Odsjek za muzikologiju
Muzičke akademije u Zagrebu  &
Hrvatsko muzikološko društvo

GOSTUJUĆA PREDAVANJA

dr. sc. Philip V. Bohlman
Chicago, SAD

Philip V. Bohlman is Ludwig Rosenberger Distinguished Service Professor in Jewish History in the Department of Music and the College at the University of Chicago, where he is also artistic director of the New Budapest Orpheum Society, a Jewish cabaret ensemble-in-residence at the University. His research and teaching ranges widely across Europe, North America, the Middle East, and South Asia, and focuses especially on historical instances of religious, racial, and cultural encounter and conflict. He is Honorarprofessor at the Hochschule für Musik, Theater und Medien Hannover, and has held numerous guest professorships, most recently at the Universität der Künste in Berlin, the Hebrew University of Jerusalem, and the Franz Rosenzweig Professorship at the University of Kassel. Among his recent books are Jewish Music and Modernity (Oxford University Press, 2008), Hanns Eisler – In der Musik ist es anders (with Andrea F. Bohlman; Hentrich & Hentrich, 2012), Song Loves the Masses: Herder on Music and Nationalism (with Johann Gottfried Herder; University of California Press, 2017), and Wie sängen wir Seinen Gesang auf dem Boden der Fremde! Jüdische Musik zwischen Aschkenas und Moderne (LIT Verlag, 2018), and with the New Budapest Orpheum Society the recent CDs Jewish Cabaret in Exile and the 2016 Grammy Award nomination, As Dreams Fall Apart: The Golden Age of Jewish Stage and Film Music, 1925–1955 (Cedille Records). For his work as a performer of commemorative music from the Shoah Philip Bohlman has received the Noah Greenberg Award from the American Musicological Society and, with Christine Wilkie Bohlman, the Donald Tovey Memorial Prize of Oxford University. Among his other awards are the Derek Allen Prize of the British Academy, the Jaap Kunst and Bruno Nettl prizes from the Society for Ethnomusicology, the Ruth Solie Prize from the American Musicological Society, and, in May 2018, the Koizumi Fumio Prize of Japan. Philip Bohlman is a Corresponding Fellow of the British Academy and a Fellow of the American Academy of Arts and Sciences.

petak, 8. lipnja 2018. 18:00 i subota, 9. lipnja 2018. 9:15, Muzička akademija, soba 339 (III. kat)

Music in the Name of the State: Ethnomusicological Studies of Music and Nationalism / Glazba u ime države: etnomuzikološke studije glazbe i nacionalnizma

Predavanja doktorskog studija

The history of music scholarship, in Europe and beyond, is inseparable from assertions that musical identity acquires meaning through associations with the national sovereignty of the state. As the canons of folk songs and modal systems grow, so too do the claims that they express the uniqueness of a national people and the ways in which they are different from other national peoples. As it takes on attributes in the name of the state, music also enters the service of politics and political gain, therefore joining with other cultural forces in the service of nationalism. During these five sessions at the University of Zagreb we examine the intellectual history of music and scholarship as fundamental also to the growth of music scholarship in its diverse disciplines. The sessions move from examinations of early folk song scholarship, especially Johann Gottfried Herder’s foundational studies in the eighteenth century, and bring us to the most recent twenty-first-century struggles between music and nation, whether in the popular domains of the Eurovision Song Contest or the political domains of refugee crises in Europe and elsewhere in the world. Each session will contain a focus on a representative genre, and it will draw upon approaches from a particular area of music scholarship. Whereas the methods of North American ethnomusicology provide one point of theoretical departure, the historical presence of Croatia in several topics should also open topics for general discussion. At each moment in this intellectual history, we shall be mindful of both the positive and negative consequences of music’s persistent connections to nationalism.

• Session 1: Voice/Citizen/State – First Formations of Musical Subjectivity

• Session 2: Song Loves the Masses

• Session 3: Power/Empire/Colonialism – Inventing World Music

• Session 4: Narrating the Nation, Staging the Nationalist

• Session 5: Music after Nationalism – Response to Global Crisis

Detaljniji raspored u prilogu.

