Page 254 - 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. 254
glasbene migracije: stičišče evropske glasbene raznolikosti
Great General Education Secondary School in Sarajevo. Through pro-re-
gime newspapers, the collection was recommended to both the immigrant
and B&H youth, as a possibility to learn about the beauties of folk wealth.26
The National Government included the collection in the mandatory school
reading, and the songs were sung in the classes of World singing at the
state-owned Great General Education Secondary School, where Kačer-
ovský himself was a teacher. However, undertakings such as this one were
encountered with poignant criticism in the local public, since school ad-
ministrations prohibited singing of patriotic songs, the melodies of which
could at best be performed without lyrics and with neutral syllables, while
collections of traditional music such as Sevdalinkas, refined with the West-
ern European spirit were imposed as mandatory teaching subject matter.
From the perspective of an anonymous writer in the nationally oriented
Hrvatski dnevnik, it can be discerned that one of the main flaws of Kačer-
ovský’s creation was that it did not have a refining role and arouse the pa-
triotic flare which should inflame the youth “at least for their homeland,
be it Serbian, or Croatian or Chinese”.27 Furthermore, he points out that,
luckily, there was enough awareness among the youth not to attend the de-
scribed classes of the so-called “sevdalinka singing”. This was supported by
the School’s annual report according to which Kačerovský’s classes were at-
tended only by 17 out of 559 pupils!28
How Did the “Baggage Culture” Become Universally
Accepted?!
Having in mind the above described, the question arises as to how the
“point of reconciliation” could be reached between the two completely dif-
ferent cultures which developed in parallel directions without significant
mutual contact. One should wonder: what was the decisive moment when
the “baggage culture” began to grow into the universally accepted cultural
orientation?
Actually, it became obvious that the presence of Austro-Hungary was
a permanent state, and the Western European sociopolitical, economic and
cultural trends were now a matter of irrefutable reality for B&H. More ac-
curately, it was the winner’s culture, which conquered each segment of pub-
26 Anonym., “Bosanske sevdalinke za klavir,” Učiteljska zora, May–August, 1907, 89.
27 Anonym., “Pjevanje u našim srednjim školama,” Hrvatski dnevnik, September 6,
1907, 5.
28 Ibid..
252
Great General Education Secondary School in Sarajevo. Through pro-re-
gime newspapers, the collection was recommended to both the immigrant
and B&H youth, as a possibility to learn about the beauties of folk wealth.26
The National Government included the collection in the mandatory school
reading, and the songs were sung in the classes of World singing at the
state-owned Great General Education Secondary School, where Kačer-
ovský himself was a teacher. However, undertakings such as this one were
encountered with poignant criticism in the local public, since school ad-
ministrations prohibited singing of patriotic songs, the melodies of which
could at best be performed without lyrics and with neutral syllables, while
collections of traditional music such as Sevdalinkas, refined with the West-
ern European spirit were imposed as mandatory teaching subject matter.
From the perspective of an anonymous writer in the nationally oriented
Hrvatski dnevnik, it can be discerned that one of the main flaws of Kačer-
ovský’s creation was that it did not have a refining role and arouse the pa-
triotic flare which should inflame the youth “at least for their homeland,
be it Serbian, or Croatian or Chinese”.27 Furthermore, he points out that,
luckily, there was enough awareness among the youth not to attend the de-
scribed classes of the so-called “sevdalinka singing”. This was supported by
the School’s annual report according to which Kačerovský’s classes were at-
tended only by 17 out of 559 pupils!28
How Did the “Baggage Culture” Become Universally
Accepted?!
Having in mind the above described, the question arises as to how the
“point of reconciliation” could be reached between the two completely dif-
ferent cultures which developed in parallel directions without significant
mutual contact. One should wonder: what was the decisive moment when
the “baggage culture” began to grow into the universally accepted cultural
orientation?
Actually, it became obvious that the presence of Austro-Hungary was
a permanent state, and the Western European sociopolitical, economic and
cultural trends were now a matter of irrefutable reality for B&H. More ac-
curately, it was the winner’s culture, which conquered each segment of pub-
26 Anonym., “Bosanske sevdalinke za klavir,” Učiteljska zora, May–August, 1907, 89.
27 Anonym., “Pjevanje u našim srednjim školama,” Hrvatski dnevnik, September 6,
1907, 5.
28 Ibid..
252
