Preliminary communication Received: 8 September 2014 Accepted: 23 March 2015 DOI: 10.15176/vol52no102 UDK 784.4(497.12) 398.8:67/68](497.12)
Music Entrepreneurship and Family Businesses: The Case of Avsenik Brothers Ensemble
e ǡ ǡ
Ǧ ǡ͵ ͳͲǡͲͲͲǤʹͲͳ͵ Ͳ Ǧ Ǥ ǯ ǡ æǡ Ǥ ǯ ǡ ǡ ǡ Ǧ Ǥ
ǣǦ ǡǡǡ ǡǦ ǡǡ
OVERTURE
Ǧ ǡǡ ͲǤ Ǥǡ ǡǦ Ǥ ȋʹͲͲǣͷ͵ȌǦ ǡͳ
ͳǦ ǡ Ǧ Ǥ narodno-zabaven ǡȋnarodno zabavenȌȋnarodnozabavenȌǤ ǡ ǣǦ ȋ āͳͻͻͷǢ© ʹͲͲͺǢ««ʹͲͳͶȌǡǦ ȋ ««ʹͲͲͶȌǡ ȋϐ ʹͲͲͷȌǡǦ ȋ ««ʹͲͲͷȌǡǦ ȋʹͲͲȌǡ ȋ ʹͲͲͺǢǤǦ Ǥ ȌǡǦ ǡ ȋʹͲͲͺȌǡǦ ȋæʹͲͳͲȌǤ ʹͲϐDzdz æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ȋ Ȍ Ǧ ϐ ǡ ǡ ǡ ǡ ͵ ͳͲǡͲͲͲǤʹͲͳ͵ Ͳ Ǧ Ǥ ǡ ǡ ȋ Ǧ Ȍ Ǥ ǯ ǡæ Ǥ Ǧ ȂȂ ǡǡǡǡ ǡ Ǥ ǡǡ ǡ ǡǡ ǡǡ Ǧ ȋȌǡ Ǥ ǡǡȀϐ Ǥ ȋ ȀȌ Ǧ Ǧ ȋ ʹͲͳ͵ ʹͲͳͶȌǡ ϐ Ǥ ǡ Ǣ ǡ ǡ ǡ Ǧ Ǥ ǡ ǡ ǡǦ ǡ ϐ Ǥ Ǥ Ǧ
narodno-zabavna glasbaǡ Ǥ ǡ Ǧ Ǥ ȂȂǤ ǣ ǡǦ ǡȋ Ȍǡ ǡ ǡǡDzdz ǡ ǡ ǡ ǡ Ǥ ǡ ʹͲͳͷǡ popular-national musicSounds of Slovenia: from folk musicians to the AvseniksȋʹͲͲȌ Ǥ
32 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
Ǥ ǡ ϐ ǡ Ǥ ǡ Ǧ ǡ ǡ ȋ ʹͲͲͶǢ ǡ ʹͲͳʹǢʹͲͳʹǢǯ ʹͲͲǢʹͲͳ͵ǡʹͲͳ͵ǡʹͲͳ͵ ǢʹͲͳ͵Ǣǯ ʹͲͳͳǢ ʹͲͳͲǢ ǡ ʹͲͳͳȌǤ
BACKGROUND AND ORIGINS ȃ THE AVSENIK/OVSENIK BROTHERS AND THE IDENTITY OF POPULARǧNATIONAL MUSIC
ϐ Ǧ ȋnarodno-zabavna glasbaȌǤ ǡǡ Ǧ ǡǡ Ǥ ǡ Dzdz²ǡǡ Ǥ ǡ OberkraineǤ ʹ Dzdas Land Kraindzǡ Ǧ DzKranjskadzǡ Ǧȋǡ Ȍ ȂDzGore- njskadzǤ ǯ ǡǦ ǡϐǤ ǡ ȋ ȌǤ͵ ǡ
ʹ ǣ ǡǡǡǡ ǡǡǡ Ǥ ǡ ǡ Ǥ ͵ϐǡ Ǧ ǡǡ ǦǤ ǡ Ǥ ǡ
