Page 198 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

glasbena interpretacija ... | music interpretation ...
1) High-frequency terms:
– “Koncert” [concert], “orkester” [orchestra], and “zbor” [choir]
are the most frequently occurring terms across journals, especial-
ly in MZ and ML. For instance, “koncert” [concert] has a relative
frequency of 159.2 in MZ and 90.5 in ML, showing a consistent fo-
cus on concert settings. Similarly, “zbor” [choir] is highly promi-
nent in ML (160.0) and DMD (95.2), indicating that choral music
is a common topic, particularly within these journals.

– “Orkester” [orchestra] also shows high relative frequencies in
MZ (154.9) and ML (129.4), while GPZ has a much lower value
(14.7), suggesting that orchestral discussions may be more central
to MZ and ML.
2) Low-frequency terms:
– Terms such as “interpretiranje” [interpreting], “izražanje” [ex-
pression], and “poustvarjanje” [re-creation, interpretation] appear
infrequently across most datasets, with relative frequencies most-
ly below 10. For example, “interpretiranje” [interpreting] has very
low values in ML (1.5) and MZ (3.9), and is absent in GPZ. This
trend indicates these terms are less central in the studied content
or potentially more specialized/niche as a word form (cf. “inter-
pretacija” [interpreatation]).
– “Podajanje” [presentation, execution] shows a low relative fre-
quency in MZ (2.3) and ML (1.5), but stands out with a higher value
in GPZ (14.7), possibly reflecting a focus on presentation aspects in
GPZ-related discourse.
3) Variation across journals:

– MZ has high relative frequencies for terms across the board,
notably “koncert” [concert], “orkester” [orchestra], and “zbor”
[choir], which may suggest a broader coverage of performance-fo-
cused topics.
– ML shows an interest in both performance and conductor-re-
lated terms, as indicated by high frequencies for “zbor” [choir]
(160.0) and “dirigent” [conductor] (98.0). This might reflect the-
matic coverage of musical direction and ensemble settings.

– GPZ generally has lower frequencies, with a few exceptions like
“praksa” [practice] (39.2) and “ustvarjanje” [creating] (54.0), po-

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