Page 228 - 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
P. 228
glasbene migracije: stičišče evropske glasbene raznolikosti
In 2014, one more musicological contribution that marked both cente-
naries of Jenko’s and Stevan Stojanović Mokranjac’s (1856–1914) deaths was
published in the international journal Musicology.10
In 2015, the 180th anniversary of Jenko’s birth was marked by an exhi-
bition at the Museum of the National Theatre in Belgrade (16 May–28 Oc-
tober), organised by the Archives of Serbia and Archives of Slovenia. On
the closing day of the exhibition, after a presentation of the proceedings
from the Ljubljana conference, the art movie Davorin Jenko – Creator of
Hymns and Patriotic Songs was presented in public once again. Last, but not
least, with the (re)publishing of the study by theatrologist Jelica Stevanović
“Slovenac – utemeljitelj srpske muzičke scene” [“Slovene – founder of the
Serbian music scene”], the leading national journal Zbornik Matice srpske
za scenske umetnosti i muziku [Matica Srpska Journal for Stage Art and
Music] joined the second Jubilee.11
The most important result of all these vivid scholarly activities that
was motivated by the marking of Jenko’s Jubilees in Serbia is the collective
monograph Davorin Jenko (1835–1914). Contributions to the Culture of Re-
membrance, which will appear by the end of 2016.12 Consisting of 8 studies
(including a remarkable contribution by Jernej Weiss, about the most fa-
mous of Jenko’s choral pieces: With Slava’s Banner, Forward! [Naprej, zasta-
va Slave!])13, this monograph also includes two articles on Jenko which were
published in the most prestigious daily and weekly newspapers of Politi-
10 Katarina Tomašević, “Davorin Jenko i Stevan St. Mokranjac. Biografski fragmenti.
Prilog za kulturu sećanja,” Muzikologija 16 (2014): 195–209. [Cir.]
11 Jelica Stevanović, “Slovenac – utemeljitelj srpske muzičke scene,” Zbornik Matice
srpske za scenske umetnosti i muziku, 53 (2015): 139–165.
12 Since the publication is in Latin script, and all studies are followed by Summaries
both in English and Slovenian, we expect that the book will stimulate the further
interest of broader scholarly circles in the region and abroad.
13 Here is the Content of the monograph: Sonja Marinković, “Rad Davorina Jenka u
svetlu razvoja muzike u Srbiji i Evropi”; Jernej Weiss, “Forward! – The first Sloveni-
an National Anthem by Davorin Jenko”; Katarina Tomašević, “Davorin Jenko i Ste-
van St. Mokranjac. Biografski fragmenti. Prilog kulturi sećanja” [reprint from Mu-
sicology 16 (2014]; Marijana Kokanović Marković, “Davorin Jenko na sceni Srpskog
narodnog pozorišta u Novom Sadu (1861–1914): Recepcija komada s pevanjem Seos-
ka lola”; Mladena Prelić, “Mapiranje kulturne istorije i pamćenja: beogradske godi-
ne Davorina Jenka i Vele Nigrinove”; Anica Sabo, “Analitički oslonci u proučavanju
opusa Davorina Jenka”; Maja Đukanović, “Literarne teme u kompozicijama Davori-
na Jenka”; Katarina Tomašević, “Kako je o Davorinu Jenku pisao Dragotin Cvetko.
Prilog proučavanju slovenačko-srpskih muzikoloških veza u doba SFRJ”.
226
In 2014, one more musicological contribution that marked both cente-
naries of Jenko’s and Stevan Stojanović Mokranjac’s (1856–1914) deaths was
published in the international journal Musicology.10
In 2015, the 180th anniversary of Jenko’s birth was marked by an exhi-
bition at the Museum of the National Theatre in Belgrade (16 May–28 Oc-
tober), organised by the Archives of Serbia and Archives of Slovenia. On
the closing day of the exhibition, after a presentation of the proceedings
from the Ljubljana conference, the art movie Davorin Jenko – Creator of
Hymns and Patriotic Songs was presented in public once again. Last, but not
least, with the (re)publishing of the study by theatrologist Jelica Stevanović
“Slovenac – utemeljitelj srpske muzičke scene” [“Slovene – founder of the
Serbian music scene”], the leading national journal Zbornik Matice srpske
za scenske umetnosti i muziku [Matica Srpska Journal for Stage Art and
Music] joined the second Jubilee.11
The most important result of all these vivid scholarly activities that
was motivated by the marking of Jenko’s Jubilees in Serbia is the collective
monograph Davorin Jenko (1835–1914). Contributions to the Culture of Re-
membrance, which will appear by the end of 2016.12 Consisting of 8 studies
(including a remarkable contribution by Jernej Weiss, about the most fa-
mous of Jenko’s choral pieces: With Slava’s Banner, Forward! [Naprej, zasta-
va Slave!])13, this monograph also includes two articles on Jenko which were
published in the most prestigious daily and weekly newspapers of Politi-
10 Katarina Tomašević, “Davorin Jenko i Stevan St. Mokranjac. Biografski fragmenti.
Prilog za kulturu sećanja,” Muzikologija 16 (2014): 195–209. [Cir.]
11 Jelica Stevanović, “Slovenac – utemeljitelj srpske muzičke scene,” Zbornik Matice
srpske za scenske umetnosti i muziku, 53 (2015): 139–165.
12 Since the publication is in Latin script, and all studies are followed by Summaries
both in English and Slovenian, we expect that the book will stimulate the further
interest of broader scholarly circles in the region and abroad.
13 Here is the Content of the monograph: Sonja Marinković, “Rad Davorina Jenka u
svetlu razvoja muzike u Srbiji i Evropi”; Jernej Weiss, “Forward! – The first Sloveni-
an National Anthem by Davorin Jenko”; Katarina Tomašević, “Davorin Jenko i Ste-
van St. Mokranjac. Biografski fragmenti. Prilog kulturi sećanja” [reprint from Mu-
sicology 16 (2014]; Marijana Kokanović Marković, “Davorin Jenko na sceni Srpskog
narodnog pozorišta u Novom Sadu (1861–1914): Recepcija komada s pevanjem Seos-
ka lola”; Mladena Prelić, “Mapiranje kulturne istorije i pamćenja: beogradske godi-
ne Davorina Jenka i Vele Nigrinove”; Anica Sabo, “Analitički oslonci u proučavanju
opusa Davorina Jenka”; Maja Đukanović, “Literarne teme u kompozicijama Davori-
na Jenka”; Katarina Tomašević, “Kako je o Davorinu Jenku pisao Dragotin Cvetko.
Prilog proučavanju slovenačko-srpskih muzikoloških veza u doba SFRJ”.
226
