Page 451 - 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. 451
summaries
visions”. Only this way could the composer obtain the coveted stamp “Ap-
proved” on his music.
Mercadante, Manna and Asioli were accused of damaging the musical taste
and feeling of many Christian chapels. Controversies were not limited to
casual slurs but often took tones of complaint, even turning into actual li-
bels against composers and performers, guilty of having transferred the op-
eratic style into a territory now unsuitable to welcome it.
In a climate of not-so-veiled dictatorship, regulations issued by bishops
provided “punishments” for those who had taken to the church a “ridicu-
lous”, “vulgar”, “trivial” genre, considered to be “in need of care”.
Keywords: contrafactum, opera transcriptions, organ reductions, cecilian-
ism, XIXth century censorship
Lubomír Spurný
Music and Migration: Contribution to the History
of Czech Modern Music (1870–1945)
The paper brings an overview of some variants of migration movements
that are detectable in the Czech music culture
of 19th and 20th centuries.
The aspects in question are compositional techniques, attitudes, migration
movement
of individuals and groups. In the 19th century, for instance, mu-
sicians from the Czech lands contributed to the remarkable development of
cultures of European east and south. A distinctive role was played by musi-
cians residing in Slovakia after the formation of Czechoslovakia (1918). The
Czech territory, on the contrary, records a considerable migration move-
ment of german musicians after 1933.
Keywords: Czech music, migration, cultural transfer, Prague conservatory
Katarina Tomašević
Davorin Jenko between Slovenian and Serbian Music.
Case study on the Slavonic Music Ideas Migration
at the turn of the 20th century
The main aim of this paper is to re-examine the position and a role of the
distinguished composer and choir-master Davorin Jenko (1835–1914), in the
process of the emergence and migration of Pan–Slavic ideas through music
and music activities, both in Austro-Hungary and the Kingdom of Serbia,
mainly at the turn of the 20th century.
Jenko’s productive professional life may be observed as a specific example
of a music-migrant’s path. Born in Dvorje (today Slovenia), he studied in
449
visions”. Only this way could the composer obtain the coveted stamp “Ap-
proved” on his music.
Mercadante, Manna and Asioli were accused of damaging the musical taste
and feeling of many Christian chapels. Controversies were not limited to
casual slurs but often took tones of complaint, even turning into actual li-
bels against composers and performers, guilty of having transferred the op-
eratic style into a territory now unsuitable to welcome it.
In a climate of not-so-veiled dictatorship, regulations issued by bishops
provided “punishments” for those who had taken to the church a “ridicu-
lous”, “vulgar”, “trivial” genre, considered to be “in need of care”.
Keywords: contrafactum, opera transcriptions, organ reductions, cecilian-
ism, XIXth century censorship
Lubomír Spurný
Music and Migration: Contribution to the History
of Czech Modern Music (1870–1945)
The paper brings an overview of some variants of migration movements
that are detectable in the Czech music culture
of 19th and 20th centuries.
The aspects in question are compositional techniques, attitudes, migration
movement
of individuals and groups. In the 19th century, for instance, mu-
sicians from the Czech lands contributed to the remarkable development of
cultures of European east and south. A distinctive role was played by musi-
cians residing in Slovakia after the formation of Czechoslovakia (1918). The
Czech territory, on the contrary, records a considerable migration move-
ment of german musicians after 1933.
Keywords: Czech music, migration, cultural transfer, Prague conservatory
Katarina Tomašević
Davorin Jenko between Slovenian and Serbian Music.
Case study on the Slavonic Music Ideas Migration
at the turn of the 20th century
The main aim of this paper is to re-examine the position and a role of the
distinguished composer and choir-master Davorin Jenko (1835–1914), in the
process of the emergence and migration of Pan–Slavic ideas through music
and music activities, both in Austro-Hungary and the Kingdom of Serbia,
mainly at the turn of the 20th century.
Jenko’s productive professional life may be observed as a specific example
of a music-migrant’s path. Born in Dvorje (today Slovenia), he studied in
449
