{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-UGD3S73Y/667eff38-17d7-461e-bdf2-afe3deaf10e7/PDF","dcterms:extent":"142 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-UGD3S73Y/1a453310-a44a-4e20-b206-329182cd3a0d/TEXT","dcterms:extent":"34 KB"}],"edm:TimeSpan":{"@rdf:about":"1965-2025","edm:begin":{"@xml:lang":"en","#text":"1965"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-UGD3S73Y","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-TGP90WRZ"},{"@xml:lang":"sl","#text":"Muzikološki zbornik"}],"dcterms:issued":"2014","dc:creator":"Hochradner, Thomas","dc:contributor":"Nagode, Aleš","dc:format":[{"@xml:lang":"sl","#text":"številka:2"},{"@xml:lang":"sl","#text":"letnik:50"},{"@xml:lang":"sl","#text":"str. 213-221"}],"dc:identifier":["ISSN:0580-373X","COBISSID:56535906","URN:URN:NBN:SI:doc-UGD3S73Y"],"dc:language":"en","dc:publisher":{"@xml:lang":"sl","#text":"Znanstvena založba Filozofske fakultete"},"dc:subject":[{"@xml:lang":"sl","#text":"Alfano, Franco, 1875-1954"},{"@xml:lang":"sl","#text":"dramatični pristop"},{"@xml:lang":"sl","#text":"dramatizacija sakralnosti"},{"@xml:lang":"sl","#text":"glasba"},{"@xml:lang":"sl","#text":"Händel, Georg Friedrich, 1685-1759"},{"@xml:lang":"sl","#text":"La Resurrezione"},{"@xml:lang":"en","#text":"music"},{"@xml:lang":"sl","#text":"Risurrezione"},{"@xml:lang":"sl","#text":"vzorci dramatizacije sakralnosti"}],"dcterms:temporal":{"@rdf:resource":"1965-2025"},"dc:title":{"@xml:lang":"sl","#text":"Revived is the Lord ---| dve branji dramatičnega pristopa v glasbi| Gospod živi ---| two readings of a dramatic approach in music|"},"dc:description":[{"@xml:lang":"sl","#text":"To envision the non-presentable is a venture. This will only succeed if a conventional frame is going to secure the intention, if the composer is able to release extraordinary creative potential and the audience is endowed with effectual imagination. A comparison of Georg Friedrich Handel's early oratorio La Resurrezione HWV 47 (1708) and Franco Alfano's opera Risurrezione, premiered 1904, which is based on a libretto by Cesare Hanau after Lev Tolstoy's novel Resurrection, makes it clear that certain structures - of the works' dispositions as well as the musical realizations help to avoid any danger of irrelevance or chauvinism. Whereas Handel's approach is a sacral, Alfano's a secular one, both times a starting position for the composer arises which basically incites a link between the antithetic spheres. Further on not similarities, but possibilities to individualize a topic are questioned, a topic which - notwithstanding the attraction of characterizing a transcendental area compositionally - has scarcely been taken up in the course of music history"},{"@xml:lang":"sl","#text":"Predstaviti nepredstavljivo je podvig. Uspel bo le, če bo konvencionalni okvir ustrezal namenu, če bo skladatelj sposoben izjemne ustvarjalnosti in če bo poslušalstvo imelo veliko domišljije. Primerjava zgodnjega oratorija La Resurrezione HWV 47 (1708) Georga Friedricha Händla in opere Risurrezione, prvič izvedene 1904, ki sta jo ustvarila skladatelj Franco Alfano in libretist Cesare Hanau po romanu Vstajenje Leva N. Tolstoja, bo pokazala, da določene strukture v zasnovi in glasbeni izvedbi del zagotavljajo, da ni nevarnosti za nepomembnost ali šovinizem. Medtem ko je Händlov pristop sakralen, Alfanov pa posveten, je njuna izhodiščna točka hkrati točka stika med obema antitetičnima območjema. V nadaljevanju so opazovane tudi - ne podobnosti - temveč možnosti za individualizacijo tematike, ki je - čeprav je vabljiva zaradi možnosti glasbene karakterizacije transcendentnega - bila redko za uporabljana v teku glasbene zgodovine"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-UGD3S73Y","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-UGD3S73Y"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-UGD3S73Y/667eff38-17d7-461e-bdf2-afe3deaf10e7/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Ljubljani, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-UGD3S73Y/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-UGD3S73Y"}}}}