After the signing of the Paris Peace Treaty in September 1947, Pula, a town in the south of the Istrian peninsula in Croatia, became a part of the People's Republic of Croatia and Yugoslavia. The ...period after the takeover of the city by the Communist authorities until the mid-1950s was marked by intense emigration, mostly of the Italian population, and also by re-industrialization and urbanization. At the same time, the process of forming art and culture according to the new ideological demands began. The instrumentalization of cultural life by ideology in the period between 1947 and 1955 left a significant trace on Pula's musical life. One of the main tasks of the authorities in the field of music culture was to promote musical education and popularize musical art, which was to be made available to a wider audience, especially labourers. The choice of music genres was narrowed significantly in order to ensure a close connection between the artist, his work, and the people. In the formative period of socialism in Pula, a music school opened, numerous cultural and artistic societies were established, operas were regularly performed at the theater and the Arena, and the city even had an operetta ensemble.
The subject of this paper is a less known period of Franz Lehár’s life, namely, the time of his service as bandmaster of the Navy Orchestra in Pula, the principal port of the Austro-Hungarian Navy ...(1894‒1896). Under his direction, the Navy Orchestra consisted of up to 110 players, all of them professionally trained and proficient, which enabled the young musician to build up an ambitious repertoire. There is no doubt that Lehár’s conducting practice contributed to his development as a composer. During his stay in Pula, the young Navy Orchestra bandmaster befriended numerous prominent citizens of Pula and Navy officers. Of particular importance in this respect was his attendance of the local Navy Casino café. It was then the hub of the city’s social life frequented by dignitaries, artists, and Navy officers. There, Lehár made several acquaintances which proved to be of major importance both for his social life and for his work as a composer, including Navy lieutenant and author Franz Karl Ginzkey, and vice admiral Miklós Horthy. Lehár’s friendship with Antonio Smareglia, an opera composer from Pula, and Felix Falzari, a poet and writer, was vital for Lehár’s compositional pursuits. As an ardent admirer of Richard Wagner, Smareglia introduced Lehár to the operas Tristan und Isolde and the Ring cycle. In 1894, Lehár composed a collection of songs, Weidmannsliebe / Karst-Lieder op. 26, setting texts by Falzari. At Lehár’s request, Falzari also wrote the libretto for Lehár’s opera Kukuschka, characterized by a dynamic plot and convincingly portrayed Russian atmosphere. Lehár’s collaboration with his Pula friends, F. Falazari and A. Smareglia, provided a major impulse for his work on Kukuschka.
The purpose of this paper is to investigate, analyse and describe the role journalistic texts occupy in the formation of attitudes about music among the student population in Croatia. The space of ...contemporary Croatian media is full of numerous problems, such as the degradation of information, commercialized content, censorship and self-censorship. A questionnaire entitled The influence of Music Publicist Writing on Understanding and Perceiving Music was prepared by the authors, where questions were primarily related to journalist issues: music criticism, columns, retrospectives and reviews of musical events, recordings and scores. The study included students from the third and fourth year of the Juraj Dobrila University of Pula (Croatia).
