Dimensions of Darijan Božič's Creativity
AbstractThe article deals with the compositional output of Darijan Božič (1933), proceeding from the composer's »third stream« beginnings and from his theoretical as well as practical solutions as regards the problem of 20th century harmony as one of the most important parametres of serial structure. – His work is devided inito »traditional« compositions, i.e. those dealing with traditional instrumental sound and casts, and into collage compositions in which, apart from the periodic use of synthetic sound or/and visual happenning, he incorporates words spoken or sung. It is in this latter group of works that he achieves a kind of musically supported magnification of many an alarming thought. Here becomes he a deeply moving composer: his »interdisciplinary« approach to the sound material, however, no longer binds him to the narrow, explicitly musical rules of treatment, and this is understandable for works of this kind, in the manner of a new, contemporary »Gesamtkunstwerk«, exceed common standards of musical evaluation.
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Copyright (c) 1978 Andrej Rijavec
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