Page 268 - 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. 268
glasbene migracije: stičišče evropske glasbene raznolikosti
was named a honorific member of the Serbian singing society Sloga and the
Choir of Franciscan priests Jukić in 1936.34
Teachers
Pedagogical involvement of Czech musicians has been the most significant
segment of their presence in Bosnia, having in mind their number and con-
tinuity of work. Until the systematic establishment of the first elementary
and high schools of music in the period after the World War II, music was
taught by private music tutors, within music classes in general schools, or
music courses organized by national singing societies. Czech musicians ex-
celled as the first music teachers that successfully set the foundations of
music education.
The most significant school of music in the Austro-Hungarian peri-
od was the Music school of F. Matějovský (Glazbena škola F. Matějovskog)
in Sarajevo. The establishment and activity of this school is the climax of
the private music pedagogy practice; in its fifth year of operation, the Music
school of F. Matějovský (1908–1915) had 124 pupils, and four pupils of this
school were admitted to Vienna and Krakow conservatoires. František and
his wife Mara Matějovský ran all the classes at the school35 which, despite
hard conditions it operated in, organized in-house and public concerts on
a regular basis, thus contributing to the diversity of Sarajevo musical life
before World War I. By approaching the pedagogical work with affection
and commitment, František and Mara Matějovský attempted to improve
the quality of school classes as much as they could. For the needs of classes
in theoretical courses, Matějovský wrote mimeographed notes, composed
and arranged for the needs of school chamber ensembles. In a fairly short
period of time of its operations, the school managed to achieve significant
pedagogical results educating the first music pedagogues and orchestra
musicians in Sarajevo.36 The fact that other and more talented and educated
34 Sarajevo. Historijski arhiv Sarajevo. Ostavština Franje Maćejovskog, sign. O-MF-18.
35 The school organized classes in the piano, stringed instruments, solo singing, the-
oretical courses and almost all the brass and woodwind instruments. Until 1911,
František and Mara Matějovský ran all the classes, and then the classes in solo sing-
ing were taken over by Nada Pržibilova, a student at Prague opera school.
36 František Matějovsky’s school was attended by Jelka Đurić and Ljubo Bajac, the first
piano teachers in the Regional school of music in Sarajevo, Beluš Jungić, a conductor
and cello teacher in the Regional school of music, Mira Tichy, a piano teacher,
Bahrija Nurihadžić, the prima donna of Belgrade opera, violinist Ignac Pešek, who
continued his education in Paris, pianist Tea Glussmann, who continued schooling
in Vienna, and pianist Mirjana Matějovska, who continued her education in Zagreb.
266
was named a honorific member of the Serbian singing society Sloga and the
Choir of Franciscan priests Jukić in 1936.34
Teachers
Pedagogical involvement of Czech musicians has been the most significant
segment of their presence in Bosnia, having in mind their number and con-
tinuity of work. Until the systematic establishment of the first elementary
and high schools of music in the period after the World War II, music was
taught by private music tutors, within music classes in general schools, or
music courses organized by national singing societies. Czech musicians ex-
celled as the first music teachers that successfully set the foundations of
music education.
The most significant school of music in the Austro-Hungarian peri-
od was the Music school of F. Matějovský (Glazbena škola F. Matějovskog)
in Sarajevo. The establishment and activity of this school is the climax of
the private music pedagogy practice; in its fifth year of operation, the Music
school of F. Matějovský (1908–1915) had 124 pupils, and four pupils of this
school were admitted to Vienna and Krakow conservatoires. František and
his wife Mara Matějovský ran all the classes at the school35 which, despite
hard conditions it operated in, organized in-house and public concerts on
a regular basis, thus contributing to the diversity of Sarajevo musical life
before World War I. By approaching the pedagogical work with affection
and commitment, František and Mara Matějovský attempted to improve
the quality of school classes as much as they could. For the needs of classes
in theoretical courses, Matějovský wrote mimeographed notes, composed
and arranged for the needs of school chamber ensembles. In a fairly short
period of time of its operations, the school managed to achieve significant
pedagogical results educating the first music pedagogues and orchestra
musicians in Sarajevo.36 The fact that other and more talented and educated
34 Sarajevo. Historijski arhiv Sarajevo. Ostavština Franje Maćejovskog, sign. O-MF-18.
35 The school organized classes in the piano, stringed instruments, solo singing, the-
oretical courses and almost all the brass and woodwind instruments. Until 1911,
František and Mara Matějovský ran all the classes, and then the classes in solo sing-
ing were taken over by Nada Pržibilova, a student at Prague opera school.
36 František Matějovsky’s school was attended by Jelka Đurić and Ljubo Bajac, the first
piano teachers in the Regional school of music in Sarajevo, Beluš Jungić, a conductor
and cello teacher in the Regional school of music, Mira Tichy, a piano teacher,
Bahrija Nurihadžić, the prima donna of Belgrade opera, violinist Ignac Pešek, who
continued his education in Paris, pianist Tea Glussmann, who continued schooling
in Vienna, and pianist Mirjana Matějovska, who continued her education in Zagreb.
266
