Page 56 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani

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Summary
UDC 782.8:78.02:159.9­049.8"20"

Some of the biggest criticisms of twentieth and twenty­first century contemporary art in
general, and contemporary opera in particular, have been about their (over)complexity
and consequent inability to attract the interest of a wider audience. While components
such as abstraction, innovation and the search for the new are regularly represented and
appreciated in contemporary artistic circles, much less attention is paid to components
such as comprehensibility and enjoyment. In this paper, we have analysed the composi­
tional process of writing the youth Slovenian operetta Špedicija Stradivarius, composed
by Miha Nahtigal to a libretto by Mateja Perpar and directed by Dr Henrik Neubauer,
focusing on the use of techniques that could make music more appealing to a young and
less musically proficient audience, especially in terms of a more intense listening experi­
ence. Drawing on research in the field of applied psychology, we have found that the very
process of writing a piece of music will be more creative if the composer is intrinsically
motivated and exposed to stimuli that make him or her feel awe. Since it is easier for audi­
ences to identify with similar actors, and most knowledge is gained empirically, from our
own experience, we have involved young and amateur musicians in the creative process
of creating the operetta. In choosing the appropriate compositional methods, we had

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