Muzička kultura Crne Gore: XIII - XVIII vijek
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Veröffentlicht: |
Podgorica
Crnogorska Akad. Nauka i Umjetnosti
2009
|
| Schriftenreihe: | Posebna izdanja / Crnogorska Akademija Nauka i Umjetnosti : Odjeljenje Umjetnosti
16 Posebna izdanja / Crnogorska Akademija nauka i umjetnosti 66 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Music culture of Montenegro XIII - XVIII century. - Zsfassung in engl. Sprache |
| Beschreibung: | 477 S. zahlr. Ill. |
| ISBN: | 9788672152265 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804143388826533888 |
|---|---|
| adam_text | Sadržaj
Predgovor Šonje Marinković
.......................................5
Uvodna riječ
......................................................9
Srednji vijek
Opšte prilike u Zeti između
XIII
i
XV
vijeka
........................13
Kotorski skriptorijum
.............................................28
Oblici crkvene muzike
.......................................39
Latinski obred na slovenskom jeziku
.............................43
Pravoslavlje u kotorskom
distriktu
...............................49
Barski skriptorijum
...............................................59
Kodeks BNF Latin.
916......................................65
Služba i Misa za jedanaest hiljada djevica Gijoma Adama
............67
Služba i Misa Gospe od Snijega
................................68
Ćirilski rukopisi
..................................................97
Muzički instrumenti na freskama „grešnoga Srđa
i skulpturama fra Vite
........................................114
Obredni ples kotorskih mornara
..................................125
Kotorske orgulje iz
1484.
godine
..................................133
Odjek renesanse. Crnojevića štamparija
............................138
Kotorske liturgijske inkunabule izdanja Luka Antonija
de Dunte.....
151
Tragovi svjetovne muzike
........................................179
Kotorski trubači i dobošari. Svirači na dvoru Balšića
................181
Folklorni odbljesci na
stemma
................................185
Likovni prikazi srednjovjekovnih instrumenata
....................185
Dubrovački muzičari na hodočašćima u Zeti
.....................190
Crkvene svečanosti i narodna veselja
............................192
475
Novi vijek
Kulturni milje između
XVI
i
XVIII
vijeka
.........................205
Liturgijske knjige Božidara Vukovića Podgoričanina
i drugih venecijanskih štampara
...............................216
Liturgija vladike Vasilija
..........................................225
Likovni prikazi muzičkih instrumenata
............................234
Crkve i manastiri istočnog obreda
..............................235
Manastir Morača
..........................................239
Manastir Svete Trojice kod Pljevalja
............................242
Ostale crkve i manastiri
.....................................245
Crkve zapadnog obreda
.....................................251
Platna
Tripa
Kokolje
.......................................252
Skulpture Frančeska Kabjanke
................................254
Odzvuci muzičke renesanse u djelima kotorskih pjesnika latinista
... .280
Citre moćnoga zvuka
.......................................280
Sviračko umijeće Filipa Fabricija
..............................281
Sjaj kotorskih orgulja
.......................................284
Barokna poezija i usmeno stvaralaštvo
.............................288
Muzičko-scenski oblici baroka
....................................302
Prikazanja
...............................................303
Gospin plač
..............................................304
Razvijeniji oblici prikazanja
..................................306
Dramatizacija Posljednje večere
..............................308
Božične pjesme
............................................311
Sekvenca Victimaepaschali
..................................313
Prikazanje muke
Jezusové ,
drama
I.
A. Nenadića
.................316
Prevodi Metastazijevih
drama-libreta
...........................323
Come una sacra tragedia
i drugi scenski oblici
.....................325
Pjesne duhovne u čast
Tonine
Barižoni I. A. Nenadića
..............329
Drame-libreta Krsta Ivanovića i opere italijanskih
kompozitora druge polovine
XVII
vijeka
.......................335
Amor
kao ratnik
..........................................341
Kirka
...................................................348
Koriolan
................................................356
Trijumf vjernosti
..........................................
ЗбО
Lizimah
.................................................360
Pozorisne uspomene iz Venecije
................................367
Viteške igre, pokladne i karnevalske zabave
........................380
Timotej Cizila
о
zabavama kotorske vlastele
......................380
Marko Martinović, Peraške poklade
1715........................383
476
Budvanske pokladno-karnevalske zabave.........................
