι沑ε ₯ι³ε ΄
ηζ³’ε€§ε¦ (University of Tsukuba)201
Musicology 22 (I /2017)
Π’Π΅ΠΌΠ° Π±ΡΠΎΡΠ° 22 Π£ΡΠ±Π°Π½Π° Π·Π²ΡΡΠ½Π° Π΅ΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΠΈΠ½ΡΠΏΠΈΡΠΈΡΠ°Π½Π° ΡΠ΅ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈΠΌ ΠΏΡΠΎΡΠ΅ΠΊΡΠΎΠΌ City Sonic Ecology β Urban Soundscapes of Bern, Ljubljana and Belgrade [ΠΠ²ΡΡΠ½Π° Π΅ΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° Π³ΡΠ°Π΄Π° β Π£ΡΠ±Π°Π½ΠΈ Π·Π²ΡΡΠ½ΠΈ ΠΏΠ΅ΡΠ·Π°ΠΆΠΈ ΠΠ΅ΡΠ½Π°, ΠΡΠ±ΡΠ°Π½Π΅ ΠΈ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Π°], ΠΊΠΎΡΠΈ ΡΠΈΠ½Π°Π½ΡΠΈΡΠ° Π¨Π²Π°ΡΡΠ°ΡΡΠΊΠ° Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½Π° ΡΠΎΠ½Π΄Π°ΡΠΈΡΠ° Π·Π° Π½Π°ΡΠΊΡ (SNSF) Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠ° ΡΠ°ΡΠ°Π΄ΡΠ΅ ΡΠ° Π·Π΅ΠΌΡΠ°ΠΌΠ° ΠΈΡΡΠΎΡΠ½Π΅ ΠΠ²ΡΠΎΠΏΠ΅ (SCOPES). ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈ ΠΈΠ½ΡΡΠΈΡΡΡ Π‘ΠΠΠ£ ΡΠ΅Π΄Π°Π½ ΡΠ΅ ΠΎΠ΄ ΡΡΠΈ ΡΡΠ΅ΡΠ½ΠΈΠΊΠ° Π½Π° ΠΏΡΠΎΡΠ΅ΠΊΡΡ, ΡΠ· ΠΠ΅ΠΏΠ°ΡΡΠΌΠ°Π½ Π·Π° ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΡ Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΠ΅ΡΠ½Ρ, Π¨Π²Π°ΡΡΠ°ΡΡΠΊΠ°, ΠΈ ΠΠ½ΡΡΠΈΡΡΡ Π·Π° ΠΈΠ½ΡΠ΅ΡΠ΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½Π΅ ΡΡΡΠ΄ΠΈΡΠ΅ Π‘Π»ΠΎΠ²Π΅Π½Π°ΡΠΊΠ΅ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠ΅ Π½Π°ΡΠΊΠ° ΠΈ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ Ρ ΠΡΠ±ΡΠ°Π½ΠΈ, Π‘Π»ΠΎΠ²Π΅Π½ΠΈΡΠ°. ΠΠ²Π°Ρ ΠΈΠ½ΠΎΠ²Π°ΡΠΈΠ²Π°Π½ ΡΡΠΎΠ³ΠΎΠ΄ΠΈΡΡΠΈ ΠΏΡΠΎΡΠ΅ΠΊΠ°Ρ, Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΊΠΎΡΠ΅Π³ ΡΡ ΠΏΡΠ²ΠΈ ΠΏΡΡ ΠΏΠ°ΡΠ°Π»Π΅Π»Π½ΠΎ ΡΠ½ΠΈΠΌΠ°Π½ΠΈ ΠΈ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½ΠΈ Π·Π²ΡΡΠ½ΠΈ Π°ΠΌΠ±ΠΈΡΠ΅Π½ΡΠΈ ΡΡΠΈ Π΅Π²ΡΠΎΠΏΡΠΊΠ΅ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠ΅, ΠΊΠ°ΠΎ ΠΈ Π½Π°ΡΠΈΠ½ΠΈ Π½Π° ΠΊΠΎΡΠ΅ ΡΠ΅
ΠΎΠ²ΠΈ Π°ΠΌΠ±ΠΈΡΠ΅Π½ΡΠΈ ΠΌΠ΅ΡΠ°ΡΡ ΠΏΠΎΠ΄ ΡΡΠΈΡΠ°ΡΠ΅ΠΌ ΡΡΠ°Π½Π·ΠΈΡΠΈΠΎΠ½ΠΈΡ
