Muzika za klavir u Bosni i Hercegovini 1945-1992:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bosnian English |
| Veröffentlicht: |
Sarajevo
Univerzitet u Sarajevu Pedagoški Fakultet Sarajevo
2016.
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | Literaturverzeichnis Seite 213-218 Zusammenfassung in englischer Sprache |
| Beschreibung: | 287 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9789958946196 |
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Datensatz im Suchindex
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|---|---|
| adam_text | SADRZAJ
PREDGOVOR/5
I. UVOD / 7
1.1. PROBLEM LSTRAZIVANJA / 7
1.2. KLAVIRSKA MUZIKA U BOSNIIHERCEGOVINI - GROSSO MODO / 9
1.3. ETAPE U RAZVOJU UMJETNICKE MUZIKE ZA KLAVIR U BOSNI I
HERCEGOVINI / 18
II. KLAVIRSKA DJELA / 21
11.1. PRISTUP GRADI / 21
11.2. PREGLED GRADE / 25
11.2.1. Popis klavirskih djela bosanskohercegovackih kompozitora i kompozitora
u Bosni i Hercegovini / 26
11.2.2. Klavirska djela bosanskohercegovackih kompozitora zastupljena u knjizi / 33
11.2.3. Klavirska djela kompozitora u Bosni i Hercegovini zastupljena u knjizi / 35
III. ANALIZA KLAVIRSKIH DJELA BOSANSKOHERCEGOVACKIH
KOMPOZITORA I KOMPOZITORA U BOSNI I HERCEGOVINI / 37
III. 1. KOMPOZICIONO-TEHNICKE I STILSKE KARAKTERISTIKE
KOMPOZICIJA ZA KLAVIR SOLO I KOMPOZICIJA ZA KLAVIR SA
ORKESTROM / 38
III. 1.1. Bego-Simunic, Andelka / 38
III. 1.2. Denader, Dragoje / 46
III. 1.3. Grkovic, Branko VL / 57
III. 1.4. Ivanovic, Vojislav / 61
III. 1.5. Jakesevic, Gabriel Gavro / 65
III. 1.6. Jelicanin, Milan / 69
III. 1.7. Komadina, Vojin / 79
III. 1.8. Lavrin, Anton / 97
III. 1.9. Ludvig-Pecar, Nada / 102
III. 1.10. Magdic, Josip / 110
III. 1.11. Milosevic, Vlado / 125
III. 1.12. Papandopulo, Boris / 132
III. 1.13. Plecity, Jaroslav Jarko / 136
III. 1.14. Povia, Frano / 138
III. 1.15. Pozajic, Mladen / 141
III. 1.16. Prebanda, Milan / 151
3
SADR2AJ
III. 1.17. Radica, Rubén / 158
III. 1.18. Rihtman, Cvjetko / 160
III. 1.19. Smailovic, Avdo / 163
III. 1.20. Stahuljak, Mladen / 171
III. 1.21. Skerl, Daniel Dañe / 179
III. 1.22. Vlaho, Zeljko / 185
IV. SISTEMATIZACIJA KLAVIRSKIH DJELA / 189
IV. 1. KI.AVIRSKA DJELA PREMA VRSTAMA / 190
IV. 1.1. Djela za klavir solo / 193
IV. 1.2. Djela za klavir i orkestar / 193
IV. 1.3. Instruktivna djela / djecija ili za mlade / 193
IV. 1.4. Koncertantna djela / 195
IV.2. KLAVIRSKA DJELA PREMA STILU / 198
IV.2.1. Djela u stilu klasike / 201
IV.2.2. Djela u stilu romantizma / 202
IV.2.3. Djela u stilu neoklasike / 202
IV.2.4. Djela u stilu neoromantizma / 203
IV.2.5. Djela u stilu ekspresionizma / 203
IV.2.6. Djela sa elementima ekspresionizma, avangarde i folklora / 204
IV.2.7. Aleatoricka djela / 204
IV.2.8. Djela u stilu nove jednostavnosti / osjecajnosti / 204
V. ZAVRSNE RIJECI / 205
VI. SUMMARY / 209
VIL BIBLIOGRAFIA / 213
VII.l. CITIRANA LITERATURA / 213
VII. 2. OPCA LITERATURA / 217
VIII. DODACI / 219
VIII. 1. INCIPITI /219
VIII.2. POPIS INCIPITA / 276
VIII.3. POPIS NOTNIH PRIMJERA / 278
VIII.4. POPIS IMENA / 282
VIII.5. IZVODIIZ RECENZIJA / 285
4
VI. SUMMARY
Musicological research on the development of Bosnian-Herzegovinian music in
the independent state of Bosnia-Herzegovina has been intensified at the end of
the 20th century (especially in the 1990s, regardless of the war events in the period
1992-1995), as well as at the beginning of the 21st century. Research interest has
been directed towards unexplored areas of musical culture in Bosnia-Herzegovina,
particularly to the field of artistic music.
