Marija Dinov | University of Niš (original) (raw)
Marija Dinov (1980) is a pianist with a specific and refined artistic sensibility. She completed her piano studies at the Faculty of Arts in Niš (2003) in the class of prof. Dragoslav Aćimović. During her studies, she was one of the best students at the University of Niš, which was recognized by the scholarship from the Embassy of the Kingdom of Norway, and especially by the University Charter awarded to her as the best student of the Faculty of Arts in her generation. Immediately after graduation, she continued her postgraduate piano studies in the class of prof. Jenny Zaharieva at the National Music Academy "Pancho Vladigerov" in Sofia (Bulgaria). There she received her master's degree in 2006, by defending the thesis "Peculiarities of musical language in the piano works of Claude Debussy". During her postgraduate studies, she was a scholarship holder of the Ministry of Education of the Republic of Bulgaria and the Hungarian organization "Soros Supplementary Grants Program".
For fifteen years (2005-2019) Marija Dinov worked as a teaching assistant at the Department of Piano of the Faculty of Arts in Niš. In her academic work she showed exceptional professionalism and great dedication, as evidenced by her numerous performances with students and colleagues, among which the integral performance of all the works for piano and orchestra by L.V. Beethoven (four of which premiered) in Niš and Skopje (2009) particularly stand out. On that occasion, she edited Beethoven's early piano concerto in E flat major, WoO 4 (edited by the soloist and piano excerpt of the orchestral section), never before published in such an arrangement. She was continuously engaged as an artistic associate (accompanist) at all performing departments of the Faculty of Arts in Niš.
Marija Dinov permanently performs at concerts as a soloist, chamber musician and piano associate. Her performances were recorded throughout Serbia, as well as in the surrounding countries (BiH, Macedonia, Bulgaria), and in Germany. She has given dozens of solo and chamber concerts, performing a stylistically and formally diverse repertoire. A good contact with the piano, suggestiveness, an excellent technique, a noble sound, and a well controlled style are basic qualities of her pianistic personality.
Marija Dinov also cherishes a special affinity for theoretical disciplines, which she showed during her studies, and continued to develop in further academic activities, through her research in the field of history and theory of pianism. Her concert lectures, in which she illustrates her observations by performing shorter segments or complete compositions, were rated as extremely interesting, and received good reviews in the press. She presented her original theoretical ideas in a very notable doctoral dissertation entitled "Studies of Performing Arts: Performativity and the function of the body gesture in pianism", defended at the interdisciplinary studies in theory of art and media at the University of Arts in Belgrade (2019), under the mentorship of Marija Masnikosa. The author's theoretical work on further deepening of innovative ideas presented in this dissertation continues in her recent works and announcements at scientific conferences dedicated to art theory.
Marija Dinov publishes critical texts about musical performances, usually on the internet portal "Južne vesti". She is one of the founders of the "Piano Summer" project (https://pianosummer.eu/en/).
less
Uploads
Papers by Marija Dinov
Facta Universitatis, Series: Teaching, Learning and Teacher Education, Vol. 7, No.2, 2023, 2023
The paper explains the role played by the practice of analogical reasoning in piano lessons, espe... more The paper explains the role played by the practice of analogical reasoning in piano lessons, especially at the beginner level. The first stage of piano studies is the most important one in raising musicians. In order to develop a young student's understanding and appreciation of music and piano playing, teachers use interesting and logically connected stories with plenty of entertaining characters, colorful illustrations and imaginative scenes. Comprehensive analogies with images of characters and their adventures used to introduce and expand on musical concepts in working with beginners make complicated playing techniques understandable and acceptable to them. It is very important to invoke students' imagination and creativity using fantasy, as well as analogies from everyday life, in order to help them to envisage musical images and express them through physical movements. By making progress in piano playing, students also improve their problem-solving skills in the arts, sciences, natural environment and social life.
Facta Universitatis, Series: Visual Arts and Music Vol. 9, No 1, 2023
The focus of this article is the role of fingering in performing art of pianists. Fingering is a ... more The focus of this article is the role of fingering in performing art of pianists. Fingering is a thoughtful determination of the exact order in which fingers are used in a given musical phrase. The main purpose of this paper is to explain how fingering, as an element of the composition created by the performer, affects the expressiveness of the performed musical phrase. The central analysis is aimed at illustrating how various expressive effects can be achieved by using different fingerings to perform the same written musical phrase. As a specific example we showed that the use of different fingers in a certain musical context can produce different cognitive and emotional responses in the mind of the performer, and thus affects the understanding of the music being performed.
