354 KB76 KB196520252019Salmič Kovačič, Karmenštevilka:1letnik:55str. 53-72ISSN:0580-373XCOBISSID_HOST:98210561URN:URN:NBN:SI:doc-C8MTNM90enslZnanstvena založba Filozofske fakulteteMuzikološki zbornik20th centuryAlois HabaArnold SchonbergArnold Schönbergglasba 20. stoletjaglasbeni modernizemmusical modernismOsterčev krogSlavko Osterc's circleSlovene musicslovenska glasbaMed konstruktivističnim in pluralističnim modernizmom - prispevek k umevanju Osterčevega kroga| Between constructivist and pluralistic modernism - a contribution to the understanding of the Slavko Osterc's circle.|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 methodTemo pričujočega prispevka je spodbudila vrsta vprašanj, ki se porajajo slovenskim raziskovalcem pri obravnavi kompozicijskih opusov glasbenega modernista Slavka Osterca in njegovih učencev iz prve polovice 20. stoletja, katerih glasba ni bila niti "tonalna" niti skrajno "atonalna". Po eni strani gre za močan dvom slovenskih analitikov v naprednost (sodobnost) kompozicijskih sredstev omenjene glasbe, saj se dela pogosto primerjajo z najskrajnejšimi rešitvami druge dunajske šole - z "atonalnim", "atematskim", "dodekafonskim", po drugi strani pa za redko uvrščanje teh skladb s strani slovenske kulturne politike na koncertne odre. Osrednje vprašanje, ki se postavlja, je vprašanje smiselnosti takšne primerjave, glede na to, da so omenjeni skladatelji študirali tudi v Pragi in da se niso želeli zgledovati po SchönberguTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta