Page 311 - 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

summaries
gehabt hätte, eine eigene Schule zu beeinflussen, eine „etwas andere Wie-
ner Schule“.
Schlüsselwörter: Eduard Steuermann, Jakob Gimpel, Leopold Münzer,
Artur Hermelin, Vilém Kurz

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 interpretative
solutions
The harmonic-form analysis of solo harp compositions by Alojz Srebotnjak
and Ivo Petrić examines the technical and interpretative challenges faced
by young harpists and analyzes the significance of these works for peda-
gogical use. The key elements for a good harp interpretation include the
correct use of agogics, polymetry, hemiolas, arpeggios, and observing rests.
Harmonic-form analysis facilitates a better understanding of the compos-
ers‘ ideas while allowing interpretative freedom within the framework of
the written guidelines.
These compositions are present in music education, but performers often
approach them selectively, avoiding longer and more demanding pieces,
which is why these compositions often remain overshadowed by more well-
known foreign works. This assumption is supported by a survey analysis,
which shows that performers have a positive opinion of these compositions,
but shorter and technically simpler pieces are more popular. The survey re-
sponses highlight the need for greater inclusion of these works in peda-
gogical programs and the concert repertoire of Slovenian harpists, as they
provide an important opportunity for the artistic development of young
harpists.
Keywords: Alojz Srebotnjak, Ivo Petrić, harp, compositions for solo
harp

Niall O’Loughlin
Recent Slovene Music and its Interpreters
A serious new music culture has been very strong in Slovenia, specially in
the second half of the 20th century. The foundation for this has been very
much enabled by the high-level skills and application of the performers, the
interpreters of the music. This has encouraged the determination and en-
thusiasm of the composers, as well as the attention and participation of the
audiences. Performers such as the violinist Igor Ozim, the pianist Aci Ber-

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