This article takes into consideration the specific period of ethnomusicological and musicological publications from after World War II to the late 1980s, when political turbulences severely damaged ...social processes and diverted the normal flow of cultural and scientific developments in Kosovo. As a consequence of historical, political and social circumstances, the trajectory of art in Kosovo has followed its own specific history in which classical music (in written form) was completely unknown until the second part of the 20th century, since before then musical tradition had been transmitted only in oral form. The most important and abundant part of this tradition is the rich musical folklore. The first studies in the field of ethnomusicology and the publications by different authors are presented in this article. The Albanian folklore from Kosovo, both collected and studied, was the main promoter in the development of ethnomusicology and musicology. Such research was begun by foreign scholars in the first part of the 20th century and then was continued by scholars from Kosovo in the second part of the same century. Lorenc Antoni’s work presents the first most important trace of ethnomusicological work done by a local Kosovo author, followed subsequently by others. While studies in the field of ethnomusicology (within the Folklore Branch at the Albanological Institute in Prishtina) have reached a certain level of quality during the last half century, historical musicology failed to follow the course of the primary compositional and artistic activities. Consequently, it has not as yet reached the same level as the other musical areas.
Music and Politics in Kosovo Perkola, Kristina
International review of the aesthetics and sociology of music,
12/2023, Letnik:
54, Številka:
2
Journal Article
This study, rooted in historical musicology, adopts a descriptive-narrative approach to shed light on the general history of the Prishtina Symphony Orchestra. It delves into pivotal periods (the ...years 1950s-70s), which witnessed a concerted effort to foster cultural progress and marked the beginnings of a departure from traditional music paradigms. The City Symphony Orchestra in Prishtina, a precursor to the present Kosovo Philharmonic, underwent multiple transformations, evolving from a military orchestra in the 1940s to the Kosovo Philharmonic in 2000, posing a complex challenge for systematic research. In this paper, the orchestra’s history unfolds in three distinct phases: the City Symphony Orchestra in Prishtina (1950-1973); the RTP Symphony Orchestra (1974-1990); and the Choir and Philharmonic of Kosovo (from 2000 onwards). Thus, this paper offers a comprehensive narrative about the City Symphony Orchestra in Prishtina, emphasizing its pivotal role in fostering cultural development and documenting Kosovo’s musical heritage.
Gradski simfonijski orkestar u Prištini predstavlja jednu od najvažnijih institucija u glazbenoj povijesti Kosova. Od svog osnutka 1950. godine ovaj orkestar prošao je kroz mnoge transformacije, razvijajući se od vojnog ansambla 1940-ih do Kosovske filharmonije 2000. godine, što predstavlja složen izazov za sustavno istraživanje. U ovom radu predstavljena je povijest ovog orkestra u tri različite faze djelovanja pod tri različita imena: Gradski simfonijski orkestar u Prištini (1950.-1973.); Simfonijski orkestar Radio-Televizije Priština (RTP)(1974.-1990.); te Zbor i Filharmonija Kosova (od 2000. nadalje).
U početku, u prvoj fazi, izazovi su bili izraženiji, uključujući umjetničko eksperimentiranje, prilagodbu klasičnog repertoara strukturi orkestra i manjku lokalnih profesionalnih glazbenika. Ti čimbenici zahtijevali su zapošljavanje glazbenika izvan Kosova, uglavnom iz različitih dijelova bivše Jugoslavije, naročito iz okvira vojnih sastava.
Godine 1974. došlo je do transformacije kada je orkestar promijenio svoje ime i status u Simfonijski orkestar RTP-a. To označava početak značajnog razdoblja kulturnog razvoja i bliske suradnje s medijskom kućom RTP. Doprinos Bahrija Çele, dinamičnog i ambicioznog dirigenta, udahnuo je novu energiju orkestru, omogućujući njegov uspjeh i postavljajući temelje umjetnosti dirigiranja na Kosovu. 1980-te godine obilježio je osnutak Zbora RTP-a i Dječjeg zbora, čime je proširen umjetnički doseg orkestra i ponudila su se raznolika glazbena iskustva.
Godine 2000. orkestar se preobrazio u Kosovsku filharmoniju, znakovito nastavljajući na naslijeđe svojih prethodnika. Unatoč institucijskim transformacijama nastalim pod utjecajem kulturnih i političkih promjena, ova institucija ostala je dosljedna svojoj predanosti u promicanju klasične glazbe i očuvanju kulturnog identiteta Kosova.
