Sedak, Eva Sedak, Eva
MGG Online,
01/2021
Reference
* 17. Juli 1938 in Zagreb (Kroatien), † 2. März 2017, Musikwissenschaftlerin. Sie studierte Mw. an der Musikakademie der Univ. Zagreb (Diplom 1963, Magister 1982) und wurde 1986 an der ...Philosophisch...
Malec, Ivo Sedak, Eva
MGG Online,
01/2020
Reference
30. März 1925 in Zagreb, 14. August 2019 in Paris, Komponist. Erst als Student, als Mitglied der Theatergruppe Družina mladih (Gruppe der Jungen) und Komponist etlicher Bühnenmusiken, entdeckte ...Male...
Brkanović Gligo, Nikša; Sedak, Eva
MGG Online,
01/2020
Reference
Ivan, 27. Dez. 1906 in Škaljari bei Kotor (Montenegro), 20. Feb. 1987 in Zagreb, Komponist, Dirigent und Pädagoge. Brkanović studierte an der Musikakad. in Zagreb von 1928 bis 1935 Komposition b...
Cipra, Milo Sedak, Eva
MGG Online,
11/2016
Reference
*13. Okt. 1906 in Vareš (Bosnien-Herzegowina), †9. Juli 1985 in Zagreb, Komponist und Pädagoge. Cipra studierte Germanistik und Philosophie an der Zagreber Univ. (Diplom 1931) und gleichzeitig ...Komposi...
*11. Mai 1896 in Čakovec (Kroatien), †30. Nov. 1955 in Belgrad, Komponist. Ersten musikalischen Unterricht erhielt Slavenski von Antun Stöhr in Varaždin, danach am Budapester Kons. bei Z. Kodály, ...Vikt...
Andreis, Josip Andreis, Josip; Sedak, Eva
MGG Online,
11/2016
Reference
*19. März 1909 in Zagreb, †17. Jan. 1982 in Split, Musikwissenschaftler. Andreis studierte romanische Philologie in Zagreb und Rom, erhielt von 1931 bis 1934 Kompositionsunterricht bei I. Parać in ...S...
Baranović, Krešimir Andreis, Josip; Sedak, Eva
MGG Online,
11/2016
Reference
*25. Juli 1894 in Šibenik (Kroatien), †17. Sept. 1975 in Belgrad (Serbien), Komponist und Dirigent. Baranović studierte von 1908 bis 1912 in Zagreb an der Musikschule des Hratski glazbeni zavod ...(Kro...
Signs of "Small History". Some Introductory Remarks to the History of Croatian Music in the 20th Century. The text deals with the investigation of interpretation and periodization criteria for the ...articulation of the topic "Croatian music of the 20th Century" as a border phenomenon of European (and world) music history on one hand, and of Croatian culture and arts on the other hand. Both border positions result in deviation both from the current dilemma between narrative and structural history when talking globally about the pluralism of music techniques and styles of the 20th century and about the chronological standards of Croatian cultural history on a local level. Further, these deviations open perspectives for various interpretative models, capable of confrontation of the asynchronical in synchronical, accentuation of selected "knots" within the observed phenomenon and establishing their manifold mutual connections, which can all propose a kind of historical discourse as an aesthetically and technically variating construct. In this, a major risk exists that this construct become mired down in a virtual hypothecity both because of the "lacking presence" of the Croatian musical corpus on the level of art practice, and the shortage of corresponding scholarly data. On the other hand, it opens a possibility for construct to be in special concordance with the a-historicity of the music of the 20th century in its entirety. In an attempt to treat questions arising from a regional music history within the context of contemporary ideas in the field of both general and particular musical historiography, the author takes as a starting point the present state of theoretical thought on reaching, in principle, historical factography with the help of historical narration, on the character of the historical discourse most appropriate to the object of investigation itself, and, finally, on the selection and role of possible historical subjects.