Napisi u pisanim medijima i elektroničkim medijima utječu na sliku naših glazbenih preferencija, posebno kod onog konzumenta koji je manje glazbeno obrazovan i teže može verbalizirati razloge zbog kojih preferira neku vrstu glazbe. Hrvatski je medijski prostor danas opterećen brojnim problemima koji su rezultirali srozavanjem kvalitete informiranja, padom ugleda profesije, preplavljenošću tržišta komercijaliziranim medijskim sadržajima, senzacionalizmom i žutilom. Svrha ovog članka jest istražiti, analizirati i opisati utjecaj novinskih tekstova na oblikovanje stavova o glazbi među studentskom populacijom u Hrvatskoj. S ciljem utvrđivanja svrhe glazbeno-publicističkih tekstova, njihove vjerodostojnosti te propitivanja načina na koji medijski diskurs utječe na pojedinca, autorice su pripremile upitnik pod naslovom Utjecaj glazbene publicistike na razumijevanje i percepciju glazbe. Pitanja u upitniku prvenstveno su se odnosila na novinarske analitičke i publicističke vrste: glazbene kritike, kolumne, osvrte i recenzije glazbenih događanja, nosača zvuka i sl. U istraživanju su sudjelovali studenti treće i četvrte godine Sveučilišta Jurja Dobrile u Puli. Rezultati istraživanja pokazali su da studenti smatraju kako je svrha napisa o glazbi, prije svega, davanje smjernica za posjećivanje određenih koncerata, kupovinu nosača zvuka te slušanje određene glazbe. Također, uvidjeli su povezanost svrhe napisa o glazbi i marketinške promocije izvođača, skladatelja, tekstopisca i/ili glazbenog djela. Prema rezultatima istraživanja razvidno je da medijski diskurs ne mijenja mišljenje o glazbenim pojavnostima u čak više od 70% ispitanika. Studenti koji su sudjelovali u istraživanju, svojim su odgovorima pokazali priličnu dozu kritičnosti prema glazbenim publicistima i njihovom radu. Preko 50 % ispitanika smatra da kritički diskurs o glazbi ne može biti objektivan, što se povezuje uz samoga autora napisa, njegov ukus, stav, vrijednosti, mišljenje, dok gotovo 45% studenata uglavnom smatra da je diskurs ovisan o ideološkoj i svjetonazorskoj umjerenosti autora napisa.
The subject of this paper is the work of Franz Jaksch (1851–1931), a versatile musician who served as the bandmaster of the Imperial and Royal Navy Orchestra in Pula, the main port of the ...Austro-Hungarian monarchy in the period between 1899 and 1917. It was in Pula that he composed most of his pieces tailored for military orchestras, opera stages and bourgeois salons. During his bandmaster term, the Navy Orchestra performed some of the most significant orchestral pieces from the symphonic repertoire.
Franz Lehár, danas poznat prije svega kao skladatelj uspjelih opereta, svoju je karijeru započeo kao vojni kapelnik. Nakon nekoliko godina provedenih u Barmenu/Eberfeldu i Lučenecu, od ožujka 1894. ...do listopada 1896. službovao je u Puli, gdje je vodio orkestar Austro-Ugarske ratne mornarice (Mornarički orkestar) i djelovao kao skladatelj. Članak donosi dosad nepoznate detalje iz tog perioda umjetnikova života i rekonstrukciju njegova kapelničkog angažmana te nudi uvid u pojedine skladbe nastale u Puli, smještajući ih u kontekst sociokulturnog ozračja grada koncem 19. stoljeća.
Inštrumentalizacija glasbenega življenja s strani ideologije v obdobju med 1926, torej od začetka fašistične diktature, in 1952 letom, ko je »uradno« končano obdobje socrealizma, je pustila pomembne ...sledi v glasbenem življenju Pule. V tem obdobju so bili odnosi med ideologijo in glasbo zelo ekscentrični, vpliv politike na celotno glasbeno življenje se ni prikrival, ampak se je, prav nasprotno, poudarjal. Oba režima sta glasbo doživljala kot zaveznika, kot podporo sistema, in jo kot takšno usmerjala, spremljala in poskušala držati pod nadzorom. Razprava govori o nekaterih značilnostih glasbenega življenja v Puli med letoma 1926 in 1952 ter skuša opozoriti na podobnosti in razlike v interakciji glasbe in fašistične ideologije med vojnama ter glasbe in socrealistične ideologije v prvih letih po drugi svetovni vojni.
