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Musical Romania and the Neighbouring Cultures

Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)


Edited By Laura Vasiliu, Florin Luchian and Loredana Iatesen

This book represents the volume of the International Musicological Conference «Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities», which took place in Iaşi (Romania) and was organised by the George Enescu University of Arts Iaşi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.
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Towards a Bottomless Pit: The Dramaturgy of Silence in the String Quartet Play Strindberg by Ivana Stefanović



Mirjana Veselinović HofmanDepartment of Musicology of the Faculty of MusicUniversity of Arts in BelgradeMilana Rakića 6,


This paper deals with an aspect of the materialization of silence as the central point of musical inspiration, poetics and hermeneutic layers of music by Ivana Stefanović, one of the most distinguished Serbian artists, who lived in Romania for several years. In her compositional output the problem of silence represents an important context of her creative imagination, manifested in different ways and in accordance with her feeling and treatment of silence as a substantially complex category. Among Stefanović’s compositions “inhabited” with silence is her string quartet Play Strindberg (1993). Based on August Strindberg’s drama The Father, it consists of an autonomous whole with its own narration which I explore as being rooted in silence. Thus, the quartet is analyzed and elucidated from the perspective of musically articulated silence whose concrete and particular incentive is pinpointed here in a scene at the end of the second act of Strindberg’s drama. That scene is considered and proved as the core of the musical dramaturgy of the quartet, given the nature of that silence as the silence of a latent conflict, anxiety, dark forebodings and expectations, which functions as a means of the musical portrayal of the characters and the irrevocable tragedy of events.


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