Zveneča metafizika: skladateljski opus akademika Lojzeta Lebiča
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| Format: | Buch |
| Sprache: | Slowenisch |
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Ljubljana
Znanstvena založba Filozofske fakultete Univerze v Ljubljani
2014
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| Ausgabe: | Prva izdaja |
| Schriftenreihe: | Zbirka Razprave FF
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| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | 352 Seiten Illustrationen, Notenbeispiele 24 cm |
| ISBN: | 9789612377151 9612377154 |
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| 245 | 1 | 0 | |a Zveneča metafizika |b skladateljski opus akademika Lojzeta Lebiča |c Gregor Pompe ; prevod povzetka Andrej Rijavec |
| 250 | |a Prva izdaja | ||
| 264 | 1 | |a Ljubljana |b Znanstvena založba Filozofske fakultete Univerze v Ljubljani |c 2014 | |
| 300 | |a 352 Seiten |b Illustrationen, Notenbeispiele |c 24 cm | ||
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| 490 | 0 | |a Zbirka Razprave FF | |
| 505 | 8 | |a Includes bibliographical references (pages 333-347) and index | |
| 546 | |a Zusammenfassung in englischer Sprache | ||
| 600 | 1 | 4 | |a Lebič, Lojze / Criticism and interpretation |
| 600 | 1 | 7 | |a Lebič, Lojze |2 fast |
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Datensatz im Suchindex
| _version_ | 1819264653651345408 |
|---|---|
| adam_text | Kazaio vsebine
Uvod.............................*...................................5
1 Lojze Lebic - arheolog, dirigent, skiadatelj in pedagog...........9
2 Lebiceva »eksplicitna« poetika...................................19
3 Analize skladateljevih del.......................................33
3.1 Zacetek skladateljske poti (1951-1962/65).................34
3.1.1 Zgodnja delà: iskanje in prevzemanje znanih
kompozicijskih obrazcev in izrazil..................35
3.1.2 Kompozicijska »ucna« leta...........................43
3.2 Vstop v osvobojeni zvocni svet modernizma.................57
3.2.1 Poizkusi iskanja novega kompozicijskega »jezika«:
»trganje« iz »domacnosti« in tradicije
(1962/1965-1968)....................................57
3.2.2 Visoki modernizem (1969-1977).......................68
3.3 »V prazno vrteci se mlin abstraktnega modernizma«:
prevprasevanje modernisticnih mej (1977-1985)............125
3.4 »Nova gramatikalnost« modernisticnih in postmodernisticnih sintez: individualna izraznost, idejna izciscenost, osebna pomîritev modernizma
in tradicije (1986-).....................................166
4 Zakljucno poglavje: Lebiceva »metafizicna dialektika«........257
4.1 Med racionalnim nacrtom in »duhovnostjo« glasbe..........257
4.2 Dominanca glasbeno imanentne logike ali »vdor«
semantike?...............................................265
4.3 Med modernizmom in postmodernizmom.......................276
4.4 Namestozakljucka.........................................290
5 Priloge.........................................................295
5.1 Seznam skladb Lojzeta Lebica.............................295
5.1.1 Kronoloski seznam del..............................295
5.1.2 Abecedni seznam del................................306
5.1.3 Seznam del glede na zasedbo........................310
5.2 Clanki in intervjuji Lojzeta Lebica (kronoloski seznam)..314
5.3 5. Seznam posnetkov z glasbo Lojzeta Lebica..............317
3
Povzetek.........................................................325
Abstract.........................................................329
Literatura.......................................................333
Imensko kazalo...................................................349
Abstract
The main aims of the monograph are connected with the discovering of the compositional-technical characteristics of the symphonic creations of the contemporary Slovenian composer Lojze Lebic (1934), and bringing to light individual compositional procedures and strategies, as well as the intellectual basis they originate from. This synchronous crosssection of the composer s works is complemented by a diachronic one, since the research project also wants to give an answer to the question of changes these characteristics experienced over longer periods of time.
After introductory chapter, devoted to composers biography, the next chapter brings the elucidation of the composer s “explicit” poetics as to be found in his notes and reflections on his own works and individual creations. The analysis of such contributions shows that the composers autopoetics is characterized by numerous pairs of tension: his compositional process seems to be caught between “the logic of reason and the logic of the heart”, which means that the essence of music appears to him as being an irreconcilable conflict between the mathematically or rather objectively definable (in the nature of things, physically explicable) and the transcendentally unutterable, since music is on one hand “a matter of relations, of proportions we listen to as something logical”, whereas on the other it can be understood as “a reflection of a higher order” or as “sonorous metaphysics”; the composer understands music as an autonomous art without any informational function, nevertheless admitting
that it “should regain more of its narrational powers, i.e. its grammar and syntax should be revaluated”; dialectical seems to be also Lebic s relation between his attachment to his native Carinthia and its landscape, and his openmindedness regarding the newest trends abroad, beyond the borders of his native country; all these seeming discrepancies lead to the question of the composers stylistic orientation characterized by his typical faithfulness to modernism, although towards the end of the seventies, and in spite of rejecting fashionable postmodernism, he does not find it sensible to go on making “irreconcilable divisions between old and new”, whereas his music becomes torn between primary archetypal patterns and the topical present. All these oscillations, torn states of mind and dialectical relations represent the rhizomes of the composers creative imagination. However for understanding Lebic’s works, more than these extremes themselves, those principles are of importance in accordance with which all these tensions are resolved and balanced.The composers main efforts lie namely in the search of a middle, golden course, while faithfulness to ethos and trust in archetypal patterns remain his greatest willing helpers. As regards his understanding of music, high ethical standards are those which, as deeds of love and grace, reveal
329
themselves in his hard and careful endeavours as well as in his trust in the spiritual values of creative work, whereas archetypal patterns mark the formal structure and expressiveness of the composers creations.
The main part of the monograph comprises analyses of all Lebics compositions; the methodological tools used are continuously not the same, since only chronological penetration into single movements of the works in question can pave the way for discovering the laws of change that govern the composers poetics, his compositional procedures and techniques. Therefore, each of the analyses focuses upon its characteristic trait, crucial for the very work chosen, while, through the broad picture, the common characteristics of Lebic s symphonic works become gradually visible.
The final synthesis, possible only after all of the analyses have been undertaken, brings the confirmation of numerous pairs of tension that can be reduces to three main spheres of problems. The first, represents the composers dividedness between rational plans and the spirituality of music; initially, the composer makes a rational scheme of the work, whereas during the compositional process intuitive ideas are given green light to trespass the carefully planned structure, so that ethos can mediate between the two — the “mathematically disciplined” reason and the intuitiveness of the “heart”. The next round of problems has its origins in the divide between the narrativeness of the flow of music and the immanently musical solutions: although the composer doubts about the ability of music to communicate messages, his works are infused with high ethical contents in such a way that musical solutions are described by poetic mottos, extramusical ideas translated into immanently musical logic,
the whole marked with a unifying semantic loop or that, because of contrasting musical contexts, explicitly semantic splinters can be extracted from his works. The third problem is that of defining the composer s works stylistically. Whereas the musical material, numerous compositional procedures and emphasized ethicalness appear to be typical of modernistic expressiveness, his formal principles follow premodern, and even archetypal patterns of tripartiteness, sinous formations, as well as the practice of “announcements” and “comebacks”; however the confrontation (or; parallel construction) of both styles (“worlds”), which is most evident in the above-mentioned splinters, is already a harbringer of postmodern influences. That is why an unambiguous stylistic definition of Lebic s symphonic creations comes to be practically impossible. The composer himself emphasizes his fidelity to modernism, while at the same time feeling bound to the great traditions of West European art music, so that in his aesthetic proclamations he is firmly negative only as regards postmodernism. Lebic s
330
repudiation of postmodernism originates above all from its unethicalness: from the crumbling of values, loss of focus and points of orientation, the end of“great stories”, to the implosion of the popular and the highly artistic, and the general levelling out of everything and any-thing. On such an ethical level the composer distances himself from postmodernism. However his poetics is receptive to postmodern semantisation that arises from the construction of parallel worlds. Lebic is therefore a typical modernist who is aware of the fact of living in postmodern times which, nevertheless, do exert influence upon him.
