{"id":264,"date":"2013-02-15T03:56:29","date_gmt":"2013-02-15T03:56:29","guid":{"rendered":"https:\/\/www.jsums.edu\/music\/?page_id=264"},"modified":"2018-02-01T16:46:37","modified_gmt":"2018-02-01T16:46:37","slug":"ivan-elezovic","status":"publish","type":"page","link":"https:\/\/www.jsums.edu\/music\/ivan-elezovic\/","title":{"rendered":"Dr. Ivan Elezovic"},"content":{"rendered":"

\n\t\"Dr.Ivan<\/a>\n<\/p>\n

\n\t \n<\/p>\n

\n\t \n<\/p>\n

\n\tAssociate Professor and Coordinator of Composition and Theory, Associate Graduate Faculty
\n\tEmail: ivan.elezovic@jsums.edu<\/a>
\n\tPhone: 601.979.0834
\n\tLocation: F.D. Hall Music Center, Studio 5\n<\/p>\n

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\n\tDegrees: <\/strong>
\n\tD.M.A., University of Illinois at Urbana-Champaign, Composition\/Theory\/Electronic Music, 2006.
\n\tM.M., McGill University, Master of Music in Composition\/Theory\/Electronic Music, 2000.
\n\tB.M., University of Manitoba, Bachelor of Music in Composition, 1997.\n<\/p>\n

\n\tResearch Interests: <\/strong>\n<\/p>\n

\n\tMy primary areas of specialization are composition, music theory, and electroacoustic music. As part of my
\n\tpresent research, I have written an extensive analysis of Quattro Pezzi (su una nota sola) by the Italian
\n\tcomposer Giacinto Scelsi in which I have investigated the meaning of the “third dimension” of a sound
\n\tphenomenon – the sonic depth that he explored in this piece and many others throughout his life.\n<\/p>\n

\n\tI have pursued an innovative approach to musical analysis, exploring the sound world of Scelsi's Quattro
\n\tPezzi (su una nota sola). Traditional analysis does not have much to say about a work which consists of a
\n\tsingle, sustained note. But Scelsi's work stretches this single pitch with a multitude of microtonal
\n\tdeviations and the harmonic illusions they produce, as well as a constantly shifting landscape of timbre
\n\tand dynamics, producing music which demands the listener's attention. Scelsi describes his music as
\n\t"three dimensional." I have followed his line of thought, designating pitch as a single dimension; duration
\n\t(including Golden Section relationships) as a second dimension; and the third–the subject of my
\n\tinvestigation–as a rich interweaving of timbre, dynamics, and microtonal inflections which form the very
\n\tsubstance of the work.\n<\/p>\n

\n\tThroughout the last 5 years, I have also been involved in music perception, formal structures in music, and
\n\ttemporal-gestalt segmentation. I have been working extensively on designing a type of interface suitable
\n\tfor measuring the weight of stimulus-driven music parameters characteristic for the complex repertoire.
\n\tInterested in the cognitive processes that are shared by composers and listeners, I am attracted in generic
\n\tcognitive processes that are stable as well as unique not only within the complex repertoire but also within
\n\tearlier music styles. My work raises a simple question in which the answer of the subject is presently a
\n\tsubstance of a number of researches: How do we listen to music?\n<\/p>\n

\n\tI believe that the most of us as musical listeners, have certain expectations concerning the way music
\n\tsounds. These expectations are almost intuitive, based on our previous experiences with music.
\n\tThe listener expects to hear a particular set of harmonic relationships, expects certain chords to resolve to
\n\tothers, and expects the notes of one key to modulate to the notes of another key. Listening is like reading
\n\tin which each note serves as a point of reference from previously heard notes as well as future ones within
\n\tthe music phrase. If the particular music phrase is new to the listener, then he\/she is able to form a
\n\tframework with these points of reference that give meaning to the phrase much as unknown words give
\n\tmeaning to unknown sentences.\n<\/p>\n

\n\tOne of the future goals for my research activity is to test these research subjects on the particular piece
\n\tcalled Quattro Pezzi (su una nota sola) by Giacinto Scelsi. By choosing this approach of studies and
\n\tanalyses of Quattro Pezzi, the attempt is to open wider areas of research and general understanding of the
\n\trelationship between composer and listener. With the purpose of reaching the most accurate conclusion
\n\tof the actual composer’s intention on one side and listener’s way of hearing on the other, the research goal
\n\twill be to compare these two perspectives in order to find a valuable outcome of how much these
\n\tviewpoints vary from each other and what would be the proper interface that would calculate these
\n\tparticular differences.\n<\/p>\n

\n\tCourses Taught: <\/strong>
\n\tTonal Theory 1, 2, 3
\n\tAtonal Theory
\n\tForm and Analysis
\n\tModal Theory
\n\tAnalytical Techniques
\n\tComposition 1, 2, 3, 4\n<\/p>\n

\n\tProfessional Memberships: <\/strong>
\n\tThe College Music Society, Society of Composers, 
\n\t(ASCAP) The American Society of Composers, Authors and Publishers, 
\n\t(CEC) Canadian Electroacoustic Community\n<\/p>\n

\n\tRecent Creative Works: <\/strong>
\n\t2017 Po-La-Ko for Violin, Piano
\n\t2017 Well-Known Routine for two-channel audio
\n\t2016 Fix for Marimba solo
\n\t2015 Mechanical Theme for Tenor, Piano, two Music Boxes
\n\t2015 Momentous for Clarinet, Bassoon, Piano
\n\t2014 Drawing Noise for DVD\/Audio
\n\t2014 Between Them for dancer and percussion
\n\t2013 The Wind was There… for Tárogató (Clarinet) and two-channel audio
\n\t2012 Little Sketches for Soprano, Flute
\n\t2012 Images of Isabella’s dream for dancers and two-channel audio\n<\/p>\n

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

    Associate Professor and Coordinator of Composition and Theory, Associate Graduate Faculty Email: ivan.elezovic@jsums.edu Phone: 601.979.0834 Location: F.D. Hall Music Center, Studio 5               Degrees:  D.M.A., University of Illinois at Urbana-Champaign, Composition\/Theory\/Electronic Music, 2006. M.M., McGill University, Master of Music in Composition\/Theory\/Electronic Music, 2000. B.M., University of Manitoba, […]<\/p>\n","protected":false},"author":51,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/pages\/264"}],"collection":[{"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/comments?post=264"}],"version-history":[{"count":23,"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/pages\/264\/revisions"}],"predecessor-version":[{"id":2732,"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/pages\/264\/revisions\/2732"}],"wp:attachment":[{"href":"https:\/\/www.jsums.edu\/music\/wp-json\/wp\/v2\/media?parent=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}