ΠΈ Π΄ΡΡΠ³ΠΈΡ
Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
ΠΏΡΠΎΠΌΠ΅Π½Π°, Π·Π°ΠΏΠΎΡΠ΅Ρ ΡΠ΅ 2014. Π³ΠΎΠ΄ΠΈΠ½Π΅ ΠΈ ΡΠ°Π΄Π° ΡΠ»Π°Π·ΠΈ Ρ Π·Π°Π²ΡΡΠ½Ρ ΡΠ°Π·Ρ. Π Π΅Π·ΡΠ»ΡΠ°ΡΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΠΏΡΠΎΠ²Π΅Π΄Π΅Π½ΠΈΡ
ΡΠΎΠΊΠΎΠΌ ΠΎΠ²Π΅ ΡΡΠΈ Π³ΠΎΠ΄ΠΈΠ½Π΅ ΠΏΡΠ΅Π·Π΅Π½ΡΠΎΠ²Π°Π½ΠΈ ΡΡ Π½Π° Π²Π΅Π»ΠΈΠΊΠΎΠΌ Π±ΡΠΎΡΡ ΠΊΠΎΠ½Π³ΡΠ΅ΡΠ° ΠΈ ΠΊΠΎΠ½ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠ° ΡΠΈΡΠΎΠΌ ΡΠ²Π΅ΡΠ°; ΡΠ΅Π΄Π°Π½ Π΄Π΅ΠΎ ΡΠ°Π΄ΠΎΠ²Π° ΠΏΡΠΎΠΈΡΡΠ΅ΠΊΠ»ΠΈΡ
ΠΈΠ· ΠΎΠ²ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΠΊΡΠ° ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ ΡΠ΅ 2016. Π³ΠΎΠ΄ΠΈΠ½Π΅ Ρ ΡΠΏΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΠΌ Π±ΡΠΎΡΡ ΡΠ»ΠΎΠ²Π΅Π½Π°ΡΠΊΠΎΠ³ ΡΠ°ΡΠΎΠΏΠΈΡΠ° MuzikoloΕ‘ki zbornik / Musicological Annual, Π° Π΄ΡΡΠ³ΠΈ Π΄Π΅ΠΎ ΡΠ΅ ΠΎΠ±ΡΠ°Π²ΡΡΡΠ΅ ΡΠ°Π΄Π°. Π€ΠΈΠ½Π°Π»Π½ΠΈ ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠΈ ΠΎΠ²ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΠΊΡΠ° Π±ΠΈΡΠ΅ ΠΊΠΎΠ»Π΅ΠΊΡΠΈΠ²Π½Π° ΠΌΠΎΠ½ΠΎΠ³ΡΠ°ΡΠΈΡΠ° ΠΈ Π·Π²ΡΡΠ½Π΅ ΠΌΠ°ΠΏΠ΅ ΡΠ²Π΅ ΡΡΠΈ ΠΏΡΠ΅ΡΡΠΎΠ½ΠΈΡΠ΅.
ΠΠ°ΠΎ ΡΡΠ΅Π΄Π½ΠΈΡΠ° ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΠΈ ΡΡΠΊΠΎΠ²ΠΎΠ΄ΠΈΠ»Π°Ρ Π±Π΅ΠΎΠ³ΡΠ°Π΄ΡΠΊΠΎΠ³ ΡΠΈΠΌΠ° ΠΏΡΠΎΡΠ΅ΠΊΡΠ° ΠΠ²ΡΡΠ½Π° Π΅ΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° Π³ΡΠ°Π΄Π°, Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ΠΌ ΡΠ΅ ΡΠΎΠ½Π΄Π°ΡΠΈΡΠΈ SNSF Π½Π° ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΎΡ ΠΏΠΎΠ΄ΡΡΡΠΈ, Π° Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΡ Ρ ΠΠ΅ΡΠ½Ρ ΠΈ ΠΏΡΠΎΡ. Π΄Ρ ΠΡΠΈΡΠΈ Π‘Π²Π΅ΡΡ (Britta Sweers) Π½Π° Π»ΠΎΠ³ΠΈΡΡΠΈΡΠΊΠΎΡ ΠΈ ΡΠ²Π°ΠΊΠΎΡ Π΄ΡΡΠ³ΠΎΡ ΠΏΠΎΠΌΠΎΡΠΈ.
