Uloga boje u gradnji glazbenog oblika u odabranim djelima Marka Ruždjaka / Sound Spaces: The Role of Timbre in Building Musical Form Within a Selection of Marko Ruždjak's Work

Some of the most successful works in the opus of Marko Ruždjak would have been impossible to conceive without the clarinet, the composer’s favourite instrument, as well as wit- hout the guitar, percussion, and voice (soprano, baritone or choir). The author researches how the composer’s choice of instrumental timbres and the voicing of the instruments as solo part or part of a larger sound aggregates (or units) is guided by a singular idea, which can be defi- ned as sound space. The timbre in this context is not conceived just as an element of a two- dimensional unit (building contrasts or overflowing and fusion in the temporal flow), rather it participates in the building of the spatial (and emotional) perspective. It contributes to a building of a specific musical form and expression. Ruždjak’s works have been analyzed through the categories that are linked to the Klangkomposition aesthetics of the Sixties. In the first part of the text, the formal function of individual parameters such as dynamic and regi- ster in the works Passamezzo, Tentatio, Canto peregrino, Versus, Ricercar is analyzed. In the se- cond part of the text, the analysis of Odrazi, Andantino, Notturno is developed through the more complex dimensions such as "static immobile surfaces", "surfaces in movement", "globally static surfaces, flecked with internal movement". They have been deduced from the published and unpublished texts by Györgi Ligeti. The theoretical background for the analysis of the sound's formal functions in the works of Ruždjak is part of the Klangkomposition's aesthetic. Together with the analysis of harmonic and motivic dimensions of the composer's language, they conduct to the possibility of a deeper understanding of the synthesis between various stylistic trajectories that are characteristic for the musical path of Marko Ruždjak.