Musicology (journal), 2023
The purpose of this study is to contribute to the discussion of how the character of physical bod... more The purpose of this study is to contribute to the discussion of how the character of physical body movements conveys expression and affects the creation of a musical work. The primary focus of this phenomenological study is on kinesthetic gestures or body movements which pianists use in their performances in order to create the musical-poetic content in a corporeal performing form. The main discussion is concentrated on the analysis of movements that emanate from the characteristics of the piano technique, particularly of technical elements in the piano sonatas by Ludwig van Beethoven.
U okvirima multinacionalnog prostora Balkana koji apsorbuje mnoštvo političkih, ideoloških i kult... more U okvirima multinacionalnog prostora Balkana koji apsorbuje mnoštvo političkih, ideoloških i kulturoloških frustracija koje počivaju na tenzijama i protivurečnostima svojstvenim regionu, fenomen sevdalinke, kao autentičnog balkanskog muzičko-poetskog izraza, predstavlja identitetsku supstancu čiji odraz pronalazi u svom unutrašnjem biću veliki broj pojedinaca. O estetskim i etičkim kvalitetima sevdalinke je mnogo toga već napisano. Ovaj rad ima za cilj da posmatra sevdalinku u kontekstu postkolonijalnih studija kulture. Tako se u radu diskusija koncentriše oko potencijala koji ima sevdalinka u konstrukciji balkanskog kulturnog identiteta. Istraživani su mehanizmi kroz koje sevdalinka "odjekuje" u individualnim prostorima "balkanske duše", te kao forma kulturnog nasleđa koja se prenosi prema višesmernim mehanizmima (post)sećanja, postaje moćan faktor u konstrukciji identiteta novih generacija.
U ovom radu tretira se pitanje odnosa kulture sećanja na Holokaust i umetničke muzike. Kulturom s... more U ovom radu tretira se pitanje odnosa kulture sećanja na Holokaust i umetničke muzike. Kulturom sećanja obuhvaćeni su mehanizmi društvenog prenošenja znanja o prošlosti. Reprezentacija prošlosti i prezentacija umetničke muzike, kao jednog od načina transcedencije prošlosti, podudaraju se na mnogo nivoa i bitne su za poimanje različitih istorijskih situacija i psiholoških pojava. Oba mehanizma zasnovana su na emocionalnom dijalogu između identiteta konstruisanih u različitim kulturološkim uslovima. Cilj rada je da poentira mogućnosti reinterpretacije prošlosti kroz prezentaciju umetničke muzike. Analiza manifestacija umetničke muzike nastale u vreme Holokausta i njene uloge u oblikovanju sećanja potonjih generacija pokazuje kako ishodišta tih manifestacija jesu sadržaji i emocije koje intenzivno transformišu identitet percipijenta prelamajući u njegovoj svesti duh mesta i vremena i preklapajući ga sa identitetom muzičkih stvaralaca čije različite pozicije i sudbine na autentičan način svedoče istorijskim okolnostima Holokausta.
Lipar , 2018
Klavirski prelid Devojka sa lanenom kosom (La fille aux cheveux de lin) predstavlja paradigmatiča... more Klavirski prelid Devojka sa lanenom kosom (La fille aux cheveux de lin) predstavlja paradigmatičan primer Debisijeve zvučne estetike koja na karakterističan način objedinjuje zajedničke težnje pesnika simbolista i slikara impresionista. Jedno od najpopularnijih dela klavirske literature moguće je adekvatno interpretirati kroz različite umetničke i medijske dimenzije koje zajedno, u međusobnoj korelaciji i korespondenciji, konstituišu jedinstvenu estetiku ove muzike. Težište ovog rada je na sagledavanju Debisijeve muzike, to jest zvuka debisizma, ne samo kroz muzikološku metodologiju, već i kroz analitički okvir istorije umetnosti, kao sliku Devojke sa lanenom kosom, inicijalno umetnički naslikanu i ozvučenu u istoimenoj de Lilovoj poemi.
