Ovaj rad bavi se harmonijskim ritmom u Rossinijevom opernom opusu, promatranom u odnosu na ostale glazbene sastavnice kao što su melodija, ritam, dinamika i glazbeni slog, ali i libreto na temelju kojeg je opera nastala. Na primjerima iz dviju najpoznatijih, a ujedno i potpuno razliĉitih opera Gioachina Rossinija - Seviljskog brijača, opere buffe i Guillaumea Tella, jedinog primjera njegove forme grand opere - analiziran je harmonijski ritam u razliĉitim dramskih situacijama. Primjeri su analizirani na temelju klavirskih izvadaka, a na taj naĉin dobivena je šira slika odnosa dramske radnje i harmonijskog ritma, kao i uvid u promjene u na tom podruĉju koje su se dogodile tijekom trinaest godina, koliko je proteklo izmeĊu stvaranja navedenih opera. Nakon analize harmonijskog ritma i njegove uloge u odnosu s drugim glazbenim sastavnicama jasno se mogla uoĉiti evolucija Rossinijevog skladateljskog stila, kao i prilagodba stilskim normama opernih formi na koje je naišao preseljenjem u centar tadašnjeg europskog glazbenog ţivota – Pariz.In this work, we are analysing the musical element of the harmonic rhythm in Rossini’s operas and comparing it with other musical elements such as the melody, the rhythm, the dynamics and the musical syllable, as well the libretto on which the opera is based. The harmonic rhythm in different theatrical situations is analysed on the exemples from the two most famous, and in the same time completely different operas of Gioachino Rossini, The Barber of Seville, an opera buffa, and Guillaume Tell, his only grand opera. The exemples were analysed based on the piano reduction that gave a broader picture of the relation in which stand the dramatic plot and the harmonic rhythm as well as an insight into how it evolved in 13 years that stood between the creation of the above-mentioned operas. After analysing the harmonic rhythm and its role in comparison to other musical elements, we could clearly recognise an evolution in the composer’s style as well as Rossini’s ajustments towards the stylistic norms of the opera forms he encountered after relocating to Paris – the centre of Europe’s musical life of the time
