{"id":9616,"date":"2020-01-15T09:00:00","date_gmt":"2020-01-15T09:00:00","guid":{"rendered":"https:\/\/rossifest.estrela.io\/?page_id=9616"},"modified":"2026-07-19T22:37:34","modified_gmt":"2026-07-19T22:37:34","slug":"en-predavanja","status":"publish","type":"page","link":"https:\/\/rossifest.estrela.io\/en\/en-2020\/en-predavanja\/","title":{"rendered":"Lectures"},"content":{"rendered":"\n
\u200b<\/h5>\n\n\n\n
Lectures by prof. Ane Stefanovi\u0107 and\u00a0prof. Tijane Popovi\u0107 Mla\u0111enovi\u0107<\/h5>\n\n\n\n
Museum of National Theatre in Belgrade<\/h6>\n\n\n\n
27 January 2020 at\u00a017:30<\/h6>\n\n\n\n
\u200b<\/h6>\n\n\n\n

Alongside the various musical parts of the festival program, there will be professional lectures by Ana Stefanovi\u0107 and Tijana Popovi\u0107 Mla\u0111enovi\u0107, Serbian musicologists and full-time professors at the University of Arts, Faculty of Music in Belgrade.<\/p>\n\n\n\n

Judicium Salomonis: Two baroque interpretations in oratorios by Carissimi and Charpentier<\/h5>\n\n\n\n

The lecture focuses on\u00a0the oratorios of Giacomo Carissimi and Marc-Antoine Charpentier, created under the same title, in 1669 and 1702 (H.422), inspired by the theme of Solomon’s Court. This Old Testament parable from the first Book of Emperors (3: 16-28) not only addresses the personality of King Israel, David’s successor Solomon, prophet and poet, but thematizes complex ethical issues concerning wisdom and reasoning, intangible values, on the one hand. and material wealth, power and authority, on the other hand. The Roman composer, creator of the oratorio, Karisimi, and his French disciple and successor in the oratorio genre, Charpentier, who otherwise turned to biblical themes in his work, approached this text in different ways. While Karisimi in her smaller part, for four soloists, choir, two violins and continuo, primarily sets the biblical parable as a narrative, while emphasizing the affective side of its actors, Sharpentia in a more extensive two-part oratorio setting (for nine soloists, choir and orchestra), gives the interpreation more oriented towards its philosophical and ethical side. In the lecture, we address these differences in the musical interpretation of Solomon’s court multiple meanings.<\/p>\n\n\n\n

Prof. dr. Ana Stefanovi\u0107<\/h5>\n\n\n\n

Musicologist, Professor at the University of Arts, Faculty of Music (Department of Musicology), in Belgrade and Associate Researcher at IreMus, Paris. She received her MA degree at the Faculty of Music in Belgrade and her PhD in musicology at the University Paris IV Sorbonne. Main areas of her research are baroque opera, solo song, the relation between music and text, as well as questions of musical style and stylistic analysis. She is engaged in several international and national projects in musicology and is the author of a large number of studies and articles published in reviews for musicology and music theory, and in collected papers. She edited several issues of collected papers and organized several international conferences. She published the books: La musique comme m\u00e9taphore. La relation de la musique et du texte dans l\u2019op\u00e9ra baroque fran\u00e7ais: de Lully \u00e0 Rameau, Paris, L\u2019Harmattan, 2006; Temporality and Narraivity in Music Drama, Beograd, FMU, 2017. She is also the author of the Anthology of Serbian Art Song I\u2013VI, Belgrade, UKS, 2008\u20132014.<\/p>\n\n\n\n

Before and After the Music of Messiaen\u2019s Quatuor pour la fin du temps<\/em><\/h5>\n\n\n\n

What world, what network of meanings, or what dimensions of musical time are revealed before Messiaen\u2019s Quartet for the End of Time<\/em>? What new possibilities of designation open up in the already acquired meanings of this piece? Or, in other words, what possible points or paths on which, in the already established network of its meanings, the new agent \u2013 which would correspond to the intention of the subject of interpretation and its wish to express this new
\nexperience \u2013 would be sought and found? Or, does the possibility of dynamism of the meaning itself, its unsteadiness and changeability or, in other words, the possibility of using a certain meaning of the principle-inducer<\/em>of sense once again, makes it abandon its original area and obtains the hitherto non-experienced and unachieved effects of sense?<\/p>\n\n\n\n

Prof. dr Tijana Popovi\u0107 Mladjenovi\u0107<\/h5>\n\n\n\n

Musicologist, full-time Professor and Head of the Department of Musicology of the Faculty of Music, University of Arts in Belgrade. She has been a visiting professor at the Jerusalem Academy of Music and Dance, the University in Ljubljana, the Lithuanian Academy of Music and Theatre, and the Music Academy in Sarajevo. Her main research interests include the European music of the fin de si\u00e8cle<\/em>, contemporary music (she specialized in contemporary French music at the University of Paris IV Sorbonne), aesthetics and philosophy of music, and issues concerning thinking in music. She is author of six books: Musical Writing (1996 [2015])<\/em>, reviewed in Music and Letters; E lucevan le stelle (1997)<\/em>; Claude Debussy and His Time (2008)<\/em>; Processes of Panstylistic Musical Thinking (2009)<\/em>; Interdisciplinary Approach to Music: Listening, Performing, Composing (2014)<\/em>, reviewed in Musicae Scientiae; and The Musical Text and the Ontology of the Musical Work (2017)<\/em>.<\/p>\n\n\n\n

\"\"\/<\/figure>\n","protected":false},"excerpt":{"rendered":"

Ana Stefanovi\u0107 i Tijana Popovi\u0107 Mladjenovi\u0107<\/p>\n","protected":false},"author":8,"featured_media":0,"parent":9661,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","footnotes":""},"class_list":["post-9616","page","type-page","status-publish","hentry","entry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":9620,"url":"https:\/\/rossifest.estrela.io\/en\/en-2019\/en-predavanja-2019\/","url_meta":{"origin":9616,"position":0},"title":"Lectures of Ana Stefanovi\u0107 and Tijana P. 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