Kultura 156 (210-224), 2017
The concept of transculturalism implies a significant ideological position within postmodern Cult... more The concept of transculturalism implies a significant ideological position within postmodern Cultural studies, and it is actualized in the context created by the idea of a multicultural society which is based on the ideology and cultural policy of integration into European multinational space, where our community also tends to. Living processes of transculturalism are simultaneously intensified with the expansion of the modern communication technologies and general tendency of globalization. With the impossibility of regression on monocultural concepts it comes to light as inescapable, and therefore as needfull, precisely the understanding of positive sides in the transcultural processes and consequently the attempt of their implementation in everyday intercultural relations and manifestations. The intent of this work is to point out on complexity and stratification in processes of transculturalism and to consider theirs potential instrumentalization for the purposes of overcoming social tensions caused by the lack in understanding of cultural differences, but similarities too. These processes can be understood on the simple example of global transcultural phenomenon, melody popularly known as Twinkle, Twinkle Little Star.
Nasleđe 36 (339-351), 2017
Explorations elaborated in this paper represent a comparative study in developments of narratolog... more Explorations elaborated in this paper represent a comparative study in developments of narratology and pianism, disciplines that actually both study the same process - process of narration, by using different instruments. The intention is to point out on the possibilities of expound pianism as narrative practices through determination of the compatibility of common elements, particularly with emphasis on the analogy of conceptual and methodological equipment in both disciplines. A significant step towards the systematic correlates beetwin narratology and music performing is an essay by Vincent Meelberg Sounds Like a Story: Narrative Travelling from Literature to Music and Beyond (2009). Meelberg believes that narrative analysis can help us to understand the ways in which music becomes meaningful to audience. Such researches could be particularly relevant and useful for active performers and can finally point out the legitimacy of the attitudes of many pianists who during the entire history of pianism have used narrative strategies in performing and pedagogical practice, in order to achieve a convincing interpretation of various musical forms.
Drafts by Marija Dinov
This work treats the issue of the relationship between the culture of Holocaust remembrance and a... more This work treats the issue of the relationship between the culture of Holocaust remembrance and artistic music. The culture of remembrance comprises mechanisms of the social transfer of the knowledge about the past. Representation of the past and presentation of the artistic music, as a method of transcendence of the past, correspond at multiple levels. The aim of this work is to make a point of the possibility to reinterpret the past through presentation of artistic music. Both mechanisms have been based on the emotional dialogue between the identity created under various cultural conditions. The outcomes of these mechanisms can be contents and emotions which intensively transform the identity of the percipients overlapping it with the identity of the artists who authentically testified about historical circumstances of the Holocaust.
Ne/identiteti pijaniste u eksperimentalnom filmu "Prolaznosti" Štefana Brulharta
Teaching Documents by Marija Dinov
Studije pozorišta i izvođenja (Theatre and Performance Studies), kako ovu akademsku disciplinu od... more Studije pozorišta i izvođenja (Theatre and Performance Studies), kako ovu akademsku disciplinu određuje Erika Fišer Lihte (Erika Fischer Lichte), predstavljaju spoj teatrologije (studija pozorišta) i studija izvođenja 1 . Ova kompozitna disciplina imala je "različitu istoriju u različitim nacionalnim kontekstima", a često je bila "u vezi, kako sa inovacijama u pozorištu, tako i sa širim političkim razvitkom" (Fischer-Lichte, 2014:12).
This year we get together for the second time and I again was asked to prepare a convenient lectu... more This year we get together for the second time and I again was asked to prepare a convenient lecture in honor of the hundredth anniversary of the death of Alexander Nikolayevich Scriabin.
Piano work of C.P.E. Bach as a reflection of modern pianism Accidentally or not, it happened that... more Piano work of C.P.E. Bach as a reflection of modern pianism Accidentally or not, it happened that our first small but selected gathering is realized exactly in this year which marks the 300 th anniversary of Emanuel Bach's birth. So, my intention today is almost symbolic. With this short story about the first pianist, I want to remind us on the very beginnings of pianism. It's the art we all celebrate through our every day's dedicated work. Most the time we are unaware that on our path we are largely guided by the great example of E. Bach. He truly was an artist whose work represents in several perspectives a reflection of the modern artistic values.