385
Crkve sa dva oltara
..............................................399
Oblici islamske kulture
..........................................405
Tragom albanskih muzičkih spomenika
...........................411
Opera SkenderbegAntonija
Vivaldija
...........................415
Opera Skenderbeg francuskih kompozitora
Rebela
i
Frankera
.........420
Zaključak
......................................................425
Summary
......................................................435
Registar imena
..................................................445
Registar naziva svetaca, crkovnih redova i organizacija,
sakralnih spisa i objekata
......................................457
Registar imena u djelima Krsta Ivanovića
..........................463
Registar naziva država, gradova, oblasti i ostalih srodnih pojmova
-----465
Registar pojmova
................................................470
477
Summary
This book is a part of the long-term project Materials for the His¬
tory of Montenegrin Music, which the Committee for Music Art
of Montenegrin Academy of Sciences and Arts has been working on
for several years. After Ancient Music Cultures of Montenegro I and
II, a study encompassing Prehistory, Ancient and the Early Mid¬
dle Ages, the materials presented here, covering the period between
XIII
and
XVIII
century, record traces of church and secular music
in an attempt to consider more closely certain phenomena and ex¬
press possible wholes.
In terms of time, the presented subject matter has been divid¬
ed into Middle Ages (XIII-XV) and the first three centuries of the
Modern Era. Anyhow, it was not possible to consider more closely
the stylistic peculiarities in the historical conditions in which mu¬
sic culture frequently barely survived. The period in question was
extensively investigated from the historical, social-economic, legal
and cultural aspect, which considerably assisted work on this study.
However, only a small number of preserved music monuments was
not a favourable circumstance for continuous follow up of develop¬
ment courses either of our medieval or later music culture. Further¬
more, with the exception of an in depth study on the church-organ
of
Kotor
by dr
Miloš
Milosevic, not a single analytic work was pub¬
lished on the music culture of the Middle Ages in our spaces. There¬
fore, in an attempt to find out more about this epoch, we relied on
the archival materials, preserved partly only in
Kotor,
on the church
library holdings and foreign libraries. These sources reveal that lit¬
urgy books in the Middle Ages were copied (transcribed) to a signif-
435
Muzička kultura Crne Gore
XIII-XVIII
vijek
icant extent both in Catholic and Orthodox monasteries, that the
sang part of the Orthodox liturgy was at least partly preserved as
opposed to the western one, especially the ample production of
Ko¬
tor,
of which everything except one Missal was looted, destroyed or
irretrievably lost. With the exception of services and masses of the
Archbishop of Bar Guillelmus Adae from the first half of
XIV
cen¬
tury, with the chants recorded by choral notation, some of which
can today be found in the French National Library in Paris, at pres¬
ent not a single similar original work of an author is known from
the time of Middle Ages.
Especially after the Turks conquered the majority of what is
known as Montenegro today and the rough time that followed,
apart from church singing and the national song and dance there
were no conditions for the survival, let alone for development of any
kind of music activity. In the southern seaside towns, along with de¬
struction and plunder of churches, even the liturgy rites were sus¬
pended. Certain forms of music culture developed only in that part
of the Bay of
Kotor
which was under the Venetian rule.
As the music monuments are very rare between
XVI
and
XVIII
century, we followed the Renaissance, and especially the Baroque
developments in the Bay of
Kotor
expressed in literature and fine
arts, seeking for and finding in them reflections which shed signif¬
icant light on certain phenomena and forms of music culture. We
devoted special attention to the poet from
Budva
and the Venetian
librettist Christoforo Ivanovich, on whom there is ample literature,
which we supplemented by presenting several fragments from op¬
eras which the Italian composers from the second half of
XVII
cen¬
tury wrote based on his librettos. Vivaldi s autographs
-
excerpts
from the opera Skenderbeg, written by the celebrated Italian com¬
poser in
1718,
also belong here.
We also devoted attention to numerous fine art presentations
of music instruments on the monastery frescos, icons, canvases and
sculptural decoration, which express vast variety of both the Renais¬
sance and the Baroque set of instruments.
