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Buzarovski Archive (BuzAr) is a digital collection of video, audio, photos, books, papers, scores and other artifacts related to Balkan cultures and traditions. The collection is based on Dimitrije Buzarovski's musical scores, performances, video and audio recordings, digitised cultural heritage, and musicological and ethnomusicological works.

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BuzAr Journal
Volume 1, 2014
Franc Križnar
The Development of Slovenian Music from the Remoteness to the Contemporary

Abstract

The author explains the whole historical development of Slovenian music from its beginnings in the 6th century to nowadays. Several stylistic orientations, the music manifestations and specially the Slovenian authors are the importrant turning-points. The composers nowadays represent Slovenian music quite sovereign and comparable to European in all kinds of music.


The origins of Slovene music lie in surviving pagan fragments and the first musical settings of religious texts, since the 6th century. The diary of Paolo Santonino, secretary to the patriarch of Aquileia, Cardinal Marco Barbo, contains references to the music that was to be heard in monasteries and churches towards the end of the 15th century. The musical endeavours of the religious houses gave rise to part song. Works from this period typically showed an Italian influence. Slovene secular music before the 16th century owed a great deal to minesänger, wandering minstrels and other travelling musicians who would usually perform independently or together with singers. They would also quite frequently appear in church choirs. The first well-known musical name from these times is that of Jurij Slatkonja of Ljubljana. Although the Slovene contribution to European Renaissance music was not great, it nevertheless existed. More important perhaps than composers were Slovene performers. Certain leading Slovene musicians such as Jacobus Gallus (1550-1591) left their homes and began to establish the reputation of Slovene musical creativity in other countries. Gallus's madrigals, masses and motets crossed local borders and became the property of Europe as a whole. Gallus only really began to develop artistically in Vienna, Olomouc and Prague, where he was able to give free rein to his creative powers and become a figure of  Europe-wide importance. The Reformation had a negative influence on the development of music. Renaissance music, with Gallus at its forefront, was almost stamped out. On the other hand the Protestant song-books of the second half of the 16th century did leave a positive legacy.

The Counter-Reformation brought a new spirit to music. The closed borders were now thrown wide open. The clearest influence on Slovene creativity at this time was the music of the Italian Renaissance, though a musical renaissance only really began to flourish in Slovenia at the beginning of the 17th century. During this period music by foreign composers dominated, something which can be seen from the Inventarium librorum musicalium … by Tomaž Hren which is preserved in the archive of the St. Nicholas's cathedral choir in Ljubljana. This work covers the first decades of the 17th century and is particularly interesting for studies of the stylistic physiognomy of the age. Also worth mentioning are the passion plays and processions from this period (although these were not primarily to do with music), the performances of the Ljubljana Jesuit Theatre in the mid-17th century, and the first opera performances. It appears that these were predominantly secular in tone. At the time of the transition from Late Renaissance to Early Baroque, important musicians working in Slovenia included Gabriel Plavec, Daniel Lagkhner and Isaac Poš. Notable foreigners included the Italian Gabriello Puliti. The most important music of the Baroque period was music for the theatre stage.

In 1701 the Academia Philharmonicorum was founded in Ljubljana. This was to become the most important factor in the popularising of Baroque music in Slovenia. It influenced the development of interpretation, encouraged composers and determined the stylistic orientation of Slovene folk music and church hymn-books at the beginning of the second half of the 18th century - something which can also be seen from the melodic simplicity of the music of this time. The Academia Philharmonicorum was the first institution of its type outside the Roman and Anglo-Saxon worlds. The most noteworthy composer of the High and Late Baroque was Janez Krstnik Dolar.

As the Baroque declined and new stylistic tendencies began to appear in church and secular music, an important Slovene composer came to the fore. This was Kamnik-born Jakob Frančišek Zupan, composer of the first Slovene opera Belin. Unfortunately all that survives of this work is the libretto by Janez Damascen Dev dating from 1780-1782. The influential Zois circle also produced the playwright and composer Anton Tomaž Linhart and the composer Amandus Ivančič. In 1769 the Academia Philharmonicorum closed. The modest output of Slovene composers and performers meant that Slovene music at this time could not really compare with the rest of Europe. The great social and artistic upheavals in Europe were responsible for the emergence of a new artistic style which also had an influence in Slovenia: Classicism. Thanks to the German theatres, classicism first made itself felt in secular music. By around 1790, however, it had begun to take a leading role. The greatest achievement of the classical movement was the music for Linhart's comedy This Happy Day or Matiček Gets Married/Ta veseli dan ali Matiček se ženi written by Janez Krstnik Novak and titled Figaro. Classical features are evident in the compositions of Franc Benedikt Dusik and in the work of certain new institutions such as Filharmonična družba/the Philharmonic Society, founded in 1794. The Philharmonic Society, Deželno gledališče/the Provincial Theatre (founded in 1892 by Gašpar Mašek ) and certain individuals such as Franc Pollini, Jurij Mihevc, Jožef Beneš and Matija Babnik were ultimately responsible for establishing classicism in Slovenia.

