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Muzikološki Z B O R N I K L MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL L / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 4 Glasba kot sredstvo in predmet v procesih sakralizacije profanega in profanacije sakralnega Sacralization of the Profane and Profanation of the Sacred: Music as a Means and an Object Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Aleš Nagode (Ljubljana) Glavni in odgovorni urednik • Editor-in-chief Jernej Weiss (Ljubljana) Asistentka uredništva • Assistant Editor Tjaša Ribizel (Ljubljana) Uredniški odbor • Editorial Board Matjaž Barbo (Ljubljana) Aleš Nagode (Ljubljana) Svanibor Pettan (Ljubljana) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Mednarodni uredniški svet • International Advisory Board Michael Beckermann (Columbia University, USA) Nikša Gligo (University of Zagreb, Croatia) Robert S. Hatten (Indiana University, USA) David Hiley (University of Regensburg, Germany) Thomas Hochradner (Mozarteum Salzburg, Austria) Bruno Nettl (University of Illinois, USA) Helmut Loos (University of Leipzig, Germany) Jim Samson (Royal Holloway University of London, UK) Lubomír Spurný (Masaryk University Brno, Czech Republic) Katarina Tomašević (Serbian Academy of Sciences and Arts, Serbia) John Tyrrell (Cardiff University, UK) Michael Walter (University of Graz, Austria) Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://revije.ff.uni-lj.si/MuzikoloskiZbornik Cena posamezne številke • Single issue price 10 EUR Letna naročnina • Annual subscription 20 EUR Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Branka Kalenić Ramšak, dekanja Filozofske fakultete 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), an abstract (not more than 50 words), keywords and a short biographical note on the author. Unsolicited manuscripts are not returned Izdajo zbornika je omogočila Javna agencija za raziskovalno dejavnost Republike Slovenije With the support of the Slovenian Research Agency © Univerza v Ljubljani, Filozofska fakulteta, 2014 Vsebina • Contents Wolfgang-Andreas Schultz Musikgeschichte als heilige Geschichte - ein Versuch, die Entwicklung neu zu verstehen Zgodovina glasbe kot svéta zgodovina – poskus novega razumevanja razvoja 7 Janet Danielson Harmony, Sacrifice, and Agamben’s Messianic Time Harmonija, žrtvovanje in Agambenov mesijanski čas 17 Marina Ritzarev King David and the Frog Kralj David in žaba 31 Helmut Loos Die kunstreligiöse Botschaft der Leipziger Musikwissenschaft im späten 19. und frühen 20. Jahrhundert Umetnostnoreligiozno sporočilo leipziške muzikologije v poznem 19. in zgodnjem 20. stoletju 43 Elfride Reissig ‚Die Dinge stets sich selbst folgen lassen‘– Klang und Perzeption bei Giacinto Scelsi „Pustiti, da stvari sledijo same sebi.“: Zvok in percepcija pri Giacintu Scelsiju 53 Trena Jordanoska Orient and Occident Encounters in Dimitrije Buzarovski’s Oratorio “Radomir’s Psalms” Srečanja med Vzhodom in Zahodom v oratoriju »Radomirjevi psalmi« Dimitrija Buzarovskega 63 John Plemmenos The Rosary and the Rose: Clergymen as Creators of Secular Poetry and Music in Early-modern Balkans Rožni venec in vrtnica: Kleriki kot ustvarjalci posvetne poezije in glasbe na Balkanu v zgodnjem novem veku 77 Vesna Venišnik Instrumental Music and the Franciscan Liturgy Instrumentalna glasba in frančiškanska liturgija 93 Leon Stefanija Profanation in Slovenian contemporary symphonic music? Profanacija v sodobni slovenski simfonični glasbi? 101 Gregor Pompe Sacral rituality and mysticism in the service of the awakening of national identity. Baltic-Balkan parallels in works of B. Kutavičius, L. Lebič and V. Tormis Sakralna ritualnost in misticizem v službi prebujanja nacionalne identitete. Baltiško- balkanske vzporednice v delih B. Kutavičiusa, L. Lebiča in V. Tormisa 111 Jūlija Jonāne Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival Duhovna glasba – prepovedani sad: Glasbeni in neglasbeni načini preživetja 127 Charris Efthimiou Die christlichen und antichristlichen Elemente in der Musik von BLACK SABBATH (1970–1973) Krščanske in protikrščanske prvine v glasbi BLACK SABBATH (1970-1973) 137 Mike Dines The Sacralization of Straightedge Punk: Bhakti-yoga, Nada Brahma and the Divine Received: Embodiment of Krishnacore Sakralizacija straightedge punka: Bhakti-joga, Nada Brahma in prejeto božansko utelešenje Krishnacore 147 Katarina Šter Resacralization of the sacred: Carthusian liturgical plainchant and (re) biblicization