Special Features

UNEARTHING THE MUSIC: Sound and Creative Experimentation in Non-democratic Europe

Radio Belgrade 3 Podcasts (in Serbian)


Podcast nº1

Branislav Jovancevic

On Friday, November 9 2018, there were two premieres at Radio Belgrade III: two new pieces by young Serbian composers, streamed live from the Electronic studio.

The two composers who presented their works are among the first group of students who finished the courses at EMS Radio Belgrade after the studio’s grand re-opening in March 2018 after a 20 year break. The studio’s new era began with the restoration of a rare and famous synthesizer, the EMS Synthi 100. Soon after the official opening, local artists got the chance to work with one of the studio founders, Paul Pignon, and learn from him the skills and techniques required to work with this notable instrument. Artists who successfully finished that course and a second one organized at the Faculty of Electro-Engineering (Acoustic Lab), were granted time in the studio to realize their own artistic projects. The two compositions are the results of these residencies.
Branislav Jovancevic composed his piece “Magnitogorsk”, for his own modular synthesizer setup and the EMS Synthi 100. He was inspired by the generative processes made on these two machines, which would influence certain discrete behaviors and transformations of sound. In his piece one can recognize references to the early electronic music that was composed in the Electronic Music Studio back in the 1970’s.

Pavle Popov’s piece “Lullaby for Paul” is dedicated to Paul Pignon and is inspired by the time spent with him during the workshop in March 2018. While working on a patch under Paul’s guidance, Popov created a meditative composition that had a function of a lullaby. You can recognize in Popov’s musical language, references to the film music genre as well as pop music. To create this piece, Pavle used a computer setup with electric guitar and the EMS Synthi 100.
Both artists performed their pieces live in the Electronic Studio, and that performance was broadcast by Radio Belgrade III, followed by live interviews with the artists. By working with the unique studio equipment installed and used since the Electronic Studio of Radio Belgrade was established, the artists are giving their own interpretation of electroacoustic composition as a genre which gained specific aesthetic characteristics in a local context. These new works initiate a dialogue with Serbia’s rich music history and are therefore a precious continuation in the line of Serbian electronic music that is predominantly made for live performance.

This radio show was conceptualized and realized by Ksenija Stevanovic and Svetlana Maras.