The masterpiece of Romantic music that is Beethoven's Sixth ("Pastoral") Symphony, performed in Ljubljana in 1818, already showed signs of departure from the classical style, as well as certain ideological contrasts. The first expressly Romantic Slovene composer was Alojzij Ipavec. The Romantic era, in music as well as the other arts, saw the beginning of efforts to shape a national form of expression. Musical creativity leant heavily on elements of the folk tradition. Most prominent in this field were Gregor Rihar, Blaž Potočnik and Luka Dolinar. Their work contains clear signs of their attempts to shape a specifically Slovene mode of expression. In later attempts by Slovenes at a consciously national orientation, the social cultural gatherings known as bésede became the most important factor. These events stimulated the appearance of different forms and led to an increase in the creation and performance of original works. Expressly nationally-orientated composers from this period include Jurij Fleišman, Miroslav Vilhar, Benjamin and Gustav Ipavec, Kamilo Mašek and the composers of the ecclesiastical circle:  Leopold Cvek, Leopold Belar and Josip Levičnik. The revolutionary year of 1849, "the year of the awakening of the small European nations," saw the appearance in Slovenia of  "reading societies". These sprang up across the entire territory of Slovenia, but the most active were those in Ljubljana. Notable composers of the period include Anton Foerster, composer of the operetta/opera Gorenjskan Nightingale/Gorenjski slavček,  and Fran Gerbič. The period also saw the foundation, in 1872, of Glasbena matica/the Musical Society. Originally founded in Ljubljana, branches of the Society later opened in other parts of the country. The reform of Slovene church music was undertaken primarily by Cecilijino društvo/the Cecilian Society, founded in Ljubljana in 1877. The most important composers of the Cecilian Society circle were Avgust Armin Leban, Pater Hugolin Sattner, Janez Kokošar, Josip Lavtižar, Janez Laharnar, Ignacij Hladnik, Peter Jereb and Alojzij Mihelčič. Their great achievement was managing, despite their different approaches, to introduce Slovene national characteristics into church music. Among the leading composers of secular music during the Romantic era were Anton Nedvěd, Davorin Jenko, Andrej Vavken, Vojteh Valenta, Danilo Fajgelj, Anton Hajdrih, Jakob Aljaž, Josip Kocijančič and Hraboslav Volarič. Other composers of the period included Viktor Parma, Oskar Dev, Anton Schwab, Josip Pavčič, Zorko Prelovec, Peter Jereb, Vinko Vodopivec, Fran Korun-Koželjski, Fran Ferjančič, Emerik Beran and Fran Severin Vilhar. Although to begin with Slovene Romantic music could not compare with the more developed music in other parts of Europe, it was nevertheless important: it laid the foundations for an original Slovene musical culture and helped it to find its place in a European framework. The Ljubljana Musical Society and its director Matej Hubad were largely responsible for this.

In 1908 Slovenska filharmonija/the Slovene Philharmonic Society was founded. Between 1892 and 1913 the Slovene National Opera staged almost all of the operas then being performed in the opera houses of Europe. Slovene music publications included Church Musician/Cerkveni glasbenik, Musical Dawn/Glasbena zora, New Chords/Novi akordi and Saint Cecilia/Sveta Cecilija, featuring writers such as Gojmir Krek, Stanko Premrl, Franc Kimovec, Emil Adamič and Anton Lajovic. Essay-writing and journalism, criticism and musicology began at this time to develop as separate fields of study. The work of the neo-Romantic and Impressionist generation was even more important. The exponents of these styles included Risto Savin (Friderik Širca), Josip Ipavec, Gojmir Krek, Anton Lajovic, Emil Adamič and Janko Ravnik. The end of the 19th century and the beginning of the 20th saw Slovene music flowing once again with the musical currents of Europe. Other prominent musicians and composers of the period included Anton Jobst, Heribert Svetel and Matija Tomc.

