Hrvatska glazbena historiografija u 19. stoljeću:
Gespeichert in:
| Hauptverfasser: | , , |
|---|---|
| Format: | Buch |
| Sprache: | Croatian |
| Veröffentlicht: |
Zagreb
Hrvatsko Muzikološko Društvo [u.a.]
2009
|
| Schriftenreihe: | Serija Muzikološke studije
10 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Croatian music historiography in the 19. century |
| Beschreibung: | 252 S. Ill. |
| ISBN: | 9789536090389 |
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| 245 | 1 | 0 | |a Hrvatska glazbena historiografija u 19. stoljeću |c Sanja Majer-Bobetko ; Zdravko Blažeković ; Gorana Doliner |
| 264 | 1 | |a Zagreb |b Hrvatsko Muzikološko Društvo [u.a.] |c 2009 | |
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Datensatz im Suchindex
| _version_ | 1806961821855252480 |
|---|---|
| adam_text |
SADRŽAJ
Predgovor
1.
UVODNA RAZMATRANJA (Sanja Majer-Bobctko)
. 9
1.1.
Glazbena historiografija: određenje pojma
. 9
1.2.
Povijest glazbe
. 14
1.2.1.
Povijest glazbe i estetika glazbe
. 16
1.2.2.
Povijest glazbe i sociologija glazbe
. 18
1.2.3.
Povijest glazbe i etnomuzikologija
. 20
1.2.4.
Povijest glazbe i psihologija glazbe
. 22
1.2.5.
Povijest glazbe i glazbeno-teorijske discipline
. 23
1.2.6.
Povijest glazbe i glazbena paleografija
. 23
1.2.7.
Povijest glazbe i glazbena kritika
. 24
1.2.8.
Povijest glazbe i ostale znanosti i discipline
. 24
1.3.
Hrvatska glazbena historiografija:
prolegomena
. 26
2.
HRVATSKA GLAZBENA HISTORIOGRAFIJA U
19.
STOLJEĆU
. 29
2.1.
Uvodne napomene (Sanja Majcr-Bobctko)
. 29
2.2.
Franjo Ksaver Kuhač: utemeljitelj hrvatske glazbene historiografije
{Zdmvko Blaickovic)
. 34
2.2.1.
Kuhačevo istraživanje povijesti svjetovne glazbe
. 38
2.2.2.
Kuhačev povijesni kanon i mjesto biografije u njemu
. 44
2.2.3.
Kuhač
о
povijesti glazbenog pisma
. 56
2.2.4.
Kuhacevo istraživanje povijesti crkvene glazbe
. 78
2.2.5.
Kuhacevo istraživanje narodne (pučke glazbe)
. 79
2.2.6.
Kuhač i njegovo muzikološko vrijeme
. 83
2.2.7.
Kuhačevi utjecaji i naslijede
. 95
2.3.
Vjekoslav Klaić. Povjesničar kao glazbeni historiograf
(Sanju Majcr-Bobctko)
. 101
2.4.
Vjenceslav Novak: Autor prve glazbenopovijesne sinteze
Sanja Majcr-Bobctko)
. 109
2.4.1.
Novak
о
povijesti svjetovne glazbe (Sanja Majcr-Bobctko)
. 109
2.4.2.
Novak
о
povijesti crkvene glazbe (Gorana Dolincr)
. 115
2.4.3.
Novakova glazbenopovijesna sinteza (Sanja Majcr-Bobclko)
. 118
2.5.
Franjo
Markovié:
I'rvn objavljena periodi/acija
opce
povijesti
glazbe (Sanja Majcr-Bolniko)
. 129
2.6.
Glazbena historiografija u periodici i n dnevnom tisku
. 137
2.6.1.
О
svjetovnoj glazbi (Sanja Mnjcr-Bobctko)
. 137
2.6.2.
О
crkvenoj glazbi (Gornim Dolimr)
. 143
2.6.3.
О
tradicijskoj glazbi
(Corana
Dolinci)
. 130
2.7.
Monografska izdanja
. 154
2.7.1.
О
svjetovnoj glazbi (Sanja Mnjcr-Bobctko)
. 159
2.7.2.
О
crkvenoj glazbi (Gorana Dolinci)
. 164
2.7.3.
О
tradicijskoj glazbi
(Cornuti Doliiicr)
. 172
3.
POPIS IZVORA (Sanja Majcr-Bobclko)
. 179
3.1.
