A cycle of contemporary composed music Zvokotok
focuses on contemporary composed music. It is
defined by the research of compositional procedures and often linked to music
technology. It encourages and merges unique sound languages and performative innovativeness
and moves contemporary compositions into new spatial and concert forms.
Zvokotok connects established
institutional spaces of artistic activity with premises of the dynamic action
of NGOs. It implements and maintains unburdened space of
dialogue and overcome the artificial distinction between areas and venues of
The program in 2023 was conceived by Nina Dragičević.
2023, in the Zvokotok cycle, we will expand the concepts and scope of the
sonic: we will not stop at reducing the auditory as exclusively musical, nor
will we intervene only in sonority as omnipresence, but we will expand the
object of sound's origin. We will put at the center the sonic potential of
cultural, one might even say civilizational, products such as the text (and
therefore, of course, intertextuality) and the visual. Sound emanates from
text. The 20th and then the 21st century placed textual and visual (graphic)
composition in the field between the extreme poles of composition and 'pure'
improvisation, shaking up the relationship between composer and performer. If
musical notation assumed that composer and performer would understand each other
as precisely as possible, with new approaches to the articulation of musical
ideas this is no longer only unlikely, but above all not necessary. On the one
hand: a renunciation of commandment. On the other: a renunciation of following
the commandment. But also, a renunciation of breaking ties in the name of
independence. A renunciation of atomism. A renunciation of totality. A release.
We will argue that textual and/or graphic composition is the site of humanist
contact par excellence. And we need that.
series consists of five concert evenings, i.e., performances of at least five
compositions. Since textual and visual composition widens the field of
interpretation - so much so that it allows (even encourages) the performer to
play a compositional role - we can say that with each performance a new
composition is created, but not entirely, since it is at the same time an
interpretation of a specific composition. Therefore, where possible, in each
concert, a particular composition (its textual or visual notation) will be
performed several times, but each time with a different performing ensemble, i.e.,
each time anew. In a sense, we will be observing not only the performance, but
the creation of a (different) composition each time. The emergence of a non-authoritarian
system of communication.
The program was conceived by:
2014 - Nina Prešiček, Bojana Šaljić Podešva, Luka Juhart
2015 - Nina Prešiček, Bojana Šaljić Podešva, Luka Juhart
2016 - Tomaž Grom
2017 - Jonas Kocher
2018 - Tomaž Grom
2019 - Primož Trdan
2020 - Mauricio Valdés San Emeterio
2021 - Luka T. Zagoričnik
2022 - Steven Loy