Historical facts indicate that artistic piano music in Bosnia-Herzegovina
got its first development impulses only in the last decades of the 19th century.
It is known that the development of musical creation of the Western European
type commenced at the time of the Austro-Hungarian administration in the
Bosnian-Herzegovinian territory. The first steps in the field of artistic piano
music were made by musically educated “foreigners 5 who experienced Bosnia-
Herzegovina and its traditional music in a particular way and created their compositions
accordingly. The significant initial steps did not have continuity, so individuals such
as Franjo Matejovsky and Bogomir Kacerovsky remained isolated at the level of historical
beginning. Although their work left an indelible mark in the musical history of
Bosnia-Herzegovina, they did not have Bosnian-Herzegovinian musical descendants
who would confirm, in terms of quantity and quality, the continuous development
of Bosnian-Herzegovinian artistic and piano music. Other composers from this
period, arriving in Bosnia-Herzegovina from other places, were creating in a generally
accepted style which was reflected in the works based on folklore. In accordance
with the social and aesthetic norms, composers and creators of music in that time
expressed themselves mainly in the framework of smaller vocal and vocal-instrumental
music forms, while instrumental compositions for piano solo were very rare. Thus,
the events in the field of artistic musical and also piano creativity in the period up
to the Second World War can be characterized as a general mark of composing
practice in Bosnia-Herzegovina. The socio-historical circumstances of the first decades
of the 20th century were not on the side of continuous artistic development and
thus the upward developmental line of artistic and piano music in Bosnia-Herzegovina
came to life only after the Second World War.
The subject of the research, which resulted in the writing of this book, was
artistic music for piano in Bosnia-Herzegovina from the contemporary period as the
most intense period in the development of artistic, but also piano music in Bosnia-
Herzegovina. Structural analysis of representative piano compositions for piano solo
and with orchestra, which make the main research corpus, has provided insight
into the organization of different elements of musical expression - their analysis,
relationship and bringing together into a whole - in piano compositions created in
209
SUMMARY
Bosnia-Herzegovina after the Second World War or in the period from 1945 to 1992.
Researching the development of piano music in Bosnia-Herzegovina imposed, above all,
the need for a definition of the terms piano music in Bosnia-Herzegovina and Bosnian-
Herzegovinian music, as well as composers in Bosnia-Herzegovina and Bosnian-
Herzegovinian composers. The research, taking into account a variety of sources, attitudes
and opinions of eminent researchers and, especially, analytical results have showed
that the term piano music in Bosnia-Herzegovina provides spacious, as well
as political definition of music in Bosnia-Herzegovina, and includes all residents of
Bosnia-Herzegovina who participate in music creation, regardless of whether they
are from Bosnia-Herzegovina or they came to Bosnia-Herzegovina as promoted
artists. Therefore, in accordance with that, there is the term composers in Bosnia and
Herzegovina, which, logically, includes all music creators who participated in the
development of piano music in Bosnia-Herzegovina, without regard to their origin
and the time they spent in Bosnia-Herzegovina. The term Bosnian-Herzegovinian
music is an upgrade of the previous one, and was confirmed as a synthesis of
elements of general culture and art, as well as music too, with particular Bosnian-
Herzegovinian values that are reflected in the emanations of all the people who live
and work in this place. It follows that Bosnian-Herzegovinian composers are those
who are related through their life and creativity to Bosnia-Herzegovina and its musical
currents, as well as the composers who came from other places, but become part of
it with their overall activities and the acceptance of the Bosnian spirit as a symbol of
the diversity of the region.