Apart from developed economy and handicraft trades, the life
of medieval towns of
Zeta
was marked by certain forms of cultural
436
Summary
events, especially those developing under the patronage of church.
This refers equally to the construction of numerous sacral objects
and their wall paintings, and to ritual singing celebrating the cult.
In addition to singing and psalmody of obligatory liturgy servic¬
es, other ritual forms were also practiced, in different time periods.
For one s own soul and for the souls of ancestors significant sums
were left for holding of masses and memorial services and for copy¬
ing of liturgy books. All this initiated intensive scribal activity as
one of the most marked phenomena of medieval culture. Unfor¬
tunately, except for one Breviary and four fragments from another
code, this enormous book treasure was not preserved. The only tes¬
timony of more than forty missals, breviaries, psalters and antifo-
nies, according to which it was sung in the churches of the western
law, remained in the court-notarial documents of
Kotor.
These ad¬
ministrative-legal materials, even though intended for very specif¬
ic purposes, together with occasionally preserved church proclama¬
tions, provide additional data based on which we learn that St. Try-
phon cathedral had a choir and a chorister
{regens chorî)
and that it
was sung in choirs also in other churches of
Kotor
Diocese. From
the same sources we find out about glagolitic chant in the district of
Kotor
beginning from XV century, and those precious written doc¬
uments bear testimony of an exceptional event from the end of XV
century
-
the construction of the first church organ in the Cathe¬
dral of St. Tryphon.
As the court-notary materials of our other seaside towns have
not been preserved, there is no evidence on similar phenomena,
which does not mean that the cultural life of these spaces, even
though not at such a high level as that of
Kotor,
did not follow the
habits and customs of the time. This is best confirmed by numer¬
ous services and masses of the Archbishop of Bar Guillelmus Adae
from the first half of
XIV
century, among which also the Service of
Tomas
Aquinas {Officium S. Tomae), the most prominent personali¬
ty of Dominican order, originating soon after his canonization for a
saint. Two Adae s services and masses, Eleven Thousand Virgins {Of¬
ficium
et Messa
undecim millium Virginem) and Our Lady of Snow
{Officium
et Messa
S.
Marie adNives), are a part of the hand-written
437
Muzička kultura Crne Gore
XIII-XVIII
vijek
code which is found today under the sign. BNF Latin.
916
in the
Depot of old manuscripts of the French National Library in Paris.
Just like other services and masses in that anthology, they are writ¬
ten in Gothic characters, with the descants recorded by choral no¬
tation. According to what is known, five cycles of church songs of
Guillelmus Adae are the only works of this kind from our medieval
times, which are signed by an author. Like earlier epochs, whose
characteristics can be indicated by only one, for example, an archeo-
logical finding, thus the church songs of Guillelmus Adae reveal the
Diocese of Bar as the prestigious cultural centre in which the ser¬
vices and masses of saints were not only copied but where they al¬
so originated. Some of them were probably also performed in places
of southern France, which Guillelmus Adae frequently visited while
keeping court in Bar.
Books were also copied in the monasteries of Byzantine-Ortho¬
dox worship and were preserved in a significantly larger number in
relation to the books of western liturgy. Among them the most nu¬
merous are Gospels and Four gospels the oldest of which, dating from
the end of
XIII
century, was preserved in the monastery Nikoljac
near
Bijelo Polje.
Apart from Nikoljac, and the Monastery of Cet-
inje, the monastery of
Sveta Trojica
near
Pij e
vij
a also preserved one
Oktoih First Mode from
XIV
century, along with various minejs (lit¬
urgy book with services for Saints, festivals of the Lord and the Mother
of God, arranged according to months),
služabniks
and trebniks (litur¬
gy books including rules for rites and prayers related to marriages, chris¬
tenings, funerals and other) and other manuscripts.
Twenty temples along the coasts and on the little islands of the
Skadar Lake at the end of
XIV
and the beginning of XV century,
at the time of
Balšić
family rule, gain the reputation of significant
copying centers. In science their production is ever more frequent¬
ly defined as the Scriptorium of the Skadar lake. In the Church of
Mother of God, on the little island
Gorica,
in which at the end of
XIV
century Four Gospels of
Starčeva Gorica
was copied (owned to¬
day by the Italian national library
Marciana
in Venice), ceramic pil¬
lars were built in as resonators for the purposes of better acoustics in
that temple of rather small dimensions.