The conclusion brings out the thought that all these numerous cases of clivide-dness and pairs of tension constitute the essence of Lebics music which grows out of them either in a conquering or harmonizing way. Such pairs are linked and interwoven between themselves, thus creating a thick network that spreads over all levels of musical production and reception, - for understanding the ways they ‘operate”, “harmonizers” are of utmost importance, since they represent those elements that mediate between diametrically opposed possibilities, for the composer — in spite of great inner conflicts raging in him or just because of them — is bound to find a middle, “golden” course beyond any extremes. In the foreground, there is this characteristically dialectical play or rather game: between two conflicting elements the third mediates and traces a “safe” course. This and such dialectics seem to possess metaphysical dimensions, since seeming discrepancies appear to be regulated by a superior ethical principle that, in its understanding of music, shows itself to be — “spiritual”.
331
Imensko kazalo
A
Adamic, E. 14 Adorno, T. W. 26,266 Agawu, V. Kofi 266,269 Ajlec, R. 139,274 Anderson, M. 288 Antoni, L. 23
Asiski, E 223-224,226,272-274 Avgustin 9 Avrelij, M. 9
B
Bach, J.S. 5,10,22 Baird, T. 81
Barbo, M. 11-13,16,22,24,32,34-35, 59-61,68-69,71,73,80,261,293 Barthes, R. 281
Bartok, B. 12,22,29-30,57,61,79
Baso, M. 210—211
Baudrillard, J. 279-282
Bedina, K. 17-18, 119
Beethoven, L. van 5
Benjamin, W. 278
Bergamo, M. 19
Bertoncelj, A. 13,120
Bevc, C. 26-28,67,291
Bevk, F. 37
Borges, J. L. 282
Borio, G. 25
Bostele, A. 38
Botstein, L. 278
Boulez, R 16,23
Bozic, D. 13
Breton, A. 144-145
Bus, G. de 167
Buson,Y. 211
c
Cage J. 210 Calinescu, M. 201 Chaillou, de R 167 Chardan,T. 223 Cipci, K. 13 Crumb, G. 140 Cvetko, D. 14
C
Cajkovski,RI. 210,252 Cernej,A. 217,221
D
Dahlhaus, C. 22 Dante, A. 9
Danuser, H. 20,25, 82,276, 283
Dekleva, M. 13,20,22-24,27, 76,286
Derrida, A. J. 281—282 Descartes, R. 23 Destovnik-Kajuh, K. 148 Dev, O. 143 Dibelius, U. 276 DolarJ.K. 14 Dolgan, M. 213 Dolinar, D. 267 Dravec,J. 90
E
Eimert, H. 12 Eluard, R 144 Erjavec, A. 281 Etter, B. K. 278
349
F
Faltin, R 266-269
Forstneric Hajnsek, M. 25—26, 33, 168 Frege, G. 267
G
Gacesa, M. 24,26-27, 30 Gadamer, H. G. 267 Gallus J. P. 14,22,125,139-140,217, 274
Glazunov, A. 210 Glusic, H. 10 Golia, P. 35,217,220 Görecki, H. 81 Gradnik, A. 35,223 Grafenauer, N. 146—147 Grieg, E. 252 Gruhn, W. 276,283
H
Habermas, J. 276 Habjanic, J. 17,172 Hajam, O. 138 Hanslick, E. 24 Hartman, M. 10,23,213,267 HaydnJ. 235-236,273 Heissenbuttel, H. 144—145 Heraklit 68
Hindemith, P. 12, 43-44,257,284
Hirsch, E. D. 267
Höher, J. 17
Hribar, K. 17,168,172
Hubad, S. 87,116
Husserl, E. 281
Huyssen, A. 284
I
Illich-Klancnik, B. 10
J
Jaklic,T. 23,223
Jakobson, R. 268
Jameson, F. 276,278—282
