Prispevek obravnava eno ključnih spoznanj o dosedanjem pojmovanju glasbene zgodovine in modernizma v glasbi 20. stoletja kot nacionalno in ideološko pogojenem konstruktu s strani zagovornikov ...samooklicanega mainstreama novodunajske šole, ki je v najsodobnejši muzikološki literaturi deležen vse pogostejše kritike. Poimenovali smo ga »adornovska zmota«. Žrtev le-te smo bili tudi slovenski muzikologi, kar samo potrjuje široko medkulturno razširjenost omenjenega fenomena.
Ob poglobljenem pregledu slogovnih tendenc glasbe v prvi polovici preteklega stoletja in z njo povezane strokovne terminologije predstavljamo v prvem delu disertacije tudi najsodobnejše pomisleke ...različnih glasbenih teoretikov in muzikologov o dosedanjem razumevanju glasbenega modernizma, neoklasicizma ter tradicije v glasbi 20. stoletja.
Orkestralni opus uvršča Demetrija Žebreta (1912–1970) med osrednje slovenske glasbene moderniste 1. polovice 20. stoletja. Prispevek poskuša odgovoriti na vprašanje, kako se je spremenil slog ...skladatelja v njegovih orkestralnih delih od leta 1944 naprej, zlasti v simfonični pesnitvi Svobodi naproti (1944), ki je tipičen primer umetnine v presečišču zmernega modernizma in socialističnega realizma na tematiko NOB.
The theme of this article was inspired by a series of questions that arise to researchers when discussing compositions by musical modernist Slavko Osterc and his pupils from the first half of the ...20th century, whose music was neither "tonal" nor extreme "atonal". On the one hand, there is a strong doubt of the Slovenian analysts in the progress (modernity) of the compositional means of the mentioned music, since the works are usually compared with the most extreme solutions of the Second Vienesse School – with atonality, athematicism or twelve-tone technique, and on the other hand the rejection of this music from the Slovenian cultural management in concert performing. The central question that arises is the question of the meaningfulness of such comparison, given that these composers were educated also in Prague and did not want to follow the Schönberg's twelve-tone method.
The theme of this article was inspired by a series of questions that arise to researchers when discussing compositions by musical modernist Slavko Osterc and his pupils from the first half of the ...20th century, whose music was neither "tonal" nor extreme "atonal". On the one hand, there is a strong doubt of the Slovenian analysts in the progress (modernity) of the compositional means of the mentioned music, since the works are usually compared with the most extreme solutions of the Second Vienesse School – with atonality, athematicism or twelve-tone technique, and on the other hand the rejection of this music from the Slovenian cultural management in concert performing. The central question that arises is the question of the meaningfulness of such comparison, given that these composers were educated also in Prague and did not want to follow the Schönberg's twelve-tone method.
Žebre, Demetrij Karmen Salmič Kovačič
New Grove Dictionary of Music and Musicians
Reference
(b Ljubljana, Slovenia, Dec 22, 1912; d Ljubljana, March 13, 1970). Slovenian composer and conductor. He studied at the Ljubljana Conservatory until 1934 as a composition student of Osterc. He ...continued his studies at the Prague Conservatory, taking masterclasses under Suk, Hába, and Talich (1934–6). His conducting career started at the Opera and Ballet of the Slovenian National Theatre in Ljubljana after his return from Prague (1936). From 1949 to 1952 he was an artistic director of the Opera and Ballet at the Maribor National Theatre, where he founded the Maribor Philharmonic Orchestra. From 1952 until 1958 he worked as a conductor in the Zagreb National Theatre. Then he was invited back to Ljubljana as director of the Opera and Ballet at the Slovenian National Theatre for ten years (1958–68). In 1960 in Slovenia, he married the soprano Ksenija Vidali. He was one of the most highly regarded Slovenian conductors and opera directors, under whom the Slovene National Theatre achieved its strong reputation, even beyond the borders of the former Yugoslavia. He was less well-known as a composer during his lifetime, because his compositional activity was most intensive in the 1930s and 40s. After ...
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