Intertwinement of Croatian and Slovenian Musical Heritage on the Oldest Gramophone Records (original) (raw)
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Condition of Croatian Music Heritage. Croatian Art Music Sound Recordings
2007
Just over 130 years ago Thomas Edison invented the first practical machine for recording a sound. That event has changed the whole historical and sociological picture of sound-expressing arts – first of all music. The media for sound recording and reproduction have been developing rapidly – the older ones are going to ruin physically, and/or vanish in the flow of novelties on the market. Serious information institutions all over the planet make great efforts to preserve the recorded echoes of the history and keep them in a safe and wide accessible form. Croatia came up early with the beginnings of sound industry. The changes in the cultural politics in the decades of state administration led it to a retardation in care for both material and intellectual value of recorded sound heritage – especially that of art music of Croatian composers and interpreters. The recordings have been recently kept on a few locations: Croatian Film Archive, sound archives of Croatian Radio in Zagreb and ...
Božidar Jezernik et al. (eds), Europe and Its Other: Notes on the Balkans, 107-148. Ljubljana: Filozofska fakulteta. , 2007
In this present article I will explore the ways in which archive documents and discographical material can be used as sources in the study of music history – in this case the history of urbanised folk music in Bosnia-Herzegovina. For some reason, this approach is relatively rare in musicology although it can produce interesting results. On the other hand, discographical research rarely succeeds in uncovering data on early recording artists outside the realm of Western classical music. I will, firstly, concentrate on the repertoire of the Gramophone Company’s Sarajevo recording sessions of 1907 and1908, and the recordings made in the neighbouring South Slavic areas and the marketing of the discs both before and after the First World War. Secondly, I will consider the musicians who made the recordings. Some of them were celebrated across the borders in the northern South Slavic lands before the First World War but nowadays they are almost completely forgotten.
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Sinc eancient times,the area we know today as Slovenia has been influenced by the diverse political, economic and cultural impulses that ran from north to south and from west to east. The bustle of activity along these trade routes brought novelties which refined and defined various spheres of everydaylife. It was no coincidence, therefore, that music culture aswell pulsated in various forms – it was unique, yet also tightly bound to other cultures. Throughout history, it was the neighbouring cultural environments that enjoyed the most intense interdependence with the Slovenian lands; the countries within the Austrian Empire and later the Austro-Hungarian Empire were most closely tied
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The paper provides a concise insight into the activity of Slovenian musicians residing in Sarajevo during the Austro-Hungarian administration. Besides the Slovenian musicians’ activities at the collective level, the paper discusses their individual endeavours and also endeavours from perspective of guest artists. Guest Slovenian artists such as Slovenian opera, was one of the most renowned ensemble that visited Austro-Hungarian Bosnia and Herzegovina.
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The article observes distortions of the historiographical narrative about the musical culture of Slovenia in the past, caused by specific circumstances of the formation of the Slovenian nation and the dominance of nationalism. It also outlines the strategies applied by Slovenian musicology since the second half of the twentieth century to escape the grip of nationalistic ideology.
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Ovaj je svečani zbornik nastao u povodu 70. rođendana istaknute hrvatske muzikologinje dr. Sanje Majer-Bobetko, koja je najveći dio svojega radnog vijeka provela kao istraživačica na području historijske muzikologije u Odsjeku za povijest hrvatske glazbe HAZU. S. Majer-Bobetko je tijekom svoje plodne znanstveničke karijere ostvarila niz domaćih i međunarodnih kontakata s brojnim kolegama, što ovaj svečani zbornik profilom svojih radova zorno pokazuje. Niz od 36 autora u ovom zborniku, iz Hrvatske, Bosne i Hercegovine, Bugarske, Francuske, Irske, SAD-a i Slovenije, rado se odazvalo pozivu za suradnju u znak priznanja i poštovanja slavljeničine znanstvene djelatnosti, napisavši 33 priloga koji se ovdje objavljuju na hrvatskom, engleskom, njemačkom i francuskom jeziku. Sadržajno vrlo širok spektar obrađenih tema artikuliran je u šest tematskih cjelina vezanih uz glazbene izvore, obradu arhivske građe, historiografske analize, sinteze stilova, prikaze djelovanja pojedinih autora (skladatelja, istraživača) i/ili njihovih ostvarenja, u rasponu od srednjega vijeka do 21. stoljeća. Zbornik završava životopisom i bibliografijom slavljenice, uz uobičajeni popis imena. This collection of essays in honour of Dr Sanja Majer-Bobetko, the outstanding Croatian musicologist, is published on the occasion of her 70th birthday by the Croatian Musicological Society and the Department for History of Croatian Music of the Institute for History of Croatian literature, theatre and music of the Croatian Academy of Sciences and Arts. Majer-Bobetko has developed a series of domestic and international contacts with numerous colleagues, which is reflected in the contents of this collection. Thirty-six authors from Croatia, Bosnia & Herzegovina, Bulgaria, France, Ireland, Slovenia and the USA enthusiastically responded to the invitation to participate and to pay homage to Dr Majer-Bobetko’s scholarly activity, writing the thirty-three essays published here in Croatian, English, French and German. A very rich spectrum of topics is articulated in six thematic units which cover musical sources, the elaboration of archival materials, historiographical analyses, syntheses of styles, and the presentation of activities by individual composers and researchers, and/or their achievements covering a wide historical range from the Middle Ages to the twenty-first century. The collection ends with the biography and bibliography of the volume’s dedicatee, and the usual list of names.
Slovenian Music in its Central European Context: the 20th-century experience
Musicological Annual, 2021
Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s and 1930s. Kogoj's strong links with Viennese expressionism were well expressed in the opera Črne maskeof 1927, while Osterc's connections with Hindemith, Honegger and others is evident in the opera Krog s kredo and orchestral works such as Mouvement symphonique. On the other hand, Kozina, Arnič and Škerjanc developed a less advanced style and kept less contact with the rest of Europe. ...
International Journal of Euro-Mediterranean Studies, 2020
The article provides insight into musical sources, collections and instruments throughout the territory of Croatia today, and particularly in the historical province of Dalmatia. The aim is to discover new, previously completely unknown information about Dalmatian musical heritage, as well as European musical heritage preserved in Dalmatia, which testifies to the connection of Croatian musical sources to Central European and Mediterranean musical and cultural circles. Centred on instruments of art music preserved in Dalmatian museums, the research is a contribution to the evidence about the continuity of musical culture in the region. These instruments are a reflection of the rich and developed Dalmatian musical history, the complexity of which stems from a tradition of folk and sacred music that spans centuries and is permeated with various influences. On the other hand, they are evidence of close relations between Dalmatia and Europe, in the past and the present. This also highlights the relevance of the research presented here, in which instruments -as concrete results of intercultural interactions -have been analysed in a broader musicological and cultural context for the first time.