Završen je projekt MusMig
16. prosinca 2016.
Trogodišnji projekt „Music Migrations in the Early Modern Age: the Meeting of the European East, West and South“, koji se od rujna 2013. vodio iz Hrvatske (HAZU, Odsjek za povijest hrvatske glazbe), završio je u studenom 2016. Sedamnaest znanstvenika sa šest instituta i sveučilišta u Zagrebu, Ljubljani, Mainzu, Berlinu i Varšavi istraživalo je migracije glazbenika u 17. i 18. stoljeću, njihove susrete i utjecaje te diseminaciju ideja, muzikalija i glazbala. Baza podataka u kojoj je sakupljeno preko 3500 imena skladatelja, interpreta, graditelja glazbala, učitelja, prepisivača i mecena svjedoči o kronologijama njihovih kretanja i mjestima susreta. Održana su tri znanstvena skupa (Mainz, Zagreb, Varšava), a znanstvenici s projekta sudjelovali su ili organizirali ukupno 170 nastupa: predavanja, izlaganja na simpozijima, koncerte, izložbe i radionice. Objavili su preko 150 znanstvenih i stručnih radova (knjige, poglavlja u knjigama, članke, izvješća) te notna izdanja. Važan aspekt vidljivosti projektnog djelovanja bilo je objavljivanje notnog materijala te organizacija koncerata s djelima skladatelja „migranata“ kako bi se šira javnost upoznala s onima koji su dali doprinos razvoju glazbene kulture određene sredine. Hrvatska grupa objavila je osam notnih svezaka skladbi 18. stoljeća te ih predstavila na dva koncerta i DVD-u koji su dostupni na YouTube kanalu Hrvatskog muzikološkog društva koji je u projektu sudjelovao kao neakademski partner. (https://www.youtube.com/channel/UC_mjDvdgBe4X8fC60_MeNzw).
Za više informacija vidi:
Web: http://musmig.eu/home/
Blog: http://musmig.hypotheses.org/
MusMig project has been completed
16 December 2016
The three-year project “Music Migrations and the Early Modern Age: The Meeting of the European East, West and South”, coordinated from Croatia (Croatian Academy of Sciences and Arts, Department for History of Croatian Music) since September 2013, has been completed in November 2016. Seventeen scientists from six institutes and universities in Zagreb, Ljubljana, Mainz, Berlin, and Warsaw were investigating the migrations of musicians in the 17th and 18th century, their meetings and influences, dissemination of ideas, music material and musical instruments. The database created in the project, which contains over 3500 names of composers, interpreters, instrument makers, teachers, scribes, and patrons, testifies about the chronologies of their migrations as well as their meeting points. Three scholarly meetings were held: in Mainz, Zagreb, and Warsaw. Scientists from the project participated or organized a total of 170 outputs: lectures, papers at the symposiums, concerts, exhibitions, and workshops. More than 150 scientific and professional papers were published: books, book chapters, articles, reports, and musical scores. An important objective within the project visibility was the publication of music material and the organization of concerts with music by “migrating” composers in order to draw the attention of the audience on all those who contributed to the development of musical culture of their environments. The Croatian group published eight music scores of pieces from the 18th century, presented them at two concerts and a DVD available on the YouTube channel of the Croatian Musicological Society, the non-academic partner of the MusMig project. (https://www.youtube.com/channel/UC_mjDvdgBe4X8fC60_MeNzw).
For more info see
Web: http://musmig.eu/home/
Blog: http://musmig.hypotheses.org/
In early modern times music migrations have considerably contributed to the dynamics and synergy of the European cultural scene at large, stimulating innovations, changes of styles and patterns of musical and social behaviour, and contributing to the cohesive forces in the common Euro-pean cultural identity. In order to offer insight into musico-cultural encounters in spatial (European East, West and South), and in temporal terms (17th-18th centuries, i.e. Baroque and Classicism) the first workshop of the HERA-MusMig project will discuss the different types of sources as well as the theoretical and technical framework within which it will be possible to form a network of migratory musicians and to reconstruct their routes and goals; secular and sacred centres with centripetal attractiveness; the cultural transfer of certain musical forms and styles; individual and social migratory motives. In addition to panels on methodological approaches and on music migration between Eastern and Western Europe special attention will be given to the potential of Digital Humanities as a tool to study biographies and networks of migratory musicians.
Impulses for the migration of musicians (composers, performers, teachers, instrument builders/makers, etc.) during the 17th and 18th centuries were often economic in nature, either positive – searching for a new/better place to work – or negative – poor conditions in staying in one place – and supply and demand often regulated their (voluntary) circulation. The market was actually reduced to a few fields: the Church, the town, the nobility, or the theatre, and they were often interwoven (for example, the Church or court musician found extra money as a private teacher, and also as performer in a theatre orchestra). The migrants were the soloist virtuosi, as well as their benefactors/Maecenas.
Migration of musicians and transmission of repertoire across Europe in the 17th and 18th centuries contributed to the emergence of a network of music and cultural connections, in which major European centres of music life were linked to less well researched and mostly smaller centres situated at some distance.