Droplets оf Dew: The Music оf Vera Stanojević
Keywords:
Vera Stanojević, timbre, electro-acoustic, post-tonal, compositional processAbstract
Vera Stanojević’s timbrally-driven compositions, both acoustic and electro-acoustic, have increasingly garnered international recognition over the past two decades. A brief biographical overview, supported with commentary from the composer, is followed by a series of analytical vignetes of select repertoire. Te analyses provide brief sketches of the style and compositional approach taken in each work. Works discussed are posted on the composer’s Soundcloud website, allowing readers to directly engage, with audio, timbral complexities addressed within.
Downloads
References
Bartók, Béla (1976) “The Influence of Peasant Music on Modern Music (1931).” In Béla Bartók Essays, ed. Benjamin Suchoff. London: Faber and Faber, 340–344.
Eco, Umberto (2004) “Intertextual Irony and Levels of Reading.” In On Literature. Transl. by Martin McGlaughlin. Orlando, Florida: Harcourt, 212–235.
Gibbons, William (2008) “Debussy as Storyteller: Narrative Expansion in Trois Chansons de Bilitis.” Current Musicology, 85: 7–28.
Gilmore, Bob (2007) “On Claude Vivier’s Lonely Child.” Tempo, 61(239): 2–17.
Joyce, James (1907) Chamber Music. Dublin: Elkin Matthews.
Keislar, Douglas (2009) “A Historical View of Computer Music Technology.” In Roger T. Dean (ed.) The Oxford Handbook of Computer Music. Oxford: Oxford University Press, 24–33.
Medić, Ivana (2014) “Music of the Lost Generation: Serbian Émigré Composers.” In Melita Milin and Jim Samson (eds.) Serbian Music: Yugoslav Context. Belgrade: Institute of Musicology of the Serbian Academy of Arts and Sciences, 143–164.
Messiaen, Olivier (1944) Technique de mon Langage Musical. Paris: Alphonse Leduc.
Popa, Vasko (1973) Sporedno Nebo (Secondary Heaven). Belgrade: Vuk Karadžić.
Popa, Vasko (1997) Selected Poems. Frances R. Jones (ed.). Transl. by Anne Pennington. London: Anvil Press Poetry.
Roig-Francolí, Miguel (2008) Understanding Post-Tonal Music. New York: McGraw-Hill.
Stanojević, Vera (2017a) Interview with author. Phone interview. Greeley, Colorado/Columbus, Ohio; 19 July.
Stanojević, Vera (2017b) Interview with the author. Phone interview. Greeley, Colorado/Yucatán, Mexico; 5 July.
Stanojević, Vera (2017c) Soundcloud webpage entry for Chamber Music (after James Joyce). Soundcloud.com.
Stanojević, Vera (2017d) Interview with the author. Phone interview. Greeley, Colorado/Columbus, OH; 11 January.
Stanojević, Vera (2017e) Soundcloud webpage entry for Voyage I (with Anne Waldman). Soundcloud.com.
Stanojević, Vera (2017f) Soundcloud webpage entry for Hommage à Emily. Soundcloud.com.
Stanojević, Vera (2002) “On Dance: To the End of the Circle.” Program notes for Dance: To the End of the Circle. ProMusica Chamber Orchestra. Southern Theatre, Columbus, Ohio. Conductor, Timothy Russell: October 5.
Stanojević, Vera (1998) Notturno. Moravian Philharmonic Orchestra, Jiri Mikula, conductor, Vienna Masters CD VMM 3045.
Stein, Deborah (2005) “Introduction to Musical Ambiguity.” In Engaging Music: Essays in Music Analysis, Deborah Stein, ed. Oxford: Oxford University Press.
Toop, Richard (1999) György Ligeti. London: Phaidon Press Limited.
Waldman, Ann (2006) Outrider: Essays, Poems, Interviews. Albuquerque, New Mexico: La Alameda Press.
Downloads
Published
Issue
Section
License
Copyright (c) 2017 MUZIKOLOGIJA-MUSICOLOGY
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
