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Muzikološki Zbornik Musicological Annual Xliii

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Muzikološki Zbornik Musicological Annual Xliii MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL X L I I I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 0 7 RACIONALIZEM MAGIČNEGA NADIHA: GLASBA KOT PODOBA NEPOJMOVNEGA SPOZNAVANJA RATIONALISM OF A MAGIC TINGE: MUSIC AS A FORM OF ABSTRACT PERCEPTION Zbornik ob jubileju Marije Bergamo Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Leon Stefanija (Ljubljana) • Katarina Bogunović Hočevar (Ljubljana) Urednik • Editor Matjaž Barbo (Ljubljana) Asistent uredništva • Assistant Editor Jernej Weiss (Ljubljana) Uredniški odbor • Editorial Board Mikuláš Bek (Brno) Jean-Marc Chouvel (Reims) David Hiley (Regensburg) Nikša Gligo (Zagreb) Aleš Nagode (Ljubljana) Niall O’Loughlin (Loughborough) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://www.ff.uni-lj.si Prevajanje • Translation Neville Hall Cena • Price 10,43 € (2500 SIT) / 20 € (other countries) Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 500 izvodov • Printed in 500 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja. Prispevki naj bodo opremljeni s kratkim povzetkom (200–300 besed), izvlečkom (do 50 besed), ključnimi besedami in kratkimi podatki o avtorju. Nenaročenih rokopisov ne vračamo. Manuscripts, publications for review, correspondence and annual subscription rates should be sent to the editorial address. Contributions should include a short summary (200–300 words), abstract (not more than 50 words) keywords and a short biographical note on the author. Unsolicited manuscripts are not returned. Izdajo zbornika je omogočilo Ministrstvo za visoko šolstvo, znanost in tehnologijo Republike Slovenije With the support of the Ministry of Higher Education, Science and Technology of the Republic of Slovenia © Oddelek za muzikologijo Filozofske fakultete v Ljubljani Vsebina • Contents Spremna beseda urednikov • A Note from the Editors 7 Stoletja … • Centuries … 4. stoletje pred našim štetjem • 4th century B.C. Jurij Snoj (Ljubljana) Glasba v Platonovi Državi Music in Plato’s Republic 13 16. stoletje •16th century Bojan Bujić (Oxford) Uzdasi u poodmakloj dobi – Petrarca, Vinci, Wert i Marenzio Sighs in Advancing Years – Petrarch, Vinci, Wert and Marenzio 29 18. stoletje • 18th century Sven H. Hansell (Wien) Kapriciozne plati Haydnovega kvarteta: vzporednice med glasbenim fraziranjem in italijansko pesniško teorijo The Capricious Aspect of a Haydn Quartet: Parallels Between Musical Phrasing and Italian Poetic Theory 43 19. stoletje • 19th century Matjaž Barbo (Ljubljana) Večsmernost začetkov slovenske operne ustvarjalnosti The Multiple Directions of the Beginnings of Slovene Opera Creativity 59 Nataša Cigoj Krstulović (Ljubljana) Priložnostne skladbe v čast cesarju, monarhiji in panslavizmu kot odraz nekaterih staroslovenskih političnih načel in idej po letu 1848 Occasional Music in Honour of the Monarchy, the Emperor and Pan-Slavism as a Reflection of Some Slovenian Political Ideas After 1848 67 Aleš Nagode (Ljubljana) Začetki slovenskega cecilijanstva v luči korespondence med Antonom Foersterjem in Franzom Xaverjem Wittom The Beginnings of the Cecilian Movement in Slovenia as Witnessed by the Correspondence between Anton Foerster and Franz Xaver Witt 83 20. stoletje • 20th century Svetlana Savenko (Moskva) Stravinski in ruska glasba 20. stoletja Stravinsky and Russian Music of the 20th Century 93 Vesna Mikić (Beograd) Konstituiranje neoklasicizma v Srbiji ali: kako in zakaj je neoklasicizem mogoče šteti za modernizem – študija ob Rističevi Drugi simfoniji Constituting Neoclassicism in Serbia or: How and Why Neoclassicism Can Be Understood as Modernism – a Study of Ristić’s Second Symphony 99 Karmen Salmič Kovačič (Maribor) Suita za mali orkester (1932) Demetrija Žebreta med »starimi« in »novimi« strukturnimi idiomi Suite for Small Orchestra (1932) by Demetrij Žebre Between the “Old” and the “New” Structural Idioms 105 Borut Loparnik (Ljubljana) Miniature za klavir Primoža Ramovša Primož Ramovš’s Miniatures for Piano 115 Niall O’Loughlin (Loughborough) Intelektualni čar: s strastjo pretihotapljena tradicija v Godalnih kvartetih angleškega skladatelja Hugha Wooda Intellectual Magic: Tradition Infiltrated by Passion in the String Quartets of the English Composer Hugh Wood 139 … in teme • … and themes Spoznavoslovje • Epistemology Dalibor Davidović (Zagreb) Telemahija Telemachia 157 Arnold Feil (Tübingen) Über Musik als Wirklichkeit On Music as Reality 163 Leon Stefanija (Ljubljana) Le tolérantisme musical – komentarji k študiji Antoinea Bemetzriederja o nacionalnih glasbenih kulturah v 