Raspored grade
. 179
3.2.
Kriteriji izbora grade
. 179
3.3.
Popis izvora (do
19.
stoljeća)
. 1
8S
3.4.
Popis izvora
(19.
stoljeće)
.
Ί
8f>
3.4.1.
Tiskani izvori
. 185
3.4.1.1.
Monografije, separati, leksikoni, enciklopedije,
rječnici
. 185
3.4.1.2.
Članci u glazbenim časopisima
. 188
3.4.1.3.
Članci u dnevnom tisku, časopisima Sire
kulturološke koncepcije, u zbornicima i si
. 189
3.4.1.4.
Članci koji nisu registrirani u Bibliografiji rasprava
i članaka Jugoslavenskog leksikografskog zavoda
»'Miroslav
Krleża«
. 198
3.4.1.5.
Suvremeni pretisci i kritička izdanja
. 200
3.4.2.
Rukopisi
. 200
4.
CITIRANI IZVORI
1
LITERATURA
. 203
5.
SUMMARY
. 227
6.
KAZALO IMENA
. . 233
Hrvatska glazbena historiografija u
19.
stoljeću
227
5.
SUMMARY
Croatian Music Historiography in the 19th Century
This book has developed as a result of the research done in the framework of the schol¬
arly project
Hrvatska glazbena historiografija
do
1945.
godine
[Croatian Music Historiography
before
1945],
which has been funded by the Ministry of Science, Education and Sport of the
Republic of Croatia. A bibliography of published and unpublished sources was completed
at the first stage, including works by Croatian authors active in Croatia or abroad, as well as
works by authors from other countries who dealt with historical issues related to Croatian
music. Since the bibliography indicated that relevant sources were more plentiful than had
been expected (over
500),
the authors decided to limit their research in the first phase only
to the Croatian music historiography of the 19th century, and, after its completion, to con¬
tinue with the research into Croatian music historiography at the beginning of the 20lh cen¬
tury.
The research on Croatian music historiography had already started before the begin¬
ning of this project, although it had not been carried out systematically. For example, in
1994,
Lovro Županović
published for the first time
Franjo Ks.
Kuhac's
Historijski uvod
[His¬
torical Introduction] to the monograph
Ilirski glazbenici
[The Illyrian Musicians], and
Sanja
Majer-Bobetko published Vjenceslav Novak's
Povijest glazbe
[History of Music].
Dubravka
Franković
dealt with the 19lh-century research into Croatian Baroque music, while
Vjera
Katalinić
was interested in Croatian music Classicism in historiographical monograph pub¬
lications. Entries on music in the
Hrvatska enciklopedija
[Croatian Encyclopedia], published
in
1887
and
1890,
were analyzed by
Josip
Andreis,
while
Mirjana škunca
and
Marija Janaček-
Buljan
wrote on
Kuhač's
historiographie
work.
Majer-Bobetko,
Blažeković
and Doliner divided the research according to their schol¬
arly interests, the result of which was the organization of the material in the book. The
compilation of the bibliographic data base, planned to be available on the Internet, is in
progress.
Music historiography started to develop in Croatia during the 19th century, with the
beginning of collection of historical sources and their first publications. Some works from
that time have been treated here as music-historiographical sources although, according to
the recently established criteria, they should not have been taken into account. Among them
are many articles published in magazines and daily newspapers, as well as in monographs
228
Sanja Majer-Bobetko
—
Zdravko Blateković
—
Gorana Doliner
on general
topics, such as studies on the history of Croatian literature by Ivan
Milčetić
and
šime
Ljubić.
These works were undoubtedly the first and sometimes unique music-
historiographical sources. The lexicographic attempts of Ivan
Kukuljevič Sakcinski
(1816—
1889),
Šime
Ljubić
(1822—1896),
and
Petar Stanković
(1771—1852)
played a similar role.
Finally, the project has confirmed the importance of three outstanding figures in 19'11-
century Croatian music historiography:
Franjo
Ksaver
Kuhač
(1834—1911 ),
Vjencesla
v
Novak
(1859—1905),
and
Vjekoslav
Klaič
(1849—1928).