Analysis and systematization of the collected corpus has showed that, in
Bosnia-Herzegovina, there are Bosnian-Herzegovinian composers who, with
composers from other communities, created Bosnian-Herzegovinian compositions
for piano solo and piano with orchestra. The composers of artistic music for piano
in Bosnia-Herzegovina were creating in the framework of many different stylistic
directions, and some composers are, in spite of combining different stylistic elements,
committed to one style. Through the systematization of the analyzed corpus, internal
and external stylistic heterogeneity has been revealed as a characteristic of the piano
music composers in Bosnia-Herzegovina, which produces stylistic pluralism in the
modern period of Bosnian-Herzegovinian artistic and piano music.
Style directions in Bosnian-Herzegovinian piano compositions range from
classic-romantic ones, mostly in piano miniatures of simpler musical forms and tonal
harmonic thinking, mostly for children and young people (Gabriel Gavro Jakesevic,
Milan Prebanda, Mladen Stahuljak, Jaroslav Jarko Plecity, Mladen Pozajic),
through neoclassical (Nada Ludvig-Pecar, Milan Jelicanin, Vojin Komadina) and
neo-romantic ones (Atidelka Bego-Simunic, Branko Grkovic, Vlado Milosevic,
Atiton Lavrin), in which composers try to keep the recognizable formal solutions from
earlier stylistic periods, in which they search for points of reference, at rhe same time
210
MUZIKA ZA KLAVIR U BOSNII HERCEGOVINI 1945-1992
usingmodern means, expressions with which they achieve their own goals of composing.
Organized atonality as an expressionistic achievement in piano music in the form
of dodecaphony is used only rarely (Daniel Dane Skerl), but freely atonal, expressionistic
musical language is used by composers of different stylistic orientations (Andelka Bego-
Simunic, Milan Jelicanin, Vojin Komadina, Josip Magdic), giving their
musical ideas the most interesting way of expression, as well as by avant-
garde techniques (Avdo Smailovic, Zeljko Vlaho, Josip Magdic). Folklore, as one
of the most interesting characteristics of Bosnian-Herzegovinian musical creations,
has a certain role in Bosnia-Herzegovinian piano music: some composers use folklore
material in the form of rhythmic and, less often, melodic quotations (Vojin
Komadina, 2eljko Vlaho, Avdo Smailovic, Josip Magdic, Mladen Pozajic) or to create
music for piano in the “folklore style” (Vlado Milosevic, Milan Prebanda), while
some composers are not inspired by folklore for piano music creation (Andelka Bego-
Simunic). Sometimes the stylistic heterogeneity is present in the work itself, but it
is more important for certain creative phases, so some composers tend toward neo-
movements in one period, toward the folklore in the second period, toward avant-
garde in the third period, etc.
The expressed stylistic heterogeneity has engendered a pluralism of styles
and interests in the compositions for piano solo and piano with orchestra by
the Bosnian-Herzegovinian composers and composers from other countries who
were active in Bosnia-Herzegovina, contributing to the development of Bosnian-
Herzegovinian piano music, and thus artistic music too. The pluralism is moving
from the post-war (Second World War) classic-romantic expressions, through neo-
movements and folk expressions, to contemporary musical interest in the form of twelve-
tone techniques of composing (or using other tone sequences) and limited aleatory.