438
_________________________________________________________________
Summary
Intensive copying activity in the area of Skadar Lake, an ar¬
ea ever more imperiled by Turkish devastations, continued in Cet-
inje after Ivan
Crnojević
built the monastery of Holy Mother of
God in
1484
and transferred the Bishop s seat from the island
Kom
to the town under the mount
Lovćen.
The Temple of Holy Moth¬
er of God, with the construction and sculpting characteristics of the
Renaissance, was the most significant copying centre in Montene¬
gro until the foundation of the printing house of
Đurđ Crnojević
in
1494.
The Cyrillic manuscripts or any of the books that were to
be published by the printing-house of
Crnojević
by the end of XV
century did not contain any kind of neumes designations. Learn¬
ing and singing of church chants in numerous Orthodox monaster¬
ies was transmitted orally, and this practice continued later as well.
The fact remains that, together with numerous books, significant at¬
tention was devoted to the liturgical chants in the churches of both
laws, the western and the eastern one.
Apart from liturgical books in the restricted sense dating from
XIV
and XV century, several manuscripts have been preserved that
belong to the translational Byzantine literature, to
hagiograph¬
ie,
theological, philosophical, as well as legal literature. Apart from
Ilovička krmčija,
a collection of regulations of church and secular
Byzantine law, which was copied in the monastery of St. Michael in
Prevlaka
(1267),
one copy of
Vlastar eva
sintagma
originating from
mid XV century from the place Koporinja on the Skadar Lake has
also been preserved. From them we learn about the names of medi¬
eval musicians-entertainers and actors, as well as about certain legal
regulations in those collections which, apart from shedding light on
certain forms of secular music making, also utterly degrade the so¬
cial position of those engaging in this work.
The
Kotor
court-notary documents also do not offer any da¬
ta on the social status of musicians, who served the municipality as
announcers in public places. However, even though their names are
mentioned only in passing, mainly in relation to records on the re¬
alization of sale purchase agreements, a whole gallery of trumpet¬
ers and drummers opens, who dealt with this job in
XIV
and XV
century. The same sources indicate that among the masters of var-
439
Muzička kultura Crne Gore
XIII-XVIII
vijek
ious
crafts in
Kotor,
there was also the master for making of trum¬
pets who set the time of six years for students who were to learn how
trumpets are made and how they are played.
Travelling musicians-entertainers were gladly seen not only at
the court of
Balsie
family and the court of Bosnian landed gentry
of
Kosači
in the town of
Novi,
but also at pilgrimages in
Zeta,
at
which the musicians from
Dubrovnik
participated too, as well as at
the time of three day celebrations dedicated to St. Tryphon, the pa¬
tron of
Kotor.
In order to ensure a sufficient number of musicians
for this most luxurious and most visited celebration in the southern
Adriatic coast, at which the sailors from
Kotor
with their Reel also
participated, special fees were collected from the boats in the town
port. Religious and secular festivities celebrating the town patrons,
even though less luxurious in relation to those in
Kotor,
were cele¬
brated in other places as well.
Even though presentations of music instruments at medieval
frescos, except for one fragmentary scene in the
Kotor
church of St.
Maria of River, mostly have not been preserved, the fine art presen¬
tations of medieval instruments in manuscripts and printed books,
on a carved cross, and within a hunting scene on the wall of
Zuta
Stijena
rock, express significant variety
—
from horns, shalmie, pasto¬
ral flutes and flat trumpet up to elegantly bended shepherd s pipe.
Apart from the official manifestations with music as an obliga¬
tory part, the masked carnival dances were traditionally cherished,
the Christmas and New Year caroler customs and the celebration of
spring at St. George s Day as well as other sang and danced rites for
health, prosperity and fertility, whose traces were still alive in the
first decades of XX century.
Ifall
these forms of public life are taken
into account one can conclude that music as their integral part had
a significant share in the medieval social life.