33 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ Ǥ Ǥǡ ǡ ǡ Ǧ ǡǡ ǡ Ǧ Ǥ ȋæ«ʹͲͲͲǣͳͶȌǤ ǡ ǡ Ȃ Ȃ ϐ Ǥ Ǥ ǦDzdzǡ ǡ ǡϐ Ǥ Ǧ ǡ Ǥ ǡǦ ²ǡ Ǧ ǡ ǡͶ ǡ Ǧ Ǥ ǡ Ǧ ǡ Ǥ Ǧ ǡǡ ǤǦǡ ǡ Ǥ Dz dzȋalpska kultura slovenstvaȌ ǡ ϐǡ ǤǤǣ ǡ ǡǡ ǡæǯThe Baptism on the Savica ȋKrst pri Saviciǡ ͳͺ͵Ȍǡ ǡ ǡϐϐIn the Kingdom of Zla- torogȋV kraljestvu Zlatorogaǡͳͻ͵ͳȌThe Triglav Steep SlopesȋTriglavske strmineǡ ͳͻ͵ʹȌǡ ǡ ǡ ǡ ǡǡ ǡ ǡ ǡϐ
Ǥ ǡ ǡ Ǥ ǡǦ ǡ ǡǡ ǡ Ǥ ǡ ȋʹͲͲȌǤ ͶϐȋAlpski ve«erȌ ͳͻͺǤ
34 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǡ ǡ ǡǡ ǡǡ ǡ ǡ ǡ ǡ ǡ ǡ Ǧ ǡ ǤȋeʹͲͲͷȌǤ ǯǦ ͷ Ǥ Ǧ Ǥ ǡ ȋ Ȃǡ Ȍ ǡ Ǥ ǡ ǡ ǡǦ Ǥ ϐ ϐȂ Ǥ ǡ ǡ ȋ āͳͻͻͷǣ͵͵ͷȂ͵͵ȌǤ Ǧ Ǧ ǡ Ǧ Ǥ Ǥ ǤǦ ϐ ǯ Ǧ Ǥǡǡ ǡǤ Ǧ ǡ Ǥǡǡ ǤǦ Ǥ Dz dz ȋ,etrtkov ve«er doma«ih pesmi in napevovȌ ǡ DzdzǡǤ ǡ ϐǤ
ͷǯǡǣTam, kjer murke cvetoȋͳͻͷͻȌǡKlic z goraȋͳͻͲȌǡStari mlinȋͳͻ͵ȌǡLepe ste ve KaravankeȋͳͻͷȌǡOto«ek sredi jezeraȋͳͻͺȌǡOdmev s TriglavaȋͳͻͻȌǡAuf silbernen SpurenȋͳͻͲȌǡSrebrne smu«ineȋͳͻ͵ȌǡSlovenija, odkod lepote tvojeȋͳͻͶȌǡPlaninski cvetȋͳͻͺȌǡMuzikantje izpod RoblekaȋͳͻͺͺȌǤ ǯǡ Ǥ ǡǡ Ǥ
35 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ȋ ʹͲͳͲǢ ϐ ʹͲͲͷǢ ʹͲͲǣ ͷʹǢ ʹͲͲͺǢ æ ʹͲͳͲǢ «ʹͲͳʹȌǤ
AVSENIKS IN THE EYES OF OTHERS
ǡ Ǧ ǡ Ǧ ǡDz dzȋgoveja muskaȌǤ ǡ ǡ Ǥ ϐ ǡ ǡ Ǧ DzWell, now lets do the beefǨdzǡ ǡ ȋ «ʹͲͳʹȌǤ ǤǦ ǡ ǡ Ǥ ǡ ǡ ǡǤ ǣ
ǡ Ǥ ǯ ǡ ǡǡ Ǥ ǡǯ Ǥǯ Ǧ ǥǡ Dz dz Dzǯ dzǤ ǣ ǡǨ ȋGolicaʹͲͳ͵Ȍ
Dzdz ǤDz dz ȋ,etrtkov ve«er doma«ih pesmi in napevovȌǡ ǡ ǡ
Ǥ Ǥ
36 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǯ Ǥ ǡǣ
Ǧ Ǥ ǡ ǡ Ǥ ǡ ǡ Ǧ Ǥȋ ʹͲͳͲǣͶͲȂͶͳȌ
Ǧ Dzdz ǡ Ǥ ǡ Ǥ ǯǡ Ȃ Ǧ Ǥ Ǥ ǣ
ǣ ǡ ǤǤǡ ǡϐǥ Ǧ ǡ ǡǤ Ǥȋ ͳͻͻͻǣͳͲ͵Ȍ
ǣ
Ǥ ϐȂ ǡ Ȃ Ǧ Ǥǡ Ǥǡ ǡ Ǥ Ǥ Ǥ Ǥȋ ͳͻͻͻǣͲȌ
Ǥ ͳͻ Ǥ ǡ Ǧ Ǥǡ DzdzDzdzǤǦ
37 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǯ Ǥ ͳͻ ǡǦ Ǥ ǡ ǡ ǡ Ǥ ǡ ȋϐ ʹͲͲͷǣͳͷͷȂͲȌǤ ǡǦ Ǧ Ǥǡ ȋæǤʹͲͳ͵ȌǤ ǡ Ǧ Ǥ Ǧ ǣ͵ͻΨǦ ǡ ͳͶΨǤΨ Ǥ ǡ ͳͷȂ͵Ͳ ȋǤȌǤ æ ǡ ǯ ǡǯ ǣ