Talks by Marija Dinov
Južne vesti, 2018
U svojoj knjizi "Kraj kulture" Erik Hobsbaum piše da je svet u kojem živimo na kraju XX veka "zas... more U svojoj knjizi "Kraj kulture" Erik Hobsbaum piše da je svet u kojem živimo na kraju XX veka "zasićen muzikom". To je verovatno tačno, samo se postavlja pitanje kakvom smo "muzikom" zasićeni? I kako se to "zasićenje" odražava na kulturne potrebe jednog "sveta" kakav je naš? U Nišu je od 7. do 9. septembra održan Deveti međunarodni muzički festival "Constantinus". U tri prijatne septembarske večeri, u sali Niškog simfonijskog orkestra, naši sugrađani imali su priliku da podele iskustvo uživanja muzike sa mladim izvođačima koji bez sumnje spadaju u autentične "bisere" našeg podneblja.
Facta Universitatis, Series: Teaching, Learning and Teacher Education, Vol. 7, No.2, 2023, 2023
The paper explains the role played by the practice of analogical reasoning in piano lessons, espe... more The paper explains the role played by the practice of analogical reasoning in piano lessons, especially at the beginner level. The first stage of piano studies is the most important one in raising musicians. In order to develop a young student's understanding and appreciation of music and piano playing, teachers use interesting and logically connected stories with plenty of entertaining characters, colorful illustrations and imaginative scenes. Comprehensive analogies with images of characters and their adventures used to introduce and expand on musical concepts in working with beginners make complicated playing techniques understandable and acceptable to them. It is very important to invoke students' imagination and creativity using fantasy, as well as analogies from everyday life, in order to help them to envisage musical images and express them through physical movements. By making progress in piano playing, students also improve their problem-solving skills in the arts, sciences, natural environment and social life.
Facta Universitatis, Series: Visual Arts and Music Vol. 9, No 1, 2023
The focus of this article is the role of fingering in performing art of pianists. Fingering is a ... more The focus of this article is the role of fingering in performing art of pianists. Fingering is a thoughtful determination of the exact order in which fingers are used in a given musical phrase. The main purpose of this paper is to explain how fingering, as an element of the composition created by the performer, affects the expressiveness of the performed musical phrase. The central analysis is aimed at illustrating how various expressive effects can be achieved by using different fingerings to perform the same written musical phrase. As a specific example we showed that the use of different fingers in a certain musical context can produce different cognitive and emotional responses in the mind of the performer, and thus affects the understanding of the music being performed.
Musicology (journal), 2023
The purpose of this study is to contribute to the discussion of how the character of physical bod... more The purpose of this study is to contribute to the discussion of how the character of physical body movements conveys expression and affects the creation of a musical work. The primary focus of this phenomenological study is on kinesthetic gestures or body movements which pianists use in their performances in order to create the musical-poetic content in a corporeal performing form. The main discussion is concentrated on the analysis of movements that emanate from the characteristics of the piano technique, particularly of technical elements in the piano sonatas by Ludwig van Beethoven.
U okvirima multinacionalnog prostora Balkana koji apsorbuje mnoštvo političkih, ideoloških i kult... more U okvirima multinacionalnog prostora Balkana koji apsorbuje mnoštvo političkih, ideoloških i kulturoloških frustracija koje počivaju na tenzijama i protivurečnostima svojstvenim regionu, fenomen sevdalinke, kao autentičnog balkanskog muzičko-poetskog izraza, predstavlja identitetsku supstancu čiji odraz pronalazi u svom unutrašnjem biću veliki broj pojedinaca. O estetskim i etičkim kvalitetima sevdalinke je mnogo toga već napisano. Ovaj rad ima za cilj da posmatra sevdalinku u kontekstu postkolonijalnih studija kulture. Tako se u radu diskusija koncentriše oko potencijala koji ima sevdalinka u konstrukciji balkanskog kulturnog identiteta. Istraživani su mehanizmi kroz koje sevdalinka "odjekuje" u individualnim prostorima "balkanske duše", te kao forma kulturnog nasleđa koja se prenosi prema višesmernim mehanizmima (post)sećanja, postaje moćan faktor u konstrukciji identiteta novih generacija.