Janez Pavel II., papez 208,275
Jankauskiene, I. 288
Jare, M. 149,151-152,217,220,245
Jencks, C. 277, 282-283
Jesih, M. 167
JezJ. 13-14
Josquin, des Prez 286
Joyce, J. 180
Jug, S. 35
K
Karbusicky, V. 30, 92,183, 266—270 Kette, D. 56
Klemencic, I. 10,183, 186—187, 190-91,223 Klotz, H. 29,283 Kneif, T. 25,266,270 Kocbek, E. 92,155-158,271 Kogoj, M. 12, 37 Kompridis, N. 29, 277, 283 Konjar, V. 36 Koporc, S. 12 Kos, J. 27,233,279-280 Kosovel, S. 35,41, 77-79,105 Kosir, M. 27, 136,138,286 Kovic, K. 141 Kozina, M. 11—12,43 Kralj Bervar, S. 27 Kravos, M. 105—106 Kriznar, F. 23, 68, 122, 129, 216 Kucler, S.B. 12,23 Kunej,M. 26—27 Kuret, P. 13 Kusar, P. 122,145,167 Kutavicius, B. 176, 287—289
350
L
Lajovic, U. 134 Lebic, H. 141 Lebic, L 9 Lebic, N. 9 Legat, L. 208 Lendvai, E. 61,259 Levstik, F. 36 Ligeti, G. 16,23 Linhart, N, 9 Lippus, U. 288 Ljubic, S. 213
Loparnik, B. 12-17,22,27,29,167 Lutoslawski, W. 23,81 Lyotard, J. F. 27,282
NI
Mahler, G. 63,280,286 Mann, P. de 282 McHale, B. 281-282 Menait,J. 35,167,173 Merku, P. 73
Messiaen, O. 12,22-23,149,258
Messner, J. 10
Mevlja, D. 56
Mihelcic,T. 26-27
Miljkovic, B. 179
Mirko, V. 11
Motte-Haber, H. de la 28-29,266, 268,276,283
Mozart, W. A. 5,22,125,136,139, 273
N
Nattiez, JJ. 266-269,290 Nietzsche, F. 27,278
O
Ogden, C. K. 269
P
Pandur, L. 10 Pascal, B. 23
PaslerJ. 238,274,276,289 Peirce, C. S. 269 Penderecki, K. 5, 81,118 Perotin 273
Petek, M. 10-11,22,29,264 Petrie, L 13 Pignon, R 118 Pirs, G. 11,22,274 Plavec, G. 14
Pompe, G. 19,67,284,287 Potocco,M. 288 Potocnik, M. 23,263 Prevorsek, U. 13, 52 Prokofjev, S. 50 Puntar, F. 125
R
Radovanovic, V. 118 Ramovs, P. 239, 241,274 Redepenning , D. 216 Reinecke, H. P. 277 Richards,LA. 269 Rijavec, A. 9-10,13,68,124 Rob, I. 35 RobeznikJ. 57 Rojko, U. 130
S
Saussure, F. de 267 Schäfer, T. 276 Schering, A. 269 Schillinger, J, 263,265 Schnittke, A. 168,216 Schneider, F. 137 Schönberg, A. 63,278 Schumann, R. 252
351
Vbrnac, P. 18 Voss, E. 95
Sedak, E. 41—42 Senegacnik, B. 217,219 Skrjabin, A. 43 Snoj,J. 24 Srebotnjak, A 13 Stefanija, L. 25,32,233—234,263, 283
Stibilj, JVL 13,17 Stockhausen, K. 283 Stravinski, I. 12 Strnisa, G. 116,203,217,271 Susnik, E 10, 39-40 Svoljsak Cehner, M. 22
§
Segula, V. 14,22,26,28 Seserko,J. 145 Sivic, K. 15,118 Skoberne, M. 14 Stuhec, I. 13 Svara, D. 11-12
T
Taufer, V 179,213-214,216 Tito, J. B. 288 Tormis, V. 176,287-289 Toynbee, A. 27,276
U
Ucakar, B. 13,182,203 Ukmar, J. 167
Ukmar, K. 13,124,218,221,241, 244,248
Ursic, M. 9-10,15,27
w
Wagner, R. 26 Wathey, A. 170 Williams, A. 29
Z
Zajc, D. 67 Zemlinsky, A. 63 Zemljic, B. 105 Zupancic, A. 27, 67
V
Virk, T 267
Vitry, P. de 169 __________
Vivaldi, A. 210 ( Bayerische )
Vodnik, A. 221 ! Staatsbibliothek
i München
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| any_adam_object | 1 |
| author | Pompe, Gregor 1974- |