ϐͲǤ ǡ Ǥ ϐǦ Ǥ ǤȋʹͲͳ͵Ȍ
ǯǦ Dzdzǡ Ǥ ȋǡ Ȍǡ Ǧ Ǥ Ǥ ǡ ǡ Ǥ
THE BEGINNINGS OF BROTHERS SLAVKO & VILKO
ͳͻʹͺ ͳͻʹͻ Ǥ Ǥ ǡǡǦ Ǧ ǡ ǡ
ͺͲͺͳͷͷ Ǥ
38 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ Ǥ ͳͻͶͺǯ ǡ ͳͻ͵Ǥ ǡ Ǥ ǡ ǡ Ǥ ǡ Dz dzȋ,etrtkov ve«er doma«ih pesmi in napevovȌǤ Ǥ ǡ ǯǡ Ǥ Ǥ ǡ ȂȂ ȋ ʹͲͲͺǣͳͺȌǤ ͳͻͷ͵ͳͻͺͺǡ ͳͻͷͻȋ ȌǤ ǡ ǯ Ǥ ǯ ǯϐǤǦ Ǥ ǣ Ǥ ǡǡǦ ǡǡ ǡ ǡ ǡ ǡ«ǡ æǡ «Ȃ āǡ Ȃǡ«ǡȋǤǣͳͲͷȌǤ
FROM MUSIC SUCCESS TO EXPANSION AND CONTINUATION OF THE TRADITION
Ȃ Pri Joovcuǡ ͳͺͷǤǡ ǯǡ ȋͳͻȂȌ Ǥ ǡ ǡ Ǥ ͳͻͺͻ ǯ ȋͳͻʹȂȌϐ ǡ Ǧ Ǧ
39 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ȋͳͻ͵ʹȂȌǤ ǡ ǡ ǡǡ Ǧ Ǥ ǡ ǡ ǡ ǡ Ǥǡ DzdzȋTradicija AvsenikȌͳͻͻǤ ͳͻͻͻHini ansambel Avsenik ȋ Ȍ Ǥ ʹͲͲ͵ Ǧ Ǥ ʹͲͲͺǡͷͷ ǯͺͲǡǡ ǡ ǯ ǡ ǡ ǡǯǡ ǡǡ ǡǦ Ǥ ǡ ǡ ͵ͷ ȋ ǡ ǡ ǡ ǡ ǡ ϐȌ Ǥ Ǧ ȋ« ʹͲͲͻǣ ͻȂͳͻȌǤ Ǧ ǡ Ǥ Ǧ ǡ Ǥ ǡ Ǥ ǯ ǣDzǦ dzȋ ʹͲͳʹȌǤ Ǧ Ǥǯϐ ǤȋͳͻͷͺȂȌ Ǥ ͳͻͺͳ ǡǡϐ ͳͻͺͷǤ ǯǤ ͳͻͻͺ Avsenik Audiodesign ǡ Ǥ ǡǡ ǯ ǣ
Ǧ Ǣ ǤȋGolicaʹͲͳ͵Ȍ
40 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǡ ȋAnsambel Grega AvsenikaȌ ͳͻͻȂʹͲͲͲǤ ʹͲͲͻǡ ǯ æǡ ǡ æ8ȋAnsambel Saa AvsenikaȌǤǡ æ ǦǤ
THE MILESTONES OF THE AVSENIKS ROAD TO SUCCESS
ͳͻͷ͵Trio Slavka Avsenika ȋȌ Gorenjski Kvartet ȋȌǡ Gorenjski Kvintet ȋ Ȍ ͳͻͷͷǤ ͳͻͷ Kvintet bratov AvsenikȋȌϐͳͻͺ Ansambel bratov AvsenikȋȌǤ
ͳǤǯ Ǥ ǣ æ
ǯ Ǧ ϐ Ǧ Ǥ ǡ ǡ ǡ ǡǡ
ͺ ϐæǡæǤ ǡ Ǥ
41 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǡ Ǥ ȋOber- krainer QuartettȌǡ ͳͻͷͷ ǡ ʹͲǯȋ ʹͲͲͺǣʹǢ ȌǤ ͳͻͻͷǡ ͳͶ ǡ ǯ ȋLinhartova plaketaȌ ǯ Ǥ ͳͻͺʹ ȋRed zaslug za narod s srebrno zvezdoȌ ȋ ʹͲͳͲǣ ͳͺȂͳͻȌǤ ϐ Ǥ ǡ ǡ ǡ ǤȂ Ǧ Ȃǡ Ǥǡ Ǥ Ǥ ǯǡ ϐ Ǥ ǣ Ȃ Ǣ Ȃ ǡ ǡ ǣ Ȍ Ǣ Ȍ Dz dzǢ Ȍ Ǧ ȋ ȌǢ Ȍ Ǣ Ȍ Ǧ Ǣ Ȃ ϐȋǤǤǦ ȌǢ Ȃ ǡ ǡ ȋ ʹͲͳͲǢʹͲͲǢæʹͲͳͲǢǦ ǤʹͲͳͳȌǤ