Odsjek za muzikologiju
Muzičke akademije u Zagrebu

GOSTUJUĆA PREDAVANJA

dr. sc. Ivano Cavallini
Palermo, Italija

Ivano Cavallini je profesor muzikologije i bivši koordinator doktorskog programa Europskih kulturnih studija na Sveučilištu u Palermu. Diplomirao je povijest filozofije na Sveučilištu u Padovi (1976.) i studirao flautu na Konzervatoriju u Adriji (1977.). Potom je studirao na poslijediplomskom studiju muzikologiju pod vodstvom Giuseppea Vecchija na Sveučilištu u Bologni (1978.), gdje je predavao paleografiju (1978. – 1982.). Doktorirao je muzikologiju 1998. na Sveučilištu u Zagrebu pod mentorstvom Stanislava Tuksara.
Profesor I. Cavallini podučavao je povijest glazbe na Konzervatoriju u Trstu (1979. – 1999.) i na Sveučilištu u Trstu (1996. – 1999.). Godine 1989. bio je gostujući profesor na Sveučilištu u Varšavi, Poljska. Godine 1990. imenovan je direktorom Odsjeka za muzikologiju u Circolo della Cultura e delle Arti u Trstu, a 1999. počeo je predavati glazbenu dramaturgiju na Sveučilištu u Palermu.
Od 2002. do 2007. bio je član Znanstvenog odbora Fondazione Levi u Veneciji, a kao urednik radio je na izdanju sabranih djela Gabriella Pulitija (Muzikološki institut Slovenske akademije znanosti i umjetnosti). Član je uredničkih odbora časopisa Recercare (Rim), Arti Musices (Zagreb) i De Musica Disserenda (Ljubljana).
Istraživanja I. Cavallinija usredotočena su na veze između talijanske glazbe i slavenskih kultura srednje i istočne Europe. Ostala područja njegovih istraživanja su glazbena historiografija 19. stoljeća i scenska glazba u kazalištu 16. stoljeća. Organizirao je međunarodne studijske grupe za glazbenu historiografiju 19. stoljeća čiji su se radni rezultati predstavili na muzikološkim simpozijima u Europi i SAD-u. Godine 1998. dobio je nagradu ‘Citta di Iglesias’ za knjigu Il direttore d’orchestra: genesi e storia di un’arte (Dirigent orkestra: podrijetlo i povijest jedne umjetnosti) , a 2012. imenovan je počasnim članom Hrvatskog muzikološkog društva.

Ivano Cavallini is professor of musicology and past coordinator of the PhD in European Cultural Studies/Europäische Kulturstudien at the University of Palermo. He took a degree in the history of philosophy at the University of Padua (1976) and studied the flute at the Conservatory of Adria (1977), and then undertook a postgraduate course in musicology under the mentorship of Giuseppe Vecchi at the University of Bologna (1978), where he became reader in paleography (1978–82). He obtained his PhD in Musicology at the University of Zagreb (Croatia, 1998) under the mentorship of Stanislav Tuksar.
He taught music history at the Conservatory of Trieste (1979–99) and at Trieste University (1996–99). In 1989 he was visiting professor at the University of Warsaw, Poland. In 1990 Cavallini was appointed director of the department of musicology at the Circolo della Cultura e delle Arti in Trieste and in 1999 he began teaching music dramaturgy at the University of Palermo.
From 2002 to 2007 he was a member of the scientific committee of the Levi Foundation (Venice), and as a co-editor he contributed to the edition of Gabriello Puliti’s opera omnia (Slovene Academy of Sciences, Institute of Musicology). He is a member of the advisory boards of the periodicals Recercare (Rome), Arti Musices (Zagreb), and De Musica Disserenda (Ljubljana).
His research is focused on the connection between Italian music and Slavic cultures of Central and Southern Europe. Other areas of study are 19th-century music historiography and incidental music of 16th-century theatre. He has organized international study groups for 19th-century music historiography, whose results have been presented in musicological meetings in Europe and the USA. In 1998 he was awarded the Prize ‘Citta di Iglesias’ for the book Il direttore d’orchestra: genesi e storia di un’arte and in 2012 he was appointed honorary member of the Croatian Musicological Society.

petak, 25. svibnja 2018. 18:00, Muzička akademija

Mediteranska Hrvatska i Italija: o slavensko-romanskoj simbiozi u glazbi / Mediterranean Croatia and Italy: On a Slavic-Romance Symbiosis in Music