U ovom radu tretira se pitanje odnosa kulture sećanja na Holokaust i umetničke muzike. Kulturom s... more U ovom radu tretira se pitanje odnosa kulture sećanja na Holokaust i umetničke muzike. Kulturom sećanja obuhvaćeni su mehanizmi društvenog prenošenja znanja o prošlosti. Reprezentacija prošlosti i prezentacija umetničke muzike, kao jednog od načina transcedencije prošlosti, podudaraju se na mnogo nivoa i bitne su za poimanje različitih istorijskih situacija i psiholoških pojava. Oba mehanizma zasnovana su na emocionalnom dijalogu između identiteta konstruisanih u različitim kulturološkim uslovima. Cilj rada je da poentira mogućnosti reinterpretacije prošlosti kroz prezentaciju umetničke muzike. Analiza manifestacija umetničke muzike nastale u vreme Holokausta i njene uloge u oblikovanju sećanja potonjih generacija pokazuje kako ishodišta tih manifestacija jesu sadržaji i emocije koje intenzivno transformišu identitet percipijenta prelamajući u njegovoj svesti duh mesta i vremena i preklapajući ga sa identitetom muzičkih stvaralaca čije različite pozicije i sudbine na autentičan način svedoče istorijskim okolnostima Holokausta.
Lipar , 2018
Klavirski prelid Devojka sa lanenom kosom (La fille aux cheveux de lin) predstavlja paradigmatiča... more Klavirski prelid Devojka sa lanenom kosom (La fille aux cheveux de lin) predstavlja paradigmatičan primer Debisijeve zvučne estetike koja na karakterističan način objedinjuje zajedničke težnje pesnika simbolista i slikara impresionista. Jedno od najpopularnijih dela klavirske literature moguće je adekvatno interpretirati kroz različite umetničke i medijske dimenzije koje zajedno, u međusobnoj korelaciji i korespondenciji, konstituišu jedinstvenu estetiku ove muzike. Težište ovog rada je na sagledavanju Debisijeve muzike, to jest zvuka debisizma, ne samo kroz muzikološku metodologiju, već i kroz analitički okvir istorije umetnosti, kao sliku Devojke sa lanenom kosom, inicijalno umetnički naslikanu i ozvučenu u istoimenoj de Lilovoj poemi.
Kultura 156 (210-224), 2017
The concept of transculturalism implies a significant ideological position within postmodern Cult... more The concept of transculturalism implies a significant ideological position within postmodern Cultural studies, and it is actualized in the context created by the idea of a multicultural society which is based on the ideology and cultural policy of integration into European multinational space, where our community also tends to. Living processes of transculturalism are simultaneously intensified with the expansion of the modern communication technologies and general tendency of globalization. With the impossibility of regression on monocultural concepts it comes to light as inescapable, and therefore as needfull, precisely the understanding of positive sides in the transcultural processes and consequently the attempt of their implementation in everyday intercultural relations and manifestations. The intent of this work is to point out on complexity and stratification in processes of transculturalism and to consider theirs potential instrumentalization for the purposes of overcoming social tensions caused by the lack in understanding of cultural differences, but similarities too. These processes can be understood on the simple example of global transcultural phenomenon, melody popularly known as Twinkle, Twinkle Little Star.
Nasleđe 36 (339-351), 2017
Explorations elaborated in this paper represent a comparative study in developments of narratolog... more Explorations elaborated in this paper represent a comparative study in developments of narratology and pianism, disciplines that actually both study the same process - process of narration, by using different instruments. The intention is to point out on the possibilities of expound pianism as narrative practices through determination of the compatibility of common elements, particularly with emphasis on the analogy of conceptual and methodological equipment in both disciplines. A significant step towards the systematic correlates beetwin narratology and music performing is an essay by Vincent Meelberg Sounds Like a Story: Narrative Travelling from Literature to Music and Beyond (2009). Meelberg believes that narrative analysis can help us to understand the ways in which music becomes meaningful to audience. Such researches could be particularly relevant and useful for active performers and can finally point out the legitimacy of the attitudes of many pianists who during the entire history of pianism have used narrative strategies in performing and pedagogical practice, in order to achieve a convincing interpretation of various musical forms.