By awakening patriotic awareness, the Croatian National Revival set in motion the
process of constituting the Croatian nation in the modern sense of the word. However, the
movement meant not only a political but also a cultural revival among the Croats, and had
consequences in all areas of cultural life, including music. The two most important traits
required of Croatian music at the time were, firstly, that it have a stylistic connection with
Croatian national music and, secondly, that it have true artistic quality. However, the
1848-
49
Revolution was immediately followed by
Habsburg
Absolutism in the 1850s, which in¬
troduced a rigid policy on the part of the Viennese centralized government. During that
period, Croatian cultural efforts were abandoned, and the ideology of the movement be¬
came subdued. However, with respect to music, it was revived in
Kuhač's
articles dating
from after the 1870s.
Born in
Osijek,
educated in
Osijek,
Buda
and Vienna
—
where he apparently attended
Eduard Hanslick's
lectures in music history and aesthetics at the University
—
Kuhač
moved
to Zagreb in
1871
and stayed there until his death. Inspired by the ideas of the Croatian
National Revival
(1835—1848),
Kuhač
at the age of
37 (1871)
changed his German name
Franz
Xaver Koch
to the Croatian equivalent,
Franjo
Ksaver
Kuhač.
Together with Ivan Zajc
(1832—1914),
the most prominent composer of the time, he left his mark on this period with
his activities, which prompted the musicologist
Lovro Županović
to name it as the period of
Ivan Zajc and
Franjo Kuhač
in his book
Stoljeća hrvatske glazbe
[Centuries of Croatian Music,
1980].
Kuhač
was a pioneer of music scholarship in Croatia, both in study of traditional mu¬
sic and of music history. In Die
Eigentümlichkeiten der magyarischen Volksmusik,
completed
in 1884, and in
other writings, he outlined that music research
—
which he named »Musi-
cology«, independently of
Guido Adler —
should evolve around a comparative investiga¬
tion of the melody, rhythm and form of traditional music and dance, with organology/
paleography, history of literature and liturgy, acoustics, historiography, and oral literature
being its auxiliary disciplines. Advancing the aesthetics of the national style, he considered
that such study could enable composers to adopt features of traditional music in their com¬
positions. In his essay
Versuch einer Musikgeschichte der Südslaven (1875),
Kuhač
divided all
of music history into older and newer periods, which essentially correspond nowadays with
the subjects covered by traditional ethnomusicology and musicology respectively. Along
these lines, he carried out comprehensive studies of the folk instruments of the South Slavs,
characteristics of Croatian folk music, and the history of Slavic music notation (as aspects of
his older music history division); and collected extensive material for a bio-bibliographical
dictionary of Croatian musicians and musicians active in Croatia (related primarily to more
recent music history). His biographies of early-Romantic Croatian composers, all accompa¬
nied with detailed worklists, are particularly important.
Kuhač
based the investigation of
South Slavic traditional music on his collection of about
3000
transcribed folk tunes,
1600
of
them being published during his lifetime.
Kuhač
was highly prolific in collecting, transcribing, and arranging folksongs, and
although his transcriptions of songs, presented with the piano accompaniment, often did
not recognize their latent tonality and irregular meter, the collection exerted strong influ¬
ence over 20th-century Croatian composers oriented toward the national style. While he had
Hrvatska glazbena historiografija u
19.
stoljeću
229
predecessors in collecting, transcribing, and arranging folk tunes in Croatia
(Petar Hektorović
(1487—1572),
Julije
Bajamonti
(1744—1800),
Stanko
Vraz
(1810—1851),
Vatroslav Lisinski
(1819—1854),
Karlo Katineli
/
Catinelli-Bevilaqua-Obradic
[Obradović]
(1807—1864),
he
was the first to write scholarly studies on the subject. Besides occasional comments in four
volumes of his ¡utno-slovjenske
narodne
popievke [South Slavic Folk Songs], published be¬
tween
1878
and
1881
(the fifth volume, prepared by
Bożidar
Širola
and
Vladoje Dukat,
was
published in
1941,
and the sixth volume, prepared by
Vinko Žganec,
remains unpublished,
as well as the seventh volume), he wrote numerous studies about the nature of Croatian
folk music. Even more important are his detailed studies
Zadaća melografa
[The Task of the
Folk Music Collector] and Vriednost
pučkih
popievaka [The Value of Folk Tunes,
1892]
dealing
with the methodology of folk-rune transcription. His interest in folk music led him down
the path of both collecting and writing about musical instruments
(Opis i poviest
narodnih
glazbala Jugoslavjena
[Description and History of Traditional Instruments of the South Slavs],
1877—1882).
