Page 222 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
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glasbene migracije: stičišče evropske glasbene raznolikosti
Based on this overview of societies’ activities, we can move to the gen-
eralization phase. The migration process is devoid of ambiguity. From the
Balkans, tamburitza music migrated to Vienna along with South-Slavic
students. For them, the Viennese universities and schools in general (e.g.
conservatories) represented a traditional destination. South-Slavic Vien-
nese societies initially only had their own choirs, or their members sang in
the elite society Slovanský zpěvácký spolek or in the choir Slovanská bese-
da. By founding a tamburitza section, the South-Slavic societies demon-
strated a connection with the Balkans, providing an inspirational symbol.
Tamburitza music, primarily a symbol of the Croatian nation in both
the homeland and abroad, was perceived by Czechs as a genuine form of
Slavic culture, unaffected by the German environment. In a way, it was also
an exotic phenomenon and an opportunity to express the Pan-Slavic idea.
Due to their quantity, Czech societies in Vienna soon began to dominate
in terms of the number of tamburitza ensembles. Their bandleaders start-
ed composing their own songs. These societies became the intermediary
of tamburitza music in the direction to Bohemia and Moravia. General-
ly, with respect to migration of tamburitza music, Vienna also had another
meaning: the Croatian minority in Burgenland adopted tamburitza music
from Vienna, not directly from Croatia!
There was stagnation in the inter-war period, both in Vienna and in
Czechoslovakia – the younger generation became interested in tramping
music and jazz. Currently, there are the last three ensembles in the Czech
Republic. The Adria trio, originally a Czech-Viennese society, is active in
Vienna. Conversely, tamburitza music is living folklore in Burgenland.
Bibliography
Archiv of the Society Slovanská beseda (Vienna).
Cebic, Dario. Die Entwicklung des Tamburizzaspiels in Kroatien und Österre-
ich. PhD diss., Universität für Musik und darstellende Kunst Graz, 2012.
Fukač, Jiří. “Tamburaši [Tamburitza Players].” In Slovník české hudební kultu-
ry. Edited by Petr Macek, 914. Praha: Editio Supraphon, 1997.
Hrandek, Rudolf A.. “Beiträge zur Kenntnis des Wiener Vereinslebens.” Öster-
reichische Zeitschrift für Volkskunde, 12/61 (1958): 218.
Hrdlička, Richard. Počátky národní hudby jihoslovanské v Čechách. Na třice-
tiletou památku založení tamburašského sboru v Táboře [The Origins of
220
Based on this overview of societies’ activities, we can move to the gen-
eralization phase. The migration process is devoid of ambiguity. From the
Balkans, tamburitza music migrated to Vienna along with South-Slavic
students. For them, the Viennese universities and schools in general (e.g.
conservatories) represented a traditional destination. South-Slavic Vien-
nese societies initially only had their own choirs, or their members sang in
the elite society Slovanský zpěvácký spolek or in the choir Slovanská bese-
da. By founding a tamburitza section, the South-Slavic societies demon-
strated a connection with the Balkans, providing an inspirational symbol.
Tamburitza music, primarily a symbol of the Croatian nation in both
the homeland and abroad, was perceived by Czechs as a genuine form of
Slavic culture, unaffected by the German environment. In a way, it was also
an exotic phenomenon and an opportunity to express the Pan-Slavic idea.
Due to their quantity, Czech societies in Vienna soon began to dominate
in terms of the number of tamburitza ensembles. Their bandleaders start-
ed composing their own songs. These societies became the intermediary
of tamburitza music in the direction to Bohemia and Moravia. General-
ly, with respect to migration of tamburitza music, Vienna also had another
meaning: the Croatian minority in Burgenland adopted tamburitza music
from Vienna, not directly from Croatia!
There was stagnation in the inter-war period, both in Vienna and in
Czechoslovakia – the younger generation became interested in tramping
music and jazz. Currently, there are the last three ensembles in the Czech
Republic. The Adria trio, originally a Czech-Viennese society, is active in
Vienna. Conversely, tamburitza music is living folklore in Burgenland.
Bibliography
Archiv of the Society Slovanská beseda (Vienna).
Cebic, Dario. Die Entwicklung des Tamburizzaspiels in Kroatien und Österre-
ich. PhD diss., Universität für Musik und darstellende Kunst Graz, 2012.
Fukač, Jiří. “Tamburaši [Tamburitza Players].” In Slovník české hudební kultu-
ry. Edited by Petr Macek, 914. Praha: Editio Supraphon, 1997.
Hrandek, Rudolf A.. “Beiträge zur Kenntnis des Wiener Vereinslebens.” Öster-
reichische Zeitschrift für Volkskunde, 12/61 (1958): 218.
Hrdlička, Richard. Počátky národní hudby jihoslovanské v Čechách. Na třice-
tiletou památku založení tamburašského sboru v Táboře [The Origins of
220
