Pavle Soleša | University of Arts in Belgrade (original) (raw)

Drafts by Pavle Soleša

In Serbian literature, one often encounters scenes devoid of narration, dialogue, or monologue, w... more In Serbian literature, one often encounters scenes devoid of narration, dialogue, or monologue, which typically indicate the psychological state of the hero. When used at the right moment, silence can leave a stronger impression than any form of speech.

Gaps in literary discourse often signal trauma, non-verbalized states when emotions stifle words, or sudden shocking events that leave the characters speechless. Portraying scenes of unspoken and experienced content concealed by silence in film and television adaptations can be very challenging. In this context, musical solutions are common strategies. By comparing literary and film narratives, we identify silent scenes accompanied by music, examining their peculiarities from both literary and musical perspectives.

The aim of our research is to analyze musical themes and motifs in film and television adaptations of representative works of Serbian literature. By doing so, we investigate the produced aesthetic effects and highlight the role and significance of music in these adaptations.

The corpus of the research includes the novels “Dervish and the Death” by Meša Selimović, “Migrations” by Miloš Crnjanski, and “Roots” by Dobrica Ćosić, along with their film and television adaptations (specifically “Roots”).

Master rad iz predmeta Analiza muzičkih stilova na Katedri za muzičku teoriju Fakulteta muzičke u... more Master rad iz predmeta Analiza muzičkih stilova na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, rađen pod mentorstvom prof dr Srđana Teparića, docenta, odbranjen 27. maja 2024. godine.

Seminarski rad iz predmeta Harmonija sa harmonskom analizom 2

The subject of this study is the dramaturgical and musical means used in the "scene of madness" i... more The subject of this study is the dramaturgical and musical means used in the "scene of madness" in the opera "Boris Godunov", composed by Modest Petrovich Mussorgsky (Модест Петрович Мусоргский). The opera has two editorial offices, the first composed in 1869 and premiered in 1929, while the second one was composed in 1872 and premiered in 1874. At the time of its creation, the Mussorgsky defined the genre of this opera as a “four-act musical work”, which more precisely indicated the peculiarity of the piece both in relation to Pushkin's tragedy and also in relation to musical works. By avoiding words such as opera, plot, drama, the composer deliberately sought to avoid associations with the governing stereotypes in the operatic romantic spectacle.

The views, judgments and ratings of art criticism significantly influence the appearance, affirma... more The views, judgments and ratings of art criticism significantly influence the appearance, affirmation, reception and duration of each work of art. Numerous examples of scholarly texts whose subject of research was related to the relation of criticism to a certain work of art, testify to the very important role of criticism. In the history of twentieth-century Serbian music, a very unusual professional and friendly relationship between art critic Pavle Stefanović and composer Ljubica Marić was remembered and recorded, which to this day proves to numerous artists how professional, objective criticism contributes to the creative development of artists. The collaboration of Ljubica Marić and Pavle Stefanović is the subject of scientific research in the works of Melita Milin and Ivana Stefanović, which, using different sources and methodology, substantially complemented the notions of their mutual cooperation but also provided insight into the socio-historical context.

This paper will discuss about some harmonic phenomena typical of romantism, such as harmonic trad... more This paper will discuss about some harmonic phenomena typical of romantism, such as harmonic trades, romantic chords, tone plan and modulation modes. The first movement (Allegro moderato) of Franz Schubert’s (1797–1828) piano sonata D. 567 in D Flat Major, composed in 1817, was selected for this research. This movement is in the sonata form.

This paper deals with the realization of a structural plan, based on the example of the first mov... more This paper deals with the realization of a structural plan, based on the example of the first movement of Franz Joseph Haydn's String Quartet op. 42 in D Minor. The aim of the paper is to identify the sentence and fragmentary structure in the cooperation of musical plans based on the views of Anica Sabo.

Increased interest in more studious music education, and also in the science of harmony, emerged ... more Increased interest in more studious music education, and also in the science of harmony, emerged in Serbia in the 1930s.
The science of harmony is a theoretical musical discipline that learns students about chords, their circuits, relationships, resolutions, and more, seeking on the basis of living compositional practice, the principles that, within a certain style, represent norms of harmonic thinking. The term harmony is used in a narrower and broader sense. In the narrower sense, it denotes a chord or a consonant. In a broad sense, harmony denotes the totality of the chords, their relationships and relationships, their role in the music part, the whole vertical (consonant) component of the music – whether in general, or within the limits of a particular stylistic period, the creativity of an individual composer, or in a particular music piece.

Starting from the fact that music is an integral part of human life, this paper will show how it ... more Starting from the fact that music is an integral part of human life, this paper will show how it can affect the emotional state of each individual through their daily activities. The problem with this topic is that science cannot establish a universal way of understanding how music affects people’s emotions, because each person is a separate individual.

This group work is written by the students: Pavle Soleša, Marija Šunjevarić, Ivana Simović and Dušan Filipović.

Papers by Pavle Soleša

Master rad na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beo... more Master rad na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, iz predmeta Analiza muzičkih stilova, rađen pod mentorstvom prof dr Srđana Teparića, docenta; branjen 27. maja 2024.