Modern musical directions in the 20th century are also typified by a high level of development in composition and interpretation. Among composers such as Vasilij Mirk, Zdravko Švikaršič, Mihael Rožanc, Srečko Kumar, Makso Unger, Ivan Grbec, Ciril Pregelj, Saša Šantel and Breda Šček, the seeds of the modern movement were sown by Marij Kogoj and his work for mixed choir Trenotek set to a text by Josip Murn-Aleksandrov. The work appeared in 1914, in the final volume of New Chords. Expressionism in Slovene music began with Kogoj. His opera Črne Maske ("The Black Masks"), the most important expressionist work in Slovene music, was of a quality that even surpassed the musical achievements of contemporary composers elsewhere in Europe. The next composer to rise to prominence after Kogoj was Matija Bravničar. He was followed by Lucijan Marija Škerjanc and Slavko Osterc, who boasted their own "schools of composition". Next came Srečko Koporc, Blaž Arnič, Danilo Švara, Jožko Jakončič, Franjo Luževič, Marjan Kozina, Mirko Polič, Ferdo Juvanec, Anton Lavrin, Bogo Leskovic and Emil Ulaga, and the composers of the second modern generation, with their post-Romantic creative leanings: composer and pianist PAVEL ŠIVIC (1908-1995), Josip Kaplan, pianist and composer MARIJAN LIPOVŠEK (1910-1995), Franc Šturm, Karol Pahor, Peter Lipar, Demetrij Žebre, Maks Pirnik, Stanko Jericijo, Viktor Mihelčič and PhD Radoslav Hrovatin; and immediately before the Second World War: choral director and composer JANEZ KUHAR (1911-1997), PAUL JOHN SIFLER (1911-2001, in the USA), Emil Ulaga, composer and conductor KLARO MARIJA MIZERIT (b. 1914 in Italy, now living in Canada), composer, guitarist and teacher STANKO PREK (1915-1999), Karel Hladky, composer and academician PRIMOŽ RAMOVŠ (1921-1999), Ubald Vrabec, Jurij Gregorc and Slavko Mihelčič.

The post-Romantic period continued with the composer, choral director and teacher RADOVAN GOBEC (1909-1995), Bogo Leskovic, Rado Simoniti, Janko Gregorc, composer and conductor BOJAN ADAMIČ (1912-1995), Uroš Prevoršek and Samo Hubad. Following the Second World War music was enriched by the new currents represented by the work of the members of the third modern generation: conductor, journalist, composer and teacher CIRIL CVETKO (1920-1999), composer and teacher ALEKSANDER LAJOVIC (b. 1920), Marjan Vodopivec, composer, conductor and teacher ZVONIMIR CIGLIČ

(1921-2006), Canadian Slovene Jože Osana, BOŽIDAR KANTUŠER (1921-1999, between Ljubljana and Paris), CIRIL KREN (b. 1921, now living in Argentina), composer and academician UROŠ KREK (b. 1922), composer (primarily of film music) FRANC LAMPRET (1923-1997), composer and teacher ALBIN WEINGERL (b. 1923), teacher, composer and journalist JANEZ BITENC (1925-2005), Ivan Šček, Janez Komar, Vladimir Lovec, Vilko Ukmar, composer, teacher and essayist PAVLE KALAN (1929-2005) and Marko Žigon.

