“Ethnicity of art”: genetic code or exotic rudiment? Traits to an artistic portrait of the contemporary Croatian composer Sanja Drakulich
Referring to the creative work of the modern Croatian composer Sanja Drakulich, the author reflects on whether the problem of national roots remains relevant in the context of globalization of all the aspects of modern society life. Therefore, the article is focused on three pieces by the composer. The genre features of the first two are directly or indirectly related to the national culture of Croatia: “Domino Song” for the orchestra of tamburitzas – Croatian folk instruments, and a choir piece “Svjet”, based on a poem of the folk poet David Kabalin, which is written in the Chakav’s dialect. The third piece – Nonet for woodwinds with French horns “The Winds on St. George’s Hill” is deliberately international. Despite the differences in genre and style, the musical language of all three compositions has the same basis, synthesizing the specificities of the national dialect and the universal language of contemporary music. The specific folk scales, syntax, parallelism in voice leading of Chakav’s singing art are combined with advanced polyphonic technique, colorful chords and sonorous units, complex structure, dynamism and clarity of the composition. At the same time there is no even a hint of some kind of exoticism of folklore manner that we can find in the music of the 20th century. The author speaks modern Esperanto, freely using all the achievements of our civilization, integrating his national roots into the global universe of musical culture of the 21st century.
national roots in art, contemporary musical culture of Croatia, composer Sanya Drakulich, tamburitzas orchestra, Istrian scale, Chakav’s dialect, synthesis of national tradition and universality of modern musical language.
Loginova L. “Ethnicity of art”: genetic code or exotic rudiment? Traits to an artistic portrait of the contemporary Croatian composer Sanja Drakulich // South-Russian Musical Anthology. 2021. No. 3. Pp. 11–17.