42 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
THE AVSENIKS BUSINESS MODEL
ǯǡ Ǥϐǡ ǦȂǦ ǡ Ǥ ǡ ϐ Ǥ ȋljudski godciȌǡ ǡ Ǥ Ǥ ϐȂ ǡȋʹͲͲǣʹͲȌǤ ǡ ǡ ǡ Ǥ ǡǦ Ǥ Ǥͻ Ǣ ǤǦ ǡͳͻͲ Ǥ Ǥ Ǧ ǡ Ǧ Dz dz ȋ ʹͲͲǣ ͵ͺǡ ͷʹȌǤ ͳͷ Ǥ Ǧ ǡ Ǥ ϐ «ǡ ǣ
Ǥ ǡǦǤ Ǥ Ǧ ǤȋGolicaʹͲͳ͵Ȍ
ͻ Ǧ ȋǤǤ ǡ ǡ Ȍ ȋ ǡ ȌǤǯ ȋͳͻͺǣ͵ͷǡ͵Ȃ͵ͺȌǤ
43 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ϐǤ Ǧ Ǥ ǡ ǡ ǡ Ǥ ǡ Ǥ ǡ Ǥȋ«ͳͻͻǣͳͷȌ
ǡ Ǧ ǡ Ǧ Ǥ Ǧ Ǥ ǡ ǡ Ǧǡ Ǥ ǡǦ Ǥ Ǥ ǡǦ Ǥ Ǧ Ǧ Ǥ ǡǡǡ ǡǤ ǡ Ǧ Ǥ ǡ ͳͲ ǡ ǤǦ ǡ ǡϐ ǡ ǡ Ǥ Ǧ ͳͻͺͶǡǡ ǡ ǤǦ ǡ ȋ ʹͲͳͲǢæʹͲͳͲȌǤ
ͳͲ æǡ e e ǡ Ȃǡǡ Ǥȋ ʹͲͳͲȌǤ
44 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
THE AVSENIKS LACK OF ATTENTION TO THE BUSINESS ASPECT OF THEIR ENTERPRISE
Ǥ ǡ Ǥ ǡ Tam, kjer murke cvetoȋ ϐȌͳͳRezkaȋȌǡͳͻͷǤ Dzdz ǡDzdz ǡ ǡ Lullaby Ȃ Ǥ ͳͻͲ Ǥ ϐǡϐ ǢLullaby Ǥ Ǥ ǡRezka ǡǡ æ ǡ ϐ ȋ ʹͲͲͺǣ ͵ͶȂ͵ͷȌǤ Ȃ ϐǡ͵͵ͲȂ ϐ ǦǦ Ǥ ͳͻͷͷǡϐ ǡ ǯϐ ǦǤ ȋGorenjski kvartetȌ Ǧ ǡ Ǥ ǡ ʹͲͲ Oberkrainer Quartettȋ ȌǤ ǡǡϐ ǡ ǡ Ǥ Ǧ Ǥ ǡǦ ǡǯ ͲͲ Ǥͳʹǡ ǯǡDzNa Golicidzȋ ʹͲͲͺǣ ʹȂʹǢGolicaʹͲͳ͵ȌǤ
ͳͳ Murke ȋǤ Ȍǡ ϐ ǡ Ǥ ͳʹǤ
45 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǯ ǡ ǦǦ ǡ ǣ
ǡ Ǥ Ǥ Ǧ Ǥ ǡ Ǥ ǡ ǡ ǡ ǤȋPrava idejaʹͲͳ͵Ȍ
ͳͻͷͺ Ǥ ǡ ͳͻͻͲǤͳ͵ Ǥ Ǥ ǡǡǣ
ͳͻͷͺ ϐ ǯǦ Ǥ ǤͳͻͷͶ ǡǤ Ǥ ǡ Ǥǡ Ǧ ǡDz dzǡǯǤȋGolicaʹͲͳ͵Ȍ
THE NA GOLICI HIT: THE AVSENIKS RISING STAR
ǯ ϐǡ ǡDzNa Golicidzȋ ȌǤͳͻͷͶǡ ǯ Ǥ ȋ ͳͻͷʹͳͻͷȌǤ ǡ ǡǤ ǣDzǦǦǦǦǦǦǦǦǦǦǦǦǦdzǤ ǯDzǦǦǦ ǦdzǤ
ͳ͵ͳͻͻͳͳͻͻͶ Ǥ