The composers of the fourth generation, i.e. those working after 1950, embraced the most modern musical thinking. They included Ljubljana/Paris-based JANEZ MATIČIČ (b. 1926), Trieste-based PAVLE MERKÚ (b. 1927), composer and teacher JAKOB JEŽ (b. 1928), Milan Stibilj, Kruno Cipci, Pomurje-based teacher LADISLAV VÖRÖS (b. 1930), composer, singer, choral director and teacher SAMO VREMŠAK (1930-2004), Primorskan composer, choral director and teacher ŠTEFAN MAURI (b. 1931), composer IVO PETRIĆ (b. 1931), Bogdan Habbe, composer and teacher ALOJZ SREBOTNJAK (b. 1931), composer and teacher DANE ŠKERL (1931-2002), composer and teacher IGOR ŠTUHEC (b. 1932), composer, conductor and teacher PhD (of honour) IGOR DEKLEVA (b. 1933), the greatest Slovene in Europe (or European in Slovenia) VINKO GLOBOKAR (b. 1934), the serious/popular composer JANEZ GREGORC (b. 1934), PhD BOŽIDAR KOS (b. 1934, now living in Australia), composer and teacher/academician LOJZE LEBIČ (b. 1934), composer and teacher MIRA VOGLAR (b. 1935), composer and teacher EGI GAŠPERŠIČ (b. 1936), composer and pianist MILAN POTOČNIK (1936-2004), composer, pianist and teacher LJUBO RANČIGAJ (b. 1936), composer and ethnomusicologist/folklorist JULIJAN STRAJNAR (b. 1936), composer and teacher FRANC JELINČIČ (b. 1937), PhD Breda Oblak, composer, music critic and teacher PAVEL MIHELČIČ (b. 1937), composer ALOJZ AJDIČ (b. 1939), Anton Klar, Ivan Mignozzi, Branko Rajšter and others.

The problems of individuality, nationality and universality are topical and significant features of the new orientations of the Slovene composers who fall within the framework of the postmodernist stylistic trends of industrial society at the end of the 20th century. This is the so-called fifth generation of composers to leave its mark on Slovene music: composer and teacher MARIJAN GABRIJELČIČ (1940-1998), Darko Kaplan, Bogomir Kokol, Anton Natek, Borivoj Savicki, priest, musician, conductor and composer JOŽE TROŠT (b. 1940), Vienna-based priest, composer and conductor AVGUST IPAVEC (b. 1940), Franc Turnšek, Kosovo-born ZEQIRJA BALLATA (b. 1943), composer and teacher JANEZ OSREDKAR (b. 1944), Uroš Lajovic, composer and teacher JANKO JEZOVŠEK (b. 1945, currently working in Germany), Anton Gorjanc, Franc Šojat, Marin Tušek, Anton Žuraj, the Slovenia-based Croat VLADIMIR HROVAT (b. 1947), composer, teacher and conductor TOMAŽ HABE (b. 1947), composer, conductor and musical director STANE JURGEC (b. 1947), composer and teacher ALEŠ STRAJNAR (b. 1947), pianist and composer BLAŽENKA ARNIČ LEMEŽ (b. 1947), composer and teacher IVO KOPECKY (b. 1947), composer and teacher MAKSIMILJAN FEGUŠ (b. 1948), composer and teacher JANI GOLOB (b. 1948), composer, harpsichordist, organist and teacher MAKS STRMČNIK (b. 1948) and composer, pianist and teacher PETER KOPAČ (b. 1949). The young postmodernist middle generation of today's Slovene composers, those in their forties and fifties, includes composers of the sixth generation: composer MARJAN ŠIJANEC (b. 1950), composer IGOR MAJCEN (b. 1952), composer, organist and teacher FRANC BAN (1953-2007), composer ALDO KUMAR (b. 1954), clarinettist, composer and teacher UROŠ ROJKO (b. 1954), freelance composer BOR TUREL (b. 1954), composer, conductor and teacher TOMAŽ SVETE (b. 1956), composer and teacher BRINA JEŽ BREZAVŠČEK (b. 1957), composer and teacher MARKO MIHEVC (b. 1957), organist and composer MILKO BIZJAK (b. 1959), and composer and teacher PAVEL MERLJAK (b. 1959). These are joined by other even younger composers born after 1960: Baki Jashari (born in Kosovo, he was working in Slovenia; now on Kosovo), composer, choral director and teacher PhD ANDREJ MISSON (b. 1960), essayist and composer MITJA REICHENBERG (b. 1961), PhD PETER ŠAVLI (b. 1961, has recently been working in the USA), Chilean "Slovene" ALJOŠA SOLOVERA-ROJE (b. 1963), NENAD FIRŠT (b. 1964 in Croatia, working mainly in Slovenia), composer and singer BORIS VREMŠAK (b. 1964), tuba player, composer, teacher and music editor IGOR KRIVOKAPIĆ (b. 1965), composer, nursery school teacher and freelance musician BLAŽ ROJKO (b. 1965), PhD JERICA OBLAK-PARKER (b. 1966, now working in USA), composer, choral director teacher DAMIJAN MOČNIK (b. 1967), composer and teacher LARISA VRHUNC (b. 1967) and composer and teacher URŠKA POMPE (b. 1969). Examples of even more recent Slovene musical creativity would have to include the most recent graduates of the Ljubljana Academy of Music and the most promising of its current students: composer and teacher VITJA AVSEC (b. 1970), composer and teacher DUŠAN BAVDEK (b. 1971), composer, choral director and teacher AMBROŽ ČOPI (b. 1973), ŽIGA STANIČ (b. 1973), ROK GOLOB (b. 1975), Vladimir Batista, David Beovič, Ivan Florjanc, Tomaž Bajželj, Bojan Glavina, Neville Hall (from New Zeland), Robert Kamplet, Mihael Paš, Gregor Pirš, Jaka Pucihar, Črt Sojar Voglar, Bojana Šaljič, Slavko Ludvik Šuklar, Vito Žuraj, Brina Zupančič, Tadeja Vulc and so on; as the finally graduated at the Ljubljana Academy of Music and abroad are: Nana Forte, Marjan Mlakar, Nina Šenk, too.  

