14 articles in this issue
Matjaž Barbo
Editorial Note and Introductory Words
Jurij Snoj
The postmodern discourse has challenged some basic concepts of music history: by denying the existence of deep-laid laws that govern the purportedly organic development of music, deconstruction questioned the allegedly inherent absolute values of classica... see more
Katarina Bedina
The article deals with the place and social role of musicology on the threshold of a united Europe, taking into account the great political changes that have caused reverberations throughout the humanities, and have brought about many uncertainties so tha... see more
Nikša Gligo
The author's experience with musicological research of contemporary music developed his critical attitude towards musicology in general, especially towards the one that considers music only as text and limits the approaches to musical works on philologica... see more
Niall O'Loughlin
This paper aims to establish a possible model for a multi-dimensional approach to understanding a complex musical work, using a number of interconnecting musicologies. In the 19th century the symphony was often considered an abstract musical creation, but... see more
Gregor Pompe
In this article, the author gives a schematic survey of current methodology in musicology and of synchronous compositional practice with special regard to Slovene creativity. In the process, numerous philosophical parallels come to the fore: both contempo... see more
Alenka Barber-Keršovan
As in the US and in Great Britain, also in the Federal Republic of Germany the first studies in popular music were sociological. Further impulses came from music education. In the framework of the German scientific organisation called Arbeitskreis Studium... see more
Marija Bergamo
The article deals with the position of musicology and its apparatus with regard to the complicated context (broader, so-called reality, and narrower, relevant to the subject) within which it is to operate and develop. As obstacles (both far artistk work a... see more
Borut Loparnik
Europeanness and globality are neither aesthetically nor artistically defined terms. Ifwe accept current journalistic usage, they are even less new. The place of music, and therefore of musicology, is not outside the momentary or general, but it is differ... see more
Ivan Klemencic
Through ali periods, from the Middle Ages to this day, Slovenian music has been developing parallel with that of Western Europe. Hence, there arises the question of historical relations: what has it received from, and what has it - to the best of its abil... see more
Kjell Skyllstad
In music historiography there appears the notion of a Europe musically divided between a central "universal" culture and a peripheral "national" orientation. 19th century composers of the Scandinavian and East European countries share the same fate of bei... see more
Urška Šramel
In Srecko Koporc's (1900–1965) estate numerous theoretical writings on music have been preserved. So far, we know of ca twenty notebooks that came into being between 1926, when he wrote the first part of his theory of musical form, and 1960, when he finis... see more
Darja Koter
Historical studies of instrument making and individual makers do not have a long tradition in Slovenia. Attention to this segment of our musical past was for the first time drawn by Josip Mantuani on the occasion of the both anniversary of the Ljubljana G... see more
Alenka Bagaric
Two Collections of Lute Compositions by Giacomo Gorzanis, Dedicated to the Carniolan Nobility