doctoral thesis
A documents based approach and information processing of the musical life of the town of Zadar from 1860 to World War I”

Katica Burić Ćenan (2016)
University of Zadar
Metadata
TitleDokumentalistički pristup i obrada informacija o glazbenom životu grada Zadra od 1860. do Prvoga svjetskog rata
AuthorKatica Burić Ćenan
Mentor(s)Tatjana Aparac-Jelušić
Ennio Stipčević
Abstract
Glazbena prošlost Hrvatske do danas nije u potpunosti istražena, a glazbene zbirke u hrvatskim arhivima nedovoljno su obrađene i javno ‘nevidljive’. Ovim se radom nastoji osvijetliti jedan segment bogate glazbene prošlosti Zadra, čime se upotpunjuje slika o glazbenom identitetu Hrvatske te ukazuje na glazbenu baštinu kao nezaobilazan entitet u hrvatskoj kulturnoj baštini. Tema ovoga rada je glazbeni život Zadra od 1860. do Prvoga svjetskog rata. Kako se radi se o turbulentnom povijesnom razdoblju pod vladavinom Austro-Ugarske u kojem su političke prilike uvelike utjecale na ekonomski, gospodarski, kulturni pa tako i glazbeni život, u radu se pristupilo interdisciplinarnom istraživanju koje uključuje istraživačka pitanja iz nekoliko znanstvenih područja: sociologije glazbe, muzikologije, etnomuzikologije, estetike glazbe, glazbene arhivistike i povijesti. Uvažavajući sve dosadašnje napise o istraživanoj temi te pronalaskom i analiziranjem velikoga i raznovrsnoga fonda historijskih izvora, pristupilo se interpretaciji koja nastoji objasniti fenomene (društveno-političke i kulturne) koji su utjecali na svakodnevni glazbeni život Zadrana u smislu proizvodnje, konzumiranja i prenošenja glazbe. Tako se u kontekstu hrvatske glazbene prošlosti došlo do spoznaja o ulogama i funkcijama glazbe, ali i odnosu društva i politike spram glazbe u zadarskoj prošlosti. U interpretaciji se svjesno izbjegavalo uvriježene kanonske principe deskriptivnoga opisivanja glazbenih prošlosti, a nastojalo obuhvatiti principe mnogih znanstvenih disciplina te napraviti svojevrsnu konceptualizaciju glazbenih fenomena. U tom smislu, rad je ostvario nekoliko ciljeva koji obuhvaćaju sam predmet, metodologiju i znanstvenu disciplinu. Naime, osim što opisuje glazbenu prošlost Zadra u razdoblju od 1860. do 1914. godine s obzirom na različite društvene (političke, socijalne, gospodarske) prilike, u radu se kritički analizira relevantna literatura o ‘glazbenim prošlostima’ kako bi se dobio uvid o korištenim metodologijama, modelima, interpretacijama, kanonima i paradigmama. Rad je podijeljen u dvije velike cjeline: teorijsko-metodološki dio i istraživanje. Prvim dijelom rada nastojalo se otvoriti neka nova pitanja u muzikološkoj praksi, npr. modeli interpretiranja glazbenih prošlosti, metodologija, način korištenja historijskih glazbenih izvora, ali i svjesnost o novim paradigmama u znanstvenim granama koje se bave tim temama: u muzikologiji, povijesti glazbe, sociologiji glazbe, kulturnim studijama, estetici glazbe, etnomuzikologiji itd. Tako se došlo do uvida o sporom, ali vidljivom pomaku hrvatske glazbene historiografije i historijske muzikologije, ali koje još uvijek ne progovaraju o metodologiji kao ni o novim paradigmama o kojima se u svijetu piše već od 2002. godine. U tom smislu, ovaj je rad analizom mnogobrojne interdisciplinarne literature došao do uvida o nekoliko elemenata u kojima se ogleda promjena paradigme. To su: predmet istraživanja, povijesni kanoni, uloga istraživača, subjektivna interpretacija, kulturna raznolikost, kultura i glazba i postmodernizam i glazba. U istraživačkom dijelu rada došlo se do određenih rezultata o glazbeno-kulturno-umjetničkom djelovanju prateći individualne razine, mreže društvenoga djelovanja te ideološke kontekste. U tu svrhu, odabrana je strategija studije slučaja i to dizajn s jednim 'slučajem' i nekoliko jedinica analize. Za razliku od ranijih radova o glazbenoj prošlosti Zadra, ovaj je rad uzeo u obzir raznovrsne arhivske dokumente (muzikalije, sitni tisak, periodiku, fotografije) te brojnu povijesnu, historiografsku, kulturološku i muzikološku literaturu. U smislu povijesti glazbe, istraživanjem se došlo do novih uvida o: glazbenim društvima (Società Filarmonica, Società Corale Citadino, Unione Corale citadino i dr.), glazbenicima (pjevačima, instrumentalistima, dirigentima, skladateljima...), repertoaru, ali i utjecaju društva i politike spram glazbe. Također, iznijeti su i novi podatci o životu najznačajnijega zadarskoga skladatelja Nikole Strmića, pogotovo oni koji se tiču njegovih studentskih dana u Milanu. Progovorilo se i o međusobnim odnosima između glazbenika kao i političkim prilikama koje su u većoj ili manjoj mjeri utjecale na njih. Po prvi puta napravljene su svojevrsne baze podataka (repertoar Filharmonije, Zoranića, Narodne čitaonice i dr.) koje će budućim različitim istražiteljima zadarske (hrvatske, međunarodne) glazbene prošlosti biti polazišta za nove interpetacije i istraživanja. Također, dao se prikaz multietničkoga Zadra u kojem su isprepletenost i prožimanja različitih kultura oblikovale glazbeni život koji je bio bogat, živ, raznovrstan i u koraku s mnogim europskim središtima.
