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V zaključnem delu je uvodoma osvetljena politična slika in kulturno življenje na slovenskih tleh pred prvo svetovno vojno in med obema vojnama. Sledi oris glasbenega sloga moderne v evropskem in slovenskem glasbenem prostoru. Kasneje se obravnava glasbeni ekspresionizem v evropskem merilu in kot njegovi vzporednici še v slovenskem. Obravnava se začetnika ekspresionizma na Slovenskem, Marija Kogoja, in Slavka Osterca kot drugo osrednjo osebnost glasbenega ekspresionizma na naših tleh. Preide se na Aloisa Hábo in mlade slovenske skladatelje, ki so Ostercu sledili na praški konservatorij, na katerem je Hába poučeval. Spregovori se o Steinerjevem antropozofskem nazoru, kateremu so idejno pripadali Hába in med drugimi tudi mlada slovenska trojica skladateljev – Franc Šturm, Demetrij Žebre in Ivan Pučnik, ki so se želeli povezati v »grupo treh« in se tako ločiti od Osterca, ki je veljal za steber slovenske avantgarde tridesetih let. Naposled se preide na Ivana Pučnika in predstavi njegov življenjepis iz osebnega arhiva skladateljeve hčerke, gospe Ajše Pučnik. Podrobneje je obravnavano njegovo kratko, a plodovito glasbeno obdobje med letoma 1934 in 1937. Gre za praško obdobje študija kompozicije, najprej privatno in nato na praškem konservatoriju pri Hábi. Predstavi se glasbena analiza zaenkrat edine najdene in ohranjene skladbe Ivana Pučnika z naslovom Živim z zemljo. Gre za fantazijo za komorni ansambel iz leta 1936. Z analizo Pučnikove kompozicije se poskuša opredeliti njegov glasbeni slog. The introduction of the final work presents a political situation and cultural life in the Slovenian region before the first world war and between the wars. The next chapter discusses musical genre of Modernism in European and Slovenian territory. Later on musical Expressionism in European, as well as in Slovenian ground, is presented. The thesis introduces the pioneer of Slovenian Expressionism, Marij Kogoj. The second main figure of musical Expressionism in our territory is Slavko Osterc. The next chapter presents Alois Hába and young Slovenian composers that followed Osterc to Conservatory in Prague, where Hába lectured. Steiner's anthroposophic view is described and was supported by Hába and three young Slovenian composers – Franc Šturm, Demetrij Žebre in Ivan Pučnik, the three of them wanted to connect in a group and separate from Osterc, who represented a pillar of Slovenian avant-garde in the 1930s. Finally, the next chapters are dedicated to Ivan Pučnik and his biography from personal archive of his daughter Ajša Pučnik. The thesis presents his short but rich musical period between the years of 1934 and 1937. It was the time of his composition studies in Prague. Pučnik took private lessons at Hába´s at first and later he studied at Prague Conservatory. Music analysis of his so far the only found and preserved composition Living with earth, is presented. It is a fantasy for chamber ensemble with the date of 1936. By analysing Pučnik's composition his musical genre is attempting to be defined. |
