Abstract

Dimitrije Bužarovski's compositions are indefinite treasure for musicological research due to his declared attitude and use of multistylistic and multigenre approach. Searching for originality in the idiom fusion and upgrade, especially through the use of the popular genres - folk, popular music and jazz, during the last several decades, his compositions are already an example of the compositional techniques of neoromantical national schools, achieving universal global acceptance. Thus, they communicate equally successful in the local and in the wider international environment. The cycle of nocturnes for piano (the original title Večerinki) are one the most often performed compositions by Bužarovski. They are a typical example of the transcendence of classical into modern, popular into elite, simple into multilayered, and elementary into virtuosical.

Highlights

  • Prvi pripev ima veoma jednostavno rešenje melodijske linije i pratnje od razloženih akorada, ali javlja se i još jedna linija, u pauzama između izlaganja motiva pesme (Primer 9.1)

  • Svakako, odgovara neoromantičnom duhu celog ciklusa, međutim, Bužarovski, gradeći unutrašnju dinamiku pojedinačnih nokturna i dinamiku celog ciklusa, koristi i nokturna sa svetlim delovima, odnosno delovima sreće i radosti („Vo vlaškoto malo”, „Despina”, „Se posvrši serbez Donka”, „Šekerna”, „Ne se beli Mare mori”, i, svakako, kulminacija celog ciklusa na kraju pesme „Dali pametviš Milice”)

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Summary

Introduction

Tako već uvod prvog nokturna sadrži fragment prvog dela pesme „Kaleš Angjo” Posebno vešto je iskorišćen tonski niz ove pesme (sa dvodelnom fakturom a i b), koja je u prirodnom molu (amol), ali počinje alteriranim četvrtim stupnjem (Dis), koji se već na kraju dela a vraća u osnovni ton (D).

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