Today, already in the second decade ofthe 21sr century, Bosnian-Herzegovinian piano
music of the contemporary period can be spoken about from a significant distance. It
is certain that the development path of artistic piano music in Bosnia-Herzegovina did
not have a desired course, the one it might or could have, but the fact is that artistic music
for piano in Bosnia-Herzegovina exists and it should be respected to a real extent. I
hope that this book will be a contribution to better knowledge and further presentation
of piano music in Bosnia-Herzegovina and Bosnian-Herzegovinian composers, as well
as a contribution to their more significant affirmation in scholarly, professional and
general public.
211
Vil. BIBLIOGRAFIJA
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umjetnosti, 2001.
50. Sojar-Voglar, Crt. Skladateljske sledi po letu 1900I Composers Traces from 1900
Onwards. Ljubljana: Drustvo slovenskih skladateljev/Society of Slovenian
Composers, 2005.
215
BIBLIOGRAFIJA
51. Udiljak, Ana. “Milan Jelicanin: zivot i umjetnicka djelatnost”. Diplomski rad.
Sarajevo: Univerzitet u Sarajevu, Muzicka akademija, 2006.
52. Verunica, Zdravko. “Franjo Macejovski — Bosanski Mokranjac”. Muzika 1 (1997):
15-27.
53. Verunica, Zdravko. “BOGOMIR KACEROVSKY (1872-1945) i njegovo mjesto
u razvoju muzickog stvaralastva u Bosni i Hercegovini”. U Zbornik radova Muzicke
akademije u Sarajevuy //, Sarajevo, 1990, priredio mr. Zeljka Stijacic, Sarajevo:
Muzicka akademija, 1991, 15-27.
54. Verunica, Zdravko. “Aleksa Santic — horovoda i kompozitor”. U Zbornik radova
Muzicke akademije u Sarajevo /, Sarajevo, 1988, priredio prof. Zdravko Verunica,
Sarajevo: Muzicka akademija, 1989, 27-43.
55. Ziatar, Jaksa. Odabranapoglavlja iz metodike nastave klavira. Zagreb: Jaksa Zlatar,
Aluzicka akademija, 2015.
56. *** “Bosna br. 26 (ponedjeljak 7. i 19. novembra 1866. godine), br. 30
(ponedjeljak 5. i 18. decembra 1866. godine) i br. 40 (ponedjeljak 13. i 25.
februara 1867. godine), Sarajevo: Vilajetske polusluzbene novine, Bosanski vilajet
57 *** £)anj muzickog stvaralastva Bosne i Hercegovine, Bilten, Sarajevo: UKBiH, 16.-
18. oktobra 1990.
58. *** Katalog Edicij DSS 2005/06-Catalogue of Music — Editions 2005/06. Ur.:
Mojca Jevnikar Zajc. Ljubljana: Drustvo slovenskih skladateljev, 2005.
59 *** pek$il on jugoslavenske muzike 1, 2, urednik Kresimir Kovacevic, Zagreb:
Jugoslavenski leksikografski zavod, 1984.
60. *** Muzicka enciklopedija 1, urednik Kresimir Kovacevic, Zagreb: Jugoslavenski
leksikografski zavod, 1974.
6i *** Muzicka enciklopedija 2, urednik Kresimir Kovacevic, Zagreb: Jugoslavenski
leksikografski zavod, 1974.
62. *** Muzicka enciklopedija 3, urednik Kresimir Kovacevic, Zagreb: Jugoslavenski
leksikografski zavod, 1978.
63. *** “Nadd“ br. 1, br. 10. Urednik Konstantin Kosta Herman, Sarajevo: Zemaljska
vlada za BiH, 15. maj 1895.
