Page 20 - 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 ...
of St Louis, Missouri. Among the contributions certain to attract interest
by virtue of their highly topical content is Wolfgang Marx’s paper AI and
Musical Interpretation.
This is followed by a paper from Darja Koter on the significant con-
tribution of the conductor Lovro von Matačić to musical interpretation in
Slovenia (An Attempt at an Analysis of the Factors Influencing a Conduc-
tor’s Artistic Interpretation: Lovro von Matačić in Slovenia) and a paper by
the Vienna-based Slovene conductor Jera Petriček Hrastnik on the remark-
able conducting career of Gertrud Herliczka (The Conductor Gertrud Her-
liczka), who between 1927 and 1939 conducted several hundred concerts by
professional orchestras on some of the most important concert platforms
in Europe and the USA. In his paper Recent Slovene Music and Its Inter-
preters, Niall O’Loughlin offers an account of the remarkable development
of interpretational skills that has been evident in Slovenia in the three dec-
ades since independence. The first part of the publication is rounded off by
Tjaša Ribizel Popič’s paper Exploring Musicological Discourses: A Prelimi-
nary Meta-Analysis of Slovenian Scholarly Articles, in which, with the help
of a meta-analysis of the musicological literature produced in Slovenia over
the last two decades, the author presents important patterns and shifts in
focus and sheds light on the changing roles and perceptions of composers,
performers and ensembles.
The second half of the monograph is enriched by contributions from
younger researchers: Jakob Barbo (Selecting the Tempo of Mozart’s Works –
Traversing the Historical Sources Minefield) sheds light in an original way
on the causes of some erroneous notions about tempo in Mozart’s works;
Urban Stanič (Taking into account historical context while composing ca-
denzas for Mozart’s piano concertos) presents some of the sound peculiari-
ties and differences in interpretation of Mozart piano concertos at the time
they were written and today; Pavle Krstić (Analyse des Rhythmus als Mit-
tel der Interpretation in der Musik von Chopin) describes the ways in which
musical analysis can contribute to the process of interpretation, with the
author focusing on some of Chopin’s piano works; and Naja Mohorič (The
role of harmonic-form analysis in the compositions of Ivo Petrić (1931–2018)
and Alojz Srebotnjak (1931–2010) for solo harp in the development of own in-
terpretative solutions) looks at possible connections between the analyti-
cal and interpretative approaches in Petrić and Srebotnjak’s compositions
for solo harp.

20