On the basis of direct and indirect evidence, three main types of musical repertoire in the early-seventeenth-century Slovenian lands can be established that directly relate to the CounterReformation: plainchant, sacred song in the vernacular, and contemporary polyphonic music. The textual emphasis of the preserved musical pieces above all helped to shape a distinctly Counter-Reformation religious identity: contemporary polyphonic compositions, above all Litanies and Marian antiphons, with the emphasis of the dogma of sanctoral intercession; the acclamations Christus vincit with the stating of the pope Clemens VIII’s religious integrity; and responsory Sedil ie k’misi with accentuation of the transubstantiation. Alhough the vernacular songs heard in Corpus Christi processions are lost to us, they were probably characteristic of the Catholic soundscape and also must have att racted the att ention of the listeners and confronted them with the confessional challenge directly. With the campaign of reform and propaganda, promoted principally by the bishop Hren, the successful progress of Catholic reform in the Slovenian lands at the beginning of the seventeenth century stabilised the situation in many musical institutions.
{"title":"Traces of Counter-Reformation music in the Slovenian lands","authors":"Klemen Grabnar","doi":"10.21857/ygjwrcjkey","DOIUrl":"https://doi.org/10.21857/ygjwrcjkey","url":null,"abstract":"On the basis of direct and indirect evidence, three main types of musical repertoire in the early-seventeenth-century Slovenian lands can be established that directly relate to the CounterReformation: plainchant, sacred song in the vernacular, and contemporary polyphonic music. The textual emphasis of the preserved musical pieces above all helped to shape a distinctly Counter-Reformation religious identity: contemporary polyphonic compositions, above all Litanies and Marian antiphons, with the emphasis of the dogma of sanctoral intercession; the acclamations Christus vincit with the stating of the pope Clemens VIII’s religious integrity; and responsory Sedil ie k’misi with accentuation of the transubstantiation. Alhough the vernacular songs heard in Corpus Christi processions are lost to us, they were probably characteristic of the Catholic soundscape and also must have att racted the att ention of the listeners and confronted them with the confessional challenge directly. With the campaign of reform and propaganda, promoted principally by the bishop Hren, the successful progress of Catholic reform in the Slovenian lands at the beginning of the seventeenth century stabilised the situation in many musical institutions.","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68491335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ivan pl. Zajc u kolopletu hrvatske glazbene historiografije: ususret monografiji","authors":"Sanja Majer-Bobetko","doi":"10.21857/M16WJCPJV9","DOIUrl":"https://doi.org/10.21857/M16WJCPJV9","url":null,"abstract":"","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43479321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bugarske pjesme Ivana Zajca","authors":"Stefanka Georgieva","doi":"10.21857/YDKX2C3EQ9","DOIUrl":"https://doi.org/10.21857/YDKX2C3EQ9","url":null,"abstract":"","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68489818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Predstavljanje osnovnih pojmova digitalne humanistike u vezi s glazbom i muzikologijom, ili: Što je digitalna muzikologija?","authors":"Lucija Konfic","doi":"10.21857/YPN4OC8039","DOIUrl":"https://doi.org/10.21857/YPN4OC8039","url":null,"abstract":"","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68493270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nastava nacionalne i opće povijesti glazbe na visokoškolskim ustanovama i na Sveučilištu u Zagrebu","authors":"Stanislav Tuksar","doi":"10.21857/90836cdjly","DOIUrl":"https://doi.org/10.21857/90836cdjly","url":null,"abstract":"","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68479909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Morphology of Medieval Notations in the Optical Neume Recognition Project","authors":"K. Helsen, Inga Behrendt, Jennifer Bain","doi":"10.21857/94KL4CXPQM","DOIUrl":"https://doi.org/10.21857/94KL4CXPQM","url":null,"abstract":"","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68480382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zajc’s Croatian national opera trilogy Mislav (1870), Ban Leget (1872) and Nikola Šubić Zrinjski (1876) was composed in a sequence and by that time Zajc had already had compositional experience in operas, acquired in both his early and intensive operatic periods. After a series of operett as, the composition of a historic opera with national elements was a conditio sine qua non, especially after Zajc’s arrival in Zagreb from Vienna which was arranged with Croatian intellectuals in 1870. That same year, the premiere of the opera Mislav on 2 October, one decade after the establishment of the Croatian Drama (1860), i.e. Croatian National Theatre (1861) and twenty years after the completion of the then still unperformed opera Porin (1847 – 1851) by Lisinski, the work of Zagreb’s permanent opera as well as Zajc’s forty years of musical activity in Zagreb commenced. Moreover, the aforementioned operas, together with Lisinski’s Love and Malice, were, in the Croatian cultural and historical perspective of that time, declared as the only »real« Croatian national operas yet composed and performed (except Porin, which was performed in 1897). Despite their uneven quality and their contemporary and subsequent success (audience reception), our att ention was att racted by the questions pertaining to the competence of the author who had to make, upon arrival, all the necessary assumptions for creating the fi rst publicly performed national opera. Firstly, the musical ensemble and education were to be established, the nurturing of the players and the education of the singers. In accordance with inherited predispositions, cultural and family environment (infl uence of his musician father), music education and specialization (Rijeka, Milan), the author’s artistic growth and formation in diverse environments (Rijeka, Milan, Vienna, Zagreb), Zajc managed to establish a creative dialogue in the new environment in the context of the time. One could say that the endeavours of Zagreb’s patriots for the formation of national (musical) culture after the period of Bach’s absolutism coincided with (private and artistic) circumstances which brought Zajc to Zagreb. Zajc came in the period between neoabsolutism and the rule of Héderváry (from 1883). While the operas Mislav and Ban Leget were composed during the reigns of banus Levin Rauch (Mislav) and Antun Vakanović (Ban Leget), both guided by aggressive Hungarian politics, the opera Nikola Šubić Zrinjski was created during the reign of