This work treats the issue of the relationship between the culture of Holocaust remembrance and a... more This work treats the issue of the relationship between the culture of Holocaust remembrance and artistic music. The culture of remembrance comprises mechanisms of the social transfer of the knowledge about the past. Representation of the past and presentation of the artistic music, as a method of transcendence of the past, correspond at multiple levels. The aim of this work is to make a point of the possibility to reinterpret the past through presentation of artistic music. Both mechanisms have been based on the emotional dialogue between the identity created under various cultural conditions. The outcomes of these mechanisms can be contents and emotions which intensively transform the identity of the percipients overlapping it with the identity of the artists who authentically testified about historical circumstances of the Holocaust.
Ne/identiteti pijaniste u eksperimentalnom filmu "Prolaznosti" Štefana Brulharta
Studije pozorišta i izvođenja (Theatre and Performance Studies), kako ovu akademsku disciplinu od... more Studije pozorišta i izvođenja (Theatre and Performance Studies), kako ovu akademsku disciplinu određuje Erika Fišer Lihte (Erika Fischer Lichte), predstavljaju spoj teatrologije (studija pozorišta) i studija izvođenja 1 . Ova kompozitna disciplina imala je "različitu istoriju u različitim nacionalnim kontekstima", a često je bila "u vezi, kako sa inovacijama u pozorištu, tako i sa širim političkim razvitkom" (Fischer-Lichte, 2014:12).
This year we get together for the second time and I again was asked to prepare a convenient lectu... more This year we get together for the second time and I again was asked to prepare a convenient lecture in honor of the hundredth anniversary of the death of Alexander Nikolayevich Scriabin.
Piano work of C.P.E. Bach as a reflection of modern pianism Accidentally or not, it happened that... more Piano work of C.P.E. Bach as a reflection of modern pianism Accidentally or not, it happened that our first small but selected gathering is realized exactly in this year which marks the 300 th anniversary of Emanuel Bach's birth. So, my intention today is almost symbolic. With this short story about the first pianist, I want to remind us on the very beginnings of pianism. It's the art we all celebrate through our every day's dedicated work. Most the time we are unaware that on our path we are largely guided by the great example of E. Bach. He truly was an artist whose work represents in several perspectives a reflection of the modern artistic values.
Južne vesti, 2018
U svojoj knjizi "Kraj kulture" Erik Hobsbaum piše da je svet u kojem živimo na kraju XX veka "zas... more U svojoj knjizi "Kraj kulture" Erik Hobsbaum piše da je svet u kojem živimo na kraju XX veka "zasićen muzikom". To je verovatno tačno, samo se postavlja pitanje kakvom smo "muzikom" zasićeni? I kako se to "zasićenje" odražava na kulturne potrebe jednog "sveta" kakav je naš? U Nišu je od 7. do 9. septembra održan Deveti međunarodni muzički festival "Constantinus". U tri prijatne septembarske večeri, u sali Niškog simfonijskog orkestra, naši sugrađani imali su priliku da podele iskustvo uživanja muzike sa mladim izvođačima koji bez sumnje spadaju u autentične "bisere" našeg podneblja.
Južne vesti, 2018
Poslednji od najavljenih šest ovogodišnjih koncerata odabranih za saorganizaciju od strane Ogrank... more Poslednji od najavljenih šest ovogodišnjih koncerata odabranih za saorganizaciju od strane Ogranka SANU u Nišu, a sa repertoara Koncertne sezone Fakulteta umetnosti u Nišu, desio se 23. maja 2018. godine u Koncertno-izložbenom prostoru Fakulteta. Iako je najavljen kao "koncert nastavnika i saradnika" (po ugledu na obećavajuća prošlogodišnja tri koncerta proistekla iz ove saradnje), ovoga puta priliku da bude promovisana od strane Ogranka "najviše naučne i umetničke ustanove u Republici Srbiji" imala je studentkinja flaute iz klase prof. mr Anđele Bratić, uz klavirsku saradnju "umetničkog saradnika" Nikole Cvetkovića.
Južne vesti, 2018
Koncert studenata kamerne muzike sa Fakulteta umetnosti u Nišu, iz klase mr Dragane Đorđević, pod... more Koncert studenata kamerne muzike sa Fakulteta umetnosti u Nišu, iz klase mr Dragane Đorđević, pod nazivom "Muzički album", održan je u sredu 9. maja 2018. godine sa početkom u 20 časova u Koncertno-izložbenom prostoru fakulteta.
