Analysis and interpretation of Material from the Collection of Musical Instruments in Ethnographic Museum in Zagreb (original) (raw)
Related papers
Instruments of Art Music in Croatian Museums
Arti musices, 2021
This doctoral dissertation presents the results of several years of research (fi eld work from September 2016 to February 2019) on art music instruments in Croatian museums. Since this topic is relatively unknown, this is the fi rst work that treats it in a systematic way. 50 Croatian museums and 80 collections were processed and their analysis in the dissertation was divided into four main parts, corresponding to four geographical regions.
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.
Musicalia, 2020
cz [accessed on 2 Sept. 2020]. 2) Comité international pour les musées et collections d'instruments et de musique (International Committee for Museums and Collections of Instruments and Music) [online]. Accessed from: http://network.icom. museum/cimcim [accessed on 2 Sept. 2020]. 3) Musical Instrument Museums online [online]. Accessed from: http://www.mimo-international.com/ MIMO [accessed on 2 Sept. 2020]. 4) Also of importance, if secondarily, are instruments of European folk culture and of non-European musical culture, which occur in Czech collections in disproportionally smaller numbers. In addition, these groups require a special approach with respect both to documentation and to conservation and restoration. Tereza Žůrková In 2020, four years will have passed since the establishment of the Methodological Centre for the Documentation, Conservation, and Restoration of Musical Instruments (MCMI), 1 which was founded as part of the musical instruments department of the Czech Museum of Music in 2016. In reality, however, this is a much older project on which the staff of the Czech Museum of Music had been doing preparatory work for many years. The project's goal is to secure expert care for the historical musical instruments in the collections of memory institutions in the Czech Republic, meaning their expert documentation, evaluation of their condition, and proposing and realising appropriate conservation and restoration work. Musical instruments are the subject of research for a specialised discipline of musicologyorganology. Specialised procedures are required for studying and evaluating musical instruments, and the same applies to the principles of caring for instruments and to the rules for their handling. The goal of the MCMI is to establish standards of expert care for historical musical instruments and to apply them to concrete collections. The concept of the MCMI is built to some extent upon the experiences of other methodology centres in the Czech Republic, but as its primary methodological basis, it follows the standards of the CIMCIM, 2 the international project MIMO, 3 and other specialised texts. The area of interest covers all types of musical instruments with a primary focus on the instruments traditionally used in European musical culture. 4
Musical instruments in museums
International Journal of Museum Management and Curatorship, 1985
At the end of the last century interest budded in experiencing the music of earlier periods on its own terms, It was realized, for example, that the harpsichord music of the baroque masters could not have been conceived for romantic-style performance on a piano. Musical instrument makers therefore began to produce h~psichords, and musicians began to study older books dealing with its performance techniques, etc. Similar work was started with other types of instruments. Successive generations of musicians and instrument makers have made great advances in the state of this art. Still greater advances can-and surely will-be made, but we have now reached the point where musicians are specializing exclusively in what is termed the authentic performance of the music of individual earlier periods. Again, for example, only a few years ago a modern orchestral flute player might occasionally also have given performances on a one-keyed transverse flute of early eighteenth century design. Now there are specialists on the latter instrument who have had no training on the modern instrument whatsoever, and therefore can approach their music without first having to free themselves from the anachronistic burden of the modern instrumentalist's technical and musical reflexes. Museums and other collections of musical instruments played a major role throughout this development. In addition to providing instrument makers with material upon which to base their own production, the older surviving instruments often either retained their ability to be used in performance, or could be restored to the condition necessary to do so. Much impetus was given to the growing interest in the music of earlier periods through the concert use of museum instruments. This in turn established an important musical role for the specialized musical instrument museums. It became a widespread museum practice to restore as many instruments as possible to 'playab~ity', and to encourage the use of these instruments in concerts and for recordings by placing them on loan with musicians. Indeed, no performance or recording of the music of an earlier period was accepted as being authentic unless it was made on original period instruments. We have, unfortunately, only recently started to progress from this preoccupation with original instruments to an attitude more oriented towards authentic musical performance, where the choice of ~st~ment is only one aspect of a complex artistic and historical problem. In any case, the situation today differs substantially from that of several years ago. There are far more performers in need of 'historical' instruments than can even remotely be supplied with original material. In addition, it is becoming obvious that restored older instruments do not necessarily behave or sound as they did when they were new. Since composers can reasonably have expected to hear their works performed on relatively new inst~ments-celery not on centuries-old restored museum pieces-the chronoIogically original instrument is not necessarly the musically authentic one. However painful to admit, it is also clear that the restoration of musical instruments has obliterated substantial quantities of evidence of the techniques by which the instruments were 0~60-4779/8S/O2 0179-04 203.00
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 ...
Ethnomusicology has a reputation of being an engaged discipline that deals with ethical issues. This engagement is subject to dynamic changes embedded in and expressed through discourses on the quality of its knowledge contribution. This paper is dedicated to the many issues coming with internet archives introducing or explaining musical instruments, which contribute widely to simplifications and degeneration of actually available knowledge. One of the problems resulting from that is the re-introduction of colonizing patterns into the ethnomusicological discourse on musical instruments. This paper aims at showing alternatives to this self-infecting practice of re-colonizing academic writing.
Lesser Known Musical Instruments in Kosovo
Journal Human Research in Rehabilitation, 2012
In this paper the author presented the instruments that were originated in this region, as well as those instruments that are brought from other regions, and became deeply carved into the tradition and culture of the local people, that they feel as their own. Some of these instruments are kept only here in this region, and they are not used anymore in the area they originated from. This paper also covers instruments that are rarely used or completely lost in this region.