46 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǤDzdzǡ ǡ ϐϐǡ ǤǤ ǯȂ Ȃ Ǥ Ǥ ǣ Dz Ǩ Ǥ Ǥdz ǣDz ǫdz ǣDz Ǥ ǥ dzǤ Ǥ ǡ ǡ Ǥ ǡDzNa Golicidz ͲͲ ȋ ʹͲͲͺǢ ʹͲͳ͵Ǣ ʹͲͳͲǣͶʹǡʹͷȌǤ ǡ æʹͲͳ͵ ǯ ǣ
²Ǥ ǡǡǦ Ǥ Ǥ ǤȋGolicaʹͲͳ͵Ȍ
ǡ Ǧ ǡ Ǥǡ Ǥ ǡ Ǧ Ǥ ǯǡ ǤȋGolicaʹͲͳ͵Ȍ
ϐ Ǥ ǢǦ Ǥ ǤǤ ǡ ǡǦ ǤȋGolicaʹͲͳ͵Ȍ
DzNa Golicidz ǡͳͻͷͻǤ ͳͻͲ Ǥ
47 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǡǡǦ ²ǡ Ǥ Ǥ ǡǡǤ ȋʹͲͲͻȌ
ͺͲͲ ǡ͵ ͳͲǡͲͲͲǤ ǡ ǣ͵ͳ ǡͳ ǡʹ ǡ ǡ ǡ ǡ ǯ ǡ Ǥ Ǥ ͳͶ ȋ ʹͲͲͺǣͳͲͺȂͳͲͻȌǤ
ON THE STAGE AND BEHIND THE SCENES
ǦǦ ǣ ǡ ͳͻͷͻǡ ǡǡǯǡ Ǥ ǡ ǡ ǯ ǡ ǡ ǡ ǯǤ Ǧ ǡ Ǧ ǡ Ǥ
ͳͶ ǡǡ Ǥ ǯ ǡ ȋ Ǥ ȌǤ ǡ Ǥò ǡʹͲͲͻǤ ǡ ϐǤ ϐ ǡ ǡ ǯ Golicaǡȋ āʹͲͳͷȌǤ
48 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ ǡ ȋ ʹͲͲͺǣ͵ͳǢ ȌǤǡ ǡ ǯ Ǥ ǡ Ǥ ǯǡ Ǥ ǡ ǡ ϐ ȋ Ȍ ǡǡ Ǥ Ǥ ǡ ǢǦ ϐ Ǥǯ ǡ Ǧ ǦǤǡ ǡ ǡǤ ǡǯǡǯ Ǧ Ǥǡǡ ǡ Ǥ ǡ Ǥ Ǧ ǡ ȂǦǦ ȂǤͳͷ ǡǡ ǡǤǦ ͲǤǡ ǡǣ
Ǥ Ǥ Ǥ Ǧ Ǥ Ǥ ǡ Ǥ Ǥ ǤȋGolicaʹͲͳ͵Ȍ
ͳͷ͵ͷ Ǥ
49 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
æ ǣ
ǡǤ ǡ Ǥ ǡ ȋæ ǯǡǤǤȌ ϐ Ǥ Ǥ Ǧ ǤȋʹͲͳ͵Ȍ
Ensemble of brothers Avsenik Brigita Avsenik, Ȃ Ȁ the wife of Formal Slavko AvsenikȂ managerȂ Ǧ Radio ̵ǡ recording ǡ techniques Brothers Slavko ̵ Avsenik & Vilko OvsenikȂǡ ǡ ǡ
ʹǤǯϐ Ǥ ǣ æǤ
THE YOUNG AVSENIKS ȃ THE SAA AVSENIK ENSEMBLE
æǡǯǡ Ǧ Ǥ Ǧ Ǥ ʹͲͲͻ æǤ
ǡ Ǥϐ ǡǯǡ ϐ Ǥ ǤǦ
50 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǣǡǤ Ǧ ǤȋʹͲͳ͵Ȍ
ǯ ʹͲͲͻ Muzikantenstadl ȋ Ȍǡ ǡ Ǥ ǯȋNa son«ni strani AlpȂ ǡʹͲͲͻǢZavrtimo se ǯǡʹͲͳͳǢ Dolge so no«iȂǡʹͲͳͶȌǤ Ǧ Ǥ ʹͲ æ ǣ
ϐ Ǥ Ǥ ǡǦ ǡ Ǥ ǤǣDzǫdz ǡ ǡ Ǥ ϐǤȋʹͲͳ͵Ȍ
æ ͳͲ ǡͳͳͲ Ǥ ǡǡǡ ǡ ǡǦ ǡǡ Ǥ æǡæǯǡ Ǥ Ǥ ǡ ʹͲͳʹ Sao Avsenik und Seine OberkrainerȋæǦ Ȍ.ǡǦǦ Ǥ æ Ǥ ǡ Ǧ ϐ Ǥæ Ǧ Ǥ ǡ ǡǦ Ǥ ææǯǯ Ǥ ǡ Ǣ Ǧ ǡ ǡ Ǥæǣ
51 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