Južne vesti, 2018
Koncert studenata Fakulteta umetnosti u Nišu, najavljen simboličnim nazivom "Na naš način", održa... more Koncert studenata Fakulteta umetnosti u Nišu, najavljen simboličnim nazivom "Na naš način", održan je 24. aprila 2018. godine u Koncertno-izložbenom prostoru fakulteta. U najavi je naznačeno da nastup studenata promoviše (kao jedan od organizatora) niški ogranak Srpske akademije nauka i umetnosti, što ovaj koncert evidentno svrstava među najreprezentativnije događaje (ne samo) lokalne kulturne scene.
Južne vesti, 2018
Sinoćnji koncert Ženskog hora SKC-a i Mešovitog hora FU (dirigent Ivana Mirović), bio je, kao što... more Sinoćnji koncert Ženskog hora SKC-a i Mešovitog hora FU (dirigent Ivana Mirović), bio je, kao što se i očekivalo, dobro propraćen. Domaća publika, obrazovana kroz dugu i značajnu tradiciju negovanja horskog pevanja u Nišu, sa neskrivenim entuzijazmom ispratila je koncert renomiranih niških horova, u čijem nastupu u posledenje vreme ređe imaju priliku da uživaju.
СРПСКИ ЈЕЗИК, КЊИЖЕВНОСТ, УМЕТНОСТ Зборник радова са XVIII међународног научног скупа одржаног на Филолошко-уметничком факултету у Крагујевцу (27–28. Х 2023), 2024
Композиторка, пијанисткиња и педагошкиња, Елен де Монжеру (1764−1836), била је прва жена која је ... more Композиторка, пијанисткиња и педагошкиња, Елен де Монжеру (1764−1836), била је прва жена која је предавала на Париском конзерваторијуму од оснивања 1795. године. Ученица Дусека и Клементија те савременица Бетовена и Шуберта, својим студентима открила је дела Јохана Себастијана Баха, Моцарта и Хајдна. Била је одлична у импровизацији, свирала је у салонима пре и после Револуције, а савременици су јој додељивали титулу најбољег пијанисте свог времена. Њено најзначајније објављено дело је Комплетан курс за подучавање клавира, збирка од 114 етида са визионарским идејама о клавиру које су биле годинама испред свог времена и са импликацијама на савремени пијанизам. Недавно актуелизована у академским круговима, ова музика остаје да се интерпретира и истражи.
Zbornik radova "Savremeno društvo i nauka" (NISUN 8), 2019
U radu je istraživan uticaj novih tehnologija na pijanističku izvođačku praksu, kao i neposredni ... more U radu je istraživan uticaj novih tehnologija na pijanističku izvođačku praksu, kao i neposredni efekti koje su novi mediji proizveli u domenu muzičkog izvođaštva. Relacije koje se u savremenom dobu uspostavljaju između ovih pojmova (novih medija i pijanizma) ukazuju na dijalektičke i konfliktne odnose među njima. Tehnološka evolucija u domenu mrežnih i multimedijalnih komunikacija svedoči o neizbežnim, kako tehničkim tako i umetničkim, ali i širim kulturološkim metamorfozama koje se reflektuju na muzičko izvođaštvo, te tako i na pijanizam. Cilj rada je da opiše promene u manifestacijama pijanizma koje nastaju pod uticajem fenomena globalne mreže. Digitalne medijske metamorfoze nastale u umreženom prostoru novih medija, oblikuju pijanizam i njegovu recepciju kroz dva dominantna oblika savremene pijanističke prakse. Prvi predstavlja materijalizovano, snimljeno studijsko izvođenje. Drugi je živo izvođenje koje se može neponovljivo odigrati u realnom jedinstvu vremena i prostora, kao tradicionalno koncertno nematerijalizovano izvođenje, ali i u ponovljivom, virtuelnom prostoru mreže, kao svojevrsno dematerijalizovano scensko izvođenje.
