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Karol Pahor (1896–1974) se je kot skladatelj proslavil na več ravneh in je prepoznan je kot eden najznačilnejših učencev Slavka Osterca, njegov opus pa kaže na slogovno raznolikost, ki je posledica različnih dejavnikov. Kot skladatelj namreč odstopa od običajnih stereotipov, za katere velja, da se komponist v mladih letih opira na svoje učitelje, se nato izostri in profilira v lastno smer, ki ga vodi naprej in ob novih aktualnih kompozicijskih šolah pogosto spreminja. Skušali bomo ugotoviti, kakšne vzore in nazore je imel skozi različna obdobja in kako ga je kot skladatelja oblikovalo okolje, v katerem je živel in deloval.

The theme of this article was inspired by a series of questions that arise to researchers when discussing compositions by musical modernist Slavko Osterc and his pupils from the first half of the 20th century, whose music was neither \"tonal\" nor extreme \"atonal\". On the one hand, there is a strong doubt of the Slovenian analysts in the progress (modernity) of the compositional means of the mentioned music, since the works are usually compared with the most extreme solutions of the Second Vienesse School – with atonality, athematicism or twelve-tone technique, and on the other hand the rejection of this music from the Slovenian cultural management in concert performing. The central question that arises is the question of the meaningfulness of such comparison, given that these composers were educated also in Prague and did not want to follow the Schönberg's twelve-tone method.

Avtorici predstavljata izsledke raziskave o vlogi ilustracije pri interpretiranju leposlovnega besedila. V raziskavo sta vključili študente razrednega pouka in predšolske vzgoje, ki so ob pesmi Nika Grafenauerja Učenjak odgovarjali na vprašanja o značaju in videzu lirskega subjekta, književnem prostoru idr. Prva skupina anketiranih je odgovarjala ob pesmi z ilustracijo Lidije Osterc, druga pa ob pesmi z ilustracijo Marjana Mančka. Rezultati so pokazali, da ilustracija bistveno spreminja sporočilo besedila, predvsem kadar ilustrator z upodobitvijo okolja (ki v pesmi ni eksplicitno določeno) dodaja kontekst. Rezultati kažejo na nujnost celostnega branja ilustriranih besedil, saj je interakcija med besedilom in ilustracijo tista, ki podaja ključne informacije za razumevanje sporočila literarnega dela.

In this paper, the two authors showcase the results of a research survey on the role of illustrations in the interpretation of literary texts. The survey sample included students of primary education and preschool education, who were given the poem Ucenjak (Scholar) by Niko Grafenauer and asked to answer questions regarding the character's personality and appearance, the literary space, and other factors. The first group of interviewees was given the poem illustrated by Lidija Osterc and the other the same poem illustrated by Marjan Mancek. The results showed that the illustration had a significant impact on the message conveyed by the poem, particularly when the illustrator added the context by representing the character's environment (which was not explicitly given in the text). Furthermore, the results showed the need for the comprehensive reading of an illustrated text, given that it is the interaction between the verbal and the visual that provides vital information necessary for the reader to understand the message of the dedicated literary work. (DIPF/Orig.).

Primož Ramovš (1921–1999) je klavirske Miniature napisal jeseni 1945. Po končanem študiju pri Slavku Ostercu v Ljubljani (1941) ter izpopolnjevanju pri Alfredu Caselli v Rimu (1941–1943) so bile njegovo drugo obsežno poštudijsko delo. Zasnoval jih je kot variacije na koral, s katerim je bil uvedel sklepni stavek Druge simfonije (1943–1944). Sprva jih je želel imenovati variacije brez teme. V desetih odstavkih nastopa izhodiščna misel razdeljena v dve ne zelo kontrastni temi, ki sta vsakokrat obravnavani bodisi zaporedoma bodisi le ena; v prvotni melodični dikciji se avgmentirani oglasita le v srednjem delu zadnjega odstavka. Delo potemtakem niso variacije brez teme, temveč z »utajeno« temo, zaradi (morda različnih) zunanjih okoliščin pa jih je avtor slednjič in ne najbolj primerno imenoval Miniature. Bile so natisnjene 1955. leta, kot celota pa prvič javno izvedene šele jeseni 1963 in samó v radijskem programu. Ciklus kaže skladatelja na začetku samostojne poti. V njem so prepleteni idiomi »splošnega« neoklasicizma med obema vojnama, enako druga modernistična načela, ki jih je pri Slovencih uvajal Osterc, z ostanki starejšega kompozicijskega repertorija, ki ga je bil Ramovš spoznaval na koncertih in med pianističnim študijem. Oboje govori o potezah neoklasicizma na Slovenskem do 1945. leta, predvsem pa razkriva ustvarjalca z izrazitim novatorskim pogumom ter »improvizacijsko« domišljijo, širokopoteznega v zasnovah in usmerjenega k skrajnim območjem (klavirske) zvočnosti.

Savinova ohranjena korespondenca služi kot vpogled v skladateljevo splošno biografijo in hkrati v njegovo glasbeno dejavnost. Po oceni obsega več kot 3000 pisem, njen del, ki se osredotoča na glasbo, pa več kot 550 enot. To gradivo, povezano z novimi najdbami, ponuja nastavke za novo, dopolnjeno skladateljsko biografijo Friderika Širca–Rista Savina. Osvetljuje Savinova štiri skladateljsko plodna obdobja, ki so na njegovi podlagi opredeljena drugače, kot jih je opredelil Dragotin Cvetko.

BOLTON have taken Slovenian striker Milan Osterc on trial.

Srecko Katanec's side managed to make up for the absence of their leading scorer Zlatko Zahovic, who is out of both games against Romania because of an abdominal injury. The defenders Aleksander Knavs and Spasoje Bulajic and the forward Sebastjan Cimirotic were also missing. \"A one-goal advantage will mean a lot in Bucharest but we still have to show some more aggression, as we did in the second half,\" Zahovic said. Romania: Stelea; Contra, Miu (Pancu 90), Iencsi, Chivu, Gheorghe Popescu; Sabau (Ghioane 84), Munteanu, Mutu; Niculae, Ilie (Rosu, 84).

Hapoel forced a 1-1 draw with Chelsea at Stamford Bridge, in the second leg of their second-round tie, to go through 3-1 on aggregate and become the first Israeli side to reach the third round of the competition.

In all three works opening notes of phrases aren't together, and slow introductory sections move hesitantly with quarter- and half-note rests held for varying lengths. In slow passages, e.g., the 'Danza del Trigo' (II of the Estancia Suite), Ginastera marks a slow lyrical melody with phrasing that extends over a number of measures, but [Mena] has the violins \"separate\" or give a slight pulse to each note, killing any long-lined lyricism.