Page 90 - Glasbenopedagoški zbornik Akademije za glasbo, letnik 16, zvezek 33 ◆ The Journal of Music Education of the Academy of Music in Ljubljana, year 16, issue 33
P. 90
sbenopedagoški zbornik ◆ letnik 16 ◆ številka 33 Venišnik Peternelj, V., in Novak Oiseau, N. (2011). Alojz Srebotnjak. Glasna:
revija Zveze Glasbene mladine Slovenije, 42(2), 36–39.
Vrhunc, L. (1990). Rezijanski motivi v slovenski instrumentalni glasbi
[neobjavljena diplomska naloga]. Univerza v Ljubljani.
Zlobec, M. (1999). Prešernov nagrajenec – skladatelj Alojz Srebotnjak: vedno
sem šel svojo pot in bil ustvarjalno sproščen. Delo, 41(28), 8.
Summary
UDC 7.011:781.6
Throughout all three movement of Slovenica for Brass, Percussion and String the compos-
er Alojz Srebotnik uses multiple linking elements he complexly intertwines on multiple
levels of musical texture. The most obvious linking element is the fourth and fifth chord
that appears in different sound layers and is a common building element of more com-
plex chords. Another linking element that appears in all three sentences is the aspira-
tion to use all 12 tones of the chromatic scale in various ways, be it via the aforementioned
fourth-fifth chords, clusters, polychords, 12-note chords (e.g. comprised of two whole-
tone scales), etc. A special role in the composition is given to the contrapuntal technique
of imitation, which is one of the fundamental melodic techniques of analysing music
material. Imitation has a developmental connection to the subject of modal melodies
used in the article and suggests the topic was inspired by the medieval Old Christian
musical sonority. The external musical structure is tightly connected to the concept of
constructing different textures, melodic patterns, orchestral and dynamic contrasts, and
harmonic systems. By implementing these processes, the composer creates a new inter-
nal part of musical form and at the same time imbues every new part with a different mu-
sical texture that further emphasises its beginning.
90
revija Zveze Glasbene mladine Slovenije, 42(2), 36–39.
Vrhunc, L. (1990). Rezijanski motivi v slovenski instrumentalni glasbi
[neobjavljena diplomska naloga]. Univerza v Ljubljani.
Zlobec, M. (1999). Prešernov nagrajenec – skladatelj Alojz Srebotnjak: vedno
sem šel svojo pot in bil ustvarjalno sproščen. Delo, 41(28), 8.
Summary
UDC 7.011:781.6
Throughout all three movement of Slovenica for Brass, Percussion and String the compos-
er Alojz Srebotnik uses multiple linking elements he complexly intertwines on multiple
levels of musical texture. The most obvious linking element is the fourth and fifth chord
that appears in different sound layers and is a common building element of more com-
plex chords. Another linking element that appears in all three sentences is the aspira-
tion to use all 12 tones of the chromatic scale in various ways, be it via the aforementioned
fourth-fifth chords, clusters, polychords, 12-note chords (e.g. comprised of two whole-
tone scales), etc. A special role in the composition is given to the contrapuntal technique
of imitation, which is one of the fundamental melodic techniques of analysing music
material. Imitation has a developmental connection to the subject of modal melodies
used in the article and suggests the topic was inspired by the medieval Old Christian
musical sonority. The external musical structure is tightly connected to the concept of
constructing different textures, melodic patterns, orchestral and dynamic contrasts, and
harmonic systems. By implementing these processes, the composer creates a new inter-
nal part of musical form and at the same time imbues every new part with a different mu-
sical texture that further emphasises its beginning.
90
