THE FOUCAULT PENDULUM OF SERBIAN MUSIC
Radio station: Radio Belgrade
Venue/s of the event: Radio Belgrade, Studio 6
audio stream: Radio Belgrade
video stream: +
THE FOUCAULT PENDULUM OF SERBIAN MUSIC:
“World Art Day is commemorated on 15th of April, and it was established by the International Association of Art with the aim to promote creative activities worldwide and to promote aesthetic arts. The manifestation is held in the honour of the great artist, Leonardo da Vinci, who was born on that day 1452. Da Vinci was chosen as the symbol of world peace, the freedom of expression, unity and multiculturalism.”
The connections Zenithism established with the Italian futurists, especially with their unprecedented leader Filippo Tommaso Marinetti (in correspondence, by publishing futuristic texts and with a critical following of their activities), indicate that certain affinities and understanding existed for the affirmative attitude the Italian avant-garde had towards new forms of expression and the new industrial era, the era of machine, dynamics, movement. Zenithism would offer its own version of excitement over technology through its attitude towards Nikola Tesla and his inventions, in which the achievements of science intertwine with the enigmatic extrasensory energies. However, the modest contribution zenithism has made at the level of music includes few pieces, such as “The Valet’s Broom” (Sobarova metla) – a ballet-grotesque by Miloje Milojević, a precedent rather because of its personal description and unconventional performance at the Belgrade restaurant “Kasina” than because of its zenithist sound semeiosis – nowadays it would be considered a rather conventional (evolutionary) musical piece. Another example is the technologically spectacular “Music in its natural tonal system” by Josip Slavenski, composed for the harmonium (first movement) and four trautonia and timpani (second movement). Josip Slavenski was linked to the zenithist movement after encountering Branko Ve Poljanski in Paris in 1925. The later events would show the complete anachronism of music and the leading revolutionary art movements – John Cage entered the Serbian art scene through theatre (BITEF). A complete exception in this period, “Fluxpiece” (1969), represents a significant and yet completely unrenowned piece which the screenwriter and writer Branko Vučićević sent in the form of a letter directly to the founder of Fluxus, Georg Maciunas: “Put two sugar lumps (tagged as FLUXUS FOREVER) into a glass of water. When they dissolve – drink the sweet water”. After Cage the situation became even more complex with the forthcoming postmodernism – perhaps it is only Alvin Lucier who followed his steps (the melodrama of history). A replica of his most renowned piece “I am Sitting in a Room” was created and performed by Selena Savić and Gordan Savičić under the title “I am swimming in a Pool”. And so the circle is complete.
1. Miloje Milojević: „Sobarova metla“ (The valet’s broom)
2. Josip Slavenski: „Muzika u prirodnom tonskom sistemu“ (Music in the natural tonal system; second movement)
3. Branko Vučićević: „Fluxpiece“
4. Selena Savić and Gordan Savičić: „I am swimming in a Pool“ (Alvin Lucier replica)
5. The sound of the metronome
Miroslav SAVIĆ (May, 9th, 1954.)
Graduated from the Faculty of Musical Arts at the University of Belgrade, Yugoslavia, in Composition and Orchestration, under the guidance of prof. Vasilije MOKRANJAC.
As an editor of musical program of University Cultural Center, over many years, he was engaged with promotion of Belgrade authors’ minimal music and production of their works interpreted by “Ensemble for Different New Music”, record editions and was producing essays on minimal music.
In addition to composing music, he is the author of various kinds of works in the field of multimedia, video, performance and computer installations.
He is a member of Composers’ Association of Serbia and Artists’ Association of Serbia.