{"id":1220,"date":"2024-02-09T22:35:28","date_gmt":"2024-02-09T21:35:28","guid":{"rendered":"http:\/\/muzikologijaff.si\/gmgm\/?page_id=1220"},"modified":"2025-02-16T15:42:21","modified_gmt":"2025-02-16T14:42:21","slug":"simpozij","status":"publish","type":"page","link":"http:\/\/muzikologijaff.si\/gmgm\/simpozij\/","title":{"rendered":"Simpozij"},"content":{"rendered":"

Simpozij 2022<\/h3>

Bros\u030cura * Book of abstracts<\/a><\/span><\/p>\n

FOTO & VIDEO ARHIV<\/a><\/p>\n

Mednarodni muzikolo\u0161ki simpozij <\/span>Glasba mladih v slovenski preteklosti in sedanjosti I<\/span><\/em><\/h1>\n

International musicological symposium\u00a0<\/span><\/i>Youth Music in The Slovenian Past and Present I<\/span><\/em><\/h1>\n

26.\u201327. avgust 2022 * <\/span>26\u201327 August 2022<\/span><\/i><\/p>\n

Dvorana Zemljepisnega muzeja GIAM ZRC SAZU, <\/span>Gosposka ulica 16, Ljubljana, Slovenija<\/span><\/a><\/p>\n

Hall of the Geographical Museum GIAM ZRC SAZU, <\/span><\/i>Gosposka Street 16, Ljubljana, Slovenia<\/span><\/i><\/a><\/p>\n

Program * <\/span>Programme<\/span><\/i><\/h2>\n

\u00a0<\/strong>Petek \/ Friday<\/em>, 26. 8. 2022<\/strong><\/p>\n<\/div><\/div><\/div><\/div>

