28 articles in this issue
Leon Stefanija in Katarina Bogunovic Hocevar
A Note from the Editors - Rationalism of a magic tinge: music as a form of abstract perception
Jurij Snoj
Historically, the harmoniai, presenting the central concept of Plato’s discussion of music, should be interpreted as musical scales. Yet it is difficult to explain, in which way musical scales could assume ethical characters, as asserted by Plato. Socrate... see more
Bojan Bujic
Petrarch’s sonnet »Se la mia vita da l’aspro tor-mento«, in which the poet is expressing the hope that advanced age will bring him the courage to admit to his lady his long suppressed feelings, is conceived as a single sentence. The three sixteenth-centur... see more
Sven H. Hansell
Haydn’s Quartet op. 9, no.6, illustrates the application of poetic conventions to music. Viewed as a Capriccio, movement 1 discloses a labyrinthine rhythmic structure both didactic and amusing. A table of musical rhythms and inventory of musical phrase ty... see more
Matjaž Barbo
The paper deals with operatic production in Slovenia in the watershed period at the turn of the 19th century. It focuses on the work of F. B. Dusík; in particular, three of his key works, which, according to newly available facts, were written during his ... see more
Nataša Cigoj Krstulovic
Occasional musical works for the political use with the explicit extra musical purpose – hymns in honour of the Hapsburg monarchy and the emperor Franz Joseph – show a different image and has a different meaning than the prevailing part of the Slovenian m... see more
Aleš Nagode
Slovenian composer and church musician, Anton Foerster, was until recently considered to be a key figure and ideological leader of the Slovenian Cecilian movement. Newly discovered correspondence between the leader of the German Cecilian movement and edit... see more
Svetlana Savenko Savenko
The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most imp... see more
Vesna Mikic
The paper examines the possible re-contextualization of the Serbian musical neoclassicism in the field of (sober) modernism/socialist aestheticism characteristic for Serbian art and literature of the fifties. From that perspective, the Second Symphony (19... see more
Karmen Salmic Kovacic
Demetrij Žebre’s Suite for Small Orchestra (1932) is his only orchestral work composed during his period of study with Slavko Osterc and the first piece worthy of extended analysis considering its parodical/satirical nature. With this presented analysis a... see more
Borut Loparnik
Primož Ramovš (1921–1999) wrote his piano Miniature (Miniatures) during the autumn of 1945. After finishing his studies with Slavko Osterc in Ljubljana (1941) and taking advanced courses with Alfredo Casella in Rome (1941–1943), these pieces were his seco... see more
Niall O'Loughlin
Throughout the history of music there has often been a conflict between the old and the new. This applies very much to the music of the English composer, Hugh Wood (b.1932). Studying history, and later composition with Anthony Milner, Iain Hamilton and Má... see more
Dalibor Davidovic
The handicap makes it possible to uncover the structure of humanism, which is not significant only for medicine, but also for the sciences in general. According to humanist opinion, the human being is complete. Because the person marked by disability is n... see more
Arnold Feil
The article discusses the relationship of music to reality as can be induced not only from theory but from the music itself and the listener’s experience of it. The examples are taken from different historical contexts: Pater noster from the Roman Catholi... see more
Leon Stefanija
The essay is conceived of as a set of comments on Le tolérantisme musical by Antoine Bemetzrieder. His text, published in 1779, discusses the three main European musical cultures and the hierarchy among them (Italian hegemony over German and French music)... see more
Ina Barsova
The theory of the “inner form”, developed by the Russian scientist A. Potebnja from the theory of W. Humboldts, includes a procedure that is useful for etymological analysis. The musicologically relevant aspects of this teachings are: 1. the search for th... see more
Gregor Pompe
The purpose of the article is to solve the methodological-epistemological problem of the key position of semiotics and semantics in music. This is solved with the aid of the discovery of the dual nature of musical referentiality (internal and external ref... see more
Katarina Bedina
The text, a tribute on the seventieth anniversary of Professor Marija Bergamo, discusses two letters written by the Slovene composer Franc Šturm (1912–1943) to the Slovene pianist Neda Kozina, whom he befriended in Prague, where they both studied. The let... see more
Christian Bielefeldt
Musicology and psychoanalysis still face each other strangely. Yet, there are quite fruitful initiatives for dealing with musical phenomena from a psychoanalytical perspective, as this article tries to show with the example of the early music aesthetics o... see more
Katarina Bogunovic Hocevar
The use of the term romantic music, or musical romanticism, in everyday discourse is already so firmly rooted and self-evident that its renewed verification would seem, on the face of it, unnecessary. However, the debate in certain contemporary musicologi... see more
Marie-Agnes Dittrich
At the Bach Conference 1950 in Leipzig, the socialist image of Bach in East Germany competed with the conservative and theological one of West Germany. During the Cold War both served to legitimize rival ideologies. Once again, Bach was interpreted as an ... see more
Susanne Kogler
That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants o... see more
Tijana Popovic Mladjenovic
In the dialogue What Is Music? between Carl Dahlhaus and Hans Heinrich Eggebrecht, music is defined as a “mathematized emotion” or an “emotionalized ‘mathesis’”. As emphasized by Marija Bergamo, this is the way of underlining its equal and unavoidable con... see more
Mirjana Veselinovic-Hofman
This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped seg... see more
Werner Jauk
The use of the term space in net-space is based on a mechanistic point of view, an imagery of visual space out of bodily experience of the world. By technical turns the active interaction to explore space more and more becomes a passive one. This is where... see more
Nico Schüler
While approaches that had already established historical precedents – computer-assisted analytical approaches drawing on statistics and information theory – developed further, many research projects conducted during the 1980s aimed at the development of n... see more
Zoran Krstulovic
Bibliography of Marija Bergamo