Izvan muzičkog dela: performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Published: |
Sremski Karlovci [u.a.]
Izd. Knjižarnica Zorana Stojanovića
2007
|
| Subjects: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Item Description: | Zsfassung in engl. Sprache u.d.T.: Beyond musical work |
| Physical Description: | 323 S. Ill. |
| ISBN: | 9788675431251 |
Staff View
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV023162512 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | t| | ||
| 008 | 080214s2007 xx a||| |||| 00||| srp d | ||
| 020 | |a 9788675431251 |9 978-86-7543-125-1 | ||
| 035 | |a (OCoLC)220472947 | ||
| 035 | |a (DE-599)BVBBV023162512 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a srp | |
| 049 | |a DE-12 | ||
| 084 | |a 9,2 |2 ssgn | ||
| 100 | 1 | |a Cvejic, Bojana |d 1975- |e Verfasser |0 (DE-588)132005352 |4 aut | |
| 245 | 1 | 0 | |a Izvan muzičkog dela |b performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna |c Bojana Cvejić |
| 264 | 1 | |a Sremski Karlovci [u.a.] |b Izd. Knjižarnica Zorana Stojanovića |c 2007 | |
| 300 | |a 323 S. |b Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache u.d.T.: Beyond musical work | ||
| 600 | 1 | 7 | |a Cage, John |d 1912-1992 |0 (DE-588)118518291 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Young, La Monte |d 1935- |0 (DE-588)119352990 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Zorn, John |d 1953- |0 (DE-588)133960943 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Satie, Erik |d 1866-1925 |0 (DE-588)118605690 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Fluxus |g Kunst |0 (DE-588)4245148-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Aufführungspraxis |0 (DE-588)4141464-0 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Satie, Erik |d 1866-1925 |0 (DE-588)118605690 |D p |
| 689 | 0 | 1 | |a Aufführungspraxis |0 (DE-588)4141464-0 |D s |
| 689 | 0 | |5 DE-604 | |
| 689 | 1 | 0 | |a Cage, John |d 1912-1992 |0 (DE-588)118518291 |D p |
| 689 | 1 | 1 | |a Aufführungspraxis |0 (DE-588)4141464-0 |D s |
| 689 | 1 | |5 DE-604 | |
| 689 | 2 | 0 | |a Fluxus |g Kunst |0 (DE-588)4245148-6 |D s |
| 689 | 2 | 1 | |a Aufführungspraxis |0 (DE-588)4141464-0 |D s |
| 689 | 2 | |5 DE-604 | |
| 689 | 3 | 0 | |a Young, La Monte |d 1935- |0 (DE-588)119352990 |D p |
| 689 | 3 | 1 | |a Aufführungspraxis |0 (DE-588)4141464-0 |D s |
| 689 | 3 | |5 DE-604 | |
| 689 | 4 | 0 | |a Zorn, John |d 1953- |0 (DE-588)133960943 |D p |
| 689 | 4 | 1 | |a Aufführungspraxis |0 (DE-588)4141464-0 |D s |
| 689 | 4 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSBMuenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 940 | 1 | |n oe | |
| 942 | 1 | 1 | |c 781.4 |e 22/bsb |f 0904 |g 4971 |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-016332575 | |
Record in the Search Index
| _version_ | 1819316332728942592 |
|---|---|
| adam_text | BEYOND MUSICAL WORK:
A PERFORMATIVE PRACTICE OF MUSIC
ERIK SATIE,
FLUXUS,
JOHN CAGE, LA MONTE YOUNG
AND JOHN
ZORN
Summary
What does it take for musicology to reconstitute its object
of study
-
music
-
into a performing art, along the lines of perfor¬
mance studies of theater, performance art, modern and contem¬
porary dance, ballet and opera? Why is Western musicology still
confined to the scientific and humanistic horizon of the musical
work, while the status of musical work is not only challenged in
some musical practices of 20th century, but also exceeded and
dissolved by new media and new technologies in the popular and
mass culture today? What are the musics of the last century that
brought about a conceptual and programmatic shift from work to
performance, whereby music is constituted in performance, and
the work represents only its by-product or side-effect?
A wide-reaching rhizomatic web would be needed to com¬
prehend the heterogeneous multitude of concepts and phenom¬
ena, composers and subjects of listening, cultures and ideolo¬
gies, which transgressed the frame of musical work since the
period of historical
avantgardes.
