Skip to main content

Globokar, Vinko

Globokar, Vinko

Globokar, Vinko, French composer, trombonist, conductor, and teacher; b. Anderny (of Slovenian de-scent), July 7, 1934. He studied at the Ljubljana Academy of Music (1949-54) and at the Paris Cons. (1955-59), where he received diplomas in trombone and chamber music. He pursued private instruction with Rene Leibowitz (composition and conducting, 1960-63), Andre Hodier (counterpoint), and Luciano Berio (composition, 1965). In 1965-66 he was active at the Center for Creative and Performing Arts at the State Univ. of N.Y. at Buffalo. From 1967 to 1976 he was a prof, at the Cologne Hochschule fur Musik. He was head of vocal and instrumental research at IRC AM in Paris from 1973 to 1979. In 1983 he became a teacher and conductor in Florence, where he conducted programs of contemporary music with the Orch. Giovanile Italiana. A vol. of his writings was publ. as Laboratorium: Texte zur Musik 1967-1997 (Saarbriicken, 1997). Globokar’s mastery of improvisation as a trombonist has been reflected in his output as a composer. He has embraced a utilitarian view in which nothing is off limits in the compositional process or the means of expression.


ORCH Ètude pour Folklora I for 19 Instruments (1968) and II for Orch. (Frankfurt am Main, Aug. 26, 1968); La ronde for 4 Melody Instruments (1970); La tromba e mobile for Harmony Orch. (1970; Zagreb, May 17, 1979); Ausstrahlungen for 20 Players and Reed Soloist (Royan, April 8, 1971); Das orchester for Orch. (Bonn, Dec. 1, 1974); Standpunke for Orch. and Chorus (Donaueschingen, Oct. 22, 1977); Der Kafig for 36 Players and Improvising Soloist (Lugano, Feb. 7, 1980); Miserere for Orch., 5 Narrators, and Jazz Trio (WDR, Cologne, Nov. 27, 1982); Hallo? Do you hear me? for Orch., Chorus, Jazz Quintet, and Tape (1986; simultaneous radio broadcast, Helsinki, Stock-holm, and Oslo, March 9, 1987); L’Armonia drammatica for Orch., Chorus, Vocal Soloists, and Tenor Saxophone (1987-90; Berlin, March 11, 1995); Labour for Orch. (1992; Cologne, Feb. 12, 1993); Masse, Macht und Individuum for Orch. and 4 Instrumental Soloists (Donaueschingen, Oct. 20, 1995); Zlom for 26 Players (1997; Saarbriicken, May 23, 1998). CHAMBER: Fluide for 9 Winds and 3 Percussion (1967); Discours I for Trombone and 4 Percussion (1967), 71 for 5 Trombones or Trombone and Tape (1967-68), III for 5 Oboes or Oboe and Tape (1969), IV for 3 Clarinets (1973-74), V for 4 Saxophones (1981), VI for String Quartet (1982), VII for Brass Quintet (1987; Florence, Nov. 14, 1988), VTIJ for Wind Quintet (1989-90; Metz, Nov. 18, 1990) and IX for 2 Pianos (Saarbriicken, May 21, 1993); Correspondences for 4 Players (1969); Atemstudie for Oboe (1972); Notes for Piano (1972); Vendre le vent for Piano, Percussion, and 9 Winds (1972); Limites for Violin or Viola (1973); Res/as/ex/ins- pirer for Wind Instrument (1973); Voix instrumentalist for Bass Clarinet (1973); Laboratorium for 11 Players (1973-85); Dedoublement for Clarinet (1975); Monolith for Flute (1976); Tribadabum extensif sur rythme fantdme for 3 Percussionists (Romans, July 7, 1981); Corporel for Percussion (1984); Par une foret de symbdles for 6 Players (Nice, Feb. 5, 1986); Freu(n)de for 6 Cellos (Graz, Oct. 22, 1987); Dos a dos for 2 Brass or 2 Wind Instruments (WDR, Cologne, Jan. 24, 1988); Eisenberg for 16 Players (Metz, Nov. 18, 1990); Pendulum for Cello (Oslo, Oct. 22, 1991); Elegie balkanique for Flute, Guitar, and Percussion (1992; Hamburg, Jan. 28, 1993); Dialog uber Wasser for Acoustic Guitar and Electric Guitar (WDR, Cologne, March 26, 1994); Dialog uber Luft for Accordion (Rumligen, Aug. 27, 1994); Dialog uber Erde for Percussion (Barossa Festival, Australia, Oct. 2, 1994); Skelet for 4 Players (Flanders, Sept. 9, 1995); Oblak semen for Trombone (Nus, July 10, 1996); Jurirituba’ioka for Tuba and Piano (1996; Guebwiller, Sept. 1997); Pensee ecartelee for Percussionist (Whitehaven, May 31, 1997). ELECTRONIC: Drama for Piano, Percussion, and Electronics (1971); Koexistenz for 2 Cellos and Electronics (1976); Preoccupation for Organ and Tape (Munich, May 16, 1980); Realites/Augenblicke for 5 Voices, Tape, and Film (Montreuil, June 4, 1984); Introspection d’un tubiste for Tuba, Electronics, Tape, Lights, and Scenery (Avignon, July 25, 1983); Kolo for Chorus, Trombone, and Electronics (Cologne, Nov. 27, 1988); Ombre for Singing Percussionist, Tape, and Rhythm Machine (Tokyo, May 27, 1989); Prestop I for Clarinet and Electronics (Vittasaari, July 27, 1991) and II for Trombone and Electronics (Ljubljana, June 6, 1991); Blinde Zeit for 7 Players and Tape (1993; Brest, May 10, 1994); Contrepoint barbare for Violin, Cello, Accordion, and Tape (1996; Lyons, March 16, 1997).M I X E D M E D I A : Vorstellung for Soloist and Film (1976); Carrousel for 4 Voices, 16 Instruments, and Actors (1976).V o c a l : Accord for Soprano and 5 Soloists (1966); Voie for Chorus, Orch., and Reciter (1966; Zagreb, May 16, 1967); Tramdeutung for Chorus and 4 Instruments (1967; Rotterdam, Oct. 7, 1968); Concerto grosso for 5 Instrumental Soloists, 23 Players, Chorus, and Amateur Vocal Group (1969-75); Airs de voyages vers

I’interieur for 8 Voices, Trombone, and Clarinet (1972); Toucher for Reciting Percussionist (1973); Un jour comme un autre for Soprano and 5 Instruments (1975); Jenseits der Sicherheit for Voice (1981); Sternbild der Grenze for 18 Players, Baritone, Mezzo-soprano, and 5 Voices (Metz, Nov. 21, 1985); Letters for Soprano and 5 Instruments (London, June 29, 1994); Second Thoughts for 4 Women’s Voices (Bremen, Sept. 15, 1995); Reponse a “letters” apres “second thoughts” for Soprano, Flute, Accordion, and Percussion (Hannover, May 23, 1997).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Globokar, Vinko." Baker’s Biographical Dictionary of Musicians. . 18 Oct. 2018 <>.

"Globokar, Vinko." Baker’s Biographical Dictionary of Musicians. . (October 18, 2018).

"Globokar, Vinko." Baker’s Biographical Dictionary of Musicians. . Retrieved October 18, 2018 from

Learn more about citation styles

Citation styles gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, cannot guarantee each citation it generates. Therefore, it’s best to use citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

The Chicago Manual of Style

American Psychological Association

  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.