Π Π°Π΄ΠΎΠ²ΠΈ Ρ ΡΡΠ±ΡΠΈΡΠΈ Varia ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ΠΈ ΡΡ ΡΠ°Π·Π½ΠΎΡΠΎΠ΄Π½ΠΈΠΌ ΡΠ΅ΠΌΠ°ΠΌΠ° Π²Π΅Π·Π°Π½ΠΈΠΌ Π·Π° ΡΠΈΡΠΎΠΊ Π΄ΠΈΡΠ°ΠΏΠ°Π·ΠΎΠ½ ΡΡΠΏΡΠΊΠ΅ ΠΈ ΠΈΠ½ΠΎΡΡΡΠ°Π½Π΅ ΡΠΌΠ΅ΡΠ½ΠΈΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΎΠ΄ ΡΡΠ΅Π΄ΡΠ΅Π³ Π²Π΅ΠΊΠ° Π΄ΠΎ Π΄Π°Π½Π°Ρ. ΠΠΎΡΠ΅Π΄ Π·Π²ΡΡΠ½ΠΈΡ
ΠΏΠ°Π½ΠΎΡΠ°ΠΌΠ° ΡΡΠ±Π°Π½ΠΈΡ
ΡΡΠ΅Π΄ΠΈΠ½Π°, ΡΠΎΡ ΡΠ΅Π΄Π½Π° ΠΈΠ½ΠΎΠ²Π°ΡΠΈΠ²Π½Π° ΠΎΠ±Π»Π°ΡΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΡΠ²ΠΎΡΠ΅Π½Π° ΠΎΠ²ΠΎΠΌ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΡΠ΅ΡΡΠ΅ ΠΏΡΠΎΡΡΠ°Π²Π°ΡΠ΅ Π°ΠΊΡΡΡΠΈΠΊΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½ΠΈΡ
ΡΡΠΏΡΠΊΠΈΡ
ΡΡΠΊΠ°Π²Π°; ΡΡΠΎΡΠ΅ Π°ΡΡΠΎΡΠ°, ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΡ
ΡΠΏΠ΅ΡΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ°, Π±Π°Π²ΠΈΠ»ΠΎ ΡΠ΅ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ΠΌ ΡΡΠΊΠ²Π΅Π½Π΅ Π°ΠΊΡΡΡΠΈΠΊΠ΅. ΠΠ°ΡΠ°ΡΠΈΠ½Π° Π’ΠΎΠΌΠ°ΡΠ΅Π²ΠΈΡ ΡΠ΅ ΠΎΡΠ²ΡΡΠ΅ Π½Π° Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ ΠΡΠ°Π³ΡΡΠΈΠ½Π° ΠΠΎΡΡΡΡΠΊΠΎΠ³ Ρ Π²Π΅Π·ΠΈ ΡΠ° ΠΏΡΠ²ΠΈΠΌ ΠΊΠΎΠ½Π³ΡΠ΅ΡΠΎΠΌ ΡΠ΅ΠΌΠΈΠΎΡΠΈΡΠ°ΡΠ° ΠΌΡΠ·ΠΈΠΊΠ΅, ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΈΠΌ ΠΏΡΠ΅ 44 Π³ΠΎΠ΄ΠΈΠ½Π΅ Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ, Ρ ΡΠΈΡΠΎΡ ΡΠ΅ ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠΈ ΠΠΎΡΡΡΡΠΊΠΈ, ΡΠ°Π΄Π°ΡΡΠΈ Π΄ΠΈΡΠ΅ΠΊΡΠΎΡ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΠΈΠ½ΡΡΠΈΡΡΡΠ° Π‘ΠΠΠ£, Π°ΠΊΡΠΈΠ²Π½ΠΎ ΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°ΠΎ ΠΈ ΡΠΈΡΠ΅ ΡΡ ΠΈΠ΄Π΅ΡΠ΅ Ρ Π²Π΅Π»ΠΈΠΊΠΎΡ ΠΌΠ΅ΡΠΈ Π±ΠΎΡΠΈΠ»Π΅ ΠΎΠ²Π°Ρ ΠΊΠΎΠ½Π³ΡΠ΅Ρ. ΠΠΎΠ»Π΅Π³Π° ΡΠ° Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΠΎΡΠΎΠ²ΡΠΊΠΎΡ ΠΠΈΡΡΠΎΠ²ΠΈΡΠΈ, Π‘Π°ΡΠ° ΠΠΎΠΆΠΈΠ΄Π°ΡΠ΅Π²ΠΈΡ, ΡΠ°Π·ΠΌΠ°ΡΡΠ° Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ Π½Π°ΡΠ»Π΅Π΄Π½ΠΈΠΊΠ° Π‘ΡΠ΅Π²Π°Π½Π° ΠΠΎΠΊΡΠ°ΡΡΠ° β ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° Ρ
ΠΎΡΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΊΠΎΡΠΈ ΡΡ ΡΡΠ²Π°ΡΠ°Π»ΠΈ ΡΡΠΊΠΎΠ²Π΅ΡΠΈ ΠΈ ΡΡΠΎΠ΄Π½Π΅ ΡΠΎΡΠΌΠ΅ Ρ Π΄Π΅ΡΠ΅Π½ΠΈΡΠ°ΠΌΠ° ΠΏΠΎΡΠ»Π΅ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°. ΠΠΌΠ΅ΡΠΈΡΠΊΠ° Π°ΡΡΠΎΡΠΊΠ° ΠΡΠΈΠΊΠ° Π₯Π°ΡΠΊΠ΅Π» ΠΏΡΠΎΡΡΠ°Π²Π°Π»Π° ΡΠ΅ ΠΌΠΎΠ΄Π΅Π»Π΅ ΡΠΈΠ½Π°Π½ΡΠΈΡΠ°ΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΈΡ
ΡΠ΅ΡΡΠΈΠ²Π°Π»Π° Ρ Π‘Π°ΡΠ°ΡΠ΅Π²Ρ, Π³Π»Π°Π²Π½ΠΎΠΌ Π³ΡΠ°Π΄Ρ ΡΡΡΠ΅Π΄Π½Π΅ ΠΠΎΡΠ½Π΅ ΠΈ Π₯Π΅ΡΡΠ΅Π³ΠΎΠ²ΠΈΠ½Π΅, Ρ Π΄Π΅ΡΠ΅Π½ΠΈΡΠ°ΠΌΠ° Π½Π°ΠΊΠΎΠ½ ΠΏΠΎΡΠΏΠΈΡΠΈΠ²Π°ΡΠ° ΠΠ΅ΡΡΠΎΠ½ΡΠΊΠΎΠ³ ΡΠΏΠΎΡΠ°Π·ΡΠΌΠ°, ΠΈ Π·Π°ΠΊΡΡΡΠΈΠ»Π° Π΄Π° ΡΡ ΠΈΠ½ΠΎΡΡΡΠ°Π½Π΅ Π°ΠΌΠ±Π°ΡΠ°Π΄Π΅, ΠΊΠ°ΠΎ Π³Π»Π°Π²Π½ΠΈ ΡΠΏΠΎΠ½Π·ΠΎΡΠΈ ΡΠ΅ΡΡΠΈΠ²Π°Π»Π°, ΠΈΠ½ΡΠΈΡΡΠΈΡΠ°Π»Π΅ Π½Π° ΠΈΠ½ΡΠ΅ΡΠ½Π°ΡΠΈΠΎΠ½Π°Π»Π½ΠΈΠΌ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠΈΠΌΠ° ΠΈ Π·Π°ΠΎΠ±ΠΈΠ»Π°ΠΆΠ΅ΡΡ Π΄Π΅Π»ΠΈΠΊΠ°ΡΠ½ΠΈΡ
ΡΠ΅ΠΌΠ°, Ρ ΡΠΈΡΡ
ΡΠ΅Π³ΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³ ΠΏΠΎΠΌΠΈΡΠ΅ΡΠ°. ΠΠ°ΡΠ·Π°Π΄, ΠΠΈΠ»Π΅Π½Π° ΠΠ΅Π΄ΠΈΡ ΠΏΡΠΎΡΡΠ°Π²Π° ΠΏΠΎΡΠ°ΠΌ ΠΌΠ΅Π»Π°Π½Ρ
ΠΎΠ»ΠΈΡΠ΅ Ρ ΡΠ΅Π½Π΅ΡΠ°Π½ΡΠ½ΠΈΠΌ ΠΈΡΠ°Π»ΠΈΡΠ°Π½ΡΠΊΠΈΠΌ ΠΌΠ°Π΄ΡΠΈΠ³Π°Π»ΠΈΠΌΠ°, ΠΊΠΎΡΠΈΡΡΠ΅ΡΠΈ Π²Π΅Π»ΠΈΠΊΠΈ Π±ΡΠΎΡ ΠΏΡΠΈΠΌΠ΅ΡΠ° ΠΈΠ· ΠΎΡΡΠ²Π°ΡΠ΅ΡΠ° Π½Π°ΡΠ·Π½Π°ΡΠ°ΡΠ½ΠΈΡΠΈΡ
ΡΡΠ²Π°ΡΠ°Π»Π°ΡΠ° ΠΎΠ²Π΅, Π΄Π°Π½Π°Ρ ΠΏΠΎΠΌΠ°Π»ΠΎ Π·Π°Π±ΠΎΡΠ°Π²ΡΠ΅Π½Π΅, Π΅ΠΏΠΎΡ
Π΅.
Π ΡΠ±ΡΠΈΠΊΠ° ΠΠ°ΡΡΠ½Π° ΠΊΡΠΈΡΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° Π΄ΠΎΠ½ΠΎΡΠΈ ΠΏΠ΅Ρ ΠΎΡΠ²ΡΡΠ° Π½Π° Π½Π°ΡΠ½ΠΎΠ²ΠΈΡΠ° ΠΈΠ·Π΄Π°ΡΠ° Π²Π΅Π·Π°Π½Π° Π·Π° ΡΡΠΏΡΠΊΡ ΠΊΡΠ»ΡΡΡΡ ΠΈ ΡΡΠ°Π΄ΠΈΡΠΈΡΡ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ Π·Π° Π΄Π΅Π»Π°ΡΠ½ΠΎΡΡ Π½Π°ΡΠΈΡ
Π½Π°ΡΡΠ½ΠΈΠΊΠ° Ρ ΠΈΠ½ΠΎΡΡΡΠ°Π½ΡΡΠ²Ρ, Π΄ΠΎΠΊ ΡΠ΅ Ρ ΡΡΠ±ΡΠΈΡΠΈ In memoriam ΠΠ΅Π»ΠΈΡΠ° ΠΠΈΠ»ΠΈΠ½ ΠΎΠΏΡΠ°ΡΡΠ° ΠΎΠ΄ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΠΊΠ° ΠΠ»Π°ΡΡΠΈΠΌΠΈΡΠ° Π’ΡΠ°ΡΠΊΠΎΠ²ΠΈΡΠ°, Π²Π΅Π»ΠΈΠΊΠ°Π½Π° ΡΡΠΏΡΠΊΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅ Π₯Π₯ ΠΈ XXI Π²Π΅ΠΊΠ°.