After the Second World War, one of the priorities of cultural policy in the domain of music was the music education of young generations, which was essential to begin with at an early age. Its goal ...was to form a versatile person prepared for future work and social tasks, an active participant in the cultural and artistic life of his/her environment. Due to the insufficient researches conducted so far on musical education practices in the immediate post second World War period, in this paper we track the contents of the curricula in Croatia and Serbia. It’s our intention to emphasize the similarities and the differences in the music educational processes in the two biggest republics of the former Yugoslavia – from the initial lining on the soviet pedagogy trough reforms and changes to a unified conception of schooling on a federal level. The research shows that the curricula were constantly changed and supplemented in the first years after the war. Numerous changes resulted in the changed number of teaching hours and the teaching content, which year by year became more ambitious. The analysis of the curricula from the sixties onwards pointed to new guidelines which advocated the shift from active music playing and acquiring musical literacy to the concept of auditory perception and learning of musicological terminology. Each new syllabus was modified in accordance with the previous one, while taking into account the possibilities of their implementation in practice. Approaching contemporary pedagogical approaches was reflected in the requirements for the application of the model of active participation in the teaching process, the introduction of technological tools and openness to popular music practices.
U članku se analizira udžbenička produkcija te se nudi uvid u sadržaj metodičkih priručnika pisanih u ranome socijalizmu. Udžbenici skromna opsega, objavljeni krajem četrdesetih i u pedesetim ...godinama 20. stoljeća, odražavali su temeljne zahtjeve obrazovne politike, pa je pjevanje društveno angažiranih pjesama bilo nezaobilazan dio nastavnih aktivnosti. Osnovni je cilj glazbenog odgoja bilo osposobljavanje učenika za samostalno pjevanje po notama, a izdanja su bila koncipirana kao niz teorijskih uputa za glazbeno opismenjivanje. Objavljen je tada i prvi, temeljni metodički priručnik Jože Požgaja koji se, u revidiranim izdanjima, koristio u glazbenoj nastavi dugi niz godina. Udžbenici pisani u prvoj polovini šezdesetih godina, nakon obrazovne reforme, obraćali su se djeci primjerenim jezikom, a metodički priručnici bili su usredotočeni na obogaćivanje nastavnog rada pjesmama, literarnim primjerima, igrama, pričama, korištenjem školskog instrumentarija i slično. Fokus se s opismenjivanja premjestio na pjevanje kao dominantnu aktivnost nastavnog procesa, no iznova u cilju usvajanja osnovnog glazbenog vokabulara.
The article analyzes textbooks and offers an insight into the didactical manuals written in early socialism. Textbooks of modest volume, published at the end of the forties and in the fifties of the last century, reflected the basic requirements of educational policy. The main goal of music education was to educate students to sing by notes. The publications were conceived as theoretical instructions for musical literacy. The first didactical manual written by Joža Požgaj was published, which in its revised version was used in music teaching for many years. Textbooks written in the first half of the 1960s, after the educational reform, were adapted to children’s age, while didactical manuals focused on enriching the lessons with songs, literary examples, games, stories, the use of school instruments etc. The attention shifted from music literacy to singing as dominant activity in music teaching, but again with the aim of acquiring basic musical vocabulary.
After the signing of the Paris Peace Treaty in September 1947, Pula, a town in the south of the Istrian peninsula in Croatia, became a part of the People’s Republic of Croatia and Yugoslavia. The ...period after the takeover of the city by the Communist authorities until the mid-1950s was marked by intense emigration, mostly of the Ital-ian population, and also by re-industrialization and urbanization. At the same time, the process of forming art and culture according to the new ideological demands began. The instrumentalization of cultural life by ideology in the period between 1947 and 1955 left a significant trace on Pula’s musical life. One of the main tasks of the authorities in the field of music culture was to promote musical education and pop-ularize musical art, which was to be made available to a wider audience, especially labourers. The choice of music genres was narrowed significantly in order to ensure a close connection between the artist, his work, and the people. In the formative period of socialism in Pula, a music school opened, numerous cultural and artistic societies were established, operas were regularly performed at the theater and the Arena, and the city even had an operetta ensemble.
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