A peculiar synthesis
Osobine narodne glazbe, naročito hrvatske
[Characteristics of
Folk Music, Especially Croatian,
1909]
occupies the outstanding position among his
ethnomusicological studies. While on the one hand he quite rightly recognized the neces¬
sity of scholarly research into musical folklore, on the other, he researched similarities of
music and speech (in this, anticipating 20lh-century music semantics) and attempted to de¬
fine music by creating laws and normative aesthetics. His belief that it was possible to create
a »Croatian music grammar«, which Croatian composers should use in their compositions
in order to produce Croatian music in every detail, shows that
Kuhač
made no distinction
between his national ideas about music and its aesthetic aspects.
Kuhač'
s
efforts actually marked the beginning of systematic scholarly research into
the music history of Croatia, which resulted in many articles, essays, and comprehensive
studies, the first among them being
Über die nationale Musik und ihre Bedeutung in der Welt
musik
(1869).
Although the history of Croatian music was in the foreground of his research, he
was also interested in general music history, in particular when that had repercussions on
Croatian music, and he produced studies of Haydn's and Beethoven's orchestral composi¬
tions, and the Austrian
Kaiserhymne
by Haydn
(Gott erhalte
Franz
der
Kaiser). His research
into early Croatian Romanticism resulted in a series of musician portraits
(Ilirski glazbenici)
and with a monograph study of the life and works of Vatroslav Lisinski
(1819—1854),
to
name only the most prominent among them. Throughout his life he collected material on
Croatian musicians and on all those who had contributed to music life in Croatia in the past,
because he planned to publish
Biografski i muzikografski
slovník
[Biographical and
Musicographical Dictionary]. However, the idea was never implemented and, together with
his studies
Kajdopis u
Slavena
[Slavic Musical Notation,
1890—1897],
and Die
musikalische
Orthographie
[Music Orthography,
1895],
it remained unpublished.
Kuhač's
conviction that music historiography, just like music itself, ought to endorse
and promote national identity sometimes interfered with his scholarly objectivity in the
interpretation of historical facts, and occasionally led him to arbitrary and unsupported
conclusions. Among the best known examples are articles on the Croatian origins of Joseph
Haydn, Franz Liszt, and Giuseppe Tartini, or about the claim that the German people do
not have a natural talent for music and, therefore, German folk music does not exist. For the
same reason, his
»Historijski uvod«
[Historical Introduction] to the collection of biographi¬
cal essays
Ilirski glazbenici
[The lllyrian Musicians] was not accepted for publication when it
was written in
1893,
since the publisher of the book, Matrix Croatica, considered it too chau¬
vinistic. Only since the
1980s
has its historical worth been re-evaluated and its place as the
first history of Croatian music been recognized, and it was finally edited and published by
Lovro Županović
in
1994.
230
Sanja
Majer-Bobełko
—
Zdravko Blažeković
—
Gorana Dolhter
However, on the other hand,
Kuhač
earned lasting merit in the history of music re¬
search in Croatia and in Croatian culture in general. His work enabled qualified writing and
speaking about music
—
particularly in music pedagogy
—
in the Croatian language, since
his translation of J.
Chr.
Lobe's
Katechismus der Musik (1875,
21889) was the first attempt to
establish the basis for a standard Croatian musical terminology, which was earlier domi¬
nated by German terms (in Northern Croatia) and by Italian (in Southern Croatia).
Kuhač
was joined a little later by the political historian
Vjekoslav Klaič,
and by the
novelist and musician Vjenceslav Novak. Dealing with music as an amateur composer, con¬
ductor, and organizer of music life in Zagreb,
Klaič
focused his scholarly interest in the field
of music historiography mainly on the period of the Croatian National Movement and
often came into conflict with
Kuhač.
Some of his biographical studies are still relevant and
respectable sources, first of all, his studies on
Georg Karl Wisner von Morgenstern (1892)
and Vatroslav Lisinski
(1919).