Uvodno predavanje

Razmatrajući dugotrajne kulturne veze između Hrvatske i Italije, osobito preko Jadranskog mora u vrijeme venecijanske uprave nad Istrom i Dalmacijom, kategorije podređenosti, prilagodbe i autonomije koje je rutinski rabila glazbena historiografija 20. stoljeća predstavljaju niz tema koje još uvijek valja adekvatno obraditi. Sve do hladnoga rata ove kategorije često su se definirale s fluidnog i fluktuirajućeg nacionalnog gledišta. Iz tog razloga čini se adekvatnijim za ovu temu poduhvatiti se odnosa između dvaju obalnih područja unutar alternativnog okvira kategorijâ kozmopolitske i domaće glazbe, te u kontekstu njihovih društvenih, vjerskih i estetičkih funkcija.
Tijekom 16. i 17. stoljeća profesionalnu se glazbu često uvozilo iz Italije ili komponiralo in loco od strane talijanskih i hrvatskih skladatelja koji su radili kao zborovođe u gradovima na istočnoj obali Jadrana ili u unutarnjoj Austriji. Iako je gotovo nemoguće navesti primjere potpune podređenosti ili potpune autonomije skladateljâ, spomenute kategorije uvijek vrebaju iz prikrajka ukoliko ih se ne sagledava u kontekstu šire mreže iskustava. Katkada se događa da su nadnacionalni modeli temelj nepredvidive izgradnje izvornih partitura što očituju manje oslanjanja na primarne izvore. Ova gušća mreža omogućuje muzikologiji ili da prepozna točku susreta različitih obrazaca ili preklapanje različitih slojeva dviju ili više kombiniranih tradicija. U tom pogledu neki primjeri pokazuju ne samo rasprostranjenost kozmopolitske umjetničke glazbe iz Italije u Hrvatskoj, nego i proces novog stvaranja na temelju jezika i mentaliteta slušateljstva. Često oblik djelâ može biti sličan a da je isto tako očito da su različita glazbena značenja posljedica društvenih običaja. S tog gledišta svaka klasifikacija postaje efemerna kada se bavi široko rasprostranjenom glazbom koju valja razmatrati samo u okvirima njezinih funkcija.
Što se emancipacije stranih modela tiče, dragocjen izvor je stvoren sugestijama za nametanje nacionalne fizionomije u operi, modernom žanru u kojem je nacionalni smjer razumljiv svakom tipu gledateljstva. Iz drugog gledišta svaka klasifikacija postaje nevažnom kada se bavi široko rasprostranjenim glazbama koje se smatraju autohtonima samo na temelju njihova jezika, čak i kad pokazuju tragove stranih utjecaja. To je djelomično bila sudbina Hrvatske tijekom 19. stoljeća, premda su neki skladatelji pokušavali ostvariti odmak svojih partitura od modela njemačke, talijanske i francuske glazbe.

Considering the long-lasting cultural connections between Croatia and Italy, in particular via the Adriatic Sea during the Venetian administration of Istria and Dalmatia, the categories of subordination, adaptation and autonomy, routinely employed by twentieth-century music historiography, present a set of issues still to be adequately addressed. Until the cold war, these categories were often defined by a fluid and fluctuating national point of view. For this reason it seems more adequate to the present topic to tackle the relationship between the two coastal areas within the alternative framework of the categories of cosmopolitan and domestic music, and in the context of their social, religious and aesthetic functions.
During the sixteenth and seventeenth centuries, professional music was frequently imported from Italy or composed in loco both by Italian and Croatian composers, who were employed as chapel masters in the towns of the Eastern littoral and Inner Austria. Even though it is almost impossible to quote examples of either the complete subordination or the complete autonomy of composers, the aforementioned categories are always lying in wait as long as they are not viewed in the context of the wider net of experience. Sometimes, supranational models are the basis for the unpredictable development of original scores, which show less reliance on primary sources. This stickier web enables musicology either to recognize the meeting point of different patterns, or the overlap of diverse strata of two or more combined traditions. In this regard, some examples demonstrate not only a dissemination of cosmopolitan art music from Italy to Croatia, but also a process of recreation, on the basis of the language and mentality of the audience. Frequently the shape of works can be similar, yet it is equally evident that different musical meanings are the effect of social habits. From this viewpoint any classification becomes ephemeral when dealing with widely disseminated music that should be considered only in term of its functions.
Concerning the emancipation from foreign models, a precious source is constituted by the suggestions for imposing a national physiognomy on opera, a modern genre in which the national setting is understandable to any type of audience. From another point of view, any classification becomes insubstantial when dealing with the widely disseminated musics, that are considered autochthonous only on account of their language, even when they show traces of foreign influences. Partly, this was the fate of Croatia during the nineteenth century, even if some composers tried to detach their own scores from the models of German, Italian and French music.