From the Futurist noise to the
Bauhaus
inventions of mechanical music, from
Fluxus,
the New
York School, the Scratch Orchestra and experimental practic¬
es in Great Britain, all pivoting around John Cage, to the early
American minimalism; from Glenn Gould s retreat into the re¬
cording studio to
Kronos
Quartet s art of producing an album;
from the musical theater of Meredith Monk to Laurie Anderson s
301
spectacles
about stardom; from
musique concrète
to the new ex¬
perimental electronic, computer and dj performance
-
it seems
as if in all periods, from the historical
avantgardes
through the
neoavantgarde to postmodernity and globalism, the hegemony
of musical work was pierced through by various forms and con¬
cepts of performative practices.
I have chosen to focus on five formations marking the para¬
digm shift from the musical workto a performative practice ofmu-
sicin 20th century: the »furniture music«
{musique d ameublement)
by
Erik Satie,
forking into his piano and stage music as well;
the
Fluxus
practice of naturalizing music for intermedia scores
and events; the total systems of chance and indeterminacy (John
Cage) and just intonation (La Monte Young); and the composi¬
tion of a bastard, self-organizing, desiring machine in the plural
practices of John
Zorn.
These composers and artists are inves¬
tigated as excessive and isolated figures rather than pioneers of
schools. They do not make
a
historica!
continuum in the defini¬
tion of performative practices, their cross-references being some¬
times strong and explicit, and other times erratic. My intention
was not to introduce them as representatives of performativity
as such, as if perform ativity involves a specific medium, genre,
style and technique, but neither to emphasize a monographic ap¬
proach with the exclusivity of their authorial poetics. Testing if
their practices could lend themselves to an analysis of the proce¬
dures of performativity exceeding the musical work, I could both
produce the problematic of perfomative practice and the method
of its theorization.
The book is structured in two parts. In the first part, »An
essay in the theory of musical work and dominant viewpoints in
the ontology of music« I argue against
Lydia Goehr s
claim that
musical work is an open concept departing from her analytical
theory of the »imaginary museum of musical works«. All charac¬
teristics with which Goehr defines musical work as an open con¬
cept, in my view of their pragmatic usage
-
that is, in the regime
of regulating history as well as current institutional framework
-
close the concept. Goehr regards them as family resemblances,
subsidiary concepts which enabled the historical emergence of
musical work around
1800,
and my analysis substantiates their
regulatory role with regard to the musical canon: composition
302
as the status of artifact and product (the myth of ex nihilo cre¬
ation, signature, copyright), distinction between composing and
performing (the score and the material retrievability of the work
in performance, specialization in musical professions), establish¬
ment of the
Wertreue
ideal, the form, the specifically musical,
and the conception of musical unity. Examining formalism,
or¬
ganicism
and the methods of formal-structuralist analysis criti¬
cally, I elaborate the stake of the ideology of individualism in
founding the essentialist approach to defining music. Individual¬
ism has an ideological stake in the formation of the musical work
in so far as the end of analyzing musical unity is to provide the
autonomy of form and represent the lost unity for the subject of
a post-Enlightenment world without God. The way a composer
conceives of formal unity produces evidence of a possible autono¬
mous world of the individual, a coherence of individual choices
which guarantee objectivity and the
telos
to her individual faeing
represented by her work.
The musical work and the forms of musical unity are not
immanent nor given, but they result from a cognitive process
urged by a social need to understand music. However, music can
be
-
as Philip Bohlman suggested
-
something other than an ob¬
ject of thought or something else than something thinkable at all,
it can also be a practice outside musical thinking. Such a radical
stance put forward by an ethnomusicologist points to a plural¬
ity of musics and functions they have in societies of mass-con¬
sumption. Musical work is, therefore, only one of the concepts
and frameworks of music available today, and I theorize it as an
historical,
projective
concept employed as a speech act or per¬
formative, an utterance which in or by issuing the act of utter¬
ing does something, instead of only saying something, describ¬
ing or reporting on something. Arguing against essentialist ap¬
proach of defining the sufficient and necessary properties of mu¬
sic, such being purported by the doctrines of formalism,
organi¬
cism
and formal-structuralist analysis, I introduce a procedural-
ist approach whereby the musical work entails a set of rules for a
happy performative (according to the theories of J.L.Austin, John
Searle and Shoshana Fehnan). Performative practices of music
twist, disrupt, transgress, or betray the rules for a happy perfor¬
mative, whereby the rupture of normality is more performative
303
than the
reassertion
of the tautological character of convention
in the performative musical work .
