Page 427 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 427
summaries
in the history of solo singing teaching in Slovenia and established the new
curriculums for the whole vertical of solo singing education which took the
final form in 1936. With his systematic and unique singing school Betetto
inaugurated guidelines of development of solo singing education’s quality
in Slovenia. Undoubtedly, Julij Betetto was one of the most prominent per-
sons of the administrative and pedagogical structure of the Ljubljana con-
servatory in the first half of the 20th century.
Keywords: Julij Betetto, artist, singing teacher, head, State Conservatory
Ivan Florjanc
Slavko Osterc‘s didactic contribution to music theory
and composition at the Conservatory
and Academy of Music in Ljubljana
No discussion of the establishment of a substantive basis for the disciplines
of composition and musical theory in the early decades of the Conserva-
tory and Academy of Music in Ljubljana can overlook the important role
played by Slavko Osterc (1895-1941) as a prominent member of the teach-
ing staff at this new Slovene musical institution. Besides his influence as a
teacher of composition on pupils such as P. Šivic, M. Lipovšek, D. Žebre, F.
Šturm, P. Ramovš and, in particular, K. Pahor, all of whom continued to
refer to him explicitly in later years, when composing independently, one
should also consider his didactic legacy in the field of music theory. Osterc‘s
handwritten lecture notes, for example, show signs of an original approach
to theoretical content. This discussion focuses primarily on three of Os-
terc’s music theory writings, i.e. his draft lecture notes: Counterpoint, Har-
mony and Chromatics and modulation – Instructions for composers. The last
piece in particular, which he made ready for printing, most originally re-
veals Osterc’s music theory thinking: despite the fact that Osterc continu-
ously roams the extreme margins of tonal grammar, in terms of thought he
still firmly maintains a harmonic functional paradigm. Written records of
the correspondence course in composition that K. Pahor took with Osterc
exclusively in written form, shed important light on some of the composer‘s
personal views of musical aesthetics, theory and composition. Osterc‘s con-
tribution is many-layered and significant and also a good illustration of the
broader state of music theory and composition teaching at the Conservato-
ry and Academy of Music in Ljubljana eighty years ago, before the outbreak
of the Second World War.
425
in the history of solo singing teaching in Slovenia and established the new
curriculums for the whole vertical of solo singing education which took the
final form in 1936. With his systematic and unique singing school Betetto
inaugurated guidelines of development of solo singing education’s quality
in Slovenia. Undoubtedly, Julij Betetto was one of the most prominent per-
sons of the administrative and pedagogical structure of the Ljubljana con-
servatory in the first half of the 20th century.
Keywords: Julij Betetto, artist, singing teacher, head, State Conservatory
Ivan Florjanc
Slavko Osterc‘s didactic contribution to music theory
and composition at the Conservatory
and Academy of Music in Ljubljana
No discussion of the establishment of a substantive basis for the disciplines
of composition and musical theory in the early decades of the Conserva-
tory and Academy of Music in Ljubljana can overlook the important role
played by Slavko Osterc (1895-1941) as a prominent member of the teach-
ing staff at this new Slovene musical institution. Besides his influence as a
teacher of composition on pupils such as P. Šivic, M. Lipovšek, D. Žebre, F.
Šturm, P. Ramovš and, in particular, K. Pahor, all of whom continued to
refer to him explicitly in later years, when composing independently, one
should also consider his didactic legacy in the field of music theory. Osterc‘s
handwritten lecture notes, for example, show signs of an original approach
to theoretical content. This discussion focuses primarily on three of Os-
terc’s music theory writings, i.e. his draft lecture notes: Counterpoint, Har-
mony and Chromatics and modulation – Instructions for composers. The last
piece in particular, which he made ready for printing, most originally re-
veals Osterc’s music theory thinking: despite the fact that Osterc continu-
ously roams the extreme margins of tonal grammar, in terms of thought he
still firmly maintains a harmonic functional paradigm. Written records of
the correspondence course in composition that K. Pahor took with Osterc
exclusively in written form, shed important light on some of the composer‘s
personal views of musical aesthetics, theory and composition. Osterc‘s con-
tribution is many-layered and significant and also a good illustration of the
broader state of music theory and composition teaching at the Conservato-
ry and Academy of Music in Ljubljana eighty years ago, before the outbreak
of the Second World War.
425