64. *** Nastavni planovi i programi: Opca gimnazija, Uciteljska skola, Srednje
umjetnicke skole (Republika Bosna i Hercegovina, Ministarstvo obrazovanja,
nauke, kulture i sporta, Pedagoski zavod), Sarajevo, Zenica: 1994, 593-766.
65. *** Nastavni plan i program: Osnovna muzicka skola, Osnovna baletska skola.
(BiH, FBiH, Kanton Sarajevo, Ministarstvo obrazovanja i nauke), Sarajevo, 2007,
28-50.
66. *** NPP za devetogodisnju OS Kantona Sarajevo, 2008.
67. *** Peti dani muzickog stvaralastva Bosne i Hercegovine, Bilten, Sarajevo: UKBiH,
oktobar 1989.
68. *** SPOMENICA (DRUGI IZVESTAJ) OBLASNE MUZICKE SKOLE U
SARAJEVU IZDANA OD UPRAVE NA KRAJU 3KOLSKE GOD. 1929/1930
PRILIKOM 10-GODISNJICE
216
MUZIKA ZA KLAVIR U BOSNII HERCEGOVINI 1945-1992
WEB STRANICE
http://wwwEighbeam.com/doc/1G2-3491804967.html (2.10.2014.)
http://b$.wikipedia.org/wiki/Aleksandra Romani%C4%87 (2.11.2014.)
http://hr.wikipedia.org/wiki/ ladimir Krpan (2.11.2014.)
http://www.rts.rs./page/radi/sr/story/1466/Radio+Beograd+3/1190426/Bo%C5%B
Eidar+Trudi%C4%87%3A+Koncert+za+violinu+.html (10. 1. 2015.)
www.napredak.com, Sektor glazbe (januar 2016.)
http://www.enciklopedija.hr/natuknica.aspx?id=33575 (mart 2016.)
www.Yladomilosevic.rs.ba (februar 2016.)
https://en.wikipedia.org/wiki/Six Little Preludes (Bach) (maj 2016.)
VII.2. OPCA LITERATURA
1. Adorno, Theodor W Filozofija nove muzike. Beograd: Nolit, 1968.
2. Adorno, Theodor W. “O problemu glazbene analize”. Zvuk 3 (1989): 29-40.
3. Andreis, Josip. Povijestglazbe I-IV. Zagreb: Sveucilisna naklada Liber, 1989.
4. Andreis, Josip; Cvetko, Dragotin; Duric-Klajn, Stana, Historijski razvoj muzicke
kulture u Jugoslaviji. Zagreb: Skolska knjiga, 1962.
5. Bergamo, Marija. Delo kompozitora, Stvaralackiput Milana Ristica odprve do leste
simfonije. Beograd: Univerzitet umetnosti u Beogradu, 1977.
6. Besarovic, Risto. Iz kulturnog zivota u Sarajevu pod austrougarskom upravom.
Sarajevo: Veselin Maslesa, 1974.
7. Bose, Fritz. Etnomuzikologija. Beograd: Univerzitet umetnosti u Beogradu, 1989.
8. Cvetko, Dragotin. Juzni Sloveni u istoriji evropske muzike. Beograd: Nolit, 1984.
9. Cavlovic, Ivan. Uvod u muzikologijuy Métodologija naucno-istrazivackog rada.
Sarajevo: Muzicka akademija u Sarajevu, 1997.
10. Dani muzickog stvaralastva Bosne i Hercegovine, Bilten, Jajce 18-20. 10. 1985.
11. Despic, Dejan. Muzicki instrumenti. Beograd: Univerzitet umetnosti u Beogradu,
1986.
12. Halilovic, Senahid. Pravopis bosanskoga jezika. Sarajevo: KDB Preporod, 1996.
13. Imamovic, Enver. Anticki kultni i votivni spomenici na podrucju BiH. Sarajevo:
Svjetlost, 1984.
14. Jelenic, Julijan. Kultura i bosanski franjevci, /, //, fototip izdanja iz 1912. Sarajevo:
Svjetlost, 1990.
