Korespondencija Antuna Dobronića u Nacionalnoj i sveučilišnoj knjižnici u Zagrebu izvor je mnoštva podataka o životu i djelatnosti ovog skladatelja i stanju hrvatske glazbe prve polovice 20. ...stoljeća. Popisivanje, katalogizacija i analiza 792 jedinice gradiva iz prvih dviju kutija korespondencije koje pokrivaju razdoblje od 1887. do 1929. godine rezultiralo je novim detaljima o Dobronićevu životu i skladateljskom radu. Ovi podatci omogućuju da se već poznate činjenice nadopune i sagledaju u novome svjetlu, a otkrivaju i neke manje poznate aspekte njegova djelovanja, poput priprema za pisanje djela o općoj povijesti glazbe, organizacije nastupa Kraljevine SHS na međunarodnoj glazbenoj izložbi Musik in Leben der Völker u Frankfurtu i Dobronićeva doprinosa cecilijanskom pokretu u Hrvatskoj. Pisma sadrže i opise, komentare i osvrte na skladateljski rad, koncertni život te nakladničku i publicističku djelatnost na hrvatskim prostorima, pa su tako i prilog rekonstrukciji hrvatske povijesti glazbe prve polovice 20. stoljeća.
The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of ...the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history and to evaluate this process from the standpoint of Slovene musical and cultural history.
Drawing on the church music theory written in 1864 by Albert Gereon Stein, a church musicianand Catholic priest, this paper examines what kind of common understanding of church music heshared with ...his contemporary critics and how he perceived the relation between church music andthe worship of the church. Objecting to bring the secular, such as opera and the instrumental music, excessively into thechurch, Stein expressed the Masses of the three great masters of the Viennese classics were not appropriateto the worship of the church. Although he had agreed with the creed of “the Cecilianmovement,” he didn’t merely regard the Masses as having been “corrupted.” He realized the Massesas music to express the religiousness of the new age by distinguishing the “church music” appropriateto the worship from the other “religious music” and separating the Masses from the “church music.”We can see this by his agreement to the studies of the critics close to “The New German school”such as Franz Brendel, who discussed about the church music without the consideration of the worship.By accurately evaluating the Masses which is unsuitable for church services, Stein groped forhow the “church music” should be as regards the worship. We generally think that the Cecilianists pursued the ideal to the old style and kept a distancefrom the new art, but Stein took a different path from it. His method to decouple the Masses from“church music” doesn’t merely deny the secularity of the Masses, but it was an attempt to compromisewith them. His study shows a struggle of the “modern” Catholic intellectuals to adapt to themodern times. Moreover, it also contributes a new perspective to understanding of the Cecilianmovement, which has often been said to represent the Catholic Church’s retrogression.
Pobožnost Majci Božjoj Lurdskoj bila je i ostala vrlo obljubljena u hrvatskom narodu, pa su mnoga pokoljenja hrvatskih glazbenika obogaćivala riznicu hrvatske marijanske glazbe, nadahnuti upravo ...pobožnošću prema njoj. Dovoljno je u tom smislu ukazati na činjenicu da se u 22 molitvenika i 22 pjesmarice od 1895. do 2006. godine sačuvala 21 glazbena jedinica posvećena Majci Božjoj Lurdskoj. Neke su od tih popijevaka preuzete iz inozemnih izvora, druge su pak nastale kreativnošću pobožnoga puka ili skladatelja cecilijanskoga i postcecilijanskoga razdoblja, kao i modernih kantautora.
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