Projects / Programmes
The Stylistic and Compositional-Technical Diversity of Slovenian Music from 1918 to the Present Day in the Light of Social Changes
| Code |
Science |
Field |
Subfield |
| 6.08.00 |
Humanities |
Musicology |
|
| Code |
Science |
Field |
| H320 |
Humanities |
Musicology |
| Code |
Science |
Field |
| 6.04 |
Humanities |
Arts (arts, history of arts, performing arts, music) |
Slovenian music, music of the 20th Century, compositional techniques of the music of the 20th Century, social changes
Researchers (15)
Organisations (2)
Abstract
The central task of the project is linked with researching the stylistic and compositional-technical diversity of Slovenian music after 1918 and establishing a causal relationship between the stylistic features of individual historical segments and social changes. Slovenian musicology has on several occasions engaged with researching the history of Slovenian music in the 20th century, but the surveys undertaken to date have largely been conceived as broader historical sketches focused on the integration of compositional practices in the wider context of music production, reproduction and reception (research of music institutions, highlighting important musicians, biographies of composers), while a penetrating examination of the compositional features of individual compositional opuses or the stylistic characteristics of specific generations of composers or shorter historical periods has been neglected. The music of the 20th century is characterised by rapid stylistic changes and the introduction of numerous new compositional techniques, which can be linked with the emphasised subjectivism and with a desire for innovation, which in itself was able to ensure high aesthetic value. Regarding the music of the 20th century, it is therefore impossible to define a linear and sequential logic of stylistic changes; these changes are better described by a rhizomic structure, i.e., a system of roots and shoots characterised by parallel and divergent trajectories.
In three sequential steps, the research will address three sets of issues: (1) after collecting the relevant material (existing scientific literature and primary sources of notated music), it will be necessary to analytically penetrate the compositions and reveal the diversity of the stylistic network and the compositional techniques employed, (2) in the continuation, it will be necessary to take into account the comparative aspect, comparing the stylistic network of 20th century Slovenian music with a similar network characteristic of European music of the same period, (3) in the third phase, we will extend the comparative aspect and attempt to establish a causal relationship between the characteristics of the stylistic network and the concurrent social changes. Central to the last phase will be an interest in how specific social relationships have influenced the stylistic characteristics of music in three historically marked periods: (1) the interwar period (1918–1945), when Slovenians shifted from the multinational Austro-Hungarian monarchy to the Kingdom of Serbs, Croats and Slovenes, in which they in principle achieved greater national independence, (2) the period between the end of the Second World War and independence (1945–1991), when the arts were apparently strongly marked by state ideology, with alternating waves of political pressure and “thaw” leaving their mark, (3) the period after democratisation and independence (1991–), which brought final independence and a new capitalist social system.
The central questions that will be able to be answered are: Have Slovenian composers participated in the “pioneering” formation of any of the styles or techniques? Have the styles and new compositional techniques appeared simultaneously with their emergence in other central European nations or with characteristic “delays”? Have the styles and techniques acquired specific characteristics in the Slovenian territories? What are the causes for the specific regionally coloured adoption of stylistic diversity and specific compositional techniques?
The final result of the research will be linked with a more detailed knowledge of Slovenian music of the 20th century, above all a more precise understanding of the compositional characteristics of the central works. The research will also provide an insight into the causes for the specific conservatism of the Slovenian contemporary music environment, as well as expanding the specialist musicological terminology.
Significance for science
Slovenian musicology has undertaken a number of individual efforts to publish monographic or partial overviews of the history of Slovenian music. However, these are largely broader overviews, which focus more on the presentation of the various conditions surrounding the production and reception of music and less on the analysis of musical works. This is the reason most such works are inadequate in any attempt to identify or reveal the specific characteristics of individual composers. Some composers’ opuses have been stylistically defined; however, these methods and arguments are almost entirely absent in post-WW II-music research. One of the main tasks of the project would be to bridge this gap in Slovenian historiography, as such would provide a more detailed and consistent designation of individual composers’ opuses, as well as individual historical periods. In order to achieve this goal, methodological approaches would have to be used, which Slovenian musicology has, to date, largely avoided, in order to fulfil basic tasks of historiography (collecting and active archiving of material, creating a successive historical logic). Therefore, at least in the first step, the emphasis would be on analytical methods.
Recognising the styles of the 20th century and particular compositional techniques typical for music of the 20th century still represents a major terminological difficulty: up till now, numerous stylistic designations and terms for compositional techniques still do not belong to the common musicological terminological repertoire in the Slovenian language. Therefore, the importance of this research project lies also in its development of a body of Slovenian terminology (compositional techniques, extended performance techniques), connected with the music of the 20th century.
To date, Slovenian musicology has not actively endeavoured to establish links between the characteristics of Slovenian music of certain periods and the attendant social specifics. This study, focused on revealing the causal relationships between stylistic and compositional-technical diversity and social changes, could provide a more telling and comprehensive picture of the ideological, political and social influences on Slovenian compositional practice in the chosen historical periods. With such a process it would be possible to go beyond the common representation of ideological influences on musical development present in contemporary Slovenian musicology.
A clear relationship to Western art music of the 20th century would be established, as well as the degree of dependence of Slovenian music of the corresponding period on foreign models. It is precisely this detailed depiction of said relationship that could suggest answers to the important questions of contemporary compositional trends – the relationship between the traditional and the innovative, between old and new, modernistic and manneristic.
Significance for the country
Musicological surveys are closely connected with musical life and can, reciprocally, exert a certain influence on it. This is particularly true of studies of contemporary musical practices, which maintain an active, evolutionary contact with the present compositional practice. The study could well produce answers to certain dilemmas, in particular, why Slovenian music in the last 50 years looked back, to the past, rather than forward, to being open to radical modernistic breaks and to the subsequent partial “reconciliation”. Similarly, questions like why Slovenian postmodern music produced rather unique specifics related and directed more to attaining pre-modernistic styles than to an active confrontation of the modernist and non-modernist. Such findings could actively influence current compositional practice and broader concert and performance activity. Similarly they could also lead to a more eveident pluralisation of the Slovenian musical scene, which is largely conservative and limited to the performance of core repertoire and into which important foreign and Slovenian works created after World War II rarely find their way. Such a presentation of the reasons behind the relative unwillingness of practitioners involved with Slovenian music after 1945 to be more receptive and accommodating of new trends would, along with the acceptance of contemporary stylistic pluralism, prove more connected with the everyday moment and as a result speak to a wider circle of educated audiences, which in turn would become more actively involved in cultural events in general.
Such work and dissemination of the stylistic diversity of Slovenian music of the 20th century and its causes could well prove particularly useful and beneficial to the public institutions in charge of musical production and reproduction (The Society of Slovene Composers, The Slovenian Philharmonic, Narodni dom Maribor, Cankarjev dom, many other associations and institutions). If the patina of the past, which is typical of present concert life in classical music, would be dismissed audiences could well grow. As a result, these institutions would struggle less in their quest for survival, and could continue working without financial support from the government. This last condition is, currently, simply impossible, since income from ticket sales is relatively small.
These findings could leave a powerful mark on the changing of compositional practice, with composers more eager to open up to the contemporary stylistic pluralism and one would then become better acquainted with conceptual art, the tradition of electroacoustic music, live electronic music and alternative improvisation practices.
When describing the material, it will be necessary to solve some of the terminological problems connected with music of the 20th century and related compositional-technical systems, and would have a lasting impact on Slovenian musicological expertise and the larger musical culture in general.
Most important scientific results
Interim report,
final report
Most important socioeconomically and culturally relevant results
Interim report,
final report