Keywordsmusical life Zadar Second half of 19th century Nikola Strmić Zadar Philharmonic Teathre Verdi the State Archives in Zadar case study
Parallel title (English)A documents based approach and information processing of the musical life of the town of Zadar from 1860 to World War I”
Committee MembersMirna Willer (committee chairperson)
Tatjana Aparac-Jelušić (committee member)
Ivana Tomić Ferić (committee member)
Ennio Sipčević (committee member)
GranterUniversity of Zadar
PlaceZadar
StateCroatia
Scientific field, discipline, subdisciplineSOCIAL SCIENCES
Information and Communication Sciences
UDK002
GENERALLY
Documentation
Study programme typeuniversity
Study levelpostgraduate
Study programmeKnowledge Society and Information Transfer
Academic title abbreviationdr. sc.
Genredoctoral thesis
Language Croatian
Defense date2016-11-17
Parallel abstract (English)
The music history of Croatia to date, has not been thoroughly investigated and furthermore, music collections contained within the Croatian archives are insufficiently processed and still remain publicly 'invisible'. This paper aims to highlight a segment of rich music history particular to the region of Zadar, which completes the picture of the musical identity of Croatia, highlighting the musical heritage as an essential entity in the Croatian cultural heritage. The subject of this paper is the musical life of Zadar from 1860 to the First World War. As the above mentioned time span concerns a very turbulent historical period under the Austro-Hungarian rule where the political situation greatly affected the economical, commercial, cultural as well as musical life of the city, this paper takes an interdisciplinary research approach which integrates questions from several scientific fields: the sociology of music, musicology, ethnomusicology, music aesthetics, musical archiving and history. Taking into account all of the preceding papers regarding this subject and considering the discovery and analysis of enormous and heterogeneous collection of historical sources, this paper approaches the interpretation by aiming to explain the phenomena (socio-political and cultural) which had influenced everyday musical life of the people of Zadar, especially in terms of production, consumption and interchange of music. This phenomena and all its multiplicity of expression gives us greater insights into roles and functions of music within the context of Croatian music history as well as the interrelationship between the society and politics to music of Zadar’s past. The interpretation itself consciously avoided customary canonical principles of detailed descriptions of music history and instead tried to encompass the principles of different scientific disciplines and make a particular conceptualisation of music phenomena. From that point of view this paper has achieved several objectives embracing the subject, methodology and scientific discipline. Apart from being descriptive of the music history of Zadar in the period from 1860 to 1914 and due to different social (political and commercial) circumstances, the paper critically analyses the relevant literature on the “musical past” to be able to get an insight into used methodologies, models, interpretations, canons and paradigms. The paper is divided into two major parts: the theoretical-methodological part and the research itself. The first part (of the paper) aims to reveal new approaches in musicological practice, for example, the models of interpretation the music of the past, methodology, the way of using historical musical sources, as well as the awareness of the new paradigms in scientific fields dealing with these topics: in musicology, history of music, sociology of music, cultural studies, aesthetics of music, ethnomusicology etc. The research revealed findings indicating that there is a slow but noticeable progress within Croatian musical historiography and historical musicology, which still does not communicate on the methodology or new paradigms the world has been writing on since 2002. Thus, with the analysis of multiple interdisciplinary literatures this paper has provided an insight into several elements in which a change of the paradigm can be noticed. The elements particular to: the subject of research, historical canons, the role of a researcher, subjective interpretation, cultural diversity, the relationship between culture and music as well as postmodernism and music. The research component of the paper led to specific findings on musical-cultural-artistic activities following individual levels (approach) and a network of social activities and ideological contexts. For this purpose, the strategy of study case has been chosen, in particular a design with one “case” and several entities of analysis. As opposed to earlier papers on musical history of Zadar, this particular paper has taken into account a variety of archival documents (music scores, small print, periodicals, photographs) and numerous historical, historiographical, cultural and musicological literatures. In the context of the history of music, the research has shown some new insights into: musical societies (Società Filarmonica, Società Corale Citadino, Unione Corale citadino, etc.), musicians (singers, instrumentalists, conductors, composers…), repertoire, but also the impact society and politics had had on music. Moreover, some new data has been presented on the life of the most important composer of Zadar, Nikola Strmić, especially those pertaining to his student days in Milan. The paper also discusses the relations between musicians themselves and the political circumstances of that time which more or less impacted upon them. Certain databases have been created for the first time (Philharmonic repertoire, Zoranić choir, National Reading Room, etc.), all of which will be beneficial starting points for many future researchers of Zadar’s (Croatian or international) musical history and hopefully provide new interpretations and analyses. Furthermore, this paper has provided a multi-ethnical representation of Zadar and emphasised the intertwining and permeation of various cultures which have shaped the musical life of that period – a time in history which was rich, vivid, and diverse and in step with many European cities of that time.
Parallel keywords (Croatian)glazbeni život Zadar druga polovica 19. stoljeća Nikola Strmić Zadarska filharmonija Teatro Verdi Državni arhiv u Zadru studija slučaja
ExtentVI, 363 str., 30 cm
Versionaccepted version
Resource typetext
Access conditionOpen access
Terms of usehttp://rightsstatements.org/vocab/InC/1.0/
Noteaccepted version
URN:NBNhttps://urn.nsk.hr/urn:nbn:hr:162:283461
CommitterMarta Unković