Predavanja će se održati u okviru doktorskog studija / PhD courses

Suvremena muzikologija u svijetu III:
Trendovi suvremene talijanske muzikologije i glazbeni odnosi između Hrvatske i Italije

petak, 25. svibnja 2018. / Friday, 25 May 2018 (18.00-19.30)

• Mediterranean Croatia and Italy: On a Slavic-Romance Symbiosis in Music / Mediteranska Hrvatska i Italija: o slavensko-romanskoj simbiozi u glazbi
• The Case of Moresca in the 16th-century Theatre: Siena and Dubrovnik / Slučaj moreške u kazalištu 16. stoljeća: Siena i Dubrovnik
• Playing the Otherness: Black Slavery and Comic Theatre as Sources of the 16th-century Neapolitan Moresca / Igrati Drugost: crno ropstvo i komični teatar kao izvori za napuljsku morešku 16. stoljeća

subota, 26. svibnja 2018. / Saturday, 26 May 2018 (9.15-14.15; 15.00-16.30)

• Intermedio and Chorus. Re-thinking Theories and Practices of Incidental Music in the 16th-century Italian Theatre
  Intermedij i zbor. Ponovno promišljanje teorijâ i praksi scenske glazbe u talijanskom kazalištu 16. stoljeća
• The Role of Intermedio in Venice before Opera and an Unknown Case Study / Uloga intermedija u Veneciji prije opere i nepoznati ogledni primjer
• Madrigals in Dramatic Style: Claudio Monteverdi and his Lament of the Nymph / Madrigali u dramatskom stilu: Claudio Monteverdi i njegova Tužaljka nimfe
• Music and the Catholic Counter-Reformation vs. Croatian Lutheranism in Istria: The Role of the Franciscan Composer Gabriello Puliti / Glazba i katolička protureformacija nasuprot hrvatskom luteranizmu u Istri: uloga franjevačkog skladatelja Gabriella Pulitija
• Southern Slavic National Awakening vs. Musical Exoticism. From Giulio Bajamonti’s Morlacchismo di Homero to Pietro Platania’s La Vendetta Slava / Južnoslavensko nacionalno buđenje nasuprot glazbenoj egzotici. Od Bajamontijeva Morlacchismo di Homero do La Vendetta Slava Pietra Platanie
• The Italian “National Opera” Imagined from a Southern Slavic Viewpoint: Franjo Ks. Kuhač and Josip Mandić / Talijanska „nacionalna opera“ predočena s južnoslavenskog gledišta: Franjo Ksaver Kuhač i Josip Mandić

Detaljniji raspored u prilogu.

