ASIMPTOTA LJUBICE MARIĆ: PITANJE ORGANIZACIJE MUZIČKOG PROSTORA
THE ORGANISATION OF MUSICAL SPACE IN LJUBICA MARIĆ'S ASYMPTOTE

Summary/Abstract: In this paper I will present the basic analytical premises of the “real” musical space, as demonstrated in Eero Tarasti’s A Theory of Musical Semiotics. According to Tarasti, “the central idea of spatiality in music is that there are different ‘microspaces’, ‘registers’ in music which are modalized in various ways that cause tension and compel them to move forward, against, or away from each other.” (Tarasti, 1994: 85) Tarasti also recognizes the “real” and the “metaphorical” musical space. The first is defined as “the pitch structure of music”, and the later as places of different narative “interpretations” in a piece of music. After I present Tarastian model of musical space, I will suggest some adjustments, and then apply this model in the analysis of Ljubica Marić’s work Asymptote (1986).

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