Laura Emmery
Biographic Data
| ID | 1378952 |
|---|---|
| NAME | Laura Emmery |
| GIVEN NAMES | Laura |
| FAMILY NAME | Emmery |
| SIGNATURE | EMMERY L |
| AFFILIATIONS | Emory University |
| ORCID | 0000-0002-0483-3240 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Minimalist Music in Eastern Europe
Maarten Beirens opens his doctoral dissertation on the identity of European minimalist music—one of the most detailed studies to date about the subject—by citing Helga de la Motte-Haber’s 1994 asse
The Student Cultural Center in Belgrade as a Cultural Phenomenon and a Propagator of Yugoslav Experimental Minimalism in the 1970s and 1980s
In 1977, Miloš Raičković assembled a group of friends from the Faculty of Music (FMU) in Belgrade and took centre stage at the Student Cultural Center (SKC). The ensemble would soon become known as Ensemble for Different New Music, a group that played a pivotal role in promoting music by Yugoslav minimalist composers. Raičković, like his peers—Milimir Drašković, Miodrag Lazarov Pashu, Miroslav Savić, and Vladimir Tošić, who would go on to form a …
“Different New Music in Yugoslavia”
Some of Yugoslavia’s most radical musical manifestations unfolded during the 1970s and 1980s. Aided by postwar Yugoslav cultural programs, the iconic Student Cultural Center (SKC) in Belgrade – a student-managed “safe space” for free expression and creativity – opened its doors in 1971 and instantly became a magnet for experimental musicians throughout the Western and Eastern Blocs. A group of rebellious composers and performers – Opus 4 and the …
Jonathan Harvey's String Trio
In his Program Note for the String Trio (2004), Jonathan Harvey noted that this work features "two main (and contrasting) types of music-the rustic and the sacred." Harvey defines his "rustic" style as folkloristic, while the "sacred" is based on his liturgical drama, Passion and Resurrection. In this article, I examine Harvey's use of both conventional and experimental techniques and distinct gestures to examine the two contrasting worlds of the…
Serbian Musical Identity
There are several reasons why we decided to dedicate this double issue of Contemporary Music Review to the topic of Serbian musical identity. The concept of identity implies the existence of some individual or collective characteristic, or a feature, by which a certain person or social group is recognisable. Both ‘musical identity’ and ‘national identity’ are elusive, flexible, changeable, and context-dependent notions. The articles published in …
Globalisation and Musical Identity
Following the Yugoslav Wars of the 1990s and the subsequent international economic sanctions imposed against the Federal Republic of Yugoslavia that lasted until the early 2000s, a substantial number of Serbian composers emigrated to the United States. While this mass exodus of composers and academics had a devastating effect on Serbian cultural life, such a shift, enabled by globalisation and commodification of music, created an interest in Serb…
Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2
Jonathan Harvey debuted several novel techniques and elements in his String Quartet No. 2—“temperature” and gender markings, unique to this piece, and the melodic chain technique, a method which he continued to use in his subsequent quartets. Though the melodic chain technique is decipherable from score analysis, and has been explained by the composer in interviews, Harvey’s temperature and gender markings have continued to puzzle scholars, due t…
Archival Research in Music
Archival research in music has undergone dramatic transformations in recent years. Far from a rigid and antiqued discipline, exclusively immersed in dusty manuscripts of canonic composers, aiming to reveal their authorial intent or craft a definitive edition of their works, recent archival scholarship has substantially broadened in its materials, methods, and in the kinds of scholarly arguments these new resources make possible. (1) The present c…
What Dreams May Come
Vladan Radovanović (b. 1932) is the most prominent Serbian avant-garde composer and a pioneer of electronic music in Yugoslavia. Coining the term ‘Art Synthesis’ to describe his polymedia works––a type of polymedia art in which relations between the individual media components occupy various degrees of interdependence and determinacy––Radovanović aims to explore the outermost limits of every art. In 1984, Radovanović synthesized the textual descr…
Made in Yugoslavia
Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk…
Introduction Serbian Twentieth- And Twenty-First-Century Musical Avant-Gardes
Further Studies from the Paul Sacher Stiftung
The second issue dedicated to the studies from the Paul Sacher Stiftung (PSS)1 explores eight of the archive’s rich and growing collections. The archive was founded in Basel, Switzerland in 1973 by
Studies from the Paul Sacher Stiftung
Formation of a New Harmonic Language in Elliott Carter's String Quartet No. 2
One of the most significant aspects of Elliott Carter’s Second String Quartet (1959) is that it represents the composer’s workshop for developing his characteristic harmonic language. Many sketches in the collection depict the composer’s systematic process of understanding the properties of all-interval tetrachords—how they combine into larger units to complete the 5-, 6-, 7-, 8-note collections, the 12-note aggregate, or how they break down into…
