Between constructivist and pluralistic modernism - a contribution to the understanding of the Slavko Osterc's circle
Bibliographic Data
| ID | 14780406 |
|---|---|
| Authors | Karmen Salmič Kovačič (University of Maribor, corresponding author) |
| Year | 2019 |
| Volume | 55 |
| Issue | 1 |
| Pages | 53-72 |
| Publication date | 2019-06-20 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Musicological Annual (JOURNAL) |
| Journal identifiers | ISSN: 0580-373X • E-ISSN: 2350-4242 |
| Publisher | University of Ljubljana (PUBLISHER • SI) |
| DOI | 10.4312/mz.55.1.53-72 |
| OpenAlex | W2953430368 |
| Language | EN |
| References cited | 4 |
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
Aesthetics · Art · Art history · Epistemology · Literature · Modernity · Musical · Balkan and Eastern European Studies · Diverse Musicological Studies · History · Philosophy
| Highly cited | No |
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