Razlike između kulturnog razvoja različitih zemalja Zapadne i Istočne Europe povijesno su bile veoma znatne, osobito u multietničkim društvima koja su stoljećima imala burnu povijest. Put umjetnosti ...na Kosovu ima svoju specifičnu povijest koja nastaje kao posljedica povijesnih, političkih i društvenih okolnosti. Naime, glazba (u pisanom obliku) u ovoj sredini bila je potpuno nepoznata sve do druge polovice 20. stoljeća jer se dotad glazbena tradicija prenosila u usmenom obliku. Najvažniji dio glazbene tradicije bio je bogat glazbeni folklor. Albanski folklor sadrži elemente stare glazbene tradicije pomiješane s utjecajem i elementima iz drugih zemalja, poput turske, romske, grčke i slavenske glazbe, pa su općenito kultura, umjetnost i glazba na Kosovu predstavljene kao živahna mješavina mnogih civilizacija. Počevši od stranih znanstvenika u prvoj polovici 20. stoljeća, a nastavivši se i u studijama učenjaka s Kosova u drugoj polovici istog stoljeća, albanski folklor, njegovo prikupljanje i proučavanje, bio je glavni promotor u razvoju etnomuzikologije i historijske muzikologije na Kosovu. Djelo Lorenca Antonija predstavlja najraniji trag etnomuzikoloških djela lokalnog znanstvenika. On je 1927. započeo prikupljanje glazbenog folklora. Otvaranjem Etnomuzikološkog sektora (1970) u Folklornom odjelu Albanološkog instituta stvorene su bolje mogućnosti za sustavna istraživanja. Uz L. Antonija na prikupljanju, istraživanju i objavljivanju albanskog glazbenog folklora radili su Shefqet Pllana, Bahtir Sheholli, Rexhep Munishi i drugi znanstvenici. S druge strane, historijska muzikologija na Kosovu nije uspjela slijediti korak po korak kompozicijsko stvaralaštvo i glazbenu aktivnost, pa se nikada nije uspjela realizirati na istim razinama kao druga glazbena područja.
The institutionalization of music in Kosovo emerged as a necessary process, playing a pivotal role in fostering sustainable cultural and social development. Its profound effectiveness became evident ...in the musical trajectory of cultural advancements from the 1950s and 60s onwards. Music schools stood as the primary catalysts, generating a cadre of music professionals involved in various facets of musical productivity. They provided comprehensive professional training to the entire musical community, encompassing composers, conductors, instrumentalists, and pedagogues, who actively contributed to the vibrant musical activities. The year 1948 marked a significant milestone with the establishment of the first music school, initially named ‘Josip Slavenski’ and now known as ‘Lorenc Antoni,’ in Prizren. This was followed by the inception of the music school ‘Stevan Mokranjac,’ later renamed ‘Prenk Jakova,’ in Prishtina in 1949. These institutions served as foundational pillars, laying the groundwork for the subsequent development of a multidimensional music landscape. Notably, the establishment of the Higher Pedagogical School (Branch of Music Education) in 1963 and the Music Academy in 1975 represented crucial milestones, marking the expansion and enrichment of the music sector. The period between 1990 and 1999, characterized by a tumultuous socio-political landscape, posed significant challenges to music education. In the years following 2000, music education in Kosovo continued to adapt and evolve, reflecting to the changing socio-political and cultural landscape. This era witnessed new processes of the established institutional forms and typologies, prompting the adoption of new curricula and a re- evaluation of music education within the context of the evolving social reality and market demands. Furthermore, the demand for music education continued to grow, leading to the establishment of more music schools and programs throughout the country. In general, since 1948, music education in Kosovo represents an unstoppable process that in terms of historical importance, it represents the cornerstone of all professional musical developments in Kosovo.
The institutionalization of music in Kosovo emerged as a necessary process, playing a pivotal role in fostering sustainable cultural and social development. Its profound effectiveness became evident in the musical trajectory of cultural advancements from the 1950s and 60s onwards. Music schools stood as the primary catalysts, generating a cadre of music professionals involved in various facets of musical productivity. They provided comprehensive professional training to the entire musical community, encompassing composers, conductors, instrumentalists, and pedagogues, who actively contributed to the vibrant musical activities. The year 1948 marked a significant milestone with the establishment of the first music school, initially named ‘Josip Slavenski’ and now known as ‘Lorenc Antoni,’ in Prizren. This was followed by the inception of the music school ‘Stevan Mokranjac,’ later renamed ‘Prenk Jakova,’ in Prishtina in 1949. These institutions served as foundational pillars, laying the groundwork for the subsequent development of a multidimensional music landscape. Notably, the establishment of the Higher Pedagogical School (Branch of Music Education) in 1963 and the Music Academy in 1975 represented crucial milestones, marking the expansion and enrichment of the music sector. The period between 1990 and 1999, characterized by a tumultuous socio-political landscape, posed significant challenges to music education. In the years following 2000, music education in Kosovo continued to adapt and evolve, reflecting to the changing socio-political and cultural landscape. This era witnessed new processes of the established institutional forms and typologies, prompting the adoption of new curricula and a re- evaluation of music education within the context of the evolving social reality and market demands. Furthermore, the demand for music education continued to grow, leading to the establishment of more music schools and programs throughout the country. In general, since 1948, music education in Kosovo represents an unstoppable process that in terms of historical importance, it represents the cornerstone of all professional musical developments in Kosovo..
