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Izvorni znanstveni članak
The Poet of the Tone
; Muzička akademija Sveučilišta u Zagrebu, Odsjek za muzikologiju, Zagreb, Croatia
Puni tekst: hrvatski, pdf (382 KB)
APA 6th Edition
Davidović, D. (2018). Poeta tona. Arti musices, 49 (2), 319-343. Preuzeto s https://hrcak.srce.hr/216712
MLA 8th Edition
Davidović, Dalibor. "Poeta tona." Arti musices, vol. 49, br. 2, 2018, str. 319-343. https://hrcak.srce.hr/216712. Citirano 16.02.2019.
Chicago 17th Edition
Davidović, Dalibor. "Poeta tona." Arti musices 49, br. 2 (2018): 319-343. https://hrcak.srce.hr/216712
Davidović, D. (2018). 'Poeta tona', Arti musices, 49(2), str. 319-343. Preuzeto s: https://hrcak.srce.hr/216712 (Datum pristupa: 16.02.2019.)
Davidović D. Poeta tona. Arti musices [Internet]. 2018 [pristupljeno 16.02.2019.];49(2):319-343. Dostupno na: https://hrcak.srce.hr/216712
D. Davidović, "Poeta tona", Arti musices, vol.49, br. 2, str. 319-343, 2018. [Online]. Dostupno na: https://hrcak.srce.hr/216712. [Citirano: 16.02.2019.]
Although the person and the work of Marko Radmio (1910-1996) seem to be almost forgotten today, his name is possible to encounter in some critical and scholarly works on the history of composition in Croatia in the 20th century, as an example of avant-garde composition coming from the »outsider margins«. The understanding of Radmio’s music, mostly his pieces from the 1960s, as belonging to the avant-garde was accelerated by the circumstances in which his music was performed. Even Radmio himself was inclined to such an interpretation, which was coupled with the narrative on the historical development of music in which the eff orts of the outsiders in fact anticipate some later states of music. At the same time, Radmio tried to neutralize the consequences of this understanding of his work by the argument that the musical cannot (and should not) be equated with the technical side of music. Instead of the term »composer«, in which he recognized such an equation, Radmio preferred, when trying to designate his own activities, to choose the forgotten German term Tondichter (»tone poet«), in which he found the essence of musical vocation preserved. In this paper, the author explores the consequences of such a change for Radmio’s music and for his thoughts on music.
Marko Radmio; Marko Kiš Šaulovečki; 20th century music; avant-garde; Tondichter; double life; outsider; solitude
Hrčak ID: 216712
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