of its texts Resakralizacija sakralnega: Bibliciranje besedil spevov kartuzijanske liturgije in kartuzijanski koral 157 Klemen Grabnar Odnos med posvetnim in sakralnim v drugi polovici 16. stoletja na primeru maš Nasce la pena mia Bartolomea Spontoneja in Costanza Antegnatija Secular and Sacred in the Second Half of the Sixteenth Century: The Case of Masses Nasce la pena mia of Bartolomeo Spontone and Costanzo Antegnati 181 Peter Grum Glasbena podoba evharističnega kongresa v Ljubljani leta 1935: Med liturgično prenovo in zunanjim učinkom The Musical Image of the Eucharistic Congress in Ljubljana in 1935: Between Liturgical Renewal and External Effect 199 Thomas Hochradner Revived is the Lord… : Two Readings of a Dramatic Approach in Music Gospod živi… : Dve branji dramatičnega pristopa v glasbi 213 Ana Petrov Listening to Music in ‘Holy’ Space: The Role of 19th-Century Public Concert in the Construction of Kunstreligion Poslušanje glasbe v »posvečenem« prostoru: Vloga javnega koncerta pri ustvarjanju Kunstreligion v 19. stoletju 223 Sanna Iitti The Dionysian signs in Richard Wagner’s Tannhäuser Dionizična znamenja v operi Tannhäuser Richarda Wagnerja 231 Marc Brooks The Word is not Enough: Symbol, Myth, and Ritual in Hofmannsthal’s Libretto for Arabella Beseda ni dovolj: Simbol, mit in obrednost v Hofmannsthalovem libretu Arabella 239 Matjaž Barbo Resurrecturis - Musical Triptych in the Form of a Concert Requiem, composed by P. Ramovš, J. Trošt, and S. Vremšak Resurrecturis - Glasbeni triptih v obliki koncertnega rekvijema skladateljev P. Ramovša, J. Trošta in S. Vremšaka 251 Primož Trdan Lux aeternas by Two Composers: Sacred and Profane in the Context of Genre Individualisation Lux aeterna dveh skladateljev: sakralno in profane v luči zvrstne individualizacije 273 Drago Kunej Gramofon v službi sakralne glasbe? Gramophone Serving Sacred Music? 279 Jana Michálková Slimáčková The Sacred and the Profane in the Organ Music of the Czech Lands in the 19th and 20th Centuries Sakralno in profano v orgelski glasbi čeških dežel v 19. in 20. stoletju 293 Darja Koter Musical Symbols: The Symbiosis of Religious and Secular Themes in Art Heritage Glasbeni simboli: Sožitje verskih in posvetnih tem v likovni dediščini 299 Imensko kazalo • Index 309 Avtorji • Contributors 333 W.-A. SCHULTZ • MUSIKGESCHICHTE ALS HEILIGE GESCHICHTE ... UDK 78:165.24(091) DOI: 10.4312/mz.50.2.7-16 Wolfgang-Andreas Schultz Hochschule für Musik und Theater, Hamburg Visoka šola za glasbo in gledališče, Hamburg Musikgeschichte als heilige Geschichte - ein Versuch, die Entwicklung neu zu verstehen Zgodovina glasbe kot svéta zgodovina – poskus novega razumevanja razvoja Prejeto: 1. marec 2014 Received: 1st March 2014 Sprejeto: 21. junij 2014 Accepted: 21st June 2014 Ključne besede: zgodovina glasbe, evolucija Keywords: history of music, evolution of con- zavesti, duhovnost sciousness, spirituality IZVLEček ABSTRACT Poskus, da bi glasbenozgodovinske tokove pojas- The attempt to explain developments in music nili z razvijanjem v človeka vsajenih zmožnosti in history, not as movement of material (Adorno) ne z gibanjem gradiva (Adorno), izhaja iz podobe but as the unfolding of man’s potentials, has its človeka in teorije evolucije zavesti (Jean Gebser, origin in the image and theory of man as offered Ken Wilber idr.). V glasbi po 1600 so se razvile by the evolution of consciousness (Jean Gebser, „duhovne signature“, katerih možnosti in nevar- Ken Wilber and others). Since 1600 there has been nosti bodo pregledno predstavljene od baroka a development of “spiritual signatures’”; the article do postmoderne. gives a survey of its chances and dangers from the Baroque era up to Postmodernism. Theoretischer Teil Wie Musikgeschichte erzählt wird, hängt eng zusammen mit den Idealen der jewei- ligen Gegenwart, mit den Vorstellungen der Komponisten über eine mögliche Weiter- entwicklung, und daraus ergeben sich die Auswahl der für bedeutend gehaltenen Wer- ke und die Verbindungsfäden, die zur Erklärung der Entwicklung gezogen werden. 7 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL L/2 Das sind subjektive Entscheidungen, ohne die aber die sonst unzusammenhängenden Fakten keinen Sinn ergeben. Die Musikgeschichtsschreibung der zweiten Hälfte des 20. Jahrhunderts kann man mit guten Gründen als „materialistisch“ bezeichnen, stehen doch seit Adornos „Philo- sophie der Neuen Musik“ der Materialbegriff,
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