Page 17 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
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foreword
of whether, say, Osterc’s music in the early 1920s appeared new in the eyes
of his Slovene contemporaries merely because no one else in Slovenia at that
time dared to defend dissonance or was capable of or interested in writing
dissonant music. At the same time we could ask ourselves whether, in the
reception of interwar Slovene music, which we frequently compare with the
hardly comparable “pinnacles” of contemporary European musical herit-
age, the sense of backwardness, imitation and catching up is not perhaps
exaggerated, if we consider that Slovene composers in the twentieth centu-
ry trained throughout Europe with some of the most influential members
of the European avant-garde.
Several leading Slovene and foreign musicologists have attempted to
offer reasons for the specific, regionally coloured adoption of stylistic diver-
sity and individual compositional techniques in the context of some of the
latest research findings of the project The Stylistic and Compositional-Tech-
nical Diversity of Slovenian Music from 1918 to the Present Day in the Light
of Social Changes (Slovenian Research Agency), and in this way indicate
guidelines for further research of Slovene music between the two World
Wars. This is undoubtedly still an under-researched field in Slovenia, in
part because of the consequences of the previously mentioned “Adornian”
mentality in this country. It thus appears that an important part of the jour-
ney of researching the specific characteristics of the period between the two
World Wars, with all its interesting nuances, still lies ahead of us.
15
of whether, say, Osterc’s music in the early 1920s appeared new in the eyes
of his Slovene contemporaries merely because no one else in Slovenia at that
time dared to defend dissonance or was capable of or interested in writing
dissonant music. At the same time we could ask ourselves whether, in the
reception of interwar Slovene music, which we frequently compare with the
hardly comparable “pinnacles” of contemporary European musical herit-
age, the sense of backwardness, imitation and catching up is not perhaps
exaggerated, if we consider that Slovene composers in the twentieth centu-
ry trained throughout Europe with some of the most influential members
of the European avant-garde.
Several leading Slovene and foreign musicologists have attempted to
offer reasons for the specific, regionally coloured adoption of stylistic diver-
sity and individual compositional techniques in the context of some of the
latest research findings of the project The Stylistic and Compositional-Tech-
nical Diversity of Slovenian Music from 1918 to the Present Day in the Light
of Social Changes (Slovenian Research Agency), and in this way indicate
guidelines for further research of Slovene music between the two World
Wars. This is undoubtedly still an under-researched field in Slovenia, in
part because of the consequences of the previously mentioned “Adornian”
mentality in this country. It thus appears that an important part of the jour-
ney of researching the specific characteristics of the period between the two
World Wars, with all its interesting nuances, still lies ahead of us.
15
