Musicological Annual  

Gregor Pompe

Viewed from a historical perspective, the twentieth century appears to have largely broken with the fundamental traits that marked the nineteenth century. In some respects, however, certain specific characteristics were enhanced. This is particularly true... see more

Marcello Potocco

Proceeding from the notions of the social imaginary and the fictive in literature, the paper defines ideological interpellation as a possible function of works of art. Similarities in creating meaning by double referencing are highlighted, both in literat... see more

Martin Knust

Sweden appeared as a music exporting country on the map in the beginning of the 20th century. Located between different shifting military and political blocks it maintained a politics that contributed to some extent to the specific shape of Sweden’s music... see more

Gražina Daunoraviciene

Against the background of the Lithuanian professional music modernisation over the late Soviet period through to the early 21st century, the study focuses on the theoretical-compositional system of dodecatonics by the most consistent Lithuanian modernist ... see more

Janis Kudinš

Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when an... see more

Anu Veenre

Developments in the Estonian music and musical life of the late Soviet period may be interpreted as attempts on the part of musicians and composers to alienate themselves from the Soviet system and from the ideology that was attributed to the arts at the ... see more

Dalibor Davidovic

The poetics of Marko Radmio (1910–1996) was marked by the rejection of the concept of “composer,” with the argument that the term implies the reduction of that which is musical to knowledge and technique. In contrast, in the forgotten German expression To... see more

Gregor Pompe

After the Second World War, Slovenia became a part of socialist Yugoslavia, which, following the example of the Soviet Union, scrutinised art from an ideological perspective. Previous studies of the influence of the new social system on Slovenian music ha... see more

Darja Koter

Composer Karol Pahor (1896–1974) stood out on several levels and is recognized as one of the most distinguished students of Slavko Osterc, his opus shows the stylistic diversity resulting from various factors. As a composer he deviates from the usual ster... see more

Nejc Sukljan

Prispevek obravnava delovanje orkestra Tržaške filharmonije (1945–1946) v luci socasnih politicnih prizadevanj za razrešitev tržaškega vprašanja. Po poskusu razjasnitve okolišcin, ki so pripeljale do nastanka orkestra, so predstavljeni njegovo organizacij... see more

Urška Rihtaršic

The article deals with the open form and tries to uncover its features by examining a number of representative compositions. Theoretical texts published by the composers along with their pieces of music serve as the foundation of the analysis. Based on th... see more