Simpozij 2024<\/h3>\n
\n\t

PROGRAM in POVZETKI * PROGRAMME and the ABSTRACTS<\/a><\/p>\n

\"\"<\/a><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>

\n\n\n\n\n\n\n\n\n\n\n\n\n\n
14:00\u201315:00<\/td>\nRegistracija \/ Registration<\/td>\n<\/tr>\n
15:00\u201315:15<\/td>\nUvodni nagovor doc. dr. Ale\u0161a Nagodeta, predstojnika Oddelka za muzikologijo Filozofske fakultete Univerze v Ljubljani \/ Welcome speech of dr. assoc. prof. Ale\u0161 Nagode, the head of the Department of Musicology, Faculty of Arts, University of Ljubljana<\/em><\/td>\n<\/tr>\n
15:15\u201315:45<\/td>\nIvana VESI\u0106 (on-line): Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dose\u017ekih Dru\u0161tva prijateljev glasbe Beograd in Glasbene mladine Jugoslavije \/ Cultural democratization and Yugoslav youth: <\/em>On the efforts and accomplishments of Society of Friends of Music in Belgrade and Musical Youth of Yugoslavia<\/em><\/td>\n<\/tr>\n
15:45\u201316:15<\/td>\nLada DURAKOVI\u0106: Glazba i priredbe u osnovnim \u0161kolama u ranome socijalizmu: simboli\u010dke prakse i rituali \/ Music and performance in elementary schools in early socialism: symbolic practices and rituals<\/em><\/td>\n<\/tr>\n
16:15\u201316:45<\/td>\nMatja\u017e BARBO: Prizadevanja za sodobno glasbo v treh desetletjih po ustanovitvi dru\u0161tva Muzina \/ Contemporary music efforts in the three decades since the founding of the Muzina Society<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
16:45\u201317:15<\/td>\nOdmor \/ Coffee break<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
17:15\u201317:45<\/td>\n\u00c1kos WINDHAGER (on-line): Mladinska, pop glasba in mad\u017earska sodobna klasi\u010dna glasba: Mladi in glasba \u2013 stoletje popularne glasbe \/ Youth, pop music and Hungarian contemporary classical music: Youth and music \u2013 a century of popular music<\/em><\/td>\n<\/tr>\n
17:45\u201318:15<\/td>\nRajko MUR\u0160I\u010c: Ali je jazz popularna glasba? O jazzu in popularni glasbi pri Glasbeni mladini Slovenije \/ Is jazz popular music? On jazz and popular music in the Musical Youth of Slovenia<\/em><\/td>\n<\/tr>\n
18:15\u201318:45<\/td>\nUr\u0161a \u0160IVIC: Razumevanje popularne in ljudske glasbe v prispevkih revije Glasbena mladina<\/em> \/ The understanding of popular and traditional music in the texts of the magazine <\/em>Glasbena mladina<\/td>\n<\/tr>\n
20:00<\/td>\nKoncerti \/ Concerts<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Sobota \/ Saturday<\/em>, 27. 8. 2022<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
9:00\u20139:30<\/td>\nDarja KOTER (on-line): Slovenska glasbena kultura in mladinsko zborovsko petje v prvi polovici 20. stoletja \/ Slovenian music culture and youth choral singing in the first half of the 20th<\/sup> century<\/em><\/td>\n<\/tr>\n
9:30\u201310:00<\/td>\nMojca KOVA\u010cI\u010c: Vklju\u010devanje kot orodje za premagovanje predsodkov mladih do glasbe: primer opere in Glasbene matice Ljubljana \/ Inclusion as a tool to overcome prejudice of young people towards music: the case of opera and Glasbena matica Ljubljana<\/em><\/td>\n<\/tr>\n
10:00\u201310:30<\/td>\nBranka ROTAR PANCE: Mladi in glasba skozi uredni\u0161ko delo dr. Primo\u017ea Kureta v reviji Glasbena mladina<\/em> \/ Youth and music through the editorial work of dr. Primo\u017e Kuret in the magazine <\/em>Glasbena mladina<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
10:30\u201311:00<\/td>\nOdmor \/ Coffee break<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
11:00\u201311:30<\/td>\nGregor POMPE: Analiza toposov instrumentalnih skladb, namenjenih mladini in izdanih pri Edicijah Dru\u0161tva Slovenskih skladateljev \/ Topos analysis of the instrumental music for youth published by Editions of the Society of Slovenian Composers<\/em><\/td>\n<\/tr>\n
11:30\u201312:00<\/td>\nTina BOHAK ADAM: Poletni glasbeni tabori Zveze Glasbene mladine Slovenije \/ Summer music camps of the Jeunesses Musicales Slovenia<\/em><\/td>\n<\/tr>\n
12:00\u201312:30<\/td>\nVesna Sara PENO: \u02baLetnja duhovna akademija muzi\u010dke omaldine\u02ee \u2013 svedo\u010danstvo o duhovnim i muzi\u010dkim prilikama u Srbiji u periodu tranzicije \/ \u02baSummer spiritual academy of musical youth\u02ee \u2013 testimony about spiritual and musical opportunities in Serbia during the period of transition<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
12:30\u201314:30<\/td>\nKosilo \/ Lunch<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
14:30\u201315:00<\/td>\nJelka VUKOBRATOVI\u0106: Zalo\u017eba Jugoton in mladinska kulturna politika poznih 40. in 50. let prej\u0161njega stoletja \/ Jugoton records and the youth cultural politics of the late 1940s and 1950s<\/em><\/td>\n<\/tr>\n
15:00\u201315:30<\/td>\nKatarina ZADNIK: Pevska vzgoja in izobra\u017eevanje v Glasbeni matici Ljubljana neko\u010d in danes \/ Singing education in Glasbena matica Ljubljana in the past and present<\/em><\/td>\n<\/tr>\n
15:30\u201316:00<\/td>\nLeon STEFANIJA: Za\u010detki Glasbene mladine Slovenije in njena dru\u017ebena vloga \/ Beginnings of the Jeunesses Musicales and its social role<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
16:00\u201316:30<\/td>\nOdmor \/ Coffee break<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
16:30\u201317:00<\/td>\nIvana PERKOVI\u0106 in \/ and<\/em> An\u0111elka ZE\u010cEVI\u0106 (on-line): Mladi i muzika: pogled iz perspektive digitalizovane periodike na srpskom jeziku (od 1850. do 1941. godine) \/ Youth and music: from the perspective of digitized historical newspapers in the Serbian language (between 1850 and 1941)<\/em><\/td>\n<\/tr>\n
17:00\u201317:30<\/td>\nMaja VASILJEVI\u0106 (on-line): Judovska mladina in glasba \/ Jewish youth and music<\/em><\/td>\n<\/tr>\n
20:00<\/td>\nKoncerti \/ Concerts<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Povzetki * Abstracts<\/h2>\n