Ǥ Ǥǡ Ǥ ǡǡ Ǥ Ǥ Ǥ ȋGolicaʹͲͳ͵Ȍ
ǡ ǤȋPrava idejaʹͲͳ͵Ȍ
CONCLUSION
ǡ Ǥ ǯ Ǥ ǡ Ǧ ǯǤ ϐ Ǥ Ǧ Ǥǡ Ǧ ǡǦ ǡ Ǥǡ ǡ ǡ ϐ ǡ Ǥ Ǥǣ
ǯ ͲǤͲǦ ǤȋʹͲͳ͵Ȍ
ǡ ǡ ǡ ǡǡ Ǧ ϐǦ Ǥ ǡ Ǥ ǡ ϐ Ǥ ǯǡ ȂǦ Ȃ ǡ ǤǦ ǣ
52 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ͳǤ Missionȋ ǦǦ ǡ ȌǢ ʹǤ The long-term visionȋǡ ȌǢ ͵Ǥ Strategic management and leadershipǣ Ȃ ȋǡ ǡ ǡǡǡ ǡ Ȍ Ȃ ȋǡ Ǧ ǡ ǡǦ ϐ Ȍ Ȃ ȋ ȌǤ ǣ Ȃ ȋ ǡ ǡ ǡ ǡ ϐ ȌǢ Ȃ ȋ ǡ ǡ Ȃ Ǧ ǡǡ ǡǦ ȌǤ ǡ ǡ ǡ ǡ ǡ ǡ ǡ Ǥ Ǥ ǫ ǡǡϐ ǡ ǫ æǡ ǡ Ǧ ǡǤ Ǧ ǡ ǣ
ǯǦ Ǥ ǯǦ ǡ ȂȂ ǤǤ ǤȋȌǡ ȂǦ… ǤǦ Ǥ ǡϐ ǡ Ǧ
53 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
Ǥǡ ǡ ǥ Ǥ Ǥ ǡ Ǥǡ ǡ Ǣ Ǥǡ Ǥ ǡ ǡ Ǥ æǤ ǡ ǥ ǤȋʹͲͳ͵Ȍ
Ǧ ϐ Ǧ Ǥ ǣ Ǧ ǫǡ ǫǡ Ǥ Ǥ Ǥ Ǥ ǡǡ Ǥ ǯ Ǥ Ȃ ǡ Ǥ Ǥ Ȃǡ Ǥ ǡǡ Ǥ Ǥ
REFERENCES AND SOURCES
ǡǤʹͲͲǤPaul Robertson and the Medici String QuartetȋͻǦͲǦͲͺ͵ȌǤ ǡ ǣ ǡͳȂͳǤ Avsenik Slavko: ,e nas lahko kdo ujame, je to moj vnuk! Ob «astitljivem jubileju smo se pogo- varjali z glasbenikomǤʹͲͲͻǤǣǡʹǤͳͳǤǣǣȀȀǤ ǤȀȀǦȀǦǦ ǦǦǦǦǦǦǦǦ ȀʹͳͶȋ ͻʹͲͳͶȌǤ
54 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡ Ǥ ʹͲͲͶǤ Slovenian National Orchestra ȋ Ǧ ǦͲͺ͵ͺȌǤ ǡ ǣ ǡ ǡ ͳȂͳͲǤ ǡǡ Ǥ ǤʹͲͳʹǤ Blue Man Group. Creativity Life and Surviving an Economic MeltdownȋͻǦͺͳͲǦͳͲͺȌǤǡ ǣ ǡͳȂʹͷǤ ǡ ǤʹͲͲǤZvoki Slovenije: od ljudskih godcev do Avsenikov: razstava, Slovenski etno- grafski muzej, 22. november 2007 Ȃ september 2008 = Sounds of Slovenia: from folk musi- cians to the Avseniks: the exhibition by The Slovene Ethnographic Museum, 22 November 2007 Ȃ September 2008ǤǣǤ ©ǡǤʹͲͲͺǤDz ǤǡǦǡdzǤȑ Ǧ ǯȐǤǣǡ āǤ āǡ ǤͳͻͻͷǤDzͳͻͷ͵Ȃͳͻͺͷ« dzǤTraditionesʹͶǣ͵͵ͳȂ͵͵ͻǤ «ǡ āǤʹͲͳʹǤNarodnozabavna glasba je res goveja? ǡǦ ǡ ͻǤ ͵Ǥ ǣ ǣȀȀǤ ǤȀǦǦǦȀ Ǧȋ ͵ ʹͲͳ͵ȌǤ Golica, zgodba o skladbi.Zgodba o Ansamblu bratov Avsenik (dokumentarni ϔilm).