Page 226 - 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
On the other hand, considering both the time of the former SFR Yugo-
slavia and particularly recent decades, one can also conclude that musico-
logical production in Serbia, especially that dedicated to the epoch of Ro-
manticism – has moved the horizons of previous interpretations of Davorin
Jenko’s role in music history in Serbia several steps forward.3 In addition,
not so numerous, but methodologically fresh and valuable essays on Jen-
ko’s reception in Serbian culture, from his time to today, and written from
the perspective of contemporary cultural anthropology and theories of na-
tionalism, have also appeared recently.4
However, one immediate reason directly contributed to Davorin Jen-
ko entering into the focus of not only musicological and musical, but also
of the broader cultural attention in Serbia: this was on the occasion of the
marking of two important anniversaries: in 2014 – 100 years since Jenko’s
death; and in 2015 – 185 years since his birth.
Bearing in mind that the scientific conference and exhibition dedicat-
ed to Jenko were organised in Ljubljana, in November 2014 (Proceedings
from the conference appeared in 2015!5), it would be useful, from the point
of view of the importance of cultural remembrance, to briefly remind our-
selves of a series of events through which Belgrade and Novi Sad, for exam-
ple, expressed, once again, the greatest gratitude to “our Slovene” Davorin
Jenko, for his overall contribution to the professional development of mu-
sic culture in Serbia.
A respectable and creative contribution to the Jenko Jubilee was given
by the TV art film Davorin Jenko – Tvorac himni i budnica [Davorin Jen-
ko – Creator of Hymns and Patriotic Songs] by Ana Pavlović and Dragomir
Zupanc (co-screenwriter K. Tomašević), produced by Radio Television Ser-
3 Valuable contribution to the presentation of Davorin Jenko’s work in Serbia was first
given by Stana Đurić-Klajn in: Josip Andreis, Dragotin Cvetko and Stana Đurić-
-Klajn, Historijski razvoj muzičke kulture u Jugoslaviji (Zagreb: Školska knjiga, 1962),
595–604; see also Idem, Istorijski razvoj muzičke kulture u Srbiji (Beograd: Pro musi-
ca, 1971), 62–68.[Cir.]. For more recent results of the interpretation of Jenko’s work
see: Tatjana Marković, Transfiguracije srpskog romantizma: Muzika u kontekstu studija
kulture (Beograd: Univerzitet umetnosti, 2005) and Ivana Perković-Radak, Od anđe-
oskog pojanja do horske umetnosti; srpska horska crkvena muzika u periodu romantizma
(Beograd: Fakultet muzičke umetnosti – Signature, 2007) [Cir.].
4 See Mladena Prelić, “Kako pamtimo Davorina Jenka,” Traditiones, 39/1 (2010): 239–
259; Ivana Vesić, “Davorin Jenko, ‘naš stranac’ u kulturnom životu Beograda (1865–
1914): kontradiktornosti etničkog koncepta nacionalnog identiteta,” Limes plus, 2
(2013): 175–195.
5 Gregor Jenuš and Franc Križnar, eds., Davorin Jenko: (1835–1914).
224
On the other hand, considering both the time of the former SFR Yugo-
slavia and particularly recent decades, one can also conclude that musico-
logical production in Serbia, especially that dedicated to the epoch of Ro-
manticism – has moved the horizons of previous interpretations of Davorin
Jenko’s role in music history in Serbia several steps forward.3 In addition,
not so numerous, but methodologically fresh and valuable essays on Jen-
ko’s reception in Serbian culture, from his time to today, and written from
the perspective of contemporary cultural anthropology and theories of na-
tionalism, have also appeared recently.4
However, one immediate reason directly contributed to Davorin Jen-
ko entering into the focus of not only musicological and musical, but also
of the broader cultural attention in Serbia: this was on the occasion of the
marking of two important anniversaries: in 2014 – 100 years since Jenko’s
death; and in 2015 – 185 years since his birth.
Bearing in mind that the scientific conference and exhibition dedicat-
ed to Jenko were organised in Ljubljana, in November 2014 (Proceedings
from the conference appeared in 2015!5), it would be useful, from the point
of view of the importance of cultural remembrance, to briefly remind our-
selves of a series of events through which Belgrade and Novi Sad, for exam-
ple, expressed, once again, the greatest gratitude to “our Slovene” Davorin
Jenko, for his overall contribution to the professional development of mu-
sic culture in Serbia.
A respectable and creative contribution to the Jenko Jubilee was given
by the TV art film Davorin Jenko – Tvorac himni i budnica [Davorin Jen-
ko – Creator of Hymns and Patriotic Songs] by Ana Pavlović and Dragomir
Zupanc (co-screenwriter K. Tomašević), produced by Radio Television Ser-
3 Valuable contribution to the presentation of Davorin Jenko’s work in Serbia was first
given by Stana Đurić-Klajn in: Josip Andreis, Dragotin Cvetko and Stana Đurić-
-Klajn, Historijski razvoj muzičke kulture u Jugoslaviji (Zagreb: Školska knjiga, 1962),
595–604; see also Idem, Istorijski razvoj muzičke kulture u Srbiji (Beograd: Pro musi-
ca, 1971), 62–68.[Cir.]. For more recent results of the interpretation of Jenko’s work
see: Tatjana Marković, Transfiguracije srpskog romantizma: Muzika u kontekstu studija
kulture (Beograd: Univerzitet umetnosti, 2005) and Ivana Perković-Radak, Od anđe-
oskog pojanja do horske umetnosti; srpska horska crkvena muzika u periodu romantizma
(Beograd: Fakultet muzičke umetnosti – Signature, 2007) [Cir.].
4 See Mladena Prelić, “Kako pamtimo Davorina Jenka,” Traditiones, 39/1 (2010): 239–
259; Ivana Vesić, “Davorin Jenko, ‘naš stranac’ u kulturnom životu Beograda (1865–
1914): kontradiktornosti etničkog koncepta nacionalnog identiteta,” Limes plus, 2
(2013): 175–195.
5 Gregor Jenuš and Franc Križnar, eds., Davorin Jenko: (1835–1914).
224