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Studies from the Paul Sacher Stiftung
Formation of a New Harmonic Language in Elliott Carter's String Quartet No. 2
One of the most significant aspects of Elliott Carter’s Second String Quartet (1959) is that it represents the composer’s workshop for developing his characteristic harmonic language. Many sketches in the collection depict the composer’s systematic process of understanding the properties of all-interval tetrachords—how they combine into larger units to complete the 5-, 6-, 7-, 8-note collections, the 12-note aggregate, or how they break down into…
Further Studies from the Paul Sacher Stiftung
The second issue dedicated to the studies from the Paul Sacher Stiftung (PSS)1 explores eight of the archive’s rich and growing collections. The archive was founded in Basel, Switzerland in 1973 by
Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2
Jonathan Harvey debuted several novel techniques and elements in his String Quartet No. 2—“temperature” and gender markings, unique to this piece, and the melodic chain technique, a method which he continued to use in his subsequent quartets. Though the melodic chain technique is decipherable from score analysis, and has been explained by the composer in interviews, Harvey’s temperature and gender markings have continued to puzzle scholars, due t…
Archival Research in Music
Archival research in music has undergone dramatic transformations in recent years. Far from a rigid and antiqued discipline, exclusively immersed in dusty manuscripts of canonic composers, aiming to reveal their authorial intent or craft a definitive edition of their works, recent archival scholarship has substantially broadened in its materials, methods, and in the kinds of scholarly arguments these new resources make possible. (1) The present c…
What Dreams May Come
Vladan Radovanović (b. 1932) is the most prominent Serbian avant-garde composer and a pioneer of electronic music in Yugoslavia. Coining the term ‘Art Synthesis’ to describe his polymedia works––a type of polymedia art in which relations between the individual media components occupy various degrees of interdependence and determinacy––Radovanović aims to explore the outermost limits of every art. In 1984, Radovanović synthesized the textual descr…
Made in Yugoslavia
Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk…
Introduction Serbian Twentieth- And Twenty-First-Century Musical Avant-Gardes
Jonathan Harvey's String Trio
In his Program Note for the String Trio (2004), Jonathan Harvey noted that this work features "two main (and contrasting) types of music-the rustic and the sacred." Harvey defines his "rustic" style as folkloristic, while the "sacred" is based on his liturgical drama, Passion and Resurrection. In this article, I examine Harvey's use of both conventional and experimental techniques and distinct gestures to examine the two contrasting worlds of the…
Serbian Musical Identity
There are several reasons why we decided to dedicate this double issue of Contemporary Music Review to the topic of Serbian musical identity. The concept of identity implies the existence of some individual or collective characteristic, or a feature, by which a certain person or social group is recognisable. Both ‘musical identity’ and ‘national identity’ are elusive, flexible, changeable, and context-dependent notions. The articles published in …
Globalisation and Musical Identity
Following the Yugoslav Wars of the 1990s and the subsequent international economic sanctions imposed against the Federal Republic of Yugoslavia that lasted until the early 2000s, a substantial number of Serbian composers emigrated to the United States. While this mass exodus of composers and academics had a devastating effect on Serbian cultural life, such a shift, enabled by globalisation and commodification of music, created an interest in Serb…
“Different New Music in Yugoslavia”
Some of Yugoslavia’s most radical musical manifestations unfolded during the 1970s and 1980s. Aided by postwar Yugoslav cultural programs, the iconic Student Cultural Center (SKC) in Belgrade – a student-managed “safe space” for free expression and creativity – opened its doors in 1971 and instantly became a magnet for experimental musicians throughout the Western and Eastern Blocs. A group of rebellious composers and performers – Opus 4 and the …
Minimalist Music in Eastern Europe
Maarten Beirens opens his doctoral dissertation on the identity of European minimalist music—one of the most detailed studies to date about the subject—by citing Helga de la Motte-Haber’s 1994 asse
The Student Cultural Center in Belgrade as a Cultural Phenomenon and a Propagator of Yugoslav Experimental Minimalism in the 1970s and 1980s
In 1977, Miloš Raičković assembled a group of friends from the Faculty of Music (FMU) in Belgrade and took centre stage at the Student Cultural Center (SKC). The ensemble would soon become known as Ensemble for Different New Music, a group that played a pivotal role in promoting music by Yugoslav minimalist composers. Raičković, like his peers—Milimir Drašković, Miodrag Lazarov Pashu, Miroslav Savić, and Vladimir Tošić, who would go on to form a …
Art (12 works) · Philosophy (7 works) · Diverse Musicological Studies (6 works) · Linguistics (6 works) · Musicology and Musical Analysis (6 works) · Sociology (6 works) · Visual arts (6 works) · Art history (5 works) · Literature (5 works) · Musical (5 works)