出版社：Croatian Musicological Society & Croatian Academy of Science and Arts, Department for History of Croatian Music & Zagreb University, Academy of Music
摘要：Since the beginning of the 1990s, klapa singing has grown into a movement that has crossed its local and regional borders. Along with winning awards at the Festival of Dalmatian Klapas Omiš (Festival dalmatinskih klapa Omiš), the success criteria for klapas also became their media exposure, which partly influenced the emergence of a new type — the modern klapa — which searches for new music sources and new ways of presentation and communication. Because of its collaboration with pop singers and reaching out for elements of popular music genres such as rap, soul, rock, and reggae, this type became popular amongthe widest audiences. Circumstances of that period indirectly influenced the founding and development of the Dalmatian Song Evenings (Večeri dalmatinske pisme), a festival founded in 1999 in Kaštel Kambelovac, Dalmatia. Its first section is dedicated to klapa performances of Croatian (mostly Dalmatian) and foreign popular songs arrangements, but also of new compositions, quite atypical for the canonic klapa repertoire. In the second section, popular music (jazz,rock, bluese, etno, ča- and island-wave) performers present new readings of traditional klapa songs. In the first decade of this festival, klapas performed about 360 compositions and arrangements, which could be roughly divided into: arrangements of traditional chants (which prevailed in the beginning, when the content and name of the festival events hadnot yet been defined), new compositions, performed at the New Compositions Evenings [Večeri novih skladbi], arrangements of foreign (performed at the Klapa Novelties event [Klapske novitade]) and domestic popular songs (performed at the Kaštela Style event [Kaštelanski đir]). Through the analysis of several examples, the author of this article has tried to reveal some of the new approaches found in modern klapa songs used by composers and arrangers, often with the price or tendency of neglecting the main characteristics of the traditional klapa repertoire.