Odsjek za muzikologiju
Muzičke akademije u Zagrebu

GOSTUJUĆA PREDAVANJA

dr. sc. Silke Leopold
Heidelberg, Njemačka

Dr. sc. Silke Leopold, rođena u Hamburgu, studirala je muzikologiju, teatrologiju romanistiku i književnost u Hamburgu i Rimu. Doktorirala je na Hamburškom sveučilištu 1975. godine. Nakon stipendije na Njemačkom povijesnom institutu u Rimu bila je asistent Carla Dahlhausa na Tehničkom sveučilištu u Berlinu i gostujući profesor na Harvardovu sveučilištu u SAD-u. Godine 1986. dobila Dentovu medalju što joj je dodijelio Royal Musical Association “za istaknut doprinos muzikologiji”. Godine 1987. habilitirala se u Berlinu.
Od 1996. do 2014. Silke Leopold bila je pročelnik Odsjeka za muzikologiju Sveučilišta u Heidelbergu, obavljajući prethodno istu funkciju od 1991. do 1996. na Sveučilištu u Paderbornu i Konzervatoriju u Detmoldu. Od 2001. do 2007. bila je prodekanica za nastavu Sveučilišta u Heidelbergu. Izabrana je ili počasna članica brojnih nacionalnih i međunarodnih akademija i društava, među kojima su Heidelberška Akademija znanosti, Austrijska akademija znanosti, Akademija za istraživanje Mozarta i fondacija Mozarteum u Salzburgu, te Američko muzikološko društvo.
Znanstveni interesi Silke Leopold obuhvaćaju povijest opere i plesa, talijansku glazbu od 16. do 18. stoljeća, povijesno informiranu izvedbu i metode historiografije u glazbi. Njezine publikacije obuhvaćaju širok spektar povijesti glazbe od 15. do 20. stoljeća, a najvažnije su joj knjige: Claudio Monteverdi und seine Zeit (1982.; 3. izd. 2003.; engl. prijevod 1991.), Al modo d’Orfeo – Dichtung und Musik um italienischen Sologesang des frühen 17. Jahrhundert (1995.), Oratorienführer (2000.), Oper 17. Jahrhundert u seriji ‘Handbuch der musikalischen Gattungen’ (2004.), Mozart-Handbuch (2005., 2. izd. 2016) i Händel. Die Opern (2009.; 2. izd. 2012.), “Ich will Musik neu erzählen”. René Jacobs im Gespräch mit Silke Leopold (2013.). Za svoju knjigu Claudio Monteverdi. Biografie (2017.) nagrađena je Njemačkom nagradom za glazbena izdanja “Best Edition 2018” što ju dodjeljuje Savez njemačkih glazbenih izdavača (Deutscher Musikverleger-Verband).

Dr. Silke Leopold, born in Hamburg in 1948, studied musicology, theatre studies, Romance languages and literature in Hamburg and Rome, gaining her doctorate from Hamburg University in 1975. Following a scholarship from the German Historical Institute in Rome, she was Assistant to Carl Dahlhaus at the TU Berlin and was a visiting lecturer at Harvard University. In 1986 she was awarded the Dent Medal of the Royal Musical Association ‘for her outstanding contribution to musicology’ and gained her habilitation in 1987 in Berlin.
From 1996 to 2014 Silke Leopold has been chair for musicology at the University of Heidelberg, having previously held a similar position from 1991 to 1996 at the university in Paderborn and the conservatoire in Detmold. From 2001–2007 she was Vice President for Teaching at the University of Heidelberg and is an elected or honorary member of numerous national and international academies and societies, amongst others, the Heidelberg Academy of Sciences and Humanities, the Austrian Academy of Sciences, the Academy for Mozart Research and the Mozarteum Foundation, Salzburg, and the American Musicological Society.
Her research interests centre around the history of opera and dance, Italian music of the sixteenth to eighteenth centuries, historically informed performance and methods of the historiography of music. Her publications are wide ranging and cover music history from the fifteenth to the twentieth century. Her most significant books include Claudio Monteverdi und seine Zeit (1982; 3rd edition 2003; Eng. trans. 1991), Al modo d’Orfeo – Dichtung und Musik um italienischen Sologesang des frühen 17. Jahrhundert (1995), Oratorienführer (2000), Oper 17. Jahrhundert in the series ‘Handbuch der musikalischen Gattungen’ (2004), Mozart-Handbuch (2005, 2nd edition 2016) and Händel. Die Opern (2009; 2nd edition 2012), “Ich will Musik neu erzählen”. René Jacobs im Gespräch mit Silke Leopold (2013). For her book Claudio Monteverdi. Biografie (2017) she won the Deutscher Musikeditionspreis “Best Edition 2018” of the Deutscher Musikverleger-Verband.

petak, 27. travnja 2018. 18:00, Muzička akademija, soba 339 (III. kat)

The present state of German musicology: and why this shouldn’t matter anymore / Sadašnje stanje njemačke muzikologije: i zašto to više nije važno

