Page 89 - 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. 89
music mobility in the 17th and 18th centuries: croatian lands ...
1. Continental Croatia (called also “Ban’s Croatia”) and Slavo-
nia made part of the Habsburg Monarchy with a certain level of
autonomy;
2. The coastal part of Istria, Croatian littoral islands, and Dalmatia
were under the Venetian administration, that will last until 1797,
when the French abolished the Venetian Republic (after few years
of struggle, from 1813 it was taken over by the Austrian Empire);
3. The region of Dubrovnik was a semi-independent city-state, bal-
ancing politically between the Ottoman Empire and the West and
abolished by the French in 1808, and since 1813, it was included
into the Austrian Monarchy.
In the turbulent history of musical culture in these areas, actual-
ly a sort of a “Randgebiet” when regarded from the western (mostly Ro-
man-Catholic) cultural centres, and bordering with the Ottoman Empire,
the preserved primary sources as well as secondary data on music are not
numerous, especially until the mid-18th century. However, in spite of such
unfavourable times for culture, some 250 names of migrant musicians con-
nected with Croatian lands have been entered into the project/common da-
tabase,7 who participated in the mosaic of European music (both in Croa-
tia or abroad) and its infrastructure. Their names have been collected either
from previous research results published in articles and books, or directly
from primary sources. Investigating itineraries and destinies of these musi-
cians, some observations have been made regarding their migrational issue.
However, the database (www.musmig.eu) as well as the results presented
here will be further developed so that some enlargements (and corrections)
could be expected in near future.
In the analyses of the database, some parameters dealing with the mu-
sicians on the move have been detected and will be presented here.
Social position of migrants
It can be stated that migrating musicians connected with Croatian lands
belonged to all estates. Nevertheless, musically educated members of the
nobility usually returned to their primary domicile after their musical jour-
ney was over, as was the case with the father and son (Luca and Antonio)
Sorgo, both noblemen and composers, who returned to Dubrovnik after
7 Current web address of the database (November 1, 2016): http://www.musmig.eu/
database-test2/.
87
1. Continental Croatia (called also “Ban’s Croatia”) and Slavo-
nia made part of the Habsburg Monarchy with a certain level of
autonomy;
2. The coastal part of Istria, Croatian littoral islands, and Dalmatia
were under the Venetian administration, that will last until 1797,
when the French abolished the Venetian Republic (after few years
of struggle, from 1813 it was taken over by the Austrian Empire);
3. The region of Dubrovnik was a semi-independent city-state, bal-
ancing politically between the Ottoman Empire and the West and
abolished by the French in 1808, and since 1813, it was included
into the Austrian Monarchy.
In the turbulent history of musical culture in these areas, actual-
ly a sort of a “Randgebiet” when regarded from the western (mostly Ro-
man-Catholic) cultural centres, and bordering with the Ottoman Empire,
the preserved primary sources as well as secondary data on music are not
numerous, especially until the mid-18th century. However, in spite of such
unfavourable times for culture, some 250 names of migrant musicians con-
nected with Croatian lands have been entered into the project/common da-
tabase,7 who participated in the mosaic of European music (both in Croa-
tia or abroad) and its infrastructure. Their names have been collected either
from previous research results published in articles and books, or directly
from primary sources. Investigating itineraries and destinies of these musi-
cians, some observations have been made regarding their migrational issue.
However, the database (www.musmig.eu) as well as the results presented
here will be further developed so that some enlargements (and corrections)
could be expected in near future.
In the analyses of the database, some parameters dealing with the mu-
sicians on the move have been detected and will be presented here.
Social position of migrants
It can be stated that migrating musicians connected with Croatian lands
belonged to all estates. Nevertheless, musically educated members of the
nobility usually returned to their primary domicile after their musical jour-
ney was over, as was the case with the father and son (Luca and Antonio)
Sorgo, both noblemen and composers, who returned to Dubrovnik after
7 Current web address of the database (November 1, 2016): http://www.musmig.eu/
database-test2/.
87
