{"title":"CHARACTERISTICS OF MUSICAL LANGUAGE IN THE COMPOSITION CHANTS OF METOHIJA BY SVETISLAV BOŽIĆ","authors":"Danijela Zdravić Mihailović, Marko Milenković","doi":"10.22190/fuvam221120006z","DOIUrl":null,"url":null,"abstract":"The paper elucidates on the musical language of Svetislav Božić, using the example of his concertino for piano Chants of Metohija, in order to point to certain solutions that give a seal of authenticity to Božić's work. The concertino form is typically an oriental variation of a single lyrical breath, at times singable and danceable at other times, but basically one and the same thought without any prominent dramaturgical contrast; it is a single movement with several lyrical variations. The musical language reveals a distinctive predominant modal harmonization of the tertian principle in building harmony of neo-romantic and early impressionist provenance, which emerges as a result of building on tradition with a controlled touch of modernity and originality.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"17 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Facta Universitatis, Series: Visual Arts and Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22190/fuvam221120006z","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The paper elucidates on the musical language of Svetislav Božić, using the example of his concertino for piano Chants of Metohija, in order to point to certain solutions that give a seal of authenticity to Božić's work. The concertino form is typically an oriental variation of a single lyrical breath, at times singable and danceable at other times, but basically one and the same thought without any prominent dramaturgical contrast; it is a single movement with several lyrical variations. The musical language reveals a distinctive predominant modal harmonization of the tertian principle in building harmony of neo-romantic and early impressionist provenance, which emerges as a result of building on tradition with a controlled touch of modernity and originality.
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