Uvodno predavanje

U natuknici u Wikipediji “List of Musicologists” (Popis muzikologa) nabrojeno je 146 imena predstavnika historijske muzikologije, uključujući 17 njemačkih/austrijskih muzikologa, od kojih je većina rođena u Njemačkoj i aktivna u SAD-u, a tek mali dio u Njemačkoj, Austriji i Švicarskoj. Svi oni, osim jednoga, više nisu među živima. Kako god ovaj popis bio glup, jednu je stvar učinio jasnom: muzikologija njemačkog govornog područja postala je međunarodno nevidljiva. Svi znamo i političke i lingvističke razloge za to: posvuda je jezik prirodnih i društvenih znanosti postao engleski – i samo engleski. No objašnjavati što je njemačka muzikologija danas – ogromna količina uredničkog posla, kompletna ili izabrana djela od srednjovjekovne glazbe sve do suvremenih skladatelja poput Bernda Aloisa Zimmermanna, ne manji broj interdisciplinarnih i transkulturalnih kooperacija u tzv. Koordiniranim programima što ih financijski podupire Deutsche Forschungsgemeinschaft – vodilo bi, prema mojem mišljenju, u krivom smjeru. Postavimo to polemički: trebamo li mi još stvarno “nacionalne” muzikologije? Trebamo li mi znati gdje je bio rođen ili odrastao skladatelj koji putuje Europom i usvaja sve vrste stilova i kompozicijskih tehnika? Moramo li znati odakle dolazi muzikolog koji se bavi historijskom muzikologijom? Trebate li biti Francuz da razumijete što je to francuska glazba? Trebamo li uspoređivati znanstveni rad Nijemca i Talijana u nacionalnim okvirima? U uvodnom predavanju željela bih raspraviti ove teme prema središnjoj ideji što ju je formulirao Stephen Greenblatt (2009.): “U stvarnosti, za veći dio prošlosti i ponovno za sadašnjost, radi se više o nomadima nego o domorodcima”.

In the Wikipedia article “List of Musicologists” 146 representatives of historical musicology are named – including 17 with German / Austrian name, most of them born in Germany and active in the USA, only very few of them active in Germany, Austria or Switzerland. All of them – except one – are not alive anymore. As stupid as this list may be – it makes one thing clear: German-speaking musicology has become invisible internationally. We all know the political reasons for this, and the linguistic ones as well: everywhere the language of science and scholarship has become English – and only English. But to explain what German musicology is like nowadays – a huge amount of editorial work, complete or selected works of medieval music up to contemporary composers like Bernd Alois Zimmermann, a not less huge amount of interdisciplinary or transcultural cooperations in so-called Coordinated Programs financed by the Deutsche Forschungsgemeinschaft – would, to my opinion, lead in the wrong direction. To put it polemically: Do we really need “national” musicologies anymore? Do we need to know where a composer travelling through Europe and adopting all sorts of styles and compositional techniques was born or grew up? Do we need to know where a musicologist dealing with the history of music comes from? Do you have to be French to understand what French music is like? Do we need to compare the scientific work of a German with that of an Italian in national terms? In my opening lecture I would like to discuss these issues under the central idea formulated by Stephen Greenblatt (2009): “The reality, for most of the past as once again for the present, is more about nomads than natives.”

subota, 28. travnja 2018. 9:15, Muzička akademija, soba 339 (III. kat)

Predavanja u okviru doktorskog studija / PhD courses

Jednako korisno kao propitivanje nacionalnih granica u muzikologiji mislim da bi bilo razborito pomno ispitati neka od razgraničenja u glazbenoj historiografiji. Jedno je od njih je prividna razlika između kompozicije i improvizacije, između zapisane i nezapisane glazbe, koja je čak poslužila (i još uvijek služi) razlikovanju između glavnih tema historijske muzikologije i etnomuzikologije. Željela bih raspraviti pitanja kompozicije i improvizacije unutar povijesti “komponirane” zapadne glazbe i zapitati se kako bismo možda molgi konstruirati povijest improvizacije razmatrajući partiture prošlosti. Prema mojem mišljenju velik dio “komponirane” glazbe ustvari je “zapisana improvizacija”. Tijekom doktorskih predavanja željela bih raspravljati o:

1. Traktatima o instrumentalnim i vokalnim tehnikama u 16. i ranom 17. stoljeću;
2. Ranoj operi i monodiji;
3. Vokalnoj i instrumentalnoj improvizaciji u 17. I 18. stoljeću;
4. Pijanistima virtuozima 19. stoljeća;
5. Komponiranju i improviziranju u suvremenoj glazbi.

