Musicology

Using ethnomusicological approach, the article tries to answer two questions: first, who are indeed Slovenian singer-songwriters of today, and second: which is the right way of approaching them through research. // S pomočjo etnomuzikološkega pristopa želi članek odgovoriti na dvoje vprašanj: prvič, kdo so slovenski kantavtorji današnjega dne, in drugič, kako pristopiti k obravnavi njihovega ustvarjanja.

This master thesis deals with the social network site YouTube that is bringing changes to ways music is received and shared. At first it presents an overview of the history of such technological shifts. This is followed by a research about YouTube from three different viewing points: as a music medium, as a direct influence on music and as a part of music industry. YouTube is bringing new ideas to the interplay between the musicians and the audience. It is today’s biggest mediator of music communication standing between the musicians (now creators) on one hand and the audience (now users) on the other. By doing this, it gained opponents amongst the old gatekeepers – the record labels. YouTube differs from the music television, its predecessor, in: targeting its users (from specific segments to universal), content programming (from generalized to personalized), reception path (bottom-up and DIY based, rather than top-down) and availability (whatever is available whenever the user wants it to be).

At the beginning of the treatise Istitutioni harmoniche (Harmonic Institutions), Gioseffo Zarlino, who is considered by many as the central and the most influential Italian music theorist of the 16th century, presented music as a mathematical science.

The article discusses the tuning question as
exposed in Vincenzo Galilei’s treatise Dialogo
della musica antica et della moderna, the author
being one of the main 16th century Italian music
theorists. His first attempt to determine the musical
acoustic system of his time is presented, along
with Galilei’s critical approach and his attempt to
set a new system, which he presents in the case
of lute tuning.

Prispevek obravnava vprašanje o uglasitvi, kot se izpostavlja v traktatu Dialogo della musica antica et
della moderna Vincenza Galileija, enega osrednjih
italijanskih teoretikov 16. stoletja. Predstavljeni so
njegov poskus določitve glasbenoakustičnega
sistema časa, kritika slednjega in hkrati poskus
postavitve novega sistema, ki ga Galilei predstavi
ob primeru uglasitve lutnje.

This paper deals with relations between the two of
the most important music theory treatises, Zarlino’s
Harmonic Institutions and Boethius’ Fundamentals
of Music. The main question is, to what degree
Zarlino agrees with Boethius’ theorems and in
which way his writings are different.

Prispevek obravnava povezave med dvema izmed
pomembnejših glasbenoteoretskih traktatov, Temelji
harmonike Gioseffa Zarlina in Temelji glasbe
Anicija Manlija Severina Boetija. Odgovoriti skuša
na vprašanje, v kolikšni meri se Zarlino navezuje
na Boetija in prevzema njegove misli ter v kolikšni
meri se od njega odmika.

This paper discusses the Trieste Philharmonic Orchestra's tour in Serbia in the spring of 1946 and its political connotations. A sketch of the orchestra's foundation in the context of the concurrent political efforts to solve the Trieste question is then followed by a detailed outline of the journey itself, presented from the two points of view. First, the perspective of the Yugoslav authorities is illustrated and then an insight into musician's everyday life during the tour is given.

This paper discusses the activities of the Trieste philharmonic orchestra (1945–1946) in the context of
the concurrent political efforts to solve the Trieste
question. An attempt to clarify the circumstances
under which the orchestra was founded is then
followed by a sketch of its organizational structure
and a presentation of the orchestra’s tour of the
main Yugoslav centres and its political connotations.
Finally, the circumstances under which the
orchestra was dissolved are explained.

Prispevek obravnava delovanje orkestra Tržaške
filharmonije (1945–1946) v luči sočasnih političnih
prizadevanj za razrešitev tržaškega vprašanja. Po
poskusu razjasnitve okoliščin, ki so pripeljale do
nastanka orkestra, so predstavljeni njegovo organizacijsko delovanje, njegova turneja po pomembnejših jugoslovanskih mestih in njene politične
razsežnosti in slednjič njegov razpust.

This paper deals with the tuning question as it is
discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558).
First, Zarlino’s tuning system in vocal music (the
syntonic diatonic) is presented; then, its shortcomings
are discussed; and finally, its adjustment
(temperament) for the use in instrumental music
is explained.

Prispevek obravnava vprašanje o uglasitvi, kot
se kaže v osrednjem glasbenoteoretskem spisu
Gioseffa Zarlina Istitutioni harmoniche (1558).
Predstavljen je sistem uglasitve, ki ga Zarlino
utemeljuje v vokalni glasbi (sintonični diatonični
sistem), prikazane so njegove omejitve in slednjič
njegova prilagoditev (temperacija) za rabo v instrumentalni glasbi.

This article deals with the question of modes as it is discussed in Gioseffo Zarlino’s Istitutioni harmoniche and Michael Praetorius’s Syntagma musicum. First, Gioseffo Zarlino’s adoption of Heinrich Glarean’s system of twelve modes is presented, along with the changes he introduced. Gioseffo Zarlino’s system is then compared to that of Michael Praetorius.

Prispevek obravnava vprašanje modusov, kot se kaže v spisih Istitutioni harmoniche Gioseffa Zarlina in Syntagma musicum Michaela Praetoriusa. Predstavitvi sistema dvanajstih modusov, ki ga je Zarlino prevzel od Heinricha
Glareana, in sprememb, ki jih je vanj vpeljal, sledi njegova primerjava s preglednim prikazom modusov, kot ga je v svojem spisu predstavil Praetorius.

This paper deals with the role of ancient music theory in Gioseffo Zarlino's Istitutioni harmoniche and, within its framework, in particular with mathematical and physical considerations and their relevance to audible music. An outline of the treatise is followed by a presentation of Zarlino's justification of music as scienza and arte. Finally, two case studies are presented on joining ancient theory with contemporary musical practice: the division of the interval and the system of the senario.

Univerza v Ljubljani, najstarejša slovenska univerza, je v letu 2019 obeležila stoletnico ustanovitve. V njenem okviru je leta 1962 na Filozofski fakulteti z delom pričel Oddelek za muzikologijo, ki je v slovenskem prostoru ob univerzitetnem študiju muzikologije zagotovil tudi nujne pogoje za znanstveno preučevanje glasbe znotraj humanistične fakultete. Čeprav moremo dokumentiranim premislekom o glasbi, ki so v jedru prav vsakega muzikološkega dela, na Slovenskem slediti daleč v preteklost, segajo prvi tehtnejši poskusi znanstvene obravnave glasboslovnih tem v desetletja pred prvo svetovno vojno. Od takrat dalje, posebno pa z ustanovitvijo Oddelka za muzikologijo na Filozofski fakulteti in zatem Muzikološkega inštituta pri Znanstvenoraziskovalnem centru SAZU (pobude od leta 1972, formalno ustanovljen 1980), je slovenska muzikologija stopala po poti sodobne humanistične vede. Če so bile v ospredju zanimanja slovenskih muzikologov sprva pretežno zgodovinske teme, povezane z glasbeno p...

Prispevek obravnava delovanje orkestra Tržaške filharmonije (1945–1946) v luči sočasnih političnih prizadevanj za razrešitev tržaškega vprašanja. Po poskusu razjasnitve okoliščin, ki so pripeljale do nastanka orkestra, so predstavljeni njegovo organizacijsko delovanje, njegova turneja po pomembnejših jugoslovanskih mestih in njene politične razsežnosti in slednjič njegov razpust.

This paper deals with the tuning question as it is discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino’s tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.