| author2 | Rijavec, Andrej 1937- |
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| author_role | aut |
| author_sort | Pompe, Gregor 1974- |
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| building | Verbundindex |
| bvnumber | BV043439142 |
| contents | Includes bibliographical references (pages 333-347) and index |
| ctrlnum | (OCoLC)959705616 (DE-599)BVBBV043439142 |
| edition | Prva izdaja |
| format | Book |
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| id | DE-604.BV043439142 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T17:36:26Z |
| institution | BVB |
| isbn | 9789612377151 9612377154 |
| language | Slovenian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028856679 |
| oclc_num | 959705616 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 352 Seiten Illustrationen, Notenbeispiele 24 cm |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Znanstvena založba Filozofske fakultete Univerze v Ljubljani |
| record_format | marc |
| series2 | Zbirka Razprave FF |
| spellingShingle | Pompe, Gregor 1974- Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča Includes bibliographical references (pages 333-347) and index Lebič, Lojze / Criticism and interpretation Lebič, Lojze fast Lebič, Lojze 1934- (DE-588)124224180 gnd Modernism (Music) Modernism (Music) fast Neue Musik (DE-588)4428235-7 gnd Komposition Musik (DE-588)4133320-2 gnd |
| subject_GND | (DE-588)124224180 (DE-588)4428235-7 (DE-588)4133320-2 |
| title | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča |
| title_auth | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča |
| title_exact_search | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča |
| title_full | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča Gregor Pompe ; prevod povzetka Andrej Rijavec |
| title_fullStr | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča Gregor Pompe ; prevod povzetka Andrej Rijavec |
| title_full_unstemmed | Zveneča metafizika skladateljski opus akademika Lojzeta Lebiča Gregor Pompe ; prevod povzetka Andrej Rijavec |
| title_short | Zveneča metafizika |
| title_sort | zveneca metafizika skladateljski opus akademika lojzeta lebica |
| title_sub | skladateljski opus akademika Lojzeta Lebiča |
| topic | Lebič, Lojze / Criticism and interpretation Lebič, Lojze fast Lebič, Lojze 1934- (DE-588)124224180 gnd Modernism (Music) Modernism (Music) fast Neue Musik (DE-588)4428235-7 gnd Komposition Musik (DE-588)4133320-2 gnd |
| topic_facet | Lebič, Lojze / Criticism and interpretation Lebič, Lojze Lebič, Lojze 1934- Modernism (Music) Neue Musik Komposition Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028856679&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT pompegregor zvenecametafizikaskladateljskiopusakademikalojzetalebica AT rijavecandrej zvenecametafizikaskladateljskiopusakademikalojzetalebica |