Matja\u017e Barbo: Prizadevanja za sodobno glasbo v treh desetletjih po ustanovitvi dru\u0161tva Muzina<\/b><\/p>\n

Univerza v Ljubljani, Filozofska fakulteta, Oddelek za muzikologijo, Ljubljana, Slovenija<\/span><\/p>\n

Prispevek se bo osredoto\u010dil na delovanje slovenskega dru\u0161tva za novo glasbo\u00a0Muzina. Pri tem se bo ob obravnavi \u0161tevilnih projektov dru\u0161tva, rojenega iz mladostni\u0161kega zanesenja\u0161tva in navdu\u0161enja nad sodobno glasbo, razgrinjala podoba premi\u0161ljenega in na\u010drtnega, hkrati pa \u017eivahnega in raznolikega prizadevanja. Prispevek bo ponudil uvid v kriti\u0161ke in esejisti\u010dne zapise o dru\u0161tvu, prek so\u010dasnih komentarjev in napovedi pa bo zasledoval zgodovino njegovega delovanja in razgrinjal kronologijo pomembnej\u0161ih glasbenih dogodkov, koncertov, festivalov in izvedb skladb osrednjih \u010dlanov. Dru\u0161tvo je v treh desetletjih svojega delovanja do\u017eivljalo nekaj organizacijskih sprememb in se pozneje preimenovalo v\u00a0Sirius A B<\/span>\u00a0<\/span><\/i>ter\u00a0Sozven<\/span>.\u00a0<\/span><\/i>Pa vendar je tudi s pomo\u010djo osrednjih \u010dlanov ohranjalo osrednje estetske principe zavezanosti novemu, sodobnemu in izzivalnemu v glasbi. Prav s tem pa je klju\u010dno vplivalo na oblikovanje in razvoj zavesti o sodobni glasbi ter tako neposredno zaznamovalo slovensko glasbo zadnjih tridesetih let. Estetske koordinate, v katerih se je postavilo in delovalo dru\u0161tvo, bo prispevek postavil v mednarodni kontekst ter zlasti v okvir razvoja glasbe v tem obdobju na Slovenskem. Obravnava dru\u0161tva\u00a0Muzina\u00a0namre\u010d odpira prilo\u017enost za konceptualno \u0161iritev, s pomo\u010djo katere bo opazovanje posami\u010dnega fenomena odpiralo vpra\u0161anja splo\u0161nega dru\u0161tvenega in podobnega organiziranja v glasbi pri nas.<\/span><\/p>\n

Dr. Matja\u017e Barbo<\/b> (1965) je redni profesor za muzikologijo na Oddelku za muzikologijo Filozofske fakultete Univerze v Ljubljani. Bil je predsednik Slovenskega muzikolo\u0161kega dru\u0161tva in ve\u010d kot desetletje glavni urednik mednarodne znanstvene muzikolo\u0161ke revije <\/span>Muzikolo\u0161ki zbornik<\/span><\/i> \/ <\/span>Musicological Annual<\/span><\/i>. Poleg tega deluje v uredni\u0161tvu ve\u010d drugih znanstvenih in strokovnih periodi\u010dnih publikacij ter je vklju\u010den v razli\u010dne doma\u010de in mednarodne znanstvene projekte.\u00a0Raziskovalno se osredoto\u010da na vpra\u0161anja, povezana z glasbo od 18. stoletja do danes, posebej s tisto, ki se tako ali druga\u010de dotika slovenskega kulturnega prostora. Ve\u010dji del njegovih raziskav je posve\u010den glasbenoestetskim temam, zlasti v povezavi z definiranjem glasbenih referen\u010dnih sistemov, analizo njene interpretacijske in recepcijske zgodovine ter konceptom glasbenega dela in improvizacijskih principov. Objavil je ve\u010d knji\u017enih del, znanstvenih \u010dlankov, poljudnih tekstov in prevodov s podro\u010dja muzikologije, dve njegovi knjigi pa sta prevedeni v angle\u0161\u010dino in nem\u0161\u010dino.<\/span><\/p>\n