ʹͲͳ͵Ǥ ͳǡ ʹ͵Ǥ ͳͲǤ ǣ ǣȀȀǤǤȀǦ ȀǦȀ Ǧ ȀǦǦǦǦϐǦǦǦ Ȁ͵ʹͲͺͲ ȋ ͳͲ Ǧ ʹͲͳ͵ȌǤ ǡǤʹͲͲͺǤS polko v svet. Glasbene poti bratov Avsenik.ǣǤ āǡǤʹͲͳͷǤDz«dzǤDeloǡͳǤʹǤǣǣȀȀǤǤ ȀȀȀ ǦǦǦǦ Ǥȋ ͳͺ ʹͲͳͷȌǤ ««ǡ Ǥ ʹͲͲͶǤ Dz ȋȌ« Ǥ « «dzǤ Glasnik Slovenskega etnolokega drutva ͶͶȀʹǣ ͳͶȂʹʹǤ ««ǡ Ǥ ʹͲͲͷǤ Dz Ǥ dzǤ Traditiones͵ͶȀͳǣʹͲͻȂʹͳͻǤ ȏǣȀȀǤǤȀͳͲǤ͵ͻͺȀʹͲͲͷ͵ͶͲͳͳȐ ϐ ǡǤʹͲͲͷǤDzǦdzǤTraditiones͵ͶȀʹǣͳͷͷȂ ͳǤȏǣȀȀǤǤȀͳͲǤ͵ͻͺȀʹͲͲͷ͵ͶͲʹͲͻȐ ϐ ǡǤʹͲͲͷǤDzǡǤǦǦ dzǤGlasnik Slovenskega etnolokega drutvaͶͷȀͳȂ ʹǣ͵ȂǤ ǡǤʹͲͳ͵ǤDzǣǡ «ǤǦdzǤǡ ǡ ͺǤ ͻǤ ǣ ǣȀȀǤǤȀȀǦȀǦǦ ǦǦǦǦǦǦǦǦǦǦǦ Ȁ͵ͳͳͷͳȋ ͻ ʹͲͳͶȌǤ ǡǤʹͲͳ͵Ǥ æǣæǨdzǡǦ ǡͳͲǤͷǤǣǣȀȀǤǤȀȀǦȀǦǦ ǦǦǦǦǦȀ͵Ͳͺ͵ͷͲȋ ͻʹͲͳͶȌǤ ««ǡ ǤʹͲͳͶǤDz ǫϐ ā «dzǤGlasnik Slovenskega etnolokega drutvaͷͶȀ͵ǣͳʹȂͳͻǤ ǡǤͳͻͺǤDz «dzǤ Po- gledi na etnologijo. ææǡǤǣǡ ǡ͵ͷȂ͵ͺǤ
55 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǡǤʹͲͳʹǤMusicians as EntrepreneursǤȑ ǯȐǤ Ǥ ¡¡ǡ ǣ Ǥ ǡ æǤ ʹͲͲǤ Dz Ǥ « ǫdz Traditiones ͵Ȁʹǣ ȂǤ ȏǣȀȀǤǤȀͳͲǤ͵ͻͺȀʹͲͲ͵ͲʹͲͶȐ æ«ǡǤʹͲͲͲǤTrate vae in nae mladosti. Zgodba o mladinskem rock klubu.æǣ Ǥ «ǡϐǤͳͻͻǤDz«æǤǡǡæȂ dzǤ7DǡʹǤͳͳǤǡͳͷȂͳǤ ǯǡǤʹͲͳͳǤ Dz Ǥ dzǤ ȋ ͵ȌǤ Journal of Business Anthropology. ͳȂʹͳǤ ǡæǤʹͲͳʹǤDzǤ āǯ dzǤSlovenske noviceǡʹͷǤ͵ǤǦ ǣ ǣȀȀǤ ǤȀ ȀȀǦǦǦ ȋ ͳ ʹͲͳ͵ȌǤ «ǡ Ǥ ʹͲͲͻǤ Osnovno glasbeno izobraevanje, modul Avsenikova glasba. ǣ æǤ Prava ideja, Blagovna znamka AvsenikǤ200. oddaja Slavko, Gregor in Sao Avsenik in voditelji- ca Edita Cetinski Malnar. ʹͲͳ͵Ǥͳǡ͵ǤͳͲǤǣǣȀȀǤǤȀǦ Ȁ Ȁ͵Ͳȋ ͳͲʹͲͳ͵ȌǤ æǡāǡæ ǤʹͲͳ͵Ǥ Odnos poslualcev do programskih vsebin: Poro«ilo.