{:sr}Muzika ima viziju – slušajući druge i sebe kroz nju{:}{:en}Music has a Vision – Listening to Others and Oneself through It {:}

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Muzika ima viziju – slušajući druge i sebe kroz nju

Concerto for Viola and Orchestra / Viola Tango Rock Concerto
Benjamina Yusupova

Budući da je muzika pre svega kulturni fenomen (jer ne postoji nijedna kultura bez muzike i jer svaki čovek poseduje tu suptilnu veštinu signifikantnog iako intuitivnog razumevanja muzike), čije je bitno svojstvo različitost (mnoštvo, raznovrsnost i koegzistencija muzičkih identiteta), pitanje koje se uvek nanovo nameće, a danas se čini posebno intrigantnim, jeste kada i kako nas muzika pokreće, ili ka čemu nas pokreće? Drugim rečima, ukoliko se oblikujemo kroz muziku i kao pojedinci i kao učesnici u kulturi, te ukoliko konstruišemo muzičke tradicije, to jest, modeliramo način na koji se kultura gradi uspostavljanjem konsenzusa o muzičkom verovanju i opredeljenju od čega zavisi muzičko (spo)razumevanje i saradnja – pitanje koje se postavlja jeste kako nam muzika danas daje novi identitet koji je istovremeno i potpuno drugi i potpuno naš, ili, u kojoj meri ljudi danas podešavaju sopstveno osećanje sebe prema različitim muzikama/muzičkim identitetima?

Iz postmoderne perspektive, osnovni mehanizam kulture jeste konstruisanje pozicija subjekta, a primarno delovanje muzike u ovom vremenu nije izražavanje subjektiviteta, već pozivanje na njega. U ovom kontekstu, bazična moć muzike da u slušaoca utisne subjektivna stanja koja su paradoksalno u isto vreme i bliska/zavičajna i tudja/daleka, snažno se ispoljava i uočava u stvaralaštvu Benjamina Jusupova (čiji pristup spaja specifične kulturne identitete različitih etničkih grupa sa različitim stilovima umetničke i popularne muzike zapadnog dela sveta), prvenstveno u njegovom delu Concerto for Viola and Orchestra / Viola Tango Rock Concerto iz 2003. godine.

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Music has a Vision – Listening to Others and Oneself through It Concerto for Viola and Orchestra / Viola Tango Rock Concerto
Benjamina Yusupova

Since music is primarily a cultural phenomenon (because there is no culture without music and because every man possesses that subtle skill of significantly yet intuitively understanding music), whose essential feature is diversity (the plentitude, variety and coexistence of musical identities), the question that always imposes itself and now seems especially intriguing is when and how music moves us, or to what are we moved? In other words, if we model ourselves through music both as individuals and as participants in culture, and if in constructing musical traditions, we model the way culture is constructed by building the consensus of musical belief and commitment on which musical collaboration depends – the question that imposes itself is how does music give us a new identity today, which is both thoroughly other and fully ours, or to what extent people now tune their sense of self to (different) music (identities)?

From a postmodern perspective, the basic work of culture is to construct subject positions, and the primary action of music in this era is not to express but to invite subjectivity. In this context, the general power of music to implant subjective states in the listener that are paradoxically both native and alien, is perceived using the work of Benjamin Yusupov as an example (his approach combines the specific cultural identities of various ethnic groups with different styles of art and popular Western music), primarily his Concerto for Viola and Orchestra / Viola Tango Rock Concerto (2003).

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