Credit for furthering the development of Slovene music in the 20th century must also be shared by the RTV Slovenia Big Band (under its conductors Bojan Adamič, Jože Privšek, Petar Ugrin, Alojz Krajnčan, Milko Lazar, …), the Brothers Avsenik Ensemble, the two national Opera and Ballet Companies (directed by Kristijan Ukmar and Stane Jurgec in Ljubljana and Maribor respectively), the RTV Slovenia Symphony Orchestra (the national symphony orchestra) under musical director En Shao, the Slovenian Philharmonic Orchestra directed by George Pehlivanian, the Band of the Slovene Police Force, the Slovenian Chamber Choir directed by PhD Mirko Cuderman, the Society of Slovene Composers, the Slovene Music Information Center Society, Institute for Musicinformation Science at the Centre for Interdiscplinary Research and Studies of the University of Maribor, …. Among contemporary Slovene musicians in the 20th and 21st century we can find in European and World arena the clarinettist Mate Bekavac, the flutist Irena Grafenauer, the mezzo-soprano Marjana Lipovšek, the violinist Igor Ozim, the trombonist Branimir Slokar, the Slovenian Octet, the Piano Trio LORENZ, the tenor Janez Lotrič and others.

This introduction would scarcely be complete if it failed to mention the most interesting exponents of popular music and popular folk music in Slovenia. Notable names in the world of popular music are conductor, pianist, arranger and composer MARIO RIJAVEC (1921-2006), composer and jazz trumpeter URBAN KODER (b. 1928), Ati Soss, composer MOJMIR SEPE (b. 1930), composer and arranger BORUT LESJAK (1931-1995), pianist and composer (of jazz and popular music) JURE ROBEŽNIK (b. 1933), jazz pianist, composer and conductor JOŽE PRIVŠEK (1937-1998), Silvester Stingl, arranger and composer DEČO ŽGUR (b. 1938), saxophonist, composer and teacher TONE JANŠA (b. 1943), arranger, conductor and composer BERTI ENGELBERT RODOŠEK (b. 1943), Mihan Mihelič, saxophonist and composer ANDY ARNOL (1947-2002), composer and photographer LADO JAKŠA (b. 1947), guitarist and composer JERKO NOVAK (b. 1957), composer, pianist, producer and editor SLAVKO AVSENIK jr. (b. 1958), composer and author/freelance musician GREGOR STRNIŠA (b. 1959), trombonist, composer and conductor EMIL SPRUK (b. 1960), trombonist and composer ALOJZ KRAJNČAN (b. 1961), saxophonist, composer, arranger and conductor MILKO LAZAR (b. 1965), freelance composer MITJA VRHOVNIK SMREKAR (b. 1966), trumpeter/arranger DOMINIK KRAJNČAN (b. 1967) and others. The wealth of musicians working in the field of  popular folk music, an important 20th and 21st  centuries musical genre in Slovenia, include legends such as clarinettist and composer VILKO OVSENIK (b. 1928), his brother, accordionist and composer SLAVKO AVSENIK (b. 1929), clarinettist, composer, producer and arranger BORIS KOVAČIČ (1934-1999) and HANZI ARTAČ (b. 1951), who works on the other side of the Karavanke mountains, in Austria, Patrik Greblo and so on.