Equally useful as to questioning the national borderlines within musicology, I think it would be reasonable to scrutinize some of the demarcations found in the historiography of music. One of those is the ostensible difference between composition and improvisation, between written and nonwritten music, which even served (and still serves) as a distinction between the main topics of historical musicology and ethnomusicology. I would like to discuss the issues of composition and improvisation within the history of “composed” western music and to ask how we could probably construct a history of improvisation looking at the scores of the past. For to my opinion a great amount of “composed” music is basically “written down improvisation”. During the the PhD course I would like to discuss

1. Treatises on instrumental and vocal techniques in the 16th and early 17th century
2. Early opera and monody
3. Vocal and instrumental improvisation in the 17th and 18th century
4. Virtuoso pianists in the 19th century
5. Composition and improvisation in contemporary music.

Odsjek za muzikologiju
Muzičke akademije u Zagrebu
&
Hrvatsko muzikološko društvo

GOSTUJUĆA PREDAVANJA

dr. sc. Inja Stanović
Sheffield, UK

Inja Stanović (rođena Davidović) nagrađivana je hrvatska pijanistica i istraživačica, rođena u Zagrebu koja trenutno živi u Sheffieldu, UK. Koncertirala je širom svijeta, uključujući Australiju, Hrvatsku, Francusku, Njemačku, Italiju, Sloveniju, UK i SAD. Prvi stupanj studija glazbe završila je u „Glazbenoj školi Ino Mirković“ u Opatiji s licencom Moskovskog državnog konzervatorija P.I. Čajkovski. Dva poslijediplomska programa završila je na Scholi Cantorum u Parizu, a potom je magistrirala glazbu na Bostonskom konzervatoriju. Doktorirala je na Sveučilištu u Sheffieldu s fokusom na izvoditeljsku praksu 19. stoljeća s obzirom na Chopinova djela. Trenutno radi kao predavač na Sveučilištu u Sheffieldu i kao gostujući predavač na Konzervatoriju u Birminghamu.

Inja Stanović (nee Davidović), the award-winning Croatian pianist and researcher, was born in Zagreb and is currently living in Sheffield. She has performed throughout the world, including concerts in Australia, Croatia, France, Germany, Italy, Slovenia, the United Kingdom, and the United States. She completed her first degree at the Ino Mirković School of Music in Opatija, Croatia, licensed under the P.I. Tchaikovsky Moscow State Conservatory. She went on to complete two postgraduate programs at the Schola Cantorum, Paris, before finishing her master’s at the Boston Conservatory. She earned her PhD at The University of Sheffield, focusing on nineteenth century performance practice relating to the works of Chopin. She currently works as a lecturer at the University of Sheffield and visiting lecturer at Birmingham Conservatoire.

utorak, 24. travnja 2018. 18:00, Muzička akademija, soba 326

Izvođačke prakse devetnaestog stoljeća: odnos notacije i izvedbe, razvoj stilova i kriteriji prosuđivanja

Istraživanja o povijesnim izvedbenim praksama inherentno su složena, jer su instrumenti i stilovi izvedbi uvijek u odnosu sa specifičnim kulturnim, društvenim i povijesnim aspektima. Pored mnoštva pisanih dokumenata, muzikološka istraživanja mogu se obogatiti ranim audio zapisima koji služe kao čvrsti dokazi stilskih konvencija prošlih razdoblja. Rane snimke nude neprocjenjive uvide u različite načine čitanja glazbenog teksta u devetnaestom stoljeću, kao i promjenu stilskih konvencija u praktičnoj izvedbi koja se rijetko može prepoznati iz pisanih dokumenata, pogotovo u kontekstu fluktuacije ritma i tempa, raznih načina vibrata, portamenta i tempa rubata, te improvizacijskih elemenata. Ovo predavanje izlaže raznovrsne načine upotreba ranih audio zapisa u muzikološkim istraživanjima, propituje odnose notacije i izvedbe, te na taj način ukazuje kako moderna fonomuzikologija korištenjem tehnoloških alata može pridonijeti razumijevanju izvođačkih praksi devetnaestog stoljeća.