At one moment of break in the assaults on its borders, Montene¬
gro made a significant cultural step forward by founding a printing-
house, the first Cyrillic printing-house on the Slav South in
1493
in
Obod
or in Cetinje. In two i. e. three years of its work, the printing-
house of
Crnojević
family published books which for their worth
were exceptionally valued later: Oktoih the First Mode (Oktoih prvo-
440
Summary
glasnik), Oktoih
the Fifth Mode (Oktoih petoglasnik) and the Psal¬
ter (Psaltir
sa posljedovanjem), Trebnik (Molitvenik)
and Four Gos¬
pels. Loss of state independence in
1496
marked the end of work of
the printing house. Its establishment and work in the last years of
the state of
Crnojević
family were marked by a cultural event whose
importance exceeds far the borders of Montenegro, becoming thus
the property of cultural history of all Slavonic peoples.
Božidar Vuković Podgoričanin
will continue Cyrillic printing-
publishing activity in the first half of the following century in Ven¬
ice, while the copying activity in the monastery scriptoriums will
be revived in
XVI
and
XVII
century and far into the
XVIII
cen¬
tury. Rare books in manuscripts, as well as those from the printing
house of Crnojevic family and later those from the Venetian print¬
ing house of
Božidar Vuković,
whose work was to be continued in
the second half of
XVI
century by his son
Vićenco
and other Vene¬
tian printers originating from our seaside, are monuments of conti¬
nuity of liturgical chants in the Orthodox part of Montenegro. Both
in printed books and in manuscripts wind and string instruments
can occasionally be found.
Even though traces of secular music at the time of late literary
renaissance are quite rare, the verses of
Kotor poets-latinists
largely
reveal the place and importance of dance and song, and even more
the wealth of Renaissance set of instruments, certain examples of
which were depicted during
XVI, XVII
and
XVIII
century on the
monastery frescos and canvasses or sculpted in the symbolic-deco¬
rative function. Flutes, horns, buisines, shalmies, bent, i. e. 5-trum-
pets,
gusle
(one string musical instrument), drums and kettle-drums
are in particular numerous on frescos and icons in the monasteries
in which eastern rite was professed. In the monasteries of the west¬
ern rite, on icons, wall or sculptural decoration a number of mainly
baroque instruments can be seen, especially of viola
da gamba
and
viola
da braccio,
but also of lutes,
vielas,
harps, buisines.
The verses of baroque poets, who write mostly in the nation¬
al language, as well as the collections of national songs from
XVII
and
XVIII
century, mention numerous instruments
-
svirale
(fifes),
pipes, diple (a shepherds instrument with a single reed which consists
441
Muzička kultura Crne Gore
XIII-XV1II
vijek
of a wind-bag attached to a double chanter and a set of bellows),
gusle,
tamburas
(long necked plucked lute),
žile, borije
(kind of trumpet), ci-
mbalons, trumpets, lyres, citharas, zithers, phorminx,
čangure
(kind
of
tambura),
flutes, drums. If numerous music terms are added to
this, which are also encountered in the artistic and national poet¬
ry, this wealth of music instruments reveals best the role and impor¬
tance of music in the national and social life in general.
Mystery plays, which were sung in part or in integrity, were per¬
formed as the only music-scenic forms at the Seaside in
XVII
and
XVIII
century. It is from these favourite para-liturgy forms that
our first liturgical drama originated, whose author is Ivan
Antun
Nenadić
(1723-1784),
a parish in St.
Eustachę
church in
Dobrota.
Just like the mystery plays, the drama of Nenadic also has built-in
music component in the form of national spiritual songs with occa¬
sional participation of instruments. The learned abbot
Nenadić,
our
most fertile baroque writer, translated also a drama of the most cel¬
ebrated librettist of his time
Pietro Metastazio
(1698-1782),
named
Izacco,
figura del Redentore,
which was performed in the form of an
oratorio in Vienna in
1740.
It is possible that Metastazio s Izacco was
performed in
Dobrota,
possibly with the sound of organ and with
occasional singing of domestic spiritual songs. Just like other poets
from
Boka, Nenadić
enriched his appropriate cantos with spiritual
national melodies, building thus likeable drama structures with all
elements of national music-scenic performances.