While Lisinski had been recognized earlier as the most sig¬
nificant and talented Croatian composer of the National Revival,
Klaič
was the first to write
about the significance of Wisner
von Morgenstern,
who had often been marginalized ear¬
lier. Because of uncertainty about whether he was indeed of German extraction and his
privileged situation in obtaining the central positions he held in musical Zagreb, as well as
his aesthetic ideas that were in conflict with the national orientation in his music,
Kuhač
neglected him in his writings. In
1890,
Klaič
wrote the first significant articles about the
history of the
Hrvatski zemaljski glazbeni zavod
[Croatian Music Institute] in Zagreb (which
started as the
Musikverein in 1827),
and in
1892
he published the first significant essay on
Juraj Križanič
(1617/18—1683)
and his treatise Asserta musicalia. In
1892,
he also wrote an
intriguing study about the rousing songs of the Croatian National Revival and, in particu¬
lar, about
Još Horvatska
ni propala
(Croatia hasn't fallen yet). Questioning the authorship of
Ferdo
Wiesner
Livadič
(1799—1878),
to whom
Kuhač
correctly attributed it,
Klaič
stirred
controversy among intellectuals, leading even later to certain reminiscences on the topic
Finally, both
Kuhač
and
Klaič
promoted the idea of introducing music theory and history
into the curriculum of Zagreb University.
The idea to teach the history of music at Zagreb University was not put into practice at
the time, but it was introduced into the curriculum of the music school of the
Hrvatski zemaljski
glazbeni zavod
during thel890s, and its first teacher was Vjenceslav Novak. As he was pri¬
marily a pedagogue rather than a researcher, his writings on music history were aimed at
teaching and mainly based on secondary sources. Among them, the most important is his
general survey of music history, written during the 1890s. The models and sources for
Novak's history were August
Wilhelm Ambros
(Novak studied music in Prague), Robert
Paul
Johann Musiol, Emil Naumann,
and especially
Bernhard Kothe's Abriss der allgemeinen
Musikgeschichte. Für Lehrerseminare und Dilettanten (Leipzig, 1874).
The influences of the stand¬
ard music histories of the time are already shown in the division of the history of music into
three great epochs: »The Music of Ancient Peoples«; »Christian Music up to c.
1600«;
and,
»The Age of the Flowering of Dramatic and Classical Music, and the Newest Endeavours
since
1600«.
Novak was an evolutionist who believed in music's progress from the simpler
to the more complex, from lower to higher forms. Of particular value in Novak's general
survey of music history is his attempt to include information about the histories of the South
Slavic peoples, and especially the
Croatíans.
He used mostly published works such as
Kuhač's
Ilirski glazbenici
in this effort, but did not take advantage of
Kuhač's
valuable manuscripts,
especially his
Grada za
biografsko-muzikografski
slovník
[Material for a Biographical-
Musicographical Dictionary], for which
Kuhač
collected data from
1862
(perhaps earlier)
till
1911,
when he died.
Hrvatska glazbena historiografija u
19.
stoljeću
231
Since Novak's manuscript was not published until
1994,
the first published
periodiza
tion
of music history appearing in print in Croatia was presented within an aesthetic system in
Franjo
Marković's
(1845—1914)
book
Razvoj i sustav obćenite estetike
[Development and Sys¬
tem of
General
Aesthetics], published in Zagreb in
1903.
It should be pointed out that the
earliest attempt was KuhaC's proposal for the
periodiza
tion
of the music history of the South
Slavs, which was based on completely different premises than
Marković's
and was much
closer to modern anthropological concepts, as early as in
1875.
He made no attempt to present
a general periodization of music history. As a philosopher and aesthetician rather than music
historian or musicologist,
Markovid
presented his periodization of music history based pri¬
marily on aesthetic criteria. He considered instrumental music to speak most completely to
the essence of the art of music; therefore, it became the basic criterion of his periodization,
which he divided into five periods that parallel five forms of beauty: the religious age, the
classical instrumental music age, Romanticism (lyric age and coloristic and declamatory
age), and naturalism.
Markovii
considered the entire history of music before Palestrina to
be only a preparatory period, one which he named »the preparatory prehistory of music«.
However, his periodization had no influence on Croatian music historiography.
In any case, Novak's manuscript is the first general music history written in the Croatian
language. Following the models represented in the books of recognized authorities with
interpolated chapters on South Slavic histories of music, those on Croatia in particular, his
Povijest glazbe
[History of Music] provided the basic ideas of
1
9ü1-century
music historiography
and, in manuscript form, served music history teachers even during the period between the
two world wars. Without any practical value at the present moment, it still represents a
historical testimony to the state of music historiography in Croatia at the end of the 19th
century.