Zbornik radova "Savremeno i tradicionalno u muzičkom stvaralaštvu 3", 2022
Rad predstavlja fenomenološku studiju o telesnim pokretima (kinestetičkim gestovima) koje u svoji... more Rad predstavlja fenomenološku studiju o telesnim pokretima (kinestetičkim gestovima) koje u svojim izvođenjima kreiraju pijanisti, kako bi u jednoj sinergijskoj (auditivno-vizuelnoj) izvođačkoj formi otelotvorili muzičko-poetski sadržaj. Temeljni postulati pijanizma, kao uslovno retoričke discipline, sagledani su kroz prizmu njegovog esencijalnog fenomena – pijanističkog gesta. Definicija ovog fenomena izvedena je preko Šenkerove teze prema kojoj suština pijanističkog izvođačkog gesta proizilazi iz ideje da smisao fraze determiniše poziciju i pokret ruke. Tako je utvrđeno da su pozicija i pokret ruke uslovljeni oblikom fraze, a da je adekvatna artikulacija (oblikovanje) performativnog izraza u direktnoj vezi sa konotativnim poljem koje određena muzička ideja može da simbolizuje.
Zbornik radova "Savremeno i tradicionalno u muzičkom stvaralaštvu 2", 2021
Primarni fokus u ovom radu usmeren je na specifičnu dijalektiku epistemoloških procesa koja uslov... more Primarni fokus u ovom radu usmeren je na specifičnu dijalektiku epistemoloških procesa koja uslovljava višesmeran razvojni odnos između studija izvođenja i muzikologije. Glavna linija muzikologije je sve do poslednje decenije XX veka bila fokusirana na delo koje postoji nezavisno od svoje realizacije u zvuku, dok je izvođač kao „telo-subjekt“ bio skrajnut. Takozvani „performativni obrt“ s početka XXI veka uvodi izvođača u fokus muzikoloških razmatranja, i to ne samo izvođača koji je „objekt posmatranja“, već i izvođača koji je „subjekt i akter konkretne izvođačke situacije“. Studije izvođačkih umetnosti opredeljene su prema drugom pristupu koji, pored kognitivnog, uključuje i afektivni fenomen izvođenja.
Doctoral Dissertation Studies of Performing Arts: Performativity and the function of the body ges... more Doctoral Dissertation Studies of Performing Arts: Performativity and the function of the body gesture in pianism is a discussion of body movements (kinaesthetic gestures) which pianists use in their performances in order to create the musical-poetic content in a synergistic (audible and visual) performing form. This scientific discussion is carried out in the form of a phenomenological study, which focuses on the performing art of pianists as its research subject-matter. The basic postulates of pianism were examined through the prism of its essential phenomenon - a pianist’s gesture. The definition of this phenomenon is derived from Schenker's thesis according to which the essence of a gesture in piano performance arises from the idea that the meaning of the phrase determines the position and motion of the hand. It is thus established that the position and movement of the hand (material, physical carriers of the musical gesture) are conditioned by the form of the phrase (as a symbolic music idea), and that the adequate articulation (shaping) of the performative expression is directly related to the connotative field that a particular music idea can symbolize. In the process of creating a satisfying methodological apparatus after constructing the theoretical platform within which the concept of body gesture in pianism was defined, the results obtained by empirical research were observed from the perspective of the theoretical background. By inspecting videos of nineteen different recorded performances of the same musical pieces (the first collection of Debussy’s Preludes), some of the general propositions related to pianism were revised, and then, by means of comparative analysis of four representative video materials chosen from the previous group of compositions in secondary selection, the way was opened for theoretical explication of the specificity of the particular functions of the studied phenomenon. Since the shape, articulation, dimensions and expressive nature of the pianist’s gestures are qualified as constant values in the analysed videos (that is, in those frames in which these comparative parameters are visually available), it is evident that the underpinned answers to the key questions which are initiated in this dissertation - concentrated on the idea that in a musical performance the movement of hand and a musical phrase, as two types of gesture, are mutually directly dependent and conditioned - can be sought through their analysis. In addition, the knowledge crystallized through describing, explaining and commenting on these parameters can be documented by the adequate sequences from selected video clips. Such a methodological model finally provides an appropriate conjunction between the theoretical aspect of the dissertation and its empirical foundation. The analysis of the possibilities of the material embodiment of an abstract musical gesture in a concrete pianistic situation, even in such a limited research sample, indicates a significant creative potential carried by the very phenomenon of musical performance. Any created pianist’s gesture can be a separate research topic and only after observing a certain number of these gestures, precisely defined by the methodology, would it be possible to speak of their distinctions and eventual categorizations. What makes this topic attractive and potent for further explorations is the challenging quest for the causes of the perceived phenomena.