Page 91 - 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. 91
music mobility in the 17th and 18th centuries: croatian lands ...
part in music making outside their service, both in private and public, sec-
ular and sacral situations.
Quite numerous members of ecclesiastical structures who dealt with
music, migrated following their duties and orders within their respective
cultural circle, like, for example, the Franciscan Benedetto Pellizzari, who
came from Venetian Republic as maestro di cappella to the cathedral in
Split. Monks usually did not leave the frames of their church or monastic
community at large.16 An exceptional case is the one of the 17th-century cler-
ic Juraj Križanić/Georgius Crisanius, who published his two titles on music
in Rome, then set off on a “special mission” to Russia. In 1661, he was ban-
ished to Siberia for 15 years and during his exile in Tobolsk he wrote several
books on different topics, including some chapters on music performance
and on church singing.17 Afterwards, he moved to Vilnius, joined the Pol-
ish army heading for Vienna and probably died there during the Ottoman
siege of the city in 1683.
The most numerous group is the one consisting of secular profession-
al musicians belonging to lower social strata who made their living out of
music making.18 In addition, secondary sources point also at some peasants,
who occasionally moved to towns in order to specialise in music, or just to
perform within their peasant group on some special occasions (like, for ex-
ample, in Dubrovnik for the feast of St Blaise/san Biaggio, the patron-saint
of the town, or in Split, for the feast of St Domnius/san Doimo). Such cas-
es were entered into the database only when these persons were mentioned
by name.
Reasons of migrations
According to some (rare) documentation, the reasons for musicians to
change the place of their activity were numerous. The so-called push and
pull factors were usually combined. Very often the primary reason for the
travelling was not musical, but training in some other profession. For ex-
16 Usually they migrated within their religious province. That is the case above all
within the Franciscan order. In female church communities, such migrations have
not yet been investigated, although, according to the sources in the Ursuline nunnery
in Varaždin, there are some indications of that issue.
17 Cf. Stanislav Tuksar, “Juraj Križanić, His Treatise De Musica (1663–1666) and His
Remarks on Performing Practices,” Diasporas, 26 (2015): 35–56.
18 Most cases are known in connection with the Dubrovnik Republic. Cf. Miho
Demović, Glazba i glazbenici u Dubrovačkoj Republici od kraja XVII. do prvog
desetljeća XIX. stoljeća (Zagreb: JAZU, 1989).
89
part in music making outside their service, both in private and public, sec-
ular and sacral situations.
Quite numerous members of ecclesiastical structures who dealt with
music, migrated following their duties and orders within their respective
cultural circle, like, for example, the Franciscan Benedetto Pellizzari, who
came from Venetian Republic as maestro di cappella to the cathedral in
Split. Monks usually did not leave the frames of their church or monastic
community at large.16 An exceptional case is the one of the 17th-century cler-
ic Juraj Križanić/Georgius Crisanius, who published his two titles on music
in Rome, then set off on a “special mission” to Russia. In 1661, he was ban-
ished to Siberia for 15 years and during his exile in Tobolsk he wrote several
books on different topics, including some chapters on music performance
and on church singing.17 Afterwards, he moved to Vilnius, joined the Pol-
ish army heading for Vienna and probably died there during the Ottoman
siege of the city in 1683.
The most numerous group is the one consisting of secular profession-
al musicians belonging to lower social strata who made their living out of
music making.18 In addition, secondary sources point also at some peasants,
who occasionally moved to towns in order to specialise in music, or just to
perform within their peasant group on some special occasions (like, for ex-
ample, in Dubrovnik for the feast of St Blaise/san Biaggio, the patron-saint
of the town, or in Split, for the feast of St Domnius/san Doimo). Such cas-
es were entered into the database only when these persons were mentioned
by name.
Reasons of migrations
According to some (rare) documentation, the reasons for musicians to
change the place of their activity were numerous. The so-called push and
pull factors were usually combined. Very often the primary reason for the
travelling was not musical, but training in some other profession. For ex-
16 Usually they migrated within their religious province. That is the case above all
within the Franciscan order. In female church communities, such migrations have
not yet been investigated, although, according to the sources in the Ursuline nunnery
in Varaždin, there are some indications of that issue.
17 Cf. Stanislav Tuksar, “Juraj Križanić, His Treatise De Musica (1663–1666) and His
Remarks on Performing Practices,” Diasporas, 26 (2015): 35–56.
18 Most cases are known in connection with the Dubrovnik Republic. Cf. Miho
Demović, Glazba i glazbenici u Dubrovačkoj Republici od kraja XVII. do prvog
desetljeća XIX. stoljeća (Zagreb: JAZU, 1989).
89
