Nagnuće tišini : Marko Ruždjak, skladatelj

Publication Type:

Conference Proceedings


Muzikološki zbornici = Musicological proceedings, Zagreb : Hrvatsko muzikološko društvo = Croatian Musicological Society, Number br./no. 19, Croatia, p.152 (2017)


ISBN 978-953-6090-58-7


Ruždjak Marko


The book comprises the proceedings of a scientific conference, In Honour of Marko Ruždjak (1946-2012), which was held on 25 and 26 October 2013. The meeting was co-organized by the Croatian Academy of Sciences and Arts, the Musical Evenings in Osor and the Croatian Composers’ Association. Many of the contributions were extended for inclusion in this volume, and some have also been published in the meantime (as mentioned in their respective footnotes).
The proceedings focus on three thematic areas. The first of them deals with particular works or groups of works, elucidating Marko Ruždjak’s specific compositional procedures. Gregor Pompe’s contribution concentrates upon a group of the composer’s orchestral pieces; Ingrid Pustijanac discusses the role of sound colour for the formal articulation of his works; Davorka Radica writes about the rhythmic structure of three Ruždjak’s pieces; and Nikša Gligo devotes his study to an early Ruždjak’s cycle, Trois chansons de geste.
The second thematic area includes contributions devoted to Ruždjak’s poetics. Tomislav Oliver discusses the inclination of Ruždjak’s music towards static, empty and barely audible states, the result of a certain “poetics of silence”, and Dalibor Davidović explores interplays of covertness and overtness, transparency and secrecy in Ruždjak’s musical output.
Finally, the third thematic area comprises contributions that investigate the position of Marko Ruždjak’s work within a wider framework, in contact with other art forms. Marko Grčić’s essay observes Ruždjak’s art against its historical and cultural background, including his personal testimonies of their encounters and collaboration. Marcel Bačić concentrates on Ruždjak’s “polydimensional thinking”, his exploration of visual-spatial phenomena in musical media, and his ability to recognise musical phenomena in visual media. This pair of texts is in turn linked to the first thematic area, with Gligo’s investigation of the composer’s specific relationship with poetry.
All contributions are followed by summaries (some of them signed by the editors), as well as lists of keywords in Croatian and English.