Among a number of learned poets and erudites from
Boka,
who
acted at Italian universities, special attention must be devoted to
Christoforo Ivanovich from
Budva,
who in the second half of
XVII
century, as a reputable poet in Venice, wrote librettos for several op¬
eras of Italian composers, among whom Francesco
Cavalli
too. The
operas made according to Ivanovich s librettos were performed in
Vienna too.
In the part of Bay of
Kotor
which was under the Venetian rule,
artistic and half-artistic (town), as well as national poetry flourished,
and it was mainly sung, equally as miracles and other diverse pa¬
ra-liturgy forms and there was room for chivalrous contests, carni¬
val and other types of entertainment. In the southern towns at our
442
Summary
coast, Bar and Ulcinj, which were held by Ottoman conquerors,
with incessant wars, plunders, abductions and emigration, the cul¬
tural life was entirely extinguished, especially in
XVII
and
XVIII
century.
In the harsh times between
XVI
and
XVIII
century, in the con¬
tinental parts any other form of music activity except for the nation¬
al song and dance, as well as church singing, was hardly conceiv¬
able. All events of greater importance were traditionally described in
epic songs, which were performed in gaiety and joy, and as contem¬
poraries record, with the playing of
gusle.
In distinction from domestic culture, whose identity was persis¬
tently preserved in the continental parts only through national cus¬
toms, various forms of oriental-islamic culture with time grew and
experienced significant affirmation in these spaces. Evlija Chelebi,
a famous Turkish travel writer from
XVII
century, along with nu¬
merous mosques, Moslem primary and religious secondary schools
mentions also mehter-hana, Turkish military music in Bar,
Herceg
Novi
and Pljevlja.
One Missal by don Gjon Buzukua, probably a priest of Bar Di¬
ocese, is the oldest known printed liturgy book in Albanian lan¬
guage, dating from
1555.
The opera Skenderbeg of Antonio Vivaldi,
performed for the first time in Florence in
1718,
devoted to that fa¬
mous Albanian national hero, also attracts attention, as well as the
opera of French composers Rebel and
Frankera
bearing the same
name, performed for the first time in Paris in
1735.
Between
XIII
and XV century music culture at the territory of
what is Montenegro today moved within the recognizable Medi¬
eval domains
-
spiritual music in the seaside towns with dominant
Catholic population under a strong influence of western church,
and that based on the Byzantine models in rural areas and in small¬
er places in continental areas. In secular music, which did not differ
significantly from the national one, such boundaries were not mark¬
edly expressed, with the exception of
Kotor
as our most developed
medieval town which nourished some other forms of secular music
making with participation of announcers and court orchestras in
443
Muzička kultura Crne Gore
XIII-XVIII
vijek
numerous important events on the occasion of celebrations, various
festivities like the launching of a boat.
During the following three centuries, in the changed historical
circumstances, when the Osmanlis held the largest part of today s
Montenegro, including also the seaside towns, with the exception of
the part of the Bay of
Kotor
which was under the Venetian rule, cer¬
tain forms of music culture develop only in
Kotor, Perast, Dobrota
and other smaller surrounding places. While Bar Diocese, with the
brilliant medieval achievements, after the destruction of the Cathe¬
dral of St. George and other churches in Bar, as well as expulsion
of its archbishops, almost died away,
Kotor
Diocese lived with full
spiritual capacity. The organ in the Cathedral of St. Tryphon was re¬
newed and gilded, and new ones were also constructed at the terri¬
tory of
Boka.
Apart from the luxurious editions of liturgy books of
celebrated Italian printer Antonio
de Giunta,
the Diocese will have
at disposal other valuable editions as well, among which the today
rare Zagreb missal from
XVI
century. Its learned bishops and abbots
write theological debates and other church works. One of them was
Dominic
Bucha,
prior of St. Nicolas monastery in
Kotor
since
1511,
whose works will attract attention of scientific circles during the fol¬
lowing two centuries. His contemporary
Luka Bizanti
(1503-1569),
long-standing
Kotor
bishop, who excelled himself in the protection
of
Kotor
during the attack of Hajrudin Barbarosa
(1539),
is the au¬
thor of St. Tryphon Service
(Offìcium Sancii
Triphonis). The bishop
Jeronim
Bucha
(Τ
1604)
who wrote hymns was also a poet. In par¬
allel with theological contemplations, literary climate in the renais¬
sance
Kotor
and the literary and fine art baroque in
Perast
achieve
envious standards. If secular music art fails to match them, it strives
in a peculiar manner to follow the cultural courses of its time.
