| dc.date.accessioned | 2019-05-29T11:37:13Z | |
| dc.date.available | 2019-05-29T11:37:13Z | |
| dc.identifier.uri | http://95.216.75.113:8080/xmlui/handle/123456789/70 | |
| dc.description | Biography:
Biljana Leković (b. 1982) finished her Master of Musicology in 2008 at the Faculty of Music, University of Arts, in Belgrade, with the Master's thesis entitled “Modernist project of Pierre Schaeffer”. In 2014, at the same department and faculty, she defended her PhD thesis in musicology entitled “Critical musicological research of the arts of sound: music and sound art” (under the supervision of Dr.Vesna Mikić, full professor). In 2010 he became an assistant lecturer at the Department of Musicology, Faculty of Music in Belgrade, and in 2015 an assistant professor. She is also a lecturer at the interdisciplinary master studies of the Department of Theory of Arts and Media, University of Arts in Belgrade. She took part in several international conferences and published articles in international journals, monographs, conference proceedings. She is a secretary of the International Journal of Music, the New Sound, and a vice president of the Centre for Popular Music Research. Her fields of interest include: contemporary music, new media practices, sound art, sound studies, and acoustic ecology. | |
| dc.language.iso | en | |
| dc.type | Presentation | |
| dc.title | History/practices of sound art in Serbia | |
| dc.contributor.author | Leković, Biljana | |
| dc.description.abstract | Starting from the thesis that “history is a narrative rather than a discovery” (Munslow), in this paper I shall try to construct a narrative about Sound Art as an artistic category which could be incorporated under the label Media Art, with the aim of strengthening its often insufficiently considered position in the context of media art theorization/historization. Since it is my intension to elaborate this idea on the example of local Serbian artistic practices based on sound (electronically generated and distributed), I will also endeavor to create a narrative about history and status of Sound Art in Serbia. Although examples of working with sound as an artistic media of creation are not numerous in the Serbian artistic history and scene (apart from the music, or, more precisely, electroacoustic music), the case studies I shall discuss represent the important basis not only for the development of sound art in Serbia, but also for the problematization of this concept in a broader, international framework. Here, I stress the importance of three artistic figures - Marina Abramović, Vladan Radovanović and Arsenije Jovanović, and their artistic activities during the seventies. I shall discuss the anticipatory effects and historical importance of Abramović’s sound ambiences (related to her so-called “Belgrade period”, 1970–76); Radovanović’s “mental works” which explore the nature of the tape medium, and, at the same time, the emerging concept of sound installation (for example, Voice from the Loudspeaker, 1973); and Jovanović’s radiophonic/soundscape works (as Resava Cave, 1977). | |
| dc.subject | sound art | |
| dc.subject | media art | |
| dc.subject | Serbia | |
| dc.subject | sound | |
