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Muzikološki Z B O R N I K X L V I MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL X L V I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 0 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL XLVI/2 • MUSICOLOGICAL ZBORNIK ANNUAL MUZIKOLOŠKI ZBORNIK OB JUBILEJU KATARINE BEDINA ISSN 0580-373X ESSAYS IN HONOUR OF KATARINA BEDINA 9 770580 373009 MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL X L V I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 0 ZBORNIK OB JUBILEJU KATARINE BEDINA ESSAYS IN HONOUR OF KATARINA BEDINA 1 Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Aleš Nagode (Ljubljana) Urednik • Editor Matjaž Barbo (Ljubljana) Izvršilni urednik • Assistant Editor Jernej Weiss (Ljubljana) Uredniški odbor • Editorial Board Mikuláš Bek (Brno) Jean-Marc Chouvel (Reims) David Hiley (Regensburg) Nikša Gligo (Zagreb) Aleš Nagode (Ljubljana) Niall O’Loughlin (Loughborough) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://www.ff.uni-lj.si/oddelki/muzikologija/MZ_home.htm Prevajanje • Translation Andrej Rijavec Cena • Price 10 € / 20 € (other countries) Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Valentin Bucik, dekan Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 500 izvodov • Printed in 500 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 knjigo Republike Slovenije With the support of the Slovenian Book Agency of the Republic of Slovenia © Oddelek za muzikologijo Filozofske fakultete v Ljubljani 2 Vsebina • Contents Matjaž Barbo Moj življenjski načrt«: Dragotin Cvetko in začetki študija muzikologije na Slovenskem »My Life's Plan«: Dragotin Cvetko and the Beginnings of the Study of Musicology in Slovenia 5 Marija Bergamo V pasteh interpretacijskih optik: Beležka o napredku In the Pitfalls of Interpretations Optics: A Note on Progress 19 Ivan Klemenčič Slovenska glasbena identiteta znotraj srednjeevropske Slovenian Musical Identity within that of Central Europe 25 Nataša Cigoj Krstulović Med sentimentom in razumom: k zgodovini in pomenu valčka za klavir v 19. stoletju na Slovenskem Between Feeling and Reason: towards the History and the Significance of the Waltz for Piano in 19th Century Slovenia 37 Katarina Bogunović Hočevar Klavirska dela Janka Ravnika, objavljena v Novih akordih Janko Ravnik's Piano Works, published in the New Chords magazine 57 Jernej Weiss Neuprizorjena opera Melusina Emerika Berana Melusina – An Unstaged Opera by Emerik Beran 73 Manica Špendal Nekdanja slovita operna in koncertna pevka Amalie Schneeweiss-Joachim (1838–1899) je bila rojena v Mariboru The opera and concert singer Amalie Schneeweiss-Joachim (1839-1899) was born in Maribor 87 3 Špela Lah Slovensko-nemška dihotomija v Deželnem gledališču v Ljubljani med letoma 1892 in 1914 Slovene-German Dichotomys in Provincial Theatre in Ljubljana between 1892 and 1914 95 Darja Koter Razvoj profila gledališkega in opernega režiserja na Slovenskem med obema vojnama Development of the Theatre and Opera director's Profile in Slovenia Between the Two Wars 108 Aleksandar Vasić The Essay Genre in Serbian Musicography of the First Half of the 20th Century: The Case of the Serbian Literary Magazine Oblika eseja v srbski glasbeni publicistiki prve polovice 20. stoletja: primer Srpskega literarnega glasnika 123 Gregor Pompe »Klasik« glasbe 20. stoletja – vprašanje modernega in tradicionalnega v opusu Uroša Kreka The »Classic« of the 20th Century Music – The Question of Modern and Traditional in the Works of Uroš Krek 131 Larisa Vrhunc Organizacija in svoboda – analiza skladbe Tongenesis Uroša Rojka Organization and Freedom - An Analysis of Uroš Rojko's Tongenesis 149 Tjaža Ribizel Koncertna dejavnost Festivala Ljubljana 1953–1963 Festival Ljubljana Concert Management 1953–1963 167 Drago Kunej Kako hitro se vrtijo plošče z 78 o/min? How Fast Do 78 rpm Records Turn? 175 Aleš Nagode Bibliografija Katarine Bedina Bibliography of Katarina Bedina 185 Imensko kazalo • Index 205 Avtorji •Contributors 226 4 M. BARBO • »MOJ ŽIVLJENJSKI NAČRT«: ... UDK 78.01 Cvetko D. 378.6.096:78.01(497.4) Matjaž Barbo Filozofska fakulteta, Univerza v Ljubljani Philosophical Faculty, University of Ljubljana »Moj življenjski načrt«: Dragotin Cvetko in začetki študija muzikologije na Slovenskem »My Life's Plan«: Dragotin Cvetko and the Beginnings of the Study of Musicology in Slovenia Prejeto: 30. september 2010 Received: 