Π£ ΠΈΠΌΠ΅ ΡΠ»Π°Π½ΠΎΠ²Π° ΡΠ΅Π΄Π°ΠΊΡΠΈΡΠ΅ ΠΈ ΡΠ²ΠΎΡΠ΅ Π»ΠΈΡΠ½ΠΎ, Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ΠΌ ΡΠ΅ ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° ΠΈΠ· Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ ΠΈΠ½ΠΎΡΡΡΠ°Π½ΡΡΠ²Π° ΠΊΠΎΡΠΈ ΡΡ, Ρ ΡΠ²ΠΎΡΡΡΠ²Ρ ΡΠ΅ΡΠ΅Π½Π·Π΅Π½Π°ΡΠ°, ΡΠΈΡΠ°Π»ΠΈ ΡΠ°Π΄ΠΎΠ²Π΅ ΠΏΡΠΈΠΏΡΠ΅ΠΌΡΠ΅Π½Π΅ Π·Π° ΠΎΠ²Π°Ρ Π±ΡΠΎΡ ΠΈ Π΄Π°Π»ΠΈ Π²Π΅Π»ΠΈΠΊΠΈ Π±ΡΠΎΡ ΠΊΠΎΡΠΈΡΠ½ΠΈΡ
ΡΡΠ³Π΅ΡΡΠΈΡΠ° Π·Π° ΡΠΈΡ
ΠΎΠ²ΠΎ ΠΏΠΎΠ±ΠΎΡΡΠ°ΡΠ΅. Π’Π°ΠΊΠΎΡΠ΅, ΠΆΠ΅Π»ΠΈΠΌ ΡΡΠ΄Π°ΡΠ½Ρ Π΄ΠΎΠ±ΡΠΎΠ΄ΠΎΡΠ»ΠΈΡΡ Π½ΠΎΠ²ΠΈΠΌ ΡΠ»Π°Π½ΠΎΠ²ΠΈΠΌΠ° ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠ³ ΠΈΠ·Π΄Π°Π²Π°ΡΠΊΠΎΠ³ ΡΠ°Π²Π΅ΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅.The main theme of the volume No. 22 Urban Sonic Ecology is inspired by the international project City Sonic Ecology -- Urban Soundscapes of Bern, Ljubljana and Belgrade, financed by the Swiss National Science Foundation (SNSF) within their SCOPES program. The Institute of Musicology SASA is one of the participants in this project, together with the Institute of Musicology, University of Bern, Switzerland, and the Institute for Interdisciplinary Research, Centre for Scientific Research of the Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia. This highly innovative three-year project, during which the soundscapes of three European capital cities (Bern, Ljubljana and Belgrade) were recorded and analyzed comparatively for the first time, demonstrated how soundscapes and ambiances were transformed under the influence of transitional and other social and cultural changes. The project began in 2014, and it is now entering its final stage. Results of the research conducted over the three-year span were presented in a number of international congresses and conferences all over the world, from Japan to Brazil. Several articles were published in the Slovenian journal MuzikoloΕ‘ki zbornik / Musicological Annual. in 2016, and the second group of articles is published in the present volume. The final results of this project will include a group monograph and sound maps of all three cities. As the new Editor-in-Chief of the journal Musicology and Head of the Belgrade team of the project City Sonic Ecology, I would like to express my sincerest gratitude to the SNSF for their generous financial assistance, and to Head of the project Prof. Dr Britta Sweers for her immense support and numerous exceptionally productive professional exchanges.
Articles in the rubric Varia are dedicated to various topics related to a wide range of music from the Middle Ages to the present day. Aside from the sound panoramas of the urban environments, another innovative area of research opened on this occasion is the research on the acoustic of Serbian medieval churches. Three authors with different specializations studied the church acoustics, and they are presenting results of their joint investigations for the first time. Katarina TomaΕ‘eviΔ writes about the activities of Dragutin GostuΕ‘ki in relation to the First Congress of Semioticians of Music, organized 44 years ago in Belgrade. As the Director of the Institute of Musicology SASA at that time, GostuΕ‘ki actively participated in organizing this congress and his ideas greatly influenced its structure and scope. SaΕ‘a BoΕΎidareviΔ studies professional activities of the successors of Stevan StojanoviΔ Mokranjac β Serbian composers of choral music who wrote Rukoveti (Garlands) and other similar forms in the decades after World War II. Erica Haskell has analyzed the models of financing festivals in Sarajevo, the capital city of the neighboring Bosnia-Herzegovina, in the decades after the signing of the Dayton Agreement, and concluded that foreign embassies, as the main sponsors of the festival, insisted on international programs and the avoidance of delicate issues, aiming towards regional reconciliation. Finally, Milena MediΔ researches the notion of melancholy in the Renaissance Italian madrigals, using a large number of examples from the works written by the most prominent composers of this epoch.
The volume also contains five reviews of the latest books, including both those related to Serbian culture and tradition, and to the activities of our scientists working abroad. In the section In memoriam Melita Milin says goodbye to the Academician Vlastimir TrajkoviΔ, Fellow of the Serbian Academy of Sciences and Arts and one of the greatest Serbian composers of the twentieth century.
On behalf of the members of the Editorial Board and my own, I am grateful to all colleagues from Serbia and abroad who served as peer reviewers for the articles published in this volume and gave a large number of constructive suggestions for their improvement. Furthermore, I would like to express a heartfelt welcome to the new members of the International Editorial Council of the journal Musicology.TeΠΌΠ° Π±ΡΠΎΡΠ°: Π£ΡΠ±Π°Π½Π° Π·Π²ΡΡΠ½Π° Π΅ΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° / The main theme: Urban sonic ecology
ΠΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΈ ΡΡ ΠΏΠΎΠΌΠΎΠ³Π»ΠΈ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²ΠΎ ΠΏΡΠΎΡΠ²Π΅ΡΠ΅, Π½Π°ΡΠΊΠ΅ ΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΡΠ°Π·Π²ΠΎΡΠ° ΠΈ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²ΠΎ ΠΊΡΠ»ΡΡΡΠ΅ ΠΈ ΠΈΠ½ΡΠΎΡΠΌΠΈΡΠ°ΡΠ° Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅, Π‘ΠΠΠΠ r ΠΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠ° ΠΌΡΠ·ΠΈΡΠΊΠΈΡ
Π°ΡΡΠΎΡΠ° Π‘ΡΠ±ΠΈΡΠ΅ ΠΈ Π¨Π²Π°ΡΡΠ°ΡΡΠΊΠ° Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½Π° ΡΠΎΠ½Π΄Π°ΡΠΈΡΠ° Π·Π° Π½Π°ΡΠΊΡ (SNSF) Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠ° SCOPES. / The publication of this volume was financed by the Ministry of Education, Science and Technological Development and the Ministry of Culture and Information of the Republic of Serbia, SOKOJ β Serbian Music Authorsβ Organization, and Swiss National Science Foundation (SNSF) within its SCOPES programme
Principles and history of the relatedness of architecture and acoustics.
ΠΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ Π·Π²ΡΠΊΠ° Ρ ΠΈΡΡΠΎΡΠΈΡΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΡΠ΅ΡΡΠΎ ΡΠ΅ Π½Π΅ΠΏΡΠ°Π²Π΅Π΄Π½ΠΎ Π·Π°Π½Π΅ΠΌΠ°ΡΠ΅Π½ΠΎ Ρ ΡΠ΅Π½ΡΠΈ Π²ΠΈΠ·ΡΠ΅Π»Π½ΠΈΡ
Π°ΡΠΏΠ΅ΠΊΠ°ΡΠ° Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΡΠ²Π°. ΠΠΎΡΠ΅Π΄ ΡΠΎΠ³Π° ΡΡΠΎ ΠΈΠΌΠ° ΡΡΡΡΠΈΠ½ΡΠΊΠΈ Π·Π½Π°ΡΠ°Ρ Π·Π° ΠΎΠΏΠ°ΠΆΠ°ΡΠ΅ ΠΎΠΊΡΡΠΆΠ΅ΡΠ° ΠΈ ΠΎΡΡΠ΅Π½ΡΠ°ΡΠΈΡΡ Ρ ΠΏΡΠΎΡΡΠΎΡΡ, Π·Π²ΡΠΊ ΡΠ΅ ΠΊΡΠΎΠ· ΠΈΡΡΠΎΡΠΈΡΡ ΠΊΡΠ»ΡΡΡΠ΅ ΡΡ
Π²Π°ΡΠ°Π½ ΠΈ ΠΊΠ°ΠΎ Π²Π΅Π·Π° ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»Π½ΠΎΠ³ ΠΈ Π΄ΡΡ
ΠΎΠ²Π½ΠΎΠ³ ΠΏΠ»Π°Π½Π°, ΡΠ΅ ΡΠ΅ Π·Π°ΡΠ·ΠΈΠΌΠ°ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΠΌΠ΅ΡΡΠΎ Ρ ΡΠ°ΠΊΡΠ°Π»Π½ΠΎΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠΈ, ΡΠΎΠΌ Π½Π°ΡΡΠ·Π²ΠΈΡΠ΅Π½ΠΈΡΠ΅ΠΌ Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΠΊΠΎΠΌ ΠΈΠ·ΡΠ°Π·Ρ ΠΊΠΎΡΠΈ ΠΎΠ΄ΡΠ»ΠΈΠΊΠ°Π²Π° ΠΊΠΎΡΠΌΠΎΠ»ΠΎΡΠΊΡ ΡΠΈΠΌΠ±ΠΎΠ»ΠΈΠΊΡ ΜΆ Π°Π½Π°Π»ΠΎΠ³ΠΈΡΡ ΠΌΠ°ΠΊΡΠΎΠΊΠΎΡΠΌΠΎΡΠ° ΠΈ ΠΌΠΈΠΊΡΠΎΠΊΠΎΡΠΌΠΎΡΠ°. ΠΠΎΠ»Π°Π·ΠΈΡΡΠ΅ ΠΎΠ²ΠΎΠ³ ΡΠ°Π΄Π° ΡΠ΅ΡΡΠ΅ Π΄Π° ΠΎΠΏΡΡΠΈ ΠΎΠ΄Π½ΠΎΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΈ Π·Π²ΡΠΊΠ° Π½Π΅ ΠΏΠΎΡΠΈΠ²Π° ΠΈΡΠΊΡΡΡΠΈΠ²ΠΎ Π½Π° ΡΠ΅Ρ
Π½ΠΈΡΠΊΠΎΠΌ Π·Π½Π°ΡΡ, Π²Π΅Ρ Π΄Π° ΡΠ΅ ΡΠ°Π·Π²ΠΈΡΠ°Π½ ΠΈ Ρ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ Π΄ΡΡ
Π° Π²ΡΠ΅ΠΌΠ΅Π½Π° Ρ ΠΊΠΎΠΌΠ΅ ΡΠ΅ Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΡΠ²ΠΎ ΡΡΠ²Π°ΡΠ°Π½ΠΎ. Π‘Ρ
ΠΎΠ΄Π½ΠΎ ΡΠΎΠΌΠ΅, ΡΠ΅Π³ΠΎΠ²ΠΎ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ΅ ΠΈΠ·ΠΈΡΠΊΡΡΠ΅ ΠΌΡΠ»ΡΠΈΠ΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½ΠΈ ΠΏΡΠΈΡΡΡΠΏ ΠΊΠΎΡΠΈ ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΠΎΠ½ΡΠΊΠΎΠ³ Π΄Π΅Π»Π° ΠΊΠ°ΠΎ ΡΠ»ΠΎΡΠ΅Π²ΠΈΡΠ΅ ΠΏΡΠΎΡΡΠΎΡΠ½ΠΎ-Π²ΡΠ΅ΠΌΠ΅Π½ΡΠΊΠ΅ ΡΡΡΡΠΊΡΡΡΠ΅. Π‘Π°Π³Π»Π΅Π΄Π°Π²Π°ΡΠ΅ΠΌ Π°Π½ΡΠΈΡΠΊΠ΅ Π°Π½Π°Π»ΠΎΡΠΊΠ΅ ΠΌΠΈΡΠ»ΠΈ Π΄ΡΠ±ΠΎΠΊΠΎ ΡΡΠΊΠ°Π½Π΅ Ρ Π΅Π²ΡΠΎΠΏΡΠΊΡ ΠΊΡΠ»ΡΡΡΡ ΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΠ° Π·Π²ΡΠΊΠ° ΠΊΠΎΡΠ° ΡΠ΅ Π±ΠΈΠ»Π° ΠΎΠ΄ Π·Π½Π°ΡΠ°ΡΠ° Π·Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΡ, ΡΠ° ΡΠ΅Π΄Π½Π΅ ΡΡΡΠ°Π½Π΅, ΠΈ Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°, ΡΠ° Π΄ΡΡΠ³Π΅ ΡΡΡΠ°Π½Π΅, Ρ ΡΠ°Π΄Ρ ΡΠ΅ Π·Π²ΡΠΊ ΠΏΠΎΡΠΌΠ°ΡΡΠ°Π½ Π΄Π²ΠΎΡΠ°ΠΊΠΎ: (1) ΠΊΠ°ΠΎ Ρ
Π°ΡΠΌΠΎΠ½ΠΈΡΡΠΊΠΈ Π·Π²ΡΠΊ ΠΊΠΎΡΠΈ ΡΠ΅ Π½Π°ΡΠ°ΠΎ ΡΠ²ΠΎΡΠ΅ ΠΌΠ΅ΡΡΠΎ Ρ ΠΏΡΠΈΠΌΠ΅Π½ΠΈ ΠΌΡΠ·ΠΈΡΠΊΠ΅ Π°Π½Π°Π»ΠΎΠ³ΠΈΡΠ΅ Ρ Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΡΠ²Ρ ΠΈ (2) ΠΊΠ°ΠΎ ΠΈΠΌΠΏΡΠ»ΡΠ½ΠΈ ΠΎΠ΄Π·ΠΈΠ² ΠΊΠΎΡΠΈ ΡΠ»ΡΠΆΠΈ Π·Π° ΠΊΠ²Π°Π½ΡΠΈΡΠΈΠΊΠΎΠ²Π°ΡΠ΅ ΠΏΠΎΠΊΠ°Π·Π°ΡΠ΅ΡΠ° Π·Π²ΡΡΠ½ΠΎΠ³ ΠΏΠΎΡΠ° ΠΈ ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° ΠΌΠ΅ΡΡΡΠΎΠ±Π½ΠΎ ΠΏΠΎΡΠ΅ΡΠ΅ΡΠ΅ ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΡ
ΠΏΡΠΎΡΡΠΎΡΠ°, ΡΠ΅ ΡΠ΅ ΠΏΡΠ΅ΡΠ΅ΠΆΠ½ΠΎ ΠΊΠΎΡΠΈΡΡΠΈ Ρ ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½ΠΈΠΌ Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΈΠΌ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΈΠΌΠ°. ΠΠ²Π° Π΄Π²Π° ΠΊΠΎΠΌΠΏΠ»Π΅ΠΌΠ΅Π½ΡΠ°ΡΠ½Π° ΠΏΡΠΈΡΡΡΠΏΠ° ΠΎΠ±ΡΠ΅Π΄ΠΈΡΠ΅Π½Π° ΡΡ Ρ ΡΡΡΠ΄ΠΈΡΠΈ ΡΠ»ΡΡΠ°ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΊΠΎΡΠ΅ ΡΠ΅ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°Π½ ΠΎΠ΄Π½ΠΎΡ Π·Π²ΡΠΊΠ° ΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Ρ ΠΌΠΎΡΠ°Π²ΡΠΊΠΎΡ ΡΡΠΈΠ»ΡΠΊΠΎΡ Π³ΡΡΠΏΠΈ (ΠΊΡΠ°Ρ XIV β ΠΏΠΎΡΠ΅ΡΠ°ΠΊ XV Π²Π΅ΠΊΠ°). Π¦ΠΈΡ ΠΎΠ²ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΠ΅ΡΡΠ΅ Π΄Π° ΡΠΊΠ°ΠΆΠ΅ Π½Π° ΡΠ΅Π»Π΅Π²Π°Π½ΡΠ½ΠΎΡΡ ΡΠΈΡΠ΅Π³ ΠΊΡΠ»ΡΡΡΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ° ΠΈ ΠΏΠΎΠ½ΡΠ΄ΠΈ Π΄ΠΎΡΠ°Π΄ Π½Π΅ΠΈΡΡΡΠ°ΠΆΠ΅Π½ΠΈ ΡΠ³Π°ΠΎ Ρ ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°ΡΡ Π΄ΠΈΠ½Π°ΠΌΠΈΠΊΠ΅ ΠΎΠΏΡΡΠ΅Π³ ΠΎΠ΄Π½ΠΎΡΠ° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΈ Π°ΠΊΡΡΡΠΈΠΊΠ΅ ΠΊΡΠΎΠ· ΠΈΡΡΠΎΡΠΈΡΡ, ΠΊΠ°ΠΎ ΠΈ Π΄Π° ΠΏΠΎΠΊΠ°ΠΆΠ΅ Π΄Π° Π³ΡΠ°Π΄ΠΈΡΠ΅ΡΡΠΊΠΎ Π½Π°ΡΠ»Π΅ΡΠ΅ ΡΡΠ΅Π΄ΡΠΎΠ²Π΅ΠΊΠΎΠ²Π½Π΅ Π‘ΡΠ±ΠΈΡΠ΅ ΡΠΈΠ½ΠΈ ΠΎΡΠ½ΠΎΠ² Π·Π° ΡΠΏΡΠΎΠ²ΠΎΡΠ΅ΡΠ΅ Π°ΡΡ
Π΅ΠΎΠ°ΠΊΡΡΡΠΈΡΠΊΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°, ΡΠΏΡΠΊΠΎΡ ΠΎΠ³ΡΠ°Π½ΠΈΡΠ΅Π½ΠΎΡΡΠΈ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠ΅ ΡΠ΅ΠΎΡΠΈΡΡΠΊΠ΅ ΠΈ Π΅ΠΌΠΏΠΈΡΠΈΡΡΠΊΠ΅ Π³ΡΠ°ΡΠ΅.The research of sound in history of architecture is unjustly neglected on behalf of its visual aspects. Besides the signicicance for perception of environment and orientation in space, through the cultural history the sound is comperhended as a connetion between material and spiritual worlds. Therefore, it had a special place in sacral architecture, the most sofisticated expression of building culture that represents the cosmological symbolism (macrocosmosβmicrocosmos analogy). Statring point of this research is that the general relatedness of architecture and sound does not exlusevely rest on technical knowledge, but it is also developed in context of the spirit of building period. Consequently, the research requires multidisciplinary approach to architectural piece as a complex space-time structure. Due to the antique analogical thinking deeply interweaved with European culture and history of understanding the sound, relevant for the development of architecture, as well as the contemporary archeoacoustic researches, the aspect of sound in this dessertation is considered as (1) harmonic sound which has found its place in the application of musical analogy in architecture, as well as (2) impulse response which provides acoustical parameters β quantifiers that enable the comparison of various spacesβ acoustics. Those two complementary approaches are combined in the case study that research the relatedness of sound and medieval Serbian architecture of moravian style (end of XIV β begining of XV century). The overall goal of this research is to point out the relevance of wide cultural context and offer so far unexplored aspect of historical dynamics between architecture and acoustics. Moreover, it strives to show that architectural heritage of medieval Serbia is the base for archeoacoustical research despite the limitations of the existing theoretical and empirical material
