Projects / Programmes
European Dimensions of Slovene Music
| Code |
Science |
Field |
Subfield |
| 6.08.00 |
Humanities |
Musicology |
|
| Code |
Science |
Field |
| H320 |
Humanities |
Musicology |
history of music, Slovenia, Europe, migrations, influences
Researchers (14)
Organisations (2)
Abstract
Up to the last decades, the viewing of the history of Slovene music has been primarily oriented towards the discovery of those genres, composers, as well as elements of the musical idiom, typical of works written in Slovenia, that could support the thesis about the autochthonism of Slovene music rather the existence of its musical identity. While doing so, musical historiography overlooked a number of historical phenomena that had contributed to the flow of musical ideas in both directions: from elsewere in Europe into Slovenia, and the other way around. Thus, a number of important musicians, institutions, and genres that, in their time, contributed to the reception or rather adoption of music in Slovenia, while fructifying its idiosyncratic development, have been hitherti omitted.
The project focuses on a series of periods, institutions, and individual musicians that have played a decisive role in the above-mentioned flow of ideas, and have not - because of insufficient research - been adequately evaluated. The first complex is dedicated to the mono- & polyphonic repertoire up to the commencement of monody (the Middle Ages - the end of the 16th century), which appears to be the only reliable indication of close links between European and Slovenian developments. As for following centuries, research will mostly centre upon individuals and institutions: on the 17th & 18th century musical repertoire in the coastal towns, hwich - due to incomplete research - has been rather feebly incorporated into synthetic surveys of Slovenian music history; further, the activity of G. Gorzanis has opened an important chapter concerning music in aristocratic and upper class habitations, and their embededness in international connections; research into A. Tarsia's life and work, the central musical figure in the littoral area of the 18th century; research in the life and work of J. K. Dolar deals with a composer who has an exceptional representative of Slovene baroque endeavours within the Central European area; research of the activities of foreihn masters in Slovenia in the second half of the 18th century and in the beginning of the 19th will try to shed new light on international relations in church music of that period; the study of Slovene instrumental music of the 19th century has the aim of neutralizing past deficiencies regarding this genre, which has - due to its "atypicalness" and national indeterminacy - hitherto not attracted enough attention; and las but not least, the project will make an effort to elaborate on the recent past which, because of new challenges and socio-musical phenomena, rizes new questions, especially regarding Slovenian music in the media-stricken global society of tomorrow.
