Projects / Programmes
Music for the young people since 1945 and Jeunesses Musicales in Slovenia
| Code |
Science |
Field |
Subfield |
| 6.08.00 |
Humanities |
Musicology |
|
| Code |
Science |
Field |
| 6.04 |
Humanities |
Arts (arts, history of arts, performing arts, music) |
Jeunesse musicale and youth music since 1945, music as ideology, Slovene music culture, Slovene music politics, Slovene musical practice
Data for the last 5 years (citations for the last 10 years) on
June 3, 2023;
A3 for period
2017-2021
Data for ARRS tenders (
04.04.2019 – Programme tender,
archive
)
| Database |
Linked records |
Citations |
Pure citations |
Average pure citations |
| WoS |
183 |
528 |
463 |
2.53 |
| Scopus |
270 |
1,168 |
1,002 |
3.71 |
Researchers (21)
Organisations (5)
Abstract
Scientific background. There were important aspirations regarding youth music in Slovenia: after Ljubljana Musical Youth was founded in 1964 by the conductor Ciril Cvetko, the Slovene branch of Jeunesses Musicales International (JMI) was established in 1969. The period may be seen as a Slovenian echo on what social studies address as the Baby boomers' culture. Although the youth culture is noticeable in Slovenia already in the period between the World Wars – beside a musical kindergarten by Glasbena Matica, series of concerts for young people was organized –, it came, as it were, through the main door of the cultural practices since 1945. The existential consequences of this cultural phenomenon are omnipresent today: from youth-oriented policies, economic enterprises and political endeavours to different cultural engagements including the entertainment industry. Problem identification. The leading question of the proposed project reads: how were the youth-related musical practices functioning in the socialist era of Slovenia? The question indicates two main sets of contents: on one side, we have the institutional musical practices embodied in Glasbena mladina (Jeunesses Musicales), on the other side, however, the DIY (do-it-yourself) practices as well as the growing entertainment media. Both fields are understood as a trajectory in which Jeunesses Musicales and DIY practices function as basic antinomies that have been stirring up different musical practices of our "post-socialist" culture. Baby boomers witnessed the beginnings of the frictions between professional musicianship and a modern DIY or amateur musical culture. The professionals dictated the youth musical culture although the DIY musicking was growing in importance and influence (pop music). The question regarding such a clash of musical values––pointedly phrased: on one side for the young (Jeunesses Musicales) and, on the other, by the young (DIY)––is considered topical. Similar antinomies are omnipresent in our glocalized––locally and regionally sensitive because of the globalisation––not only musical modernity in a form of a series of dichotomies, such as high/low art, serious/pop music, local/universal musical practices, subsidized/freelance, our/their music etc. The objective. The project aims to comparatively analyse the youth musical practices in Slovenia since the end of WW II. The period enables to trace crucial cultural shifts systematically through the layers of both structures (institutions) of youth-connected musical practices as well as processes that have diversifying and changing the musical practices: 1) Structures. On one side, the project team will systematize the structures through which youth-related music circulated. The scholars will systematically gather data about the institutions, individuals, and the phenomena, such are musical works and events, in short: the aim is to list "the names" gathered under the umbrella term “youth music”. 2) Processes. On the other side, the contexts underlying those structures will be addressed – the "the activities" or instruments that shaped and modified the ideas of youth-related music: ideologies, beliefs, perceptions, reactions, deeds. The forms and levers of reshaping these forms are seen as indicators through which youth-related music was experiencing constant change: first with a divide with regard to other music practices (this was the main reason for Jeunesse Musicale) than with an ever-growing speed also fragmenting within itself. And the objective of the project is: to offer a glossary of the forms of existence of the youth-related music as well as the processes that were fragmenting and changing it since 1945. It may well help in understanding better our fragmented and fragmenting musical world.