Echeia - assisted resonance in Roman Theatres; Companion to the Reception of Vitruvius
Β© 2024 by Koninklijke Brill NV. This is the accepted manuscript version of a book chapter which has been published in final form at https://doi.org/10.1163/9789004688704_024The author has been asked to write an 8000 word chapter on the subject of Echia (the resonating vessels placed in Roman Theatres according to Vitruvius). The request has come from Prof. Ingrid Rowland. Prof. Rowland is responsible for the definitive edition of Vitruvius' The Ten Books on Architecture (Cambridge University Press). A treatise written in Latin on architecture, dedicated to the emperor Augustus, much more than a book on buildings and machines, the contents of De Architectura reveal a greater meaning of 'architecture', combining science, mathematics, geometry, astronomy; and not least the arts, sound, acoustics and music. https://www.amazon.co.uk/Vitruvius-Ten-Books-Architecture/dp/0521002923 The research has been sourced by Brill as a result of a paper written some ten years ago - The enigma of Vitruvian resonating vases and the relevance of the concept for today. It has been presented as a paper at numerous conference proceedings including sessions at UH. http://researchprofiles.herts.ac.uk/portal/en/publications/the-enigma-of-vitruvian-resonating-vases-and-the-relevance-of-the-concept-for-today(2b110796-9906-48c0-80c3-5cc0a872f2ce).html The 8000 word chapter details the use of Echeia - a type of assisted resonance, often debated in terms of function and use, as detailed by Vitruvius in The Ten Books on Architecture. The clarity of sound within any Greek or Roman theatre (without any form of enhancement) is impressive to any visitor. The seats arranged in curved rows around the circular orchestra form large horizontal reflecting surfaces. This ensures that the path of the sound waves travel from the source (the actor or singer) to each of the listeners in a direct path (i.e. without reflection). Vitruvius, however, claimed further enhancements could be made. "In theatres, also, are copper vases and these are placed in chambers under the rows of seats in accordance with mathematical reckoning. The Greeks call them Echeia. The differences of the sounds which arise are combined into musical symphonies... β¦ it becomes fuller, and reaches the audience with a richer and sweeter note." Vitruvius, on Architecture, Book I, β on training of architects, Loeb The research will update the author's initial findings into the concept by exploring further scientific findings with computer modelling. He will visit theatres in Fiesole, Florence; Aspendos, Turkey and the Roman Theatre in Amman (which is the only site having the original niches created to hold the resonating vases). In addition, the βreconstructedβ Greek Theatre at Bradfield College, Berkshire will be researched