Anton Jobst (1894–1981) iz Brda pri Šmohorju.Šolal se je na ljubljanski orglarski šoli. Bil je organist in pevovodja v Žireh, organizator, zborovodja, kapelnik, učitelj glasbe na gimnaziji, osnovni ...in glasbeni šoli, vodil je šolski harmonikarski orkester, salonski orkester bivšega Sokola in pihalni orkester tovarne Alpina. Napisal je več kot dvesto cerkvenih skladb.
Bu çalışmanın amacı, 2012 yılında Uluslararası Çalışma Örgütü Konferansındaki işveren grubunun grev hakkı ile ilgili yaptığı sert itirazların Uluslararası Çalışma Örgütü (ILO) bağlamında bir krize ...yol açıp açmadığının incelenmesidir. ILO ve denetim mekanizmaları aracılığı ile oluşturulan içtihatlar bağlamında 60 yıl boyunca grev hakkına, örgütlenme özgürlüğünün bir parçası olarak yer verilerek, toplu sözleşme, sendika hakkı ve grev hakkı bir bütün olarak düşünülmüştür. Bu içtihatların, grev hakkının uluslararası alanda tanınmasına olan katkısı fazladır. Bu durum ta ki 2012 yılındaki ILO Konferansı’na kadar devam etmiştir. İşveren grubundan ciddi bir itiraz ile birlikte grev hakkı ile ilgili ILO’da bir kriz olup olmadığı sorusu gündeme gelmeye başlamıştır. Bu durum ILO’nun denetim mekanizmasının etkinliğinin sorgulanmasına neden olurken aynı zamanda ILO’nun denetim organları içindeki eşgüdümün de eleştirilmesine yol açmıştır. / The purpose of this study is to examine whether the rigid objections made by the employers’ group at the International Labor Organization Conference in 2012 on the right to strike led to a crisis the context of the International Labor Organization. For sixty years in the context of jurispurudence of ILO’s superbody mechanicsm when it is thought that right to strike has been included as a part of freedom of association and at the same time, the right to collective bargaining, trade union rights and right to strike has been considered as a whole. This situation continued until 2012 ILO Conference. With a serious objection from the employers’ group, the question of whether there was a crisis in the ILO regarding the right to strike began to come to the fore. This led to the questioning of the effectiveness of the ILO’s superbody mechanism and at the same time the ILO’s criticism of its coordination within its supervisory bodies.
Élève de Dubois et d'Alexandre Guilmant, proche de Saint-Saëns, qui lui prodigua ses conseils, Fernand de La Tombelle mena une double carrière de compositeur et d'interprète virtuose, aussi bien en ...tant que pianiste qu'organiste. Doté d'un tempérament sans prétention révolutionnaire, mais bien trempé et farouchement indépendant, La Tombelle constitue une figure intéressante à plus d'un titre dont le présent article dresse le portrait à partir de documents en grande partie inédits. S'il fut amené à côtoyer des artistes dont la postérité a davantage retenu le nom, comme Grieg, Gounod, d'Indy ou Massenet dont il fut très proche, il laisse une oeuvre considérable, protéiforme, stylistiquement éclectique, voire atypique, qui mérite d'être reconsidérée non seulement pour ses propres mérites, mais aussi parce qu'elle illustre une forme d'activité sociale et artistique en France au tournant des XIXe et XXe siècles. Son catalogue, qui embrasse tous les genres (mélodies, musique de chambre, pièces d'orgue, oeuvres chorales religieuses ou profanes, pages orchestrales ou pianistique, musiques de scène accompagnées ou non de fantaisies lumineuses, etc.), se complète en effet de photographies, dessins, peintures, écrits — théoriques ou littéraires — et d'ouvrages touchant à l'astronomie ou à l'art culinaire notamment. L'ensemble constitue en définitive le fruit du travail d'un artiste doué et possédant une culture générale remarquable, digne d'un honnête homme qui oeuvra aussi beaucoup en faveur de l'éducation musicale des milieux populaires, notamment du Périgord dont il était originaire et où il se retira après la première guerre mondiale, fuyant sans doute une société qu'il ne comprenait plus. A student of Théodore Dubois and Alexandre Guilmant, and a friend of Saint-Saëns, who advised him, Fernand de La Tombelle had a dual career as composer and virtuoso pianist and organist. No revolutionary, yet strong-willed and fiercely independent by temperament, La Tombelle is an endearing and interesting figure in several respects, which the present article will discuss on the basis of largely unpublished documents. While he had contacts with musicians consecrated by posterity, such as Grieg, Gounod, d'Indy, and Massenet, to whom he was very close, he left a large body of work in many genres, stylistically eclectic and atypical, which deserves to be reevaluated not only because of its intrinsic ment, but abo because it is richly illustrative of a particular form of social and artistic activity in fin-de-siècle France. In addition to his musical work, in which all genres are represented (songs, chamber music, works for organ, religious and secular choral works, orchestral and piano music, and incidental music sometimes accompanied by special lighting effects), his archive includes photographs, drawings, paintings, writings—both theoretical and literary—and works relating in particular to astronomy and gastronomy. All of this ultimately constitutes the oeuvre of a gifted and remarkably cultivated artist, a Renaissance man, who also devoted much effort to the musical education of the lower classes, especially in his native Périgord, to which he retired after World War I, no doubt fleeing a society he no longer understood.
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