Matja\u017e Barbo: Contemporary music efforts in the three decades since the founding of the Muzina Society<\/b><\/p>\n

University of Ljubljana, Faculty of Arts, Department of Musicology, Ljubljana, Slovenia<\/span><\/p>\n

The article deals with the activities of the Slovenian association for new music Muzina. In this context, a similarly thoughtful and planned, but at the same time lively and diverse effort unfolds in view of the many projects of the society, born out of youthful enthusiasm and excitement for modern music. The paper provides a glimpse into the critical and essayistic writings about the society, while at the same time tracing the history of its activities in commentaries and prognosis, and deciphering the chronology of important musical events, concerts, festivals and performances of compositions by its members. During the three decades of its existence, the association has undergone several organisational changes and was later renamed Sirius A B and Sozven. However, even with the help of its core members, it maintained the aesthetic principles of commitment to the new, modern, and challenging in music. For this very reason, it had a decisive influence on the emergence and development of contemporary musical consciousness and directly shaped Slovenian music of the last thirty years. The article places the aesthetic coordinates in which the Society was founded and worked in an international context and, above all, in the framework of the development of music in Slovenia during this period. The treatment of the Muzina opens up the possibility of conceptual expansion, with the help of which the consideration of a single phenomenon opens up questions about the general social and similar organisation of music in Slovenia.<\/span><\/p>\n

Matja\u017e Barbo, PhD<\/b> (1965), is a full professor of musicology at the Department of Musicology, Faculty of Arts, University of Ljubljana. He was president of the Slovenian Musicological Society and for more than a decade an editor-in-chief of the international musicological journal <\/span>Muzikolo\u0161ki zbornik<\/span><\/i> \/ <\/span>Musicological Annual<\/span><\/i>. He is also a member of the editorial board of several other scientific and professional journals and participates in various national and international scientific projects. His research focuses on issues of music from the 18th century to the present, especially those that in one way or another concern the Slovenian cultural area. Most of his research is devoted to music-aesthetic issues, especially the definition of musical reference systems, the analysis of the history of interpretation and reception, and the concept of the musical work and improvisational principles. He has published several books, scholarly articles, popular texts and translations in the field of musicology. Two of his books have been translated into English and German.<\/span><\/p>\n

Tina Bohak Adam: Poletni glasbeni tabori Zveze Glasbene mladine Slovenije\u00a0<\/b><\/p>\n

