Mirjana Veselinović-Hofman
Datos Biográficos
| ID | 7340784 |
|---|---|
| NOMBRE | Mirjana Veselinović-Hofman |
| NOMBRES | Mirjana |
| APELLIDO | Veselinović-Hofman |
| FIRMA | VESELINOVIĆ-HOFMAN M |
| AFILIACIONES | University of Arts in Belgrade |
| VERIFICADO | No |
| TOTAL DE OBRAS | 6 |
| TOTAL DE CITAS | 0 |
| TOTAL COMO AUTOR | 6 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2001 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2022 |
| ÍNDICE H | 0 |
New Sound in the New Sound
In this text, written to mark the 30th anniversary of the establishment of the New Sound International Journal of Music, I discuss two concepts/terms that have exerted a formative influence on its physiognomy. Those concepts are new sound and (the) international, whose meanings have crystallised in the Journal in line with their intersections with categories that are respectively related to them. The basis of those intersections is identified in …
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music
To discuss Serbian twenty-first-century avant-garde music means to address two key phenomena: (1) the avant-garde’s position in postmodernism, which—established in its form in the mid-1970s—has persisted over the past two decades of the twenty-first century; and (2) a modification of that position, which has concurrently manifested itself in Serbian music since the late 1980s. The first phenomenon refers to the condition of treating the avant-gar…
Musicology against silence
The text is a reflection on the status of musicology under the conditions of isolation imposed by the ongoing pandemic, from the perspective of my personal memories concerning the impact that the historical, analytical, and interpretative branches of musicology had on the formation of my musicological poetics as a student of musicology. Understood as a kind of social silence informing one's internal domain as an author, and in terms of the imposi…
Silence As a Hermeneutic Oasis of Music
This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stim…
Erić, Zoran
Hofman, Srdjan
Sin obras prominentes en esta página.
Erić, Zoran
Hofman, Srdjan
Silence As a Hermeneutic Oasis of Music
This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stim…
Musicology against silence
The text is a reflection on the status of musicology under the conditions of isolation imposed by the ongoing pandemic, from the perspective of my personal memories concerning the impact that the historical, analytical, and interpretative branches of musicology had on the formation of my musicological poetics as a student of musicology. Understood as a kind of social silence informing one's internal domain as an author, and in terms of the imposi…
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music
To discuss Serbian twenty-first-century avant-garde music means to address two key phenomena: (1) the avant-garde’s position in postmodernism, which—established in its form in the mid-1970s—has persisted over the past two decades of the twenty-first century; and (2) a modification of that position, which has concurrently manifested itself in Serbian music since the late 1980s. The first phenomenon refers to the condition of treating the avant-gar…
New Sound in the New Sound
In this text, written to mark the 30th anniversary of the establishment of the New Sound International Journal of Music, I discuss two concepts/terms that have exerted a formative influence on its physiognomy. Those concepts are new sound and (the) international, whose meanings have crystallised in the Journal in line with their intersections with categories that are respectively related to them. The basis of those intersections is identified in …
Aesthetics (3 obras) · Art (3 obras) · Diverse Musicological Studies (3 obras) · Literature (3 obras) · Philosophy (3 obras) · Art history (2 obras) · Epistemology (2 obras) · Linguistics (2 obras) · Musicology and Musical Analysis (2 obras) · Pedagogy (2 obras)