In the second part, »Paradigms of performative practices«,
I discuss and analyze the performative procedures of transgress¬
ing musical work in
Satie,
Cage,
Fluxus,
Young and
Zorn.
Each
of these paradigms unfolds with a secondary plane of theoriza-
tion. So, I attribute to Satie s procedures the agonistic character
of performative (J-F. Lyotard) and interpret his »furniture mu¬
sic« against the background of Belle
époque
and the aesthetic
of indifference emerging in Satie s poetics of the everyday. The
equation of music and intermedia event in
Fluxus
is illuminated
by the Utopian transfiguration of the everyday in the society of
abundance in
бО- бОэ.
Apart from the specific contextualization
of Cage s queer subjectivity in cold war, with the juxtaposition of
Cage,
Rauschenberg,
Cunningham and Johns to the machismo
actionist painting and abstract expressionism represented in Pol¬
lock, Motherwell,
De
Kooning
et ai,
I chose to put both Cage and
Young in the perspective of liberal individualism
-
the ideology
developped in the American pragmatist radical thought of Ralph
Waldo Emerson and Henry
David Thor
eau.
In the chapter »John
Zorn:
machines of performance«, I elaborate several aspects of
Zorn s activities: identity of composer (genre as territory, identi¬
ty as alterity and bastardization), vicissitudes in composing, ar¬
ranging and performing, ending with the special focus of schizo-
analysis, naturalized from the theories of
Gilles Deleuze
and Fe¬
lix Guattari, on the composition Cat o nine tails in respect of »de¬
siring production«, »intensity«, »speed« and »multitude«.
All five paradigms are produced by the differences in the
categories of performative practice I establish: status of musical
work, relationship between performance and composition (the
contingency of performance in the identity of work and score-
specification), process of autonomization of performance in re¬
gards to perception, reception and institutional protocols. Con¬
sequently, in conclusion of this study,
a dispositif oî
performative
practice is distinguished so as to enable further inquiry to focus,
specialize and produce problematics beyond the discourse of mu¬
sical work.
304
SADRŽAJ
PRVI
DEO
UVOD
....................................................................................................5
Muzika kao izvođačkaumetnost?
......................................................5
DA LI JE MUZIČKO
DELO
OTVOREN KONCEPT?
................................19
Muzičko
deh:
objekt, artefakt, produkt, svojstva
...............................20
Obrazovanje identiteta kao idealiteta: regulatornost, projektivnost i
emergencija koncepta muzičkog
dela
................................................24
FORMALIZAM, ORGANICIZAM, STRUKTURALIZAM...
ILI »ŠTA MUZIČKO
DELO
JESTE«
........................................................32
Specifično muzičko
..........................................................................33
Organska koncepcija muzičkog
dela
.................................................36
Koncept muzičkog jedinstva
.............................................................39
PROBLEMI DEFINISANJA MUZIKE
......................................................49
Problemi esencijalističkog stanovišta
................................................49
Uslovi za
proceduralni
pristup
........................................................55
NE ŠTA JESTE, VEĆ KAKO POSTAJE...