18. stoletju. Pripombe k spoznavoslovju glasbe Le tolérantisme musical – Comments on Antoine Bemetzrieder’s Essay on National Musical Cultures in the 18th century. Notes on the Epistemology of Music 179 Semiologija • Semiotics Inna Barsova (Moskva) Poskus etimološke analize glasbe An Attempt at the Etymological Analysis of Music 219 Gregor Pompe (Ljubljana) Semiotsko-semantična narava glasbe The Semiotic-Semantic Nature of Music 233 Recepcija • Reception Katarina Bedina (Ljubljana) Dve pismi Franca Šturma Two Letters of Franc Šturm 245 Christian Bielefeldt (Lüneburg) »Nenavadni, nežni čutni dražljaji«: psihoanalitske poti v zgodnji estetiki glasbe Hansa Wernerja Henzeja “Unusual, Gentle Sensory Stimuli”: A Psychoanalytical Path to the Early Aesthesis of Hans Werner Henze 251 Katarina Bogunović Hočevar (Ljubljana) Refleksija ob pojmu romantika v glasbi Reflection on the Term Romanticism in Music 265 Marie-Agnes Dittrich (Wien) Evangelist ali socialist: Johann Sebastian Bach v hladni vojni in drugih obdobjih nacionalne negotovosti Evangelist or Socialist: Johann Sebastian Bach in the Cold War and Other Periods of National Uncertainty 277 Estetika • Aesthetics Susanne Kogler (Graz / Paris) Umetnost kot kritika jezika: o kontinuiteti tradicije avantgardne estetike v moderni in postmoderni Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern 287 Tijana Popović Mladjenović (Beograd) Fragment o dimenzijah emocije, »mathesisa« in časa v čisto glasbenem Pripombe ob preludiju k faunovemu popoldnevu Claudea Debussyja – A Fragment on the Emotion, “Mathesis” and Time Dimension of the Purely Musical Marginalia with Prelude to the Afternoon of a Faun by Claude Debussy – 305 Mirjana Veselinović-Hofman (Beograd) Tišina kot hermenevtična oaza glasbe Silence As a Hermeneutic Oasis of Music 333 Metodologija • Methodology Werner Jauk (Graz) Vizualne in avditivne reprezentacije prostora in mrežnega prostora The Visual and Auditory Representation of Space and the Net-Space 361 Nico Schüler (San Marcos, Texas) Od glasbenih slovnic h kogniciji glasbe v osemdesetih in devetdesetih letih 20. stoletja: viški zgodovine računalniško podprte analize glasbe From Musical Grammars to Music Cognition in the 1980s and 1990s: Highlights of the History of Computer-Assisted Music Analysis 371 Bibliografija Marije Bergamo • Bibliography of Marija Bergamo Zoran Krstulović (Ljubljana) Bibliografija Marije Bergamo Bibliography of Marija Bergamo 399 Imensko kazalo • Index 430 Avtorji • Contributors 441 RACIONALIZEM MAGIČNEGA NADIHA: GLASBA KOT PODOBA … Racionalizem magičnega nadiha: glasba kot podoba nepojmovnega spoznavanja Rationalism of a magic tinge: music as a form of abstract perception Racionalizam magičnoga nadaha: glazba kao oblik nepojmovne spoznaje Rationalismus magischer provinienz: musik als sinnbild nichtbegrifflichen erkennens Spremna beseda urednikov Naslov slavnostnega zbornika ob sedemdeseti obletnici muzikologinje Marije Berga- mo, dolgoletne profesorice na Oddelku za muzikologijo Filozofske fakultete Univerze v Ljubljani, se neposredno navezuje na njeno priljubljeno tematiko o redu vzvodov in učinkov glasbe. Seznam njenih publikacij na koncu slavnostnega zbornika, po katerem smo avtorji prispevkov naravnali muzikološki kompas, hitro razkrije, da je zgornji naslov »sposojen« iz njene muzikološke delavnice. Sposojen je seveda kot poklon njenemu dosedanjemu delu – z upanjem, da lepo zajema bogato, danes, v času »racionalizacije iracionalnega«, morda še bolj izrazito aktualno (resda tudi komajda pregledno), a v osnovi temeljno muzikološko držo, skozi katero se glasba kaže kot urejena, smiselno zajeta, racionalno podana pojavnost tega, kar praviloma uhaja primežu imena in po svojem bistvu sega v iracionalno podstat človekovega sveta. Zbornik ob jubileju Marije Bergamo ni mišljen samo kot poklon in zahvala za njeno dosedanje muzikološko – znanstvenoraziskovalno in pedagošlo – delo in podarjeno izkušnjo sobivanja s toplo, aristokratsko človeško širino. V upanju, da bo slavljenko tudi nadalje vodila njena zanesljiva, zdrava in močna roka, bi želeli slavljenko s slavnostnim zbornikom tudi spodbuditi, da nadalje uresničuje tako muzikološke kot osebne cilje z enako življenjsko polnostjo, kot jih je doslej. Zahvala gre tudi vsem sodelavcem, ki so prispevali ali pa hoteli prispevati besedila za zbornik,*1a jim čas ni dopuščal, da bi s svojimi prispevki dopolnili začrtana tematska sklopa zbornika. Ta sta seveda zgolj okvirna, po grobem »načelu kazalca« razmejeni enoti: prva je bolj zgodovinska, druga bolj spoznavoslovna. Prvi del zbornika tako prinaša članke po časovni opredeljenosti tematike, ki jo obravnavajo avtorji, v drugem delu pa so znotraj
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