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Muzikološki Z B O R N I K Liv MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL LIV / 1 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 8 MZ_2018_1_FINAL.indd 1 27.6.2018 7:28:01 Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Glavni in odgovorni urednik • Editor-in-chief Jernej Weiss (Ljubljana) Asistentka uredništva • Assistant Editor Tjaša Ribizel (Ljubljana) Uredniški odbor • Editorial Board Matjaž Barbo (Ljubljana), Aleš Nagode (Ljubljana), Svanibor Pettan (Ljubljana), Leon Stefanija (Ljubljana), Andrej Rijavec (Ljubljana), častni urednik • honorary editor Mednarodni uredniški svet • International Advisory Board Michael Beckermann (Columbia University, USA) Nikša Gligo (University of Zagreb, Croatia) Robert S. Hatten (Indiana University, USA) David Hiley (University of Regensburg, Germany) Thomas Hochradner (Mozarteum Salzburg, Austria) Bruno Nettl (University of Illinois, USA) Helmut Loos (University of Leipzig, Germany) Jim Samson (Royal Holloway University of London, UK) Lubomír Spurný (Masaryk University Brno, Czech Republic) Katarina Tomašević (Serbian Academy of Sciences and Arts, Serbia) John Tyrrell (Cardiff University, UK) Michael Walter (University of Graz, Austria) Urednici recenzij • Review editors Danijela Špirić Beard (Cardiff University, UK) Katarina Šter (Research Centre of the Slovenian Academy of Sciences and Arts, Slovenia) Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://revije.ff.uni-lj.si/MuzikoloskiZbornik Prevajanje • Translations Urban Šrimpf Cena posamezne številke • Single issue price 10 EUR Letna naročnina • Annual subscription 20 EUR Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Roman Kuhar, dekan Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 300 izvodov • Printed in 300 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja. Prispevki naj bodo opremljeni s kratkim povzetkom (200–300 besed), izvlečkom (do 50 besed), ključnimi besedami in kratkimi podatki o avtorju. Nenaročenih rokopisov ne vračamo. Manuscripts, publications for review, correspondence and annual subscription rates should be sent to the editorial address. Contributions should include a short summary (200–300 words), an abstract (not more than 50 words), keywords and a short biographical note on the author. Unsolicited manuscripts are not returned. Izdajo zbornika je omogočila Javna Agencija za Raziskovalno dejavnost Republike Slovenije With the support of the Slovenian Research Agency This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. / To delo je ponujeno pod licenco Creative Commons Priznanje avtorstva-Deljenje pod enakimi pogoji 4.0 Mednarodna licenca MZ_2018_1_FINAL.indd 2 27.6.2018 7:28:01 Vsebina • Contents Nejc Sukljan Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament Zarlinov čembalo: prispevek k (pred)zgodovini enakomerne uglasitve 5–22 Aleš Nagode Samospevi Benjamina Ipavca na nemška besedila: Slovenski narodnjak nemški muzi Benjamin Ipavec's Solo Songs on German Texts: Slovenian Patriot to German Muse 23–30 Katarina Šter Kdo je Begunka pri zibeli? Nekaj misli ob Lajovčevem samospevu Who is The Refugee by the Cradle? Some Thoughts about the Song by Anton Lajovic 31–48 Vesna Peno, Ivana Vesić From Myth to Reality: Stevan Stojanović Mokranjac and Serbian Church Music Od mita do resničnosti: Stevan Stojanović Mokranjac in srbska cerkvena glasba 49–58 Klara Hrvatin So¯getsu Art Center’s Invitation Letters to International Composers Mednarodna korespondenca umetniškega centra Sōgetsu v 60ih 59–73 Jasmina Talam, Lana Paćuka Echoes of Forgotten Time: Professional Folk Musical Ensembles in Cafes of Bosnia and Herzegovina (1878–1918) Odmevi pozabljenega časa: profesionalni ansambli ljudske glasbe v kavarnah Bosne in Hercegovine (1878–1918) 75–87 Vesna Ivkov Sevdalinka as Perceived by Music Performers in Belgrade Sevdalinka, kot jo razumejo glasbeni izvajalci v Beogradu 89–106 MZ_2018_1_FINAL.indd 3 27.6.2018 7:28:02 Svanibor Pettan, Lasanthi Manaranjanie Kalinga Dona Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness Etnomuzikologija posameznika: Vishnuchittan Balaji med tradicijo in inovativnostjo 107–122 Vita Lunežnik, Ana Hofman, Nives Ličen Prispevek k raziskovanju vloge glasbe pri kakovostnem staranju na primeru doma za starejše Ptuj Music and Aging: A Contribution to the Research of the Role of Music in Quality Aging Supported by the Case of the Ptuj Retirement Home 123–140 Katarina Habe, Snježana Dobrota, Ina Reić Ercegovac The Structure of Musical Preferences of Youth: Cross-Cultural Perspective Struktura glasbenih preferenc mladostnikov: medkulturni vidik 141–156 Recenzije • Reviews 