Page 230 - 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
and role of the distinguished composer and choir-master Davorin Jenko in
the process of spreading the ideas and programme of Pan–Slavism by way
of the emergence and migration of Pan–Slavic ideas through music and
music activities in both Austro-Hungary and the Principality/Kingdom of
Serbia [from 1882], two questions deserve special attention.
The first question is: “Whether is it correct at all to think of Davor-
in Jenko in terms of a musical migrant?”, and the second will be: “Can
we, while thinking of Jenko’s role and his overall contribution to his times,
move away from discourses that essentialise ethnicity and apply a more
flexible and, finally, more objective and fruitful methodological model?”
To answer the second question, I will mainly rely on the methodo-
logical propositions and conclusions of Nadia Kiwan and Ulrike Hanna
Meinhof, presented in a special issue devoted to music and migration, in
the journal MAiA – Music and Arts in Action, in 2011.16 Special attention to
their key ideas will be paid in the final section of this paper.
Following Davorin Jenko’s Path
Let us briefly overview the milestones in Jenko’s biography:
9 November 1835 Born as Martin Jenko in Dvorje (near Cerklje) – Austrian Empire,
1850–1853 today the Republic of Slovenia
1854–1858 Ljubljana – Austrian Empire, today’s Republic of Slovenia;
1859–1962 attends gymnasium
1862–1865 Trieste – Austrian Empire, today Italy;
finishes gymnasium; music lessons with Francesco Siniko
1865 Vienna – changes his name to Davorin; works with Slovenian Singing
Society; composes Forward! [Naprej!]
In around 1870 Pančevo – Austrian Empire;
Kappelmeister of the first Serbian Church Singing Society
Belgrade – Autonomous Principality of Serbia (1804–1878)
Kappelmeister of the First Belgrade Singing Society
(1865–1877)
Prague – Austria-Hungary, today The Czech Republic
studies instrumentation (?); publishes scores
16 See Nadia Kiwan and Ulrike Hanna Meinhof, “Introduction,” MAiA – Music and
Arts in Action, 3/3 (2011) – Special Issue: Music and Migration Migration: A Tran-
snational Approach, ed. Nadia Kiwan and Ulrike Hanna Meinhof, [Department of
Sociology & Philosophy: The University of Exeter], 3–20.
228
and role of the distinguished composer and choir-master Davorin Jenko in
the process of spreading the ideas and programme of Pan–Slavism by way
of the emergence and migration of Pan–Slavic ideas through music and
music activities in both Austro-Hungary and the Principality/Kingdom of
Serbia [from 1882], two questions deserve special attention.
The first question is: “Whether is it correct at all to think of Davor-
in Jenko in terms of a musical migrant?”, and the second will be: “Can
we, while thinking of Jenko’s role and his overall contribution to his times,
move away from discourses that essentialise ethnicity and apply a more
flexible and, finally, more objective and fruitful methodological model?”
To answer the second question, I will mainly rely on the methodo-
logical propositions and conclusions of Nadia Kiwan and Ulrike Hanna
Meinhof, presented in a special issue devoted to music and migration, in
the journal MAiA – Music and Arts in Action, in 2011.16 Special attention to
their key ideas will be paid in the final section of this paper.
Following Davorin Jenko’s Path
Let us briefly overview the milestones in Jenko’s biography:
9 November 1835 Born as Martin Jenko in Dvorje (near Cerklje) – Austrian Empire,
1850–1853 today the Republic of Slovenia
1854–1858 Ljubljana – Austrian Empire, today’s Republic of Slovenia;
1859–1962 attends gymnasium
1862–1865 Trieste – Austrian Empire, today Italy;
finishes gymnasium; music lessons with Francesco Siniko
1865 Vienna – changes his name to Davorin; works with Slovenian Singing
Society; composes Forward! [Naprej!]
In around 1870 Pančevo – Austrian Empire;
Kappelmeister of the first Serbian Church Singing Society
Belgrade – Autonomous Principality of Serbia (1804–1878)
Kappelmeister of the First Belgrade Singing Society
(1865–1877)
Prague – Austria-Hungary, today The Czech Republic
studies instrumentation (?); publishes scores
16 See Nadia Kiwan and Ulrike Hanna Meinhof, “Introduction,” MAiA – Music and
Arts in Action, 3/3 (2011) – Special Issue: Music and Migration Migration: A Tran-
snational Approach, ed. Nadia Kiwan and Ulrike Hanna Meinhof, [Department of
Sociology & Philosophy: The University of Exeter], 3–20.
228
