Abstract

This text features the status and importance of poetry in the output and opuses by Dejan Despić, based on the composer's view that "poetry is, in fact, merely unsounded music, that is to say, that music is, in fact, merely unspoken poetry". Transposing poetry into vocal shapes and achieving a specific mosaic-type dramaturgy will be explained in the example of turning miniature texts into music - Ozon zavičaja [The Ozone of the Homeland], op. 105 (a cycle created to the verses of Desanka Maksimović) and Krug [The Circle], op. 61 (composed of the verses of authentic Japanese poetry).

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