30th September 2010 Sprejeto: 25. oktober 2010 Accepted: 25th October 2010 Ključne besede: Dragotin Cvetko, muzikologija, Keywords: Dragotin Cvetko, musicology, Depart- Oddelek za muzikologijo, Univerza v Ljubljani ment of Musicology, University of Ljubljana Iz v l e č e k Ab s t r a c t Članek prinaša kronološko, z viri podkrepljeno The article deals with the chronological analysis analizo konkretnih spodbud za nastanek Oddelka of the concrete impulses for the foundation of za muzikologijo, vse od prvih idej ob ustanovitvi the Department of Musicology from the first ideas Univerze v Ljubljani, do utemeljitve znanstvenega stimulated by the establishment of the University oz. zgodovinskega oddelka na Akademiji za glasbo in Ljubljana, to the foundation of a scholarly and in končno do prenosa muzikologije na univerzo historical department at the Academy of Music and ter s tem institucionaliziranja muzikologije na the transfer of musicology to the University and Slovenskem. thus to the institutionalisation of the musicology in Slovenia. Četudi je v literaturi mogoče najti nekaj splošnejših podatkov o nastanku Oddelka za muzikologijo,1 pa manjka celovitejša in predvsem kronološko z viri natančneje 1 Dragotin Cvetko. »Muzikologija.« V: Petdeset let slovenske univerze v Ljubljani. Ljubljana: Univerza v Ljubljani, 1969, 279-280; Jože Sivec. »Glasbeno zgodovinopisje na Slovenskem (1930-1980). Razvojne značilnosti, raziskovalna področja, najvidnejši dosežki.« V: Obdobja 14 (Individualni in generacijski ustvarjalni ritmi v slovenskem jeziku, književnosti in kulturi), Ur. Marko Juvan in Tomaž Sajovic, Ljubljana: Znanstvenoraziskovalni inštitut Filozofske fakultete, 1994, 115-129; Jože Sivec. »Razvoj in dosežki glasbenega zgodovinopisja na Slovenskem.« Muzikološki zbornik 17/2 (1981), Ur. Andrej Rijavec. 145-181; Jože Sivec. »Oddelek za muzikologijo.« V: Zbornik Filozofske fakultete v Ljubljani: 1919-1989. Ur. Vasilij Melik et al. Ljubljana: Filozofska fakulteta, 1989, 237-241; Jože Sivec in Katarina Bedina. »Oddelek za muzikologijo.« V: Zbornik Filozofske fakultete v Ljubljani: 1919-1999, 5 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL XLVI/2 podkrepljena analiza konkretnih spodbud za njegov nastanek, s tem pa za prvo pravo institucionaliziranje muzikologije na Slovenskem sploh. O ustanovitvi muzikološke stolice naj bi premišljevali že neposredno z ustanovitvijo ljubljanske univerze leta 1919. Ustanovitev naj bi preprečevali denarni razlogi, čeprav naj bi bili nekateri profesorji, tako Izidor Cankar in Ivan Prijatelj, muzikologiji naklonjeni.2 O ustanovitvi muzikološke stolice so razpravljali na sejah sveta filozofske fakultete še v letih 1925 in 1926, vendar neuspešno. Poleg tega se je za to zavzemal v javnosti Stanko Vurnik, ki je poudarjal nujnost inštituta, ki bi »gojil tudi moderno-metodično glasbeno zgodovino in estetiko«.3 Tako je glasbena zgodovina postala le dopolnilni predmet na konservatoriju, ki pa so ga po letu 1942 kot dodatni C predmet lahko opravljali tudi študenti filozofske fakultete.4 Leta 1945 je bil ustanovljen nato na Akademiji za glasbo samostojni znanstveni oddelek, ki se je zdel po pričevanju Dragotina Cvetka »… ustrezna institucija, ki v tem trenutku, se pravi tik po vojni, na univerzi še ni bila uresničljiva, pač pa na nastajajoči akademiji za glasbo, ki naj bi eliminirala v nekdanji glasbeni akademiji na moč konservativni obstoječi pedagoški oddelek.«5 Znanstveni odsek oddelka je vodil Cvetko, odsek za glasbeno folkloro pa France Marolt. Poleg njiju je Cvetko dosegel, da so na oddelek povabili še Vilka Ukmarja, ki je bil ob koncu vojne kot ideološko neprimeren odstavljen z mesta direktorja ljubljanske Opere. Na oddelku je predaval še Miroslav Adle- šič, ki se je posvečal akustiki glasbe, poleg njega pa še vrsta rednih predavateljev glasbene akademije za praktične predmete. Ko je Marolt leta 1951 umrl, ni imel pravega naslednika, zato je folklorni odsek zamrl, odsek za zgodovino glasbe pa je postal oddelek.6 Vendarle tovrstna organizacijska oblika po prepričanju D. Cvetka za razmah muziko- logije kot samostojne humanistične discipline ni bila primerna. Edina prava možnost, ki jo je videl Cvetko, je bila ustanovitev oddelka za muzikologijo v okviru univerze oziroma filozofske fakultete. Za ustanovitev se je zato Cvetko zavzel z vsemi silami. To hotenje, »moj življenjski načrt«,
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