157–182 Disertacije • Dissertations 183–194 Imensko kazalo • Index 195–207 Avtorji • Contributors 208–214 MZ_2018_1_FINAL.indd 4 27.6.2018 7:28:02 N. SUKLJAN • ZARLINO’S HARPSICHORD ... UDK 78.071Zarlino:781.91 DOI: 10.4312/mz.54.1.5-22 Nejc Sukljan Filozofska fakulteta, Univerza v Ljubljani Faculty of Arts, University of Ljubljana Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament Zarlinov čembalo: prispevek k (pred)zgodovini enakomerne uglasitve Prejeto: 2. oktober 2017 Received: 2nd October 2017 Sprejeto: 11. december 2017 Accepted: 11th December 2017 Ključne besede: Gioseffo Zarlino, glasbena teorija, Keywords: Gioseffo Zarlino, music theory, Rena- renesansa, vprašanje o uglasitvi issance, tuning question IZVLEČEK ABSTRACT Prispevek obravnava vprašanje o uglasitvi, kot This paper deals with the tuning question as it is se kaže v osrednjem glasbenoteoretskem spisu discussed in Gioseffo Zarlino’s principal musical- Gioseffa Zarlina Istitutioni harmoniche (1558). -theoretical treatise, Istitutioni harmoniche (1558). Predstavljen je sistem uglasitve, ki ga Zarlino First, Zarlino’s tuning system in vocal music (the utemeljuje v vokalni glasbi (sintonični diatonični syntonic diatonic) is presented; then, its shortco- sistem), prikazane so njegove omejitve in slednjič mings are discussed; and finally, its adjustment njegova prilagoditev (temperacija) za rabo v instru- (temperament) for the use in instrumental music mentalni glasbi. is explained. In 1548, Domenico da Pesaro constructed a gravecembalo for Gioseffo Zarlino, the description and sketch of which were later included in the theorist’s famous treatise, Istitutioni harmoniche (1558).1 The instrument immediately draws a modern reader’s 1 Gioseffo Zarlino, Istituzioni armoniche (Treviso: Diastema, 2011), 293–294. 5 MZ_2018_1_FINAL.indd 5 27.6.2018 7:28:02 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL LIV/1 attention. It is quite unconventional, with many more keys on the keyboard than one would expect to find on a modern piano: Not one but two chromatic keys are placed between diatonic keys framing a whole tone, and there is even an additional chromatic key between those diatonic keys that frame a semitone. Therefore, questions may be posed about why the instrument was constructed this way and what the function of so many keys on its keyboard could be. Figure 1: The sketch of the instrument that Domenico da Pesaro constructed for Gioseffo Zarlino in 1548 (Gioseffo Zarlino, Istitutioni harmoniche (Venezia, 1558), 141). The answers to the posed questions are closely connected to the tuning of Zarlino’s harpsichord. The tuning question (the theoretical search for an acoustic system within which practical music evolves) was one of the key questions discussed by the renais- sance music theorists in their treatises. For centuries, the Pythagorean system, founded on perfect consonances whose ratios can be described by the first four numbers,2 pre- vailed. However, with the rise of equal-voice polyphony, besides the Pythagorean per- fect consonances, the pleasant-sounding thirds and sixths were becoming more and more important, and the framework of the Pythagorean system soon became too nar- row: The Pythagorean tuning had to be adjusted (tempered) to the contemporary musi- cal reality, and in Istitutioni harmoniche, Zarlino presented his proposal for the system. The ancient system as the basis for Zarlino’s discussion of the tuning question Like many other renaissance theorists, Zarlino bases his discussion of the tuning system in Istitutioni harmoniche on several important ancient music theorists’ writ- ings, above all Boethius’ and Ptolemy’s. Consequently, the model for his system is a 2 Double octave (4:1), octave plus fifth (3:1), octave (2:1), fifth (3:2), and fourth (4:3). For a more detailed description of the Pythagorean system, see André Barbera, “Pythagoras”, and Mark Lindley, “Pythagorean Intonation”. 6 MZ_2018_1_FINAL.indd 6 27.6.2018 7:28:02 N. SUKLJAN • ZARLINO’S HARPSICHORD ... double-octave scale of 16 tones in which the five tetrachords of the ancient Greater and Lesser Perfect Systems are joined.3 A – hypaton B – meson C – diezeugmenon 2 hypate hypaton 5 hypate meson 10 paramese 3 parhypate hypaton 6 parhypate meson 11 trite diezeugmenon 4 lychanos hypaton 7 lychanos meson 12 paranete diezeugmenon 5 hypate meson 8 mese 13 nete diezeugmenon D – hyperboleon E – synemmenon 1 proslambanomenos 13 nete diezeugmenon 8 mese 14 trite hyperboleon 9 trite synemmenon 15 paranete hyperboleon 11 paranete synemmenon 16 nete hyperboleon 12 nete synemmenon Figure 2: The Greater Perfect System
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