Folk songs in choral compositions

Istarsko-primorska glazba već je u prošlom stoljeću postala predmetom istraživanja etnomuzikologa i melografa. Uz Franju Kuhača (koji je bio otac etnomuzikologije), javljaju se i ostali melografi i skladatelji poput Matka Brajše Rašana, Ivana Matetića-Ronjgova, Slavka Zlatića i drugih. Glazbeno naslijeđe regije ukazuje na nekoliko načina pjevanja kao i na različite instrumente. Istra, kao multinacionalna sredina, prihvaćala je različite načine pjevanja i sviranja. Narodno se pjevanje krenulo razvijati od dvoglasnog pjevanja, a skladatelji su na bazi pretežno dvoglasnih zapisa kreirali skladbe za zbor i tako dali veliki doprinos zborskoj umjetničkoj literaturi. Veliku ulogu u zborskim skladbama igra i harmonijska nadgradnja (napjeva) uz karakteristične elemente istarsko-primorskog glazbenog izričaja.In the last century, the Istrian-Littoral music has become the subject of research of various ethnomusicologists and music collectors. Alongside Franjo Kuhač, the father of ethnomusicology, some prominent music collectors and composers were Matko Brajša Rašan, Ivan Matetić-Ronjgov, Slavko Zlatić and many others. The musical heritage of the region emphasises several ways of singing as well as the usage of numerous instruments. Istria, as a multinational region, has always embraced different ways of singing and playing. The traditional folk singing started to develop from two-part singing. The composers created choir compositions based on two-part notations and thus gave a major contribution to the choral artistic literature. Additionally, the harmonic upgrade of the melodies with the characteristic elements of Istrian-Littoral musical expression plays a significant role in choral compositions