Napetice iskosa : glazba u doba hi-fia = Oblique strains: music in the age of hi-fi

Publication Type:




Zagreb : Durieux, Croatia, p.679 (2020)




Music criticism


<p>Book is a comprehensive edition of collected texts about music by the author, director and editor Aleksandar Mihalyi.<br />Why Napetice diagonally? Because the music scene, judging by theoretical texts and stylistic or genre heterogeneity, is so disjointed that it almost blocks unencumbered listener access, except for exclusive access to some of the groups present. To put it simply: each of the existing groups has its own theoretical logistics dedicated to it, which ignores the existence of others. Within groups, and especially between groups, there is tension that is either hidden or accentuated. If behind this there was not an intense, strong and diverse and numerous music or audio creative scene in terms of the number of participants and manifestations, these texts would not exist. This disunity is the result of the absence of a dominant creative model and, paradoxically, it is precisely because of this that we have such a rich and pluralistic scene. Whether it is valuable, or what is valuable, is without a clear and unequivocal answer. The value scale is established only within the boundaries of a group or ism.<br />First of all, the book provides the reader with the extraordinary richness that the contemporary music scene offers us in the possible construction and satisfaction of an incredible range of spiritual needs. Never in history has an individual been offered to listen to contemporary music from such a divergent musical scene: Bach's B-minor Mass with Ton Koopman, Einstein on the Beach by Philip Glass, directed by Robert Wilson and music by his ensemble, In vain by Georg Friedrich Haas with the Vienna Klangforum or Ami Yoshida's vocal music. What they have in common is the shock of the new or the dedication of excellent musicians and the touching of cultural, interpretive and perceptive limits. We are contemporaries of all that! What is the state of the theory, the recent discussion about what is contemporaneity and consequently, and what is contemporary music showed - there was no unequivocal position.<br />This book is also a kind of bedeker that will help those interested to get an insight into the events, get to know the main protagonists and, finally, recommendations for listening, watching and reading what is offered in certain types of expression.<br />What is written is not against anything, but rather for affirmation, creation of order and faster access to the music scene today. Even the confusion about terms is too great, and the introduction of order is a Sisyphean task. For example, if you read about a composer in various places that he belongs to: eclecticism, postmodernism, polystylism, to some extent Russian mysticism, spiritual minimalism, and that he has all the known features of his generation and the like, what do you expect to hear?<br /><br /><br /></p>