Univerza v Ljubljani, Akademija za glasbo, Ljubljana, Slovenija<\/span><\/p>\n

Pomemben segment delovanja Zveze Glasbene mladine Slovenije predstavlja organizacija poletnih glasbenih taborov. Po vzoru glasbenih delavnic in poletnih te\u010dajev v Mednarodnem kulturnem centru Glasbene mladine Hrva\u0161ke v Gro\u017enjanu, ki so se jih vrsto let udele\u017eevali uspe\u0161ni slovenski mladi glasbeniki, je bil prvi poletni glasbeni tabor na slovenskih tleh organiziran avgusta 1976 na doma\u010diji slikarja Lojzeta Veberi\u010da v Seli\u0161\u010dih v Prlekiji, ki je tako postala gostiteljica tretje slikarske in prve glasbene kolonije. Strokovna mentorja prvega poletnega glasbenega tabora sta bila priznana glasbenika dirigent Uro\u0161 Lajovic ter violinist in pedagog Toma\u017e Lorenz. Med letoma 1976 in 2022 je bilo organiziranih 28 poletnih glasbenih taborov, ki so, poleg Seli\u0161\u010d, potekali \u0161e v Vidmu ob \u0160\u010davnici, Velenju, Kopru, Dolenjskih Toplicah, Gorenju nad Zre\u010dami in Izoli. Od leta 2013 ima tabor stalno mesto v Murski Soboti. Skozi leta se je ponudba te\u010dajev oz. izpopolnjevanj mo\u010dno raz\u0161irila in tako se lahko danes pod mentorstvom profesionalnih glasbenikov in muzikologov na taboru izpopolnjujejo mladi harmonikarji, skladatelji, violinisti, violisti, komorne skupine, pevci in mladi glasbeni publicisti (muzikologi). Te\u010daji so namenjeni vsem, ki si \u017eelijo izpopolniti svoje znanje in pridobiti nove izku\u0161nje, ne glede na stopnjo dose\u017eene formalne glasbene izobrazbe. Doslej se je poletnih glasbenih taborov Zveze Glasbene mladine Slovenije udele\u017eilo \u017ee ve\u010d kot tiso\u010d mladih glasbenikov, skladateljev, organizatorjev, animatorjev in glasbenih piscev iz Slovenije, Evrope, Azije, Afrike in Amerike.<\/span><\/p>\n

Poletni glasbeni tabori Zveze Glasbene mladine Slovenije predstavljajo ustaljeno obliko izpopolnjevanja glasbenikov, ki spodbujajo ustvarjalnost in poustvarjalnost mladih, prav tako jim pomenijo tudi prijetno obliko dru\u017eenja, tkanja prijateljskih vezi, izmenjave izku\u0161enj pa tudi prilo\u017enost koncertiranja, ki marsikateremu posamezniku predstavlja svojevrsten izziv.<\/span><\/p>\n

Dr. Tina Bohak Adam <\/b>je docentka na Oddelku za glasbeno pedagogiko Akademije za glasbo Univerze v Ljubljani. Raziskovalno se ukvarja z zgodovino operne in koncertne poustvarjalnosti in z uvajanjem tehnologije IKT v pedago\u0161ke \u0161tudijske programe. Od leta 2020 je nacionalna predstavnica Evropske zveze za glasbo v \u0161oli (European Association for Music in Schools, EAS).<\/span><\/p>\n

Tina Bohak Adam: Summer music mamps of the Jeunesses Musi\ufeff<\/span>cales Slovenia<\/b><\/p>\n

University of Ljubljana, Academy of Music, Ljubljana, Slovenia<\/span><\/p>\n

An important segment of the activities of Jeunesses Musicales Slovenia<\/span>[AT1] <\/span>\u00a0is the organization of summer music camps. The first summer music camp in Slovenia was organized in August 1976 on the homestead of the painter Lojze Veberi\u010d in Seli\u0161\u010di in Prlekija, which thus became the host of the third painting and the first music colony. It followed the example of the music workshops and summer courses at the International Cultural Centre of Jeunesses Musicales Croatia in Gro\u017enjan, in which successful young Slovenian musicians participated for many years. The professional mentors of the first summer music camp were renowned musicians, conductor Uro\u0161 Lajovic and violinist and pedagogue Toma\u017e Lorenz. In the period 1976\u20132022, 28 summer music camps were organized,\u00a0 held not only in Seli\u0161\u010di, but also in Videm ob \u0160\u010davnici, Velenje, Koper, Dolenjske Toplice, Gorenje pri Zre\u010dah, and Izola. Since 2013 the camp has been held in Murska Sobota. The range of courses has expanded considerably over the years. Today young accordionists, composers, violinists, violists, chamber music groups, singers, and young music publicists (musicologists) can attend the camp under the guidance of professional musicians and musicologists. The courses are designed for anyone who wants to improve their skills and gain new experience, regardless of their formal level of musical training. So far, more than a thousand young musicians, composers, organizers, animators, and music writers from Slovenia, Europe, Asia, Africa, and the Americas have participated in the Jeunesses Musicales Slovenia\u2019s summer music camps.<\/span><\/p>\n