PERFORMATIVNO ČINJENJE MUZIKE
................................................60
Uspesi, promašaji
per
formativne procedure
......................................61
Polje izvođenja
................................................................................65
SKANDAL NESUPROTSTAV LJENOSTI:
...............................................72
PERFORMATIVNA MUZIČKA PRAKSA I MOGUĆNOST
OTVORENE PARADIGME
.....................................................................72
Zatvoreni i otvoreni koncept muzike
..................................................72
Uslovnosti formacije, prakse i istorije
...............................................78
321
DRUGI
DEO
PARADIGME PERFORMATIVNE
MUZIČKE PRAKSE
I
ERIK
SATI
OD AGONIZMA KA RADIKALNOJ INDIFERENTNOSTI
..........................85
Performativni
agonizam
kompozitora
...........................................85
TrìviaUs
vaninstitucionalnog kritičkog položaja u istorijskoj
avangardi
.......................................................................................87
Performativipisma kritike
................................................................95
Na pozorišnoj sceni: performativ protokola
........................................99
U partituri: procedure performativnog razaranja
déla
.....................103
Prvi element: adresiranje naslova, teksta,
narativa
........................103
Drugi element: indeks i inskripcija citata
........................................105
Ireä
element: redundantnost konvencije
.......................................106
Autonomija izvedbe u izvođenju: indiferentnost u poetici
»svakodnevnog«
..............................................................................109
Muzika kao nameštaj: konstrukt drugog performativa
.....................111
Vexations:
Drugo od drugoga
.......................................................117
II
FLUKSUS
Muzika kao događaj
......................................................................125
Kritičke tačke odstupanja od Kejdža: Strategije neodade
nasuprot taktici Fluksusa
............................................................126
Upotreba muzike u Fluksusu: Kejdžovo pozitivno nasleđe
...............129
Medij izvođenja: događaj
vs. hepening
...Intermedijalno
............................................................................131
Događaj prema predmetu, metodu i karakterizaciji
................137
Iz prakse svakodnevnog života
......................................................137
Performativnost događaja u referentnom polju umetnosti:
instrument, protokol, publika
.........................................................142
Dispozitiv
događaja: partitura, izvođenje-događanje,
koncept-umetnost
..........................................................................152
»Život je umetničko
delo, umetničko delo
je život«
Antiumetnost i praksa svakodnevnog života u
»društvu izobilja«
...........................................................................160
III KOMPOZITOR IZVODI INDIVIDUALNU MITOLOGIJU:
LA MONT JANG
»MEREN«
KEJDŽOM
.................................................167
Egzodus kompozitora: od kritike do samorealizacije
...............169
Kejdž i kriza+kritika politike identiteta u estetici
dndiferentnosti«
.............................................................................170
Jang
i individualitet kao
transcendentna
kategorija
........................173
Život i muzika: pragmatički eksperiment ili
spirituálno
jedinstvo
......................................................................................176
Totalni muzički sistemi J:
La Mont Jang
i tačna intonacija
................................................185
322
Totálni
muzički sistemi
II:
Džon Kejdž i beskrajan prostor mogućnosti
.............................195
I. Proširenje zvučnog polja
.............................................................198
II.
Od izbora ka slučaju
.................................................................199
III. Od slučaja u komponovanju ka neodređenosti u
izvođenju
......................................................................................205
IV.
Sistemi akcije i procesa i
elektroakustickí
dispozitiv
događaja
... 207
V.
Komponovanje u
postistorijsL·m
vremenu
..................................208
Performativne perforadje:
Jang
i Kejdž prema svetu muzike
..............................................209
Izvođenje i komponovanje
..............................................................210
Ideologija muzike u doživljaju: opažanje i
vreme
.............................212
Problemi institucionalizacije
...........................................................214
IV
DŽON
ZORN
MAŠINE IZVOĐENJA
.........................................................................217
Identitet? Imamo ih više
...............................................................217
Izvođenje i »bastardizacija« identiteta kompozitora
..........................217
Teritorije sveta, žanra, idioma i predmeta muzike
...........................222
Identitet-alteritet
...........................................................................234
Komponovanje je aranžiranje... aranžiranje je izvođenje... kom¬
ponovanje je izvođenje
..................................................................238
Muzičko
delo:
usred »želeće proizvodnje«
...................................246
Intenzitet, brzina i mnoštvo: izvođenje
ш«
izvedbi muzičkog
dela
.....264
ZAKLJUČAK
Dispozitiv
performativne muzičke prakse
.................................268
Ulaganje vlastitog života
...............................................................269
Kompozitor, komponovanje: status muzičkog
dela
..........................272
Autonomizacija izvođenja
..............................................................275
Institucionalizacija performativne prakse
.......................................279
Prospekti istraživanja
....................................................................281
BIBLIOGRAFIJA
...............................................................................291
BEYOND MUSICAL WORK:
A PERFORMATIVE PRACTICE OF MUSIC
ERIK SATIE,
FLUXUS,
JOHN CAGE,
LA MONTE YOUNG AND JOHN
ZORN................................................301
Summary
......................................................................................301
INDEKS POJMOVA I IMENA..............................................................