The Croatian music historiography of the second half of the 19lh century, when it actu¬
ally started to develop, is, on its own, an important historical fact. All these texts retain the
interest of today's researchers as testimonies to the achievement of writers on music and to
the standard of music-historiographical publications in Croatia. And that standard
—
de¬
spite the fact that the music historiography of the time was not immune to ideology and
politics (one might ask if it ever has been)
—
was quite satisfactory. That is why the pioneers
of Croatian music historiography and their works occupy such a respectable place in the
corpus of works on Croatian music history and on Croatian culture in general. |
| any_adam_object | 1 |
| author | Majer-Bobetko, Sanja 1952- Blažeković, Zdravko 1956- Doliner, Gorana |
| author_GND | (DE-588)102962898X (DE-588)1070409839 |
| author_facet | Majer-Bobetko, Sanja 1952- Blažeković, Zdravko 1956- Doliner, Gorana |
| author_role | aut aut aut |
| author_sort | Majer-Bobetko, Sanja 1952- |
| author_variant | s m b smb z b zb g d gd |
| building | Verbundindex |
| bvnumber | BV036695973 |
| ctrlnum | (OCoLC)705875483 (DE-599)BVBBV036695973 |
| era | Geschichte 1800-1900 gnd |
| era_facet | Geschichte 1800-1900 |
| format | Book |
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| geographic | Kroatien (DE-588)4073841-3 gnd |
| geographic_facet | Kroatien |
| id | DE-604.BV036695973 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T01:24:39Z |
| institution | BVB |
| isbn | 9789536090389 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020614507 |
| oclc_num | 705875483 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 252 S. Ill. |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Hrvatsko Muzikološko Društvo [u.a.] |
| record_format | marc |
| series | Serija Muzikološke studije |
| series2 | Serija Muzikološke studije |
| spelling | Majer-Bobetko, Sanja 1952- Verfasser (DE-588)102962898X aut Hrvatska glazbena historiografija u 19. stoljeću Sanja Majer-Bobetko ; Zdravko Blažeković ; Gorana Doliner Zagreb Hrvatsko Muzikološko Društvo [u.a.] 2009 252 S. Ill. txt rdacontent n rdamedia nc rdacarrier Serija Muzikološke studije 10 Zsfassung in engl. Sprache u.d.T.: Croatian music historiography in the 19. century Geschichte 1800-1900 gnd rswk-swf Musikgeschichtsschreibung (DE-588)4139339-9 gnd rswk-swf Kroatien (DE-588)4073841-3 gnd rswk-swf Kroatien (DE-588)4073841-3 g Musikgeschichtsschreibung (DE-588)4139339-9 s Geschichte 1800-1900 z DE-604 Blažeković, Zdravko 1956- Verfasser (DE-588)1070409839 aut Doliner, Gorana Verfasser aut Serija Muzikološke studije 10 (DE-604)BV010589845 10 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020614507&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020614507&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Majer-Bobetko, Sanja 1952- Blažeković, Zdravko 1956- Doliner, Gorana Hrvatska glazbena historiografija u 19. stoljeću Serija Muzikološke studije Musikgeschichtsschreibung (DE-588)4139339-9 gnd |
| subject_GND | (DE-588)4139339-9 (DE-588)4073841-3 |
| title | Hrvatska glazbena historiografija u 19. stoljeću |
| title_auth | Hrvatska glazbena historiografija u 19. stoljeću |
| title_exact_search | Hrvatska glazbena historiografija u 19. stoljeću |
| title_full | Hrvatska glazbena historiografija u 19. stoljeću Sanja Majer-Bobetko ; Zdravko Blažeković ; Gorana Doliner |
| title_fullStr | Hrvatska glazbena historiografija u 19. stoljeću Sanja Majer-Bobetko ; Zdravko Blažeković ; Gorana Doliner |
| title_full_unstemmed | Hrvatska glazbena historiografija u 19. stoljeću Sanja Majer-Bobetko ; Zdravko Blažeković ; Gorana Doliner |
| title_short | Hrvatska glazbena historiografija u 19. stoljeću |
| title_sort | hrvatska glazbena historiografija u 19 stoljecu |
| topic | Musikgeschichtsschreibung (DE-588)4139339-9 gnd |
| topic_facet | Musikgeschichtsschreibung Kroatien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020614507&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020614507&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV010589845 |
| work_keys_str_mv | AT majerbobetkosanja hrvatskaglazbenahistoriografijau19stoljecu AT blazekoviczdravko hrvatskaglazbenahistoriografijau19stoljecu AT dolinergorana hrvatskaglazbenahistoriografijau19stoljecu |