Jeunesses Musicales Slovenia summer music camps are an established form of advanced training for musicians that stimulates the creativity of young people. In addition, they offer them a pleasant form of socializing, making friends, sharing experiences and also an opportunity to give concerts, which for many is a unique challenge.<\/span><\/p>\n

Tina Bohak Adam<\/b>, <\/span>PhD<\/b>, is an assistant professor at the Department of Music Education, Academy of Music, University of Ljubljana. Her research interests include the history of opera and concert performance and the introduction of ICT technology in teacher education programmes. Since 2020, she has been the national representative of the European Association for Music in Schools (EAS).<\/span><\/p>\n

Lada Durakovi\u0107: Glazba i priredbe u osnovnim \u0161kolama u ranome socijalizmu: Simboli\u010dke prakse i rituali\u00a0<\/b><\/p>\n

Sveu\u010dili\u0161te Jurja Dobrile u Puli, Centar za kulturolo\u0161ka i povijesna istra\u017eivanja socializma; Muzi\u010dka akademija, Pula, Hrvatska<\/span><\/p>\n

Poratno je dru\u0161tvo legitimitet i prepoznatljivost gradilo razli\u010ditim politi\u010dkim ritualima koji su u \u0161kolskoj praksi bili najevidentniji u \u0161kolskim priredbama. Proslave dr\u017eavnih praznika i obljetnica zna\u010dajnih doga\u0111aja predstavljale su va\u017ene \u010dimbenike u uspostavi kontinuiteta s pro\u0161lo\u0161\u0107u radi potvr\u0111ivanja identiteta zajednice. Takvi ritualni, ponavljaju\u0107i \u010dinovi, slu\u017eili su dokidanju, odnosno transformaciji prethodnih tradicija i njihovom nadomje\u0161tanju novim obi\u010dajima i ceremonijama. Komemorativne manifestacije bile su katkad zna\u010dajnije od same u\u010dioni\u010dke nastave. Njihova simboli\u010dka dimenzija bila je jedan od va\u017enih elemenata uspostavljanja pozitivnog odnosa prema pojedinim doga\u0111anjima i li\u010dnostima. Insceniranjem, selektiranjem i oblikovanjem doga\u0111aja iz pro\u0161losti dokidale su se barijere izme\u0111u pro\u0161log doga\u0111aja i sada\u0161njosti sa svrhom da pro\u0161lost postane ne\u0161to \u0161to se mo\u017ee osobno pro\u017eivjeti i iskusiti. Sudjelovati u izvo\u0111enju rituala zna\u010dilo je i prihvatiti njihov smisao i vrijednosti. Stoga se od u\u010ditelja\/nastavnika glazbenog odgoja i u\u010denika o\u010dekivalo neizostavno prisustvovanje \u0161kolskim priredbama te anga\u017eman u njihovoj realizaciji. Glazbeni sadr\u017eaji priredbi imali su izra\u017eenu povijesnu simboliku, evocirali su va\u017ene doga\u0111aje NOB-a, a obzirom da se \u010dlanove pionirske organizacije pripremalo da sutra budu \u010dlanovi partije, posebno su se obilje\u017eavali strana\u010dki jubileji. Sadr\u017eaji su bili vezani i uz institucije nove dr\u017eave, radni\u010dki pokret i pojedine istaknute osobe, poratnu izgradnju.\u00a0<\/span><\/p>\n

Izlaganje, na temelju analize arhivske gra\u0111e, \u010dlanaka iz \u010dasopisa i revija te svjedo\u010denja kaziva\u010da, nudi uvid u implementaciju simboli\u010dkih praksi i rituala nove obrazovne politike u glazbenu nastavu ranog pora\u0107a.<\/span><\/p>\n

