Abstract
The theme of this article was inspired by a series of questions that arise to researchers when discussing compositions by musical modernist Slavko Osterc and his pupils from the first half of the 20th century, whose music was neither "tonal" nor extreme "atonal". On the one hand, there is a strong doubt of the Slovenian analysts in the progress (modernity) of the compositional means of the mentioned music, since the works are usually compared with the most extreme solutions of the Second Vienesse School – with atonality, athematicism or twelve-tone technique, and on the other hand the rejection of this music from the Slovenian cultural management in concert performing. The central question that arises is the question of the meaningfulness of such comparison, given that these composers were educated also in Prague and did not want to follow the Schönberg's twelve-tone method.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
