Abstract: The article presents an analysis based on the theory of structural functions in music by Wallace Berry of the composition Towards Liberty (1944), written by Osterc's student and Slovenian modernist in the period between the World Wars, Demetrij Žebre. Its point of departure lies in the hypothesis that, in composed music (contrary to chance music), actions (changes, events) within individual elements or rather structures (the line of successive pitches, tonal and harmonic progressions, rhythm, metre, texture, and colour) are conceived and controlled in such a way that, on various hierarchical levels (through complementary or compensatory effects), they take part in processes in progression toward intensity, in recessive actions of relaxation, and in sections of stasis, all of which arouses analogous sensations with the listener. The curve of changes in intensity, realized on the basis of listening and of studying the score, is described first. The analysis focuses on the structural role of texture in the progressive/recessive flow of music, after Berry's assertions and his definition of this structural element have been presented, together with the description of individual textural parameters that are only just winning recognition in analytical practice at home and abroad. ; V članku predstavljena analiza teksture v skladbi Svobodi naproti (1944) Osterčevega učenca in slovenskega medvojnega modernista Demetrija Žebreta temelji na teoriji strukturnih funkcij v glasbi Wallaca Berryja. Njeno osrednje izhodišče je predpostavka, da so v komponirani glasbi (v nasprotju z glasbo slučajnosti) akcije (spremembe, dogodki) znotraj posameznih elementov – struktur (linije tonske višine, tonalna in harmonska zaporedja, ritem, metrum, tekstura in barva) zasnovane in kontrolirane tako, da na različnih hierarhičnih ravneh sooblikujejo (s komplementarnim ali kompenzacijskim učinkom) procese naraščanja napetosti, sproščanja in statičnosti, s katerimi pri poslušalcu vzbujajo analogne občutke. Zato je najprej opisana krivulja ...
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