Univerza V Ljubljani Filozofska Fakulteta Oddelek Za Muzikologijo
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UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA MUZIKOLOGIJO mr. sc. Ivana-Paula Gortan-Carlin Glasba istrskih sodobnih skladateljev na prehodu v 21. stoletje in njena vloga v regionalnem turizmu (doktorska disertacija) Mentor: izr. prof. dr. Leon Stefanija Študijski program: Somentorica: prof. dr. sc. Vinka Cetinski Sistemati čna muzikologija LJUBLJANA, 2011 Izjava o avtorstvu Izjavljam, da je doktorska disertacija v celoti moje avtorsko delo, in da so uporabljeni viri in literatura korektno navedeni. Ljubljana, 15. junija 2011 mr. sc. Ivana-Paula Gortan-Carlin 2 Izvle ček Avtorica podaja pregled skladateljev, ki so delovali na prehodu v 21. stoletje. Tematsko ima naloga dva dela: prvi del opredeljuje istrske skladatelje izhajajo č iz objavljenih skladb na prireditvah Naš kanat je lip in Mateti ćevi dnevi . V drugem delu naloge avtorica izhaja iz dejstva, da glasbeni recipienti klasi čne glasbe v poletnih mesecih želijo poslušati dela istrskih skladateljev, kar jim ni omogo čeno, zato avtorica na podlagi analize kulturnih okoliš čin predlaga model povezovanja glasbe in turizma, ki bi ga bilo mogo če upoštevati v glasbeno-kulturni politiki regije. Klju čne besede: istrski skladatelji, identiteta, glasbeni turizem, Istra, glasba in turizem, kultura, turisti čna destinacija, menedžment, sodelovanje in partnerstvo, benchmarking in kakovost. Extract The paper provides an overview of composers working at the turn of the millennium and defines Istrian composers as those who had their works performed at events such as Naš kanat je lip (Our Song is Beautiful) and Mateti ćevi dani (Mateti ć Days). The target audience for classical music would like to listen to works of Istrian composers in the summer, but find no performances. The paper proposes a model to link music and tourism with the objective of promoting the tourist destination. Key words: Istrian composers, identity, music tourism, Istria, music and tourism, culture, tourist destination, management, collaboration and partnership, benchmarking and quality. 3 KAZALO KAZALO ..........................................................................................................................4 1. PREDGOVOR ..............................................................................................................7 2. UVOD ...........................................................................................................................9 2.1. Predmet raziskovanja .............................................................................................9 2.2. Cilj raziskovanja.....................................................................................................9 2.3. Definiranje izhodiš čne teze..................................................................................10 2.4. Rezultati dosedanjih raziskovanj odnosa med glasbo in turizmom .....................11 2.5. Dosedanja literatura .............................................................................................12 2.6. Metodologija ........................................................................................................15 2.7. Na črt obravnave ...................................................................................................16 3. OD TRADICIJSKE ISTRSKE GLASBE DO RAZVOJA ISTRSKE UMETNIŠKE GLASBE .........................................................................................................................19 3.1. Uvod.....................................................................................................................19 3.2. Istrsko-primorski glasbeni izraz...........................................................................22 3.3. Naš kanat je lip.....................................................................................................30 3.3.1. Zbirke skladb Naš kanat je lip ......................................................................31 3.3.2. Monografske izdaje.......................................................................................32 3.3.3. Glasbene slikanice za otroke.........................................................................36 3.4. Mateti ćevi dnevi in Nagrada Ivan Mateti ć Ronjgov............................................36 3.5. Skladatelji iz tiskovin manifestacij Naš kanat je lip in Mateti ćevi dnevi (1975- 2000): ..........................................................................................................................39 3.5.1. Emil Cossetto ................................................................................................39 3.5.2. Dario Bassanese ............................................................................................40 3.5.3. ðeni Dekleva-Radakovi ć ..............................................................................41 3.5.4. Sanja Drakuli ć...............................................................................................42 3.5.5. Dimitrije Golemovi ć .....................................................................................43 3.5.6. Josip Kaplan..................................................................................................44 3.5.7. Igor Kuljeri ć..................................................................................................45 3.5.8. Adalbert Markovi ć ........................................................................................46 3.5.9. Ivan Mateti ć Ronjgov....................................................................................46 3.5.10. Nello Milotti................................................................................................47 3.5.11. Nikša Njiri ć .................................................................................................48 3.5.12. Branko Okmaca...........................................................................................49 3.5.13. Boris Papandopulo ......................................................................................50 3.5.14. Dušan Prašelj...............................................................................................50 3.5.15. Bruno Rajkovi ć ...........................................................................................51 3.5.16. Branko Starc................................................................................................52 3.5.17. Danilo Švara................................................................................................52 3.5.18. Tomislav Uhlik ...........................................................................................53 3.5.19. Slavko Zlati ć ...............................................................................................53 3.5.20. Lovro Županovi ć.........................................................................................54 3.6. Skladatelji iz Istre na manifestacijah Glazbena tribina v Puli in Muzi čki Biennale Zagreb .........................................................................................................................55 3.6.1. Massimo Brajkovi ć .......................................................................................57 3.6.2. Damir Bužleta ...............................................................................................58 4 3.6.3. Bruno Krajcar................................................................................................58 3.6.4. Bashkim A. Shehu.........................................................................................59 3.7. O sezamu skladateljev..........................................................................................60 3.8. Klasifikacija skladateljev .....................................................................................62 4. O IDENTITETI...........................................................................................................65 4.1. Regionalizem in identiteta....................................................................................67 4.2. Kulturna identiteta................................................................................................71 4.3. Identiteta glasbenega dela ....................................................................................73 4.4. O glasbeni tradiciji ...............................................................................................74 4.5. „Duh“ tradicijskega v glasbenem delu.................................................................76 4.6. „Tradicijski duh“ v istrski glasbi .........................................................................77 4.6.1. Duhovna glasba.............................................................................................78 4.6.2. Revitalizacija tradicijske glasbe....................................................................80 4.6.3. Zabavna glasba..............................................................................................81 4.6.4. Istrski šanson.................................................................................................86 4.6.5. World music/Etno glasba ..............................................................................86 4.7. Istrski skladatelji in avtorji glasbe o glasbi „v duhu istrskega ljudskega melosa“ .....................................................................................................................................88 4.8. O pojmu in definiciji „istrski skladatelj“ .............................................................92 5. ANALIZA DEL ISTRSKIH SKLADATELJEV........................................................95