15. Katunac, Dragoljub. “Srpska klavirska muzika do prvog svetskog rata”. Zvuk 3-4
(1986): 5-17.
16. Keler, Herman. Dobro temperovani klavir Johana Sebastijana Baha. Beograd:
Univerzitet umetnosti u Beogradu, 1975.
17. Klaic, Vjekoslav. Povijest Bosne, fototip izdanja iz 1882. godine. Sarajevo: Svjetlost,
1990.
217
BIBLIOGRAFIA
18. Kovacevic, Kresimir. Muzicko stvaralastvo u Hrvatskoj 1945-1965, Zagreb:
Stamparija “Informator”, 1966.
19. Kucukalic, Zija. “Franjo Macejovski”. Zvuk 64 (1965): 463-467.
20. Kuk, Derik. Jezik muzike, Beograd: Nolit, 1982.
21. Lissa, Zofia. Estetika glazbe logledil. Zagreb: Biblioteka Naprijed, Izdavacko
knjizarsko poduzece, 1977.
22. Meyer, Leonard B. Emocija i znacenje u muzici. Beograd: Nolit, 1986.
23. Micel, Donald. Jezik moderne muzike. Beograd: Nolit, 1983.
24. Muzic, Vladimir. Uvod u metodologiju istrazivanja odgoja i obrazovanja. Zagreb:
Educa, 1999.
25. Peti dani muzickogstvaralastva Bosne i Hercegovine, Bilten. Sarajevo, oktobar 1989.
26. Samic, Midhat. Kako nastaje naucno djelo. Sarajevo: Svjetlost, 1990.
27. Verunica, Zdravko, “Poceci melografskog rada i prve obrade narodnih pjesama iz
Bosne i Hercegovine”. UZbornik radova Muzicke akademije u Sarajevu, I, Sarajevo,
1988, priredio prof. Zdravko Verunica, Sarajevo: Muzicka akademija, 1989, 5-18.
28. Verunica, Zdravko. Prirucnik za harmoniju L dio. Sarajevo: Muzicka akademija u
Sarajevu, 1981.
29. Verunica, Zdravko. Prirucnik za harmoniju II. dio Sarajevo: Muzicka akademija u
Sarajevu, 1974.
218
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| spelling | Čaušević, Merima 1969- Verfasser (DE-588)1234085011 aut Muzika za klavir u Bosni i Hercegovini 1945-1992 Merima Čaušević Sarajevo Univerzitet u Sarajevu Pedagoški Fakultet Sarajevo 2016. 287 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Literaturverzeichnis Seite 213-218 Zusammenfassung in englischer Sprache Geschichte 1945-1992 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Bosnien-Herzegowina (DE-588)4088119-2 gnd rswk-swf Bosnien-Herzegowina (DE-588)4088119-2 g Klaviermusik (DE-588)4030993-9 s Geschichte 1945-1992 z DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030723345&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030723345&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030723345&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Čaušević, Merima 1969- Muzika za klavir u Bosni i Hercegovini 1945-1992 Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)4030993-9 (DE-588)4088119-2 |
| title | Muzika za klavir u Bosni i Hercegovini 1945-1992 |
| title_auth | Muzika za klavir u Bosni i Hercegovini 1945-1992 |
| title_exact_search | Muzika za klavir u Bosni i Hercegovini 1945-1992 |
| title_full | Muzika za klavir u Bosni i Hercegovini 1945-1992 Merima Čaušević |
| title_fullStr | Muzika za klavir u Bosni i Hercegovini 1945-1992 Merima Čaušević |
| title_full_unstemmed | Muzika za klavir u Bosni i Hercegovini 1945-1992 Merima Čaušević |
| title_short | Muzika za klavir u Bosni i Hercegovini 1945-1992 |
| title_sort | muzika za klavir u bosni i hercegovini 1945 1992 |
| topic | Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Klaviermusik Bosnien-Herzegowina |
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