{"title":"The beginnings of the creation of the Croatian national opera repertoire - The Croatian national historical opera trilogy (Mislav, Ban Leget, Nikola Šubić Zrinjski) by Ivan von Zajc : [sažetak doktorskog rada]","authors":"Rozina Palić-Jelavić","doi":"10.21857/yrvgqtk5n9","DOIUrl":"https://doi.org/10.21857/yrvgqtk5n9","url":null,"abstract":"Zajc’s Croatian national opera trilogy Mislav (1870), Ban Leget (1872) and Nikola Šubić Zrinjski (1876) was composed in a sequence and by that time Zajc had already had compositional experience in operas, acquired in both his early and intensive operatic periods. After a series of operett as, the composition of a historic opera with national elements was a conditio sine qua non, especially after Zajc’s arrival in Zagreb from Vienna which was arranged with Croatian intellectuals in 1870. That same year, the premiere of the opera Mislav on 2 October, one decade after the establishment of the Croatian Drama (1860), i.e. Croatian National Theatre (1861) and twenty years after the completion of the then still unperformed opera Porin (1847 – 1851) by Lisinski, the work of Zagreb’s permanent opera as well as Zajc’s forty years of musical activity in Zagreb commenced. Moreover, the aforementioned operas, together with Lisinski’s Love and Malice, were, in the Croatian cultural and historical perspective of that time, declared as the only »real« Croatian national operas yet composed and performed (except Porin, which was performed in 1897). Despite their uneven quality and their contemporary and subsequent success (audience reception), our att ention was att racted by the questions pertaining to the competence of the author who had to make, upon arrival, all the necessary assumptions for creating the fi rst publicly performed national opera. Firstly, the musical ensemble and education were to be established, the nurturing of the players and the education of the singers. In accordance with inherited predispositions, cultural and family environment (infl uence of his musician father), music education and specialization (Rijeka, Milan), the author’s artistic growth and formation in diverse environments (Rijeka, Milan, Vienna, Zagreb), Zajc managed to establish a creative dialogue in the new environment in the context of the time. One could say that the endeavours of Zagreb’s patriots for the formation of national (musical) culture after the period of Bach’s absolutism coincided with (private and artistic) circumstances which brought Zajc to Zagreb. Zajc came in the period between neoabsolutism and the rule of Héderváry (from 1883). While the operas Mislav and Ban Leget were composed during the reigns of banus Levin Rauch (Mislav) and Antun Vakanović (Ban Leget), both guided by aggressive Hungarian politics, the opera Nikola Šubić Zrinjski was created during the reign of","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68494732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1 Portions of this article were read in papers given at the conferences »Bringing the Past into the Future: Creating and Curating Digital Music Archives« at Ewha Womans University, Seoul, South Korea, October 2016, and the International Musicological Society Congress, Tokyo, Japan, March 2017. I would like to thank the anonymous readers of this journal for their helpful comments. The online catalogue of the Répertoire International des Sources Musicales (RISM) contains over 1,088,000 records for music manuscripts, imprints, librett i, and treatises. Since the release in 2010, RISM has launched several initiatives to bring musicologists closer to the primary source materials they are researching. The online catalogue att empts to expand the database beyond simply recording the locations of musical sources. With the availability of the RISM data as linked open data, RISM is able to collaborate with other projects in the digital humanities and provide data as a basis for research projects. The release of Muscat, RISM’s opensource specialized software for cataloguing musical sources, has made it easier for RISM project participants to catalogue musical sources. This article will describe how the RISM online catalogue brings musicologists closer to primary source materials and how musicologists can work with RISM using Muscat to facilitate and disseminate their own source-based research.
{"title":"Getting back to the source, virtually: RISM as a tool in the digital environment","authors":"J. Ward","doi":"10.21857/YGJWRCJ1RY","DOIUrl":"https://doi.org/10.21857/YGJWRCJ1RY","url":null,"abstract":"1 Portions of this article were read in papers given at the conferences »Bringing the Past into the Future: Creating and Curating Digital Music Archives« at Ewha Womans University, Seoul, South Korea, October 2016, and the International Musicological Society Congress, Tokyo, Japan, March 2017. I would like to thank the anonymous readers of this journal for their helpful comments. The online catalogue of the Répertoire International des Sources Musicales (RISM) contains over 1,088,000 records for music manuscripts, imprints, librett i, and treatises. Since the release in 2010, RISM has launched several initiatives to bring musicologists closer to the primary source materials they are researching. The online catalogue att empts to expand the database beyond simply recording the locations of musical sources. With the availability of the RISM data as linked open data, RISM is able to collaborate with other projects in the digital humanities and provide data as a basis for research projects. The release of Muscat, RISM’s opensource specialized software for cataloguing musical sources, has made it easier for RISM project participants to catalogue musical sources. This article will describe how the RISM online catalogue brings musicologists closer to primary source materials and how musicologists can work with RISM using Muscat to facilitate and disseminate their own source-based research.","PeriodicalId":40716,"journal":{"name":"Arti Musices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68490854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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