Summary


The author explains the whole historical development of Slovenian music from its beginnings in the 6th century (immediately after the settling of the Slovenians) to nowadays. In the limelight are some importrant historical events which are connected with music life. There are mentioned all stylistic development trends. It is considered all music production-createness and reproduction-performanceness. Slovene music is compared with European music. There are accentuated the importrant authors: Slovenians, who were working in Slovenia or abroad, and the foreigners, who were working in Slovenia.

The music in Slovenia from formerly to nowadays is shown from the Reniassance, the Baroque, the Classicism, the Romanticism, the Neoromanticism, the Impressionism and Expressionism, to Modernism and post-Modernism. It is separated on more then six generations. To nowadays, postmodernism is seperated on these three under-generations: older, middle and the youngest (from J. Gallus, over M. Kogoj and S. Osterc to B. Adamič, V. and S. Avsenik and to U. Rojko).



References:


Cvetko, Dragotin, Stoletja slovenske glasbe/The Centuries of Slovene Music,

             Ljubljana: Cankarjeva založba, 1964.

Cvetko, Dragotin, Zgodovina glasbene umetnosti na Slovenskem/The History of

             Music Art in Slovenia, Ljubljana: Državna založba Slovenije, 1958-1960.

Composers’ Traces from 1900 Onwards (Editor: Črt Sojar Voglar, Ljubljana: the

             Society of Slovene Composers, 2005).

Klemenčič, Ivan, Musica noster amor: Glasbena umetnost Slovenije od začetkov do

             danes/Music Art of Slovenia from Beginning to Today, Maribor, Ljubljana:

             Založba Obzorja in glasbeno založništvo Helidon,

             Znanstvenoraziskovalni center SAZU, Slovenska akademija znanosti in

             umetnosti, 2000. 

Kovačević, Krešimir, Leksikon CZ-GLASBENIKI/Lexicon CZ – MUSICIANS,

              Ljubljana: Cankarjeva založba, 1988.

Križnar, Franc, Kogojevi dnevi 1980-1994, 15 let/The Kogoj’s Days 1980-1994, 15

             Years, Kanal: Prosvetno društvo “Soča”, 1994.

Križnar, Franc & Pinter, Tihomir, Sodobni slovenski skladatelji/Contemporary

              Slovene Composers, Ljubljana: Prešernova družba, 1997.

Križnar, Franc & Pinter, Tihomir, Sto slovenskih skladateljev/Hundred Slovene

              Composers, Ljubljana: Prešernova družba, 1997.

Križnar, Franc & Pinter, Tihomir, Sto slovenskih glasbenikov/Hundred Slovene

              Musicians, Ljubljana: Prešernova družba, 2002.

Križnar, Franc & Dekleva, Igor, Živeti z glasbo/A Living with Music, Ljubljana:

              Državna založba Slovenije, 2006).

Križnar, Franc, Zvonimir Ciglič - biti ustvarjalec/Zvonimir Ciglič – To be a Creator,

              Ljubljana: Arhiv Republike Slovenije, 2006).

Križnar, Franc, Portreti gorenjskih glasbenikov/The Portraits of Gorenjskan

             Musicians, Maribor: Inštitut glasbenoinformacijskih znanosti pri Centru za

             interdisciplinarne in multidisciplinarne raziskave in študije Univerze v

             Mariboru, 2006).

Kuret, Primož, Slovenska filharmonija=Academia Philharmonicorum 1701-2001,

           Ljubljana: Slovenska filharmonija, 2001.

Uredniški odbor/Editorial Committee: Jančar Drago, Jemec Andrej, Kovič Kajetan,

            Lebič Lojze, Mezeg Zoran; besedilo napisal/Written by: Klemenčič Ivan;

            Uredil/Edites by: Lebič Lojze, Slovenski skladatelji akademiki/Slovenian

            Composers Academicians, Ljubljana: Slovenska akademija znanosti in

            umetnosti, 2003.

Uredniški odbor/Editorial Committee: Jančar Drago, Jemec Andrej, Kovič Kajetan,

             Lebič Lojze, Mezeg Zoran; besedilo napisal/Written by: Klemenčič Ivan;

             Uredil/Edites by: Lebič Lojze, Slovenski skladatelji akademiki/Slovenian

             Composers Academicians, Ljubljana: Slovenska akademija znanosti in

             umetnosti, 2003.     


 

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