Diese Modelle, welche von einer rein räumlichen Kooperation bis hin zu einer engen Zusammenarbeit zwischen Schule und Musikschule reichen, werden im letzten Abschnitt dieses Artikels im Detail ...erläutert. S podporo Zveznega ministrstva za šolstvo je nastala brošura, ki predstavlja obliko sodelovanja med osnovnimi in glasbenimi šolami. Ta model, ki se osredotoča na tesno sodelovanje med osnovno in glasbeno šolo, je podrobneje predstavljen v zadnjem delu prispevka. Schülerinnen und Schüler, welche bis in den späten Nachmittag hinein ihre Zeit in der Schule verbringen, könnten erst danach ihren Instrumental- bzw.
Musik als Opposition Stefanija, Leon
Glasbeno - Pedagoski Zbornik Akademije za Glasbo v Ljubljani,
01/2015, Letnik:
22
Journal Article
The author approaches the discussion of music as an opposition with the necessary degree of caution and skepticism, not on a principled level, but in light of the upheaval of the Slovenian ...alternative music scene from the end of the 1980s - with the activities of the Laibach group. The author gives the historical framework of music and protest in the former Yugoslavia (the Music and Revolution festival, founded in 1973) and outlines the guidelines that reveal the connection between music and rebellion, which were most exposed in the field of popular music. The group Laibach, which performed for the first time in 1982 and has (p)remained a cult phenomenon of a socially committed, critical, oppositional force, not only in Slovenia, but in the entire Yugoslav space, is placed in a cultural and political context and outlined through its main performances.
Das apokalyptische Jahrhundert Barbo, Matjaz
Glasbeno - Pedagoski Zbornik Akademije za Glasbo v Ljubljani,
01/2015, Letnik:
22
Journal Article
As the end of the century approaches, which is also the end of the millennium, predictions about the 21st century and considerations about the 20th century multiply. The beginning of the century was ...marked by many expectations, but they were quickly rejected by pessimistic cultists (Oswald Spengler, Untergang des Abendlandes), according to which Europe was supposed to reach the winter of its development. Without a doubt, probably no period has been so permeated with apocalypticism as the 20th century, in which political and economic utopias merge on the broad front of practical politics: communism, capitalism, science, development, all kinds of progress. tlanek focuses in particular on what is happening in Slovenia and its related areas. In doing so, he points out what happened during the two world wars. Even under these conditions, music was created, often otherwise simple, close to folk creations or popular works. The article mentions some specific works by creators such as Matej Bor, Milan Apih, Marjan Kozina, Karol Pahor and others. At the end, he also touches on the war horrors of the 90s and the music that was associated with them, and he also warns of the horror that the last deaths could really herald a general apocalypse.
Alexander von Zemlinsky, Austrian conductor and composer (Vienna, 1871 - New York, 1942), was first a theater conductor in the Vienna Volksoper, then in the local Hofoper, from 1911 to 1927 he worked ...as the director of the German regional theater in Prague, in the years From 1920 to 1927 he was a professor at the German Academy of Music. During the rise of Nazism, he emigrated to the USA. He composed effective realist operas; later he adopted modern means of expression and approached the limits of atonality. - Josip Ipavec (Sentjur, 1873-1921) studied medicine in Graz, where he promoted in 1904 and then worked as a doctor and musician in Sentjur. In parallel with medicine, he devoted his time to music and, like other male members of the family, composed music. A short stay in a military hospital in Vienna (1904/05) was especially important for his musical progress, when he perfected his compositional technique and instrumentation with Kapellnik Alexander Zemlinski. He also used his textbooks later when composing. As a creator, he imitated the late Romanesque style and excelled most with his solos and musical theater works. Ipavac's solos, poetically and musically deepened, were also performed by some well-known singers of the time, such as Ferry Leon Lulek and prima donna Lucie Weidt. Among the theater works, the pantomime Mozicek and the operetta Princess Vertigo stand out.
In the 19th century, church music reached a crisis because organists introduced the elements of secular music into it, taking inspiration from the Viennese classics or the Italian bel canto melody. ...The first reformer in Slovenia was Gregor Rihar. Cecilija's Society was founded in Ljubljana in 1877, following the example of the Cecilian Society for German-speaking countries. The main initiators were Hugolin Sattner, Anton Foerster and Angelik Hribar. The social purpose was "the promotion and acceleration of Catholic church music ... on the basis of church regulations and orders." He focuses his attention a) on Gregorian choral singing, b) on ftgural polyphonic singing of older and more recent times, c) on the church organ, d) on church singing in the native language, e) on the instrumental band, where it exists and to what extent it does not contradict to the spirit of the church". They founded the Orglarska Solo, which trained 360 organists during its existence in the years 1877-1945 (they also led secular choirs in the region). In accordance with the Cecilian movement, the paper Cerkveni muženik began to be published, one of the oldest Slovenian music magazines, which soon outgrew apologetics and published articles from all areas of music and musicology. - However, Cecilianism had a bad influence on the development of the national awakening of the Slovenian nation after 1848, because it was too much modeled after the German model; at the same time, it anachronistically imposed a style from the 16th century and thus inhibited the development of musical romanticism in Slovenian church music.
When, at the beginning of the 18th century, the musical baroque in Slovenia moved into its late and most powerful period, the ties with Italy were curtailed. Even as their cultural influence waned in ...the second half of the 18th century and the German language took hold, the public remained mostly in favor of Italian music. German theater companies also paid attention to Italian opera; since the beginning of the 19th century, they included works of Italian masters (A. M. G. Sacchini, N. Piccini, P. Anfossi, G. Paisiello, D. Cimarosa, G. Sarti, M. de Soler, A. Salieri) in their German programs. The catalog of compositions of the Ljubljana Philharmonic Society for the years 1794-1804 also lists many overtures and vocal compositions by Italian authors (G. Paisiello, D. Cimarosa, F. Paer, G. Gazzaniga, L. Cherubim, S. Pavesi, A. Salieri). Among the foreign composers who stopped in Slovenia during the period of classicism, the Italian creative element is P. Delfiuma, a member of the Bologna Philharmonic Academy, who was the leader of the choir of the Ljubljana Cathedral in 1790-1792. In the years 1820-1835, 16 operas by G. Rossini were performed in the Ljubljana theater, later V. Bellini and G. Donizetti came to the fore. The Philharmonic Society also performed Italian operas, and cerner had an important participation of Italian opera singers, such as M. T. de Sessi, a member of the Venice and Cremona Philharmonic Orchestras, and A. Sartorio from Bologna.
Militärmusikkapellen in Ljubljana Krstulovic, Natasa Cigoj
Glasbeno - Pedagoski Zbornik Akademije za Glasbo v Ljubljani,
01/2015, Letnik:
22
Journal Article