309
323
|
| any_adam_object | 1 |
| author | Cvejic, Bojana 1975- |
| author_GND | (DE-588)132005352 |
| author_facet | Cvejic, Bojana 1975- |
| author_role | aut |
| author_sort | Cvejic, Bojana 1975- |
| author_variant | b c bc |
| building | Verbundindex |
| bvnumber | BV023162512 |
| ctrlnum | (OCoLC)220472947 (DE-599)BVBBV023162512 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02605nam a2200577 c 4500</leader><controlfield tag="001">BV023162512</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">t|</controlfield><controlfield tag="008">080214s2007 xx a||| |||| 00||| srp d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9788675431251</subfield><subfield code="9">978-86-7543-125-1</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)220472947</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV023162512</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">srp</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,2</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Cvejic, Bojana</subfield><subfield code="d">1975-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)132005352</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Izvan muzičkog dela</subfield><subfield code="b">performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna</subfield><subfield code="c">Bojana Cvejić</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Sremski Karlovci [u.a.]</subfield><subfield code="b">Izd. Knjižarnica Zorana Stojanovića</subfield><subfield code="c">2007</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">323 S.</subfield><subfield code="b">Ill.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Zsfassung in engl. Sprache u.d.T.: Beyond musical work</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Cage, John</subfield><subfield code="d">1912-1992</subfield><subfield code="0">(DE-588)118518291</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Young, La Monte</subfield><subfield code="d">1935-</subfield><subfield code="0">(DE-588)119352990</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Zorn, John</subfield><subfield code="d">1953-</subfield><subfield code="0">(DE-588)133960943</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Satie, Erik</subfield><subfield code="d">1866-1925</subfield><subfield code="0">(DE-588)118605690</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Fluxus</subfield><subfield code="g">Kunst</subfield><subfield code="0">(DE-588)4245148-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Satie, Erik</subfield><subfield code="d">1866-1925</subfield><subfield code="0">(DE-588)118605690</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="1" ind2="0"><subfield code="a">Cage, John</subfield><subfield code="d">1912-1992</subfield><subfield code="0">(DE-588)118518291</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="1" ind2="1"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="1" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="2" ind2="0"><subfield code="a">Fluxus</subfield><subfield code="g">Kunst</subfield><subfield code="0">(DE-588)4245148-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="2" ind2="1"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="2" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="3" ind2="0"><subfield code="a">Young, La Monte</subfield><subfield code="d">1935-</subfield><subfield code="0">(DE-588)119352990</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="3" ind2="1"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="3" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="689" ind1="4" ind2="0"><subfield code="a">Zorn, John</subfield><subfield code="d">1953-</subfield><subfield code="0">(DE-588)133960943</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="4" ind2="1"><subfield code="a">Aufführungspraxis</subfield><subfield code="0">(DE-588)4141464-0</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="4" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSBMuenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">781.4</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">4971</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-016332575</subfield></datafield></record></collection> |
| id | DE-604.BV023162512 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T13:09:20Z |
| institution | BVB |
| isbn | 9788675431251 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016332575 |
| oclc_num | 220472947 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 323 S. Ill. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Izd. Knjižarnica Zorana Stojanovića |
| record_format | marc |
| spellingShingle | Cvejic, Bojana 1975- Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna Cage, John 1912-1992 (DE-588)118518291 gnd Young, La Monte 1935- (DE-588)119352990 gnd Zorn, John 1953- (DE-588)133960943 gnd Satie, Erik 1866-1925 (DE-588)118605690 gnd Fluxus Kunst (DE-588)4245148-6 gnd Aufführungspraxis (DE-588)4141464-0 gnd |
| subject_GND | (DE-588)118518291 (DE-588)119352990 (DE-588)133960943 (DE-588)118605690 (DE-588)4245148-6 (DE-588)4141464-0 |
| title | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna |
| title_auth | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna |
| title_exact_search | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna |
| title_full | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna Bojana Cvejić |
| title_fullStr | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna Bojana Cvejić |
| title_full_unstemmed | Izvan muzičkog dela performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna Bojana Cvejić |
| title_short | Izvan muzičkog dela |
| title_sort | izvan muzickog dela performativna praksa erika satija dzona kejdza fluksusa la monta janga dzona zorna |
| title_sub | performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna |
| topic | Cage, John 1912-1992 (DE-588)118518291 gnd Young, La Monte 1935- (DE-588)119352990 gnd Zorn, John 1953- (DE-588)133960943 gnd Satie, Erik 1866-1925 (DE-588)118605690 gnd Fluxus Kunst (DE-588)4245148-6 gnd Aufführungspraxis (DE-588)4141464-0 gnd |
| topic_facet | Cage, John 1912-1992 Young, La Monte 1935- Zorn, John 1953- Satie, Erik 1866-1925 Fluxus Kunst Aufführungspraxis |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016332575&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT cvejicbojana izvanmuzickogdelaperformativnapraksaerikasatijadzonakejdzafluksusalamontajangadzonazorna |