444
|
| any_adam_object | 1 |
| author | Radulovic-Vulic, Jelena Manja 1936-2007 |
| author_GND | (DE-588)105455806X |
| author_facet | Radulovic-Vulic, Jelena Manja 1936-2007 |
| author_role | aut |
| author_sort | Radulovic-Vulic, Jelena Manja 1936-2007 |
| author_variant | j m r v jmr jmrv |
| building | Verbundindex |
| bvnumber | BV036734186 |
| ctrlnum | (OCoLC)705921070 (DE-599)OBVAC08070566 |
| era | Geschichte 1200-1800 gnd |
| era_facet | Geschichte 1200-1800 |
| format | Book |
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| geographic | Montenegro (DE-588)4040163-7 gnd |
| geographic_facet | Montenegro |
| id | DE-604.BV036734186 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:46:52Z |
| institution | BVB |
| isbn | 9788672152265 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020651785 |
| oclc_num | 705921070 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 477 S. zahlr. Ill. |
| publishDate | 2009 |
| publishDateSearch | 2009 |
| publishDateSort | 2009 |
| publisher | Crnogorska Akad. Nauka i Umjetnosti |
| record_format | marc |
| series2 | Posebna izdanja / Crnogorska Akademija Nauka i Umjetnosti : Odjeljenje Umjetnosti Posebna izdanja / Crnogorska Akademija nauka i umjetnosti |
| spelling | Radulovic-Vulic, Jelena Manja 1936-2007 Verfasser (DE-588)105455806X aut Muzička kultura Crne Gore XIII - XVIII vijek Manja Radulović-Vulić Music culture of Montenegro XIII - XVIII century Podgorica Crnogorska Akad. Nauka i Umjetnosti 2009 477 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Posebna izdanja / Crnogorska Akademija Nauka i Umjetnosti : Odjeljenje Umjetnosti 16 Posebna izdanja / Crnogorska Akademija nauka i umjetnosti 66 PST: Music culture of Montenegro XIII - XVIII century. - Zsfassung in engl. Sprache Geschichte 1200-1800 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Montenegro (DE-588)4040163-7 gnd rswk-swf Montenegro (DE-588)4040163-7 g Musikleben (DE-588)4075128-4 s Geschichte 1200-1800 z DE-604 Crnogorska Akademija Nauka i Umjetnosti Posebna izdanja Odjeljenje Umjetnosti ; 16 (DE-604)BV010626737 16 Crnogorska Akademija nauka i umjetnosti Posebna izdanja 66 (DE-604)BV010626750 66 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020651785&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=020651785&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Radulovic-Vulic, Jelena Manja 1936-2007 Muzička kultura Crne Gore XIII - XVIII vijek Musikleben (DE-588)4075128-4 gnd |
| subject_GND | (DE-588)4075128-4 (DE-588)4040163-7 |
| title | Muzička kultura Crne Gore XIII - XVIII vijek |
| title_alt | Music culture of Montenegro XIII - XVIII century |
| title_auth | Muzička kultura Crne Gore XIII - XVIII vijek |
| title_exact_search | Muzička kultura Crne Gore XIII - XVIII vijek |
| title_full | Muzička kultura Crne Gore XIII - XVIII vijek Manja Radulović-Vulić |
| title_fullStr | Muzička kultura Crne Gore XIII - XVIII vijek Manja Radulović-Vulić |
| title_full_unstemmed | Muzička kultura Crne Gore XIII - XVIII vijek Manja Radulović-Vulić |
| title_short | Muzička kultura Crne Gore |
| title_sort | muzicka kultura crne gore xiii xviii vijek |
| title_sub | XIII - XVIII vijek |
| topic | Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Musikleben Montenegro |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020651785&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=020651785&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV010626737 (DE-604)BV010626750 |
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