Slavko Osterc und Karl Reiner im Briefwechsel

Several hundred different letters and postcards to the Osterc testify his extensive network of national and international contacts. In his entire legacy the correspondence with Reiner appears next to Hába as the most intense and rich. 39 letters have been received from Reiner's side, though the counter-correspondence unfortunately was not found. Reiner's letters to Osterc are full of various discussions about joint projects, the preparation of concerts, changes in interpreters, program etc. Their correspondence was most intense in the years 1933–1935

Reger in Slowenien

Die ersten Belege über Musik von Reger in Slowenien sind verhältnismäßig spät. Einer von den ersten Autoren, die über ihn schrieben, ist der berühmte Konzertmeister und letzte Schuldirektor der Philharmonischen Gesellschaft Laibach [slowen. Ljubljana], Hans Gerstner (1851–1939). Dieser hörte Reger in Graz, wo vom 31. Mai bis 4. Juni 1905 das Musikfestival des Deutschen Musikvereins stattfand. In seinen Erinnerungen berichtete er, wie ihn die vorgetragenen Werke in der Ausführung von den Dirigenten Ferdinand Löwe, Gustav Mahler und Reger bewegt hatten

»Svet čudovite lahkosti zvenenja sodobne glasbe«

Članek se posveča pregledu delovanja slovenskega društva za novo glasbo Muzina in ob tem obravnava pomen, ki ga je društvo imelo na oblikovanje zavesti o sodobni glasbi. Pri tem estetske koordinate društva povezuje s sočasnimi mednarodnimi trendi in hkrati vpenja delovanje društva v kontekst razvoja glasbe v tem obdobju na Slovenskem

"Slovenski duh" kot poetska kategorija

"Slovenski duh" kot poetska kategorij

E-Musik – Kunstreligion der Moderne: Beethoven und andere Götter

Helmut Loos se v svoji monografiji sooča s temeljnimi vprašanji recepcije, razumevanja in vrednotenja glasbe, določenih znotraj koncepta umetnostne religije moderne

Reger v Sloveniji

The article deals with the history of Max Reger’s reception in Slovenian music. Initially some personal contacts between Reger and Slovenian musicians are traced. The first critical observations of his music soon turned into admiration, followed by relatively regular performances of his concert works (organ, chamber, choral, and orchestral) as well as use of his pedagogical literature.Članek se ukvarja z zgodovino recepcije Regerjeve glasbe na Slovenskem. Sprva zasledimo posamezne osebne stike Regerja z glasbeniki, ki so delovali na Slovenskem. Prvotna kritiška zadržanost ob njegovih delih se kmalu prelevi v občudovanje, čemur sledijo dokaj redne izvedbe koncertnih del (orgelskih, komornih, zborovskih in orkestralnih) in didaktične literature

Contemporary Musicology and the Study of Musical Practices in Slovenia

Musicology in Slovenia is gradually evolving from a historiographical discipline into a system of intersecting research in the fields of reception history, institutional history, structural and genre analysis, acoustics, critical reflection, semiological analysis, hermeneutical reflection and epistemology. The discontinuities and inhomogeneities we perceive today can even be understood as one of the modes of contemporary musicology

Josip Mantuani in začetki glasbenozgodovinskega študija na Slovenskem

Josip Mantuani se je po študiju arheologije, umetnostne zgodovine in glasbe zaposlil v dunajski dvorni knjižnici, kjer je postavil glasbeno zbirko in jo vodil vse do odhoda v Ljubljano, ko je prevzel vodstvo Deželnega muzeja. Že na Dunaju si je z delom v arhivu, poučevanjem in sodelovanjem pri strokovnih projektih pridobil vrsto izkušenj, širok pregled nad gradivom in se uveljavil v krogu vodilnih muzikologov. Po ustanovitvi glasbenega konservatorija (1919) je bil zato Mantuani razumljivo izbran za poučevanje glasbene zgodovine na njem. Ob ustanovitvi slovenske univerze je načrtoval ustanovitev muzikologije kot samostojne univerzitetne stolice, saj pouk glasbene zgodovine na konservatoriju ni ustrezal njegovim predstavam o sodobnem muzikološkem študiju. Njegova prizadevanja se kljub podpori javnosti še dolgo niso uresničila. Šele leta 1942 je bilo omogočeno študentom na univerzi opravljati dodatni izpit iz glasbene zgodovine, do ustanovitve posebnega muzikološkega oddelka pa je prišlo 1962.After studying archaeology, history of art and music, Josip Mantuani gained employment in the Vienna court library, where he set up the music collection, leading it until his departure for Ljubljana, where he took over the leadership of the Provincial Museum. Even in Vienna, with his work in the archive, teaching and cooperation in specialist projects, he gained a wide range of experience, a broad view of the material and became established in the leading circle of musicologists. Thus, after the establishment of the music conservatory (1919), it was understandable that Mantuani was selected to teach history of music there. Upon the founding of the University of Ljubljana, he planned the establishment of an independent chair of music, as the teaching of the history of music at the conservatory did not satisfy his criteria for the contemporary study of music. In spite of public support, his efforts went unrewarded for many years. It was not until 1942 that students at the university were able to sit an exam in history of music, while the establishment of a department of musicology did not take place until 1962