Page 238 - 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. 238
glasbene migracije: stičišče evropske glasbene raznolikosti
Hladaček, Jugoslovenska budnica [Yugoslav “budnica”/“wake-up
song”]
Václav Horejšek, Srpska narodna pesma [Serbian National Song]
Davorin Jenko, Hajd u vojnu [Let’s go to the War]
Moreover, when we take into consideration Davorin Jenko’s increas-
ing popularity and reputation outside the Serbian Kingdom’s boarders to-
wards the turn of the 20th century, beside the fact that he was elected an
honorary member of Matica srpska and the Serbian National Theatre in
Novi Sad, and of the singing societies Kolo in Zagreb and Zora [Down] in
Karlovac (today Croatia), he was also the author of anthems of the sing-
ing societies Gusle [Fiddle] in Mostar (today the centre of the Herzegovi-
na-Neretva Canton of the Bosnia and Herzegovina Federation) and Zasta-
va [Banner] in Nevesinje (today the Republika Srpska), we could conclude
that his Pan-Slavic mission at that time actually joined the then more real,
contemporary streams of Yugoslavism, both as a movement and as an ide-
ology. From that point of view, would it be wrong to define all Jenko’s pre-
vious Pan-Slavic actions in terms of proto-Yugoslavism?
The Metaphor of the Hub: One Possible Way
out from an in-between Position?
As is well known from recent history and, particularly, from several no-
table book titles and historical interpretations published (mostly in the
West) after the break-up of the former (SFR) Yugoslavia, the idea of Yugo-
slavism, defined as a “failed idea”,39 together with Pan-Slavic ideals have
found their place in the histories of utopias. On the other side, as the paths
of music historiography based on ethnical principles show, the position of
Davorin Jenko in the overall processes that, finally, lead towards the crea-
tion of the new Europe after World War I, remained on some kind of in-be-
tween, unstable and uncertain ground, divided primarily between Slove-
nian and Serbian music history or, in a better sense, the music history of
Slovenia and of Serbia.
However, the powerful impact of Jenko’s activities in spreading Slavic
music repertoire from leading centres (Vienna, Prague, Ljubljana and Bel-
grade) to distant peripheries in the turbulent times of the construction of
39 See e.g. Dejan Djokić, ed., Yugoslavism. Histories of a Failed Idea. 1918–1992 (Lon-
don: Hurst and Company, 2003).
236
Hladaček, Jugoslovenska budnica [Yugoslav “budnica”/“wake-up
song”]
Václav Horejšek, Srpska narodna pesma [Serbian National Song]
Davorin Jenko, Hajd u vojnu [Let’s go to the War]
Moreover, when we take into consideration Davorin Jenko’s increas-
ing popularity and reputation outside the Serbian Kingdom’s boarders to-
wards the turn of the 20th century, beside the fact that he was elected an
honorary member of Matica srpska and the Serbian National Theatre in
Novi Sad, and of the singing societies Kolo in Zagreb and Zora [Down] in
Karlovac (today Croatia), he was also the author of anthems of the sing-
ing societies Gusle [Fiddle] in Mostar (today the centre of the Herzegovi-
na-Neretva Canton of the Bosnia and Herzegovina Federation) and Zasta-
va [Banner] in Nevesinje (today the Republika Srpska), we could conclude
that his Pan-Slavic mission at that time actually joined the then more real,
contemporary streams of Yugoslavism, both as a movement and as an ide-
ology. From that point of view, would it be wrong to define all Jenko’s pre-
vious Pan-Slavic actions in terms of proto-Yugoslavism?
The Metaphor of the Hub: One Possible Way
out from an in-between Position?
As is well known from recent history and, particularly, from several no-
table book titles and historical interpretations published (mostly in the
West) after the break-up of the former (SFR) Yugoslavia, the idea of Yugo-
slavism, defined as a “failed idea”,39 together with Pan-Slavic ideals have
found their place in the histories of utopias. On the other side, as the paths
of music historiography based on ethnical principles show, the position of
Davorin Jenko in the overall processes that, finally, lead towards the crea-
tion of the new Europe after World War I, remained on some kind of in-be-
tween, unstable and uncertain ground, divided primarily between Slove-
nian and Serbian music history or, in a better sense, the music history of
Slovenia and of Serbia.
However, the powerful impact of Jenko’s activities in spreading Slavic
music repertoire from leading centres (Vienna, Prague, Ljubljana and Bel-
grade) to distant peripheries in the turbulent times of the construction of
39 See e.g. Dejan Djokić, ed., Yugoslavism. Histories of a Failed Idea. 1918–1992 (Lon-
don: Hurst and Company, 2003).
236