ǣ æ Ǧ ǡ Ǥ Ǥǡ ǤʹͲͳͳǤDz Ǧ dzǤ Journal of Management and Marketing ResearchǤǣǣȀȀ ǤǤ Ȁ ȀͳͲͲǤȋ ͳ͵ ʹͲͳ͵ȌǤ ǡǤʹͲͳ͵ǤDz ǤdzǤȋ ͳȌǤ ǡ ǡ ǤMusic Organisation Case Studies. For students studying music organisation in arts management or music business programsǤǡǣǤ ǡǤʹͲͳ͵ǤDz Ȃ Ǧ ǫdzȋȌǤ ǡ ǡ ǤMusic Organisation Case Studies. For students studying music organisation in arts management or music business programsǤǡǣǤ ǡǤʹͲͳ͵ ǤDz Ǥ ϐ dzǤȋͶȌǤ ǡ ǡ ǤMusic Organisation Case Studies. For students studying music organisation in arts management or music business programsǤ ǡǣǤ ǡǤʹͲͳ͵ǤDzǤ ǫdzȋʹȌǤ ǡ ǡ Ǧ ǤMusic Organisation Case Studies. For students studying music organ- isation in arts management or music business programsǤǡǣ Ǥ eǡæǤʹͲͲͷǤNazaj v planinski raj. Alpska kultura slovenstva in mitologija TriglavaǤ ǣ āǤ ǤͳͻͻͻǤFenomen Ansambla bratov Avsenik. ȑǯȐǤǣ ǡ Ǥ
56 æǡMusic Entrepreneurship and Family BusinessesǥͷʹȀͳǡʹͲͳͷǡ͵ͳȂͷ
ǤʹͲͳͲǤBrata Avsenik. Evropski glasbeni fenomen iz Begunj na GorenjskemǤǣ Ȃ Ǥ ǡ ǤǤʹͲͳͲǤDz Ǧ dzǤ ǡConference Proceedings. ǤǣǣȀȀǤǤ ȀʹͲͳͲ ȀͳͲͳʹͻǤȋ ͳ͵ ʹͲͳ͵ȌǤ æǡǤʹͲͳͲǤNastanek in razvoj narodno-zabavne glasbe v kulturnozgodovinskem kontekstu na SlovenskemǤȑȐǤǣǡ Ǧ ǡ Ǥ ǡǤʹͲͲͺǤ Reprezentacija narodno-zabavne glasbe v medijih v SlovenijiǤȑǦ ȐǤǣǡ āǤ
GLAZBENO PODUZETNITVO I OBITELJSKI POSAO: PRIMJER ANSAMBLA BRA*E AVSENIK
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