In Serbian literature, one often encounters scenes devoid of narration, dialogue, or monologue, w... more In Serbian literature, one often encounters scenes devoid of narration, dialogue, or monologue, which typically indicate the psychological state of the hero. When used at the right moment, silence can leave a stronger impression than any form of speech.

Gaps in literary discourse often signal trauma, non-verbalized states when emotions stifle words, or sudden shocking events that leave the characters speechless. Portraying scenes of unspoken and experienced content concealed by silence in film and television adaptations can be very challenging. In this context, musical solutions are common strategies. By comparing literary and film narratives, we identify silent scenes accompanied by music, examining their peculiarities from both literary and musical perspectives.

The aim of our research is to analyze musical themes and motifs in film and television adaptations of representative works of Serbian literature. By doing so, we investigate the produced aesthetic effects and highlight the role and significance of music in these adaptations.

The corpus of the research includes the novels “Dervish and the Death” by Meša Selimović, “Migrations” by Miloš Crnjanski, and “Roots” by Dobrica Ćosić, along with their film and television adaptations (specifically “Roots”).

Master rad iz predmeta Analiza muzičkih stilova na Katedri za muzičku teoriju Fakulteta muzičke u... more Master rad iz predmeta Analiza muzičkih stilova na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, rađen pod mentorstvom prof dr Srđana Teparića, docenta, odbranjen 27. maja 2024. godine.

Seminarski rad iz predmeta Harmonija sa harmonskom analizom 2

The subject of this study is the dramaturgical and musical means used in the "scene of madness" i... more The subject of this study is the dramaturgical and musical means used in the "scene of madness" in the opera "Boris Godunov", composed by Modest Petrovich Mussorgsky (Модест Петрович Мусоргский). The opera has two editorial offices, the first composed in 1869 and premiered in 1929, while the second one was composed in 1872 and premiered in 1874. At the time of its creation, the Mussorgsky defined the genre of this opera as a “four-act musical work”, which more precisely indicated the peculiarity of the piece both in relation to Pushkin's tragedy and also in relation to musical works. By avoiding words such as opera, plot, drama, the composer deliberately sought to avoid associations with the governing stereotypes in the operatic romantic spectacle.

The views, judgments and ratings of art criticism significantly influence the appearance, affirma... more The views, judgments and ratings of art criticism significantly influence the appearance, affirmation, reception and duration of each work of art. Numerous examples of scholarly texts whose subject of research was related to the relation of criticism to a certain work of art, testify to the very important role of criticism. In the history of twentieth-century Serbian music, a very unusual professional and friendly relationship between art critic Pavle Stefanović and composer Ljubica Marić was remembered and recorded, which to this day proves to numerous artists how professional, objective criticism contributes to the creative development of artists. The collaboration of Ljubica Marić and Pavle Stefanović is the subject of scientific research in the works of Melita Milin and Ivana Stefanović, which, using different sources and methodology, substantially complemented the notions of their mutual cooperation but also provided insight into the socio-historical context.

This paper will discuss about some harmonic phenomena typical of romantism, such as harmonic trad... more This paper will discuss about some harmonic phenomena typical of romantism, such as harmonic trades, romantic chords, tone plan and modulation modes. The first movement (Allegro moderato) of Franz Schubert’s (1797–1828) piano sonata D. 567 in D Flat Major, composed in 1817, was selected for this research. This movement is in the sonata form.

This paper deals with the realization of a structural plan, based on the example of the first mov... more This paper deals with the realization of a structural plan, based on the example of the first movement of Franz Joseph Haydn's String Quartet op. 42 in D Minor. The aim of the paper is to identify the sentence and fragmentary structure in the cooperation of musical plans based on the views of Anica Sabo.

Increased interest in more studious music education, and also in the science of harmony, emerged ... more Increased interest in more studious music education, and also in the science of harmony, emerged in Serbia in the 1930s.
The science of harmony is a theoretical musical discipline that learns students about chords, their circuits, relationships, resolutions, and more, seeking on the basis of living compositional practice, the principles that, within a certain style, represent norms of harmonic thinking. The term harmony is used in a narrower and broader sense. In the narrower sense, it denotes a chord or a consonant. In a broad sense, harmony denotes the totality of the chords, their relationships and relationships, their role in the music part, the whole vertical (consonant) component of the music – whether in general, or within the limits of a particular stylistic period, the creativity of an individual composer, or in a particular music piece.

Starting from the fact that music is an integral part of human life, this paper will show how it ... more Starting from the fact that music is an integral part of human life, this paper will show how it can affect the emotional state of each individual through their daily activities. The problem with this topic is that science cannot establish a universal way of understanding how music affects people’s emotions, because each person is a separate individual.

This group work is written by the students: Pavle Soleša, Marija Šunjevarić, Ivana Simović and Dušan Filipović.

Master rad na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beo... more Master rad na Katedri za muzičku teoriju Fakulteta muzičke umetnosti Univerziteta umetnosti u Beogradu, iz predmeta Analiza muzičkih stilova, rađen pod mentorstvom prof dr Srđana Teparića, docenta; branjen 27. maja 2024.