Dr. Lada Durakovi\u0107 <\/b>je izredna profesorica na Akademiji za glasbo in raziskovalka pri Centru za kulturna in zgodovinska raziskovanja socializma na Univerzi Juraj Dobrila v Pulju. Znanstveno se posve\u010da odnosom med ideologijo in glasbo v 20. stoletju. Sodelovala je na konferencah na Hrva\u0161kem in v tujini ter objavila ve\u010d znanstvenih in leksikografskih \u010dlankov za <\/span>Hrva\u0161ki biografski leksikon<\/span><\/i> (<\/span>Hrvatski biografski leksikon<\/span><\/i>), <\/span>Grove Music Online<\/span><\/i> in <\/span>Istrsko enciklopedijo<\/span><\/i> (<\/span>Istarska enciklopedija<\/span><\/i>). Durakovi\u0107eva je avtorica \u0161tevilnih znanstvenih \u010dlankov in knjig: <\/span>Glasbeno \u017eivljenje v Pulju pod fa\u0161isti\u010dnim re\u017eimom, 1926\u20131943<\/span><\/i> (<\/span>Pulski glazbeni \u017eivot u razdoblju fa\u0161isti\u010dke diktature, 1926.-1943.<\/span><\/i>); <\/span>Ideologija in glasbeno \u017eivljenje \u2013 primer Pulja med letoma 1945 in 1966<\/span><\/i> (<\/span>Ideologija i glazbeni \u017eivot: Pula 1945. - 1966.<\/span><\/i>); <\/span>Glasba kot izobra\u017eevalno sredstvo pri oblikovanju socialisti\u010dnega \u010dloveka: glasbena izobrazba v osnovnih \u0161olah na Hrva\u0161kem (1945\u20131966)<\/span><\/i> (<\/span>Glazba kao odgojno sredstvo u formiranju \u201cSocijalisti\u010dkog \u010dovjeka\u201d: Nastava glazbe u osnovnim \u0161kolama u Hrvatskoj (1945-1965)<\/span><\/i>). Je soavtorica knjige <\/span>Franz Leh\u00e1r \u2013 dirigent godbe cesarske in kraljeve vojne mornarice v Pulju (1894\u20131896)<\/span><\/i> (<\/span>Franz Lehar, kapelnik carske i kraljevske mornarice u Puli 1894. - 1896.)<\/span><\/i>) in soavtorica knjige <\/span>Metodolo\u0161ki aspekti muzikolo\u0161kih vsebin: mediji in pou\u010devanje glasbe<\/span><\/i> (<\/span>Metodi\u010dki aspekti obrade muzikolo\u0161kih sadr\u017eaja: Mediji u nastavi glazbe<\/span><\/i>).\u00a0<\/span><\/p>\n

Lada Durakovi\u0107: Music and performance in elementary schools in early socialism: Symbolic practices and rituals<\/b><\/p>\n

Juraj Dobrila University of Pula, Centre for Cultural and Historical Research of Socialism; Academy of Music, Pula, Croatia<\/span><\/p>\n

Post-war society built its legitimacy and recognition with the help of various political rituals, which were most evident in school practices.<\/span><\/p>\n

Celebrating national holidays and anniversaries of significant events was an important factor in establishing continuity with the past in order to confirm the community\u2019s identity. Such ritual, repetitive acts served to end earlier traditions, that is, to transform them and replace them with new customs and ceremonies. The commemorative ceremonies were sometimes more significant than the lessons themselves. Their symbolic dimension was one of the important elements in establishing a positive relationship with certain events and personalities. By staging, selecting, and shaping events from the past, the barriers between the past and the present were broken down with the goal of making the past something that could be personally lived and experienced. Participating in the performance of rituals also meant accepting their meaning and values. Therefore, music teachers and students were expected to attend and participate in the school performances. The musical content of the performances had a distinct historical symbolism, they commemorated important and essential events of the People\u2019s Liberation War. Since the members of the pioneer\u2019s organization were being prepared to be members of the party tomorrow, party jubilees were especially celebrated. The contents were also related to the institutions of the new state, the labor movement, certain prominent persons and post-war construction.<\/span><\/p>\n

The presentation, based on the analysis of archival material,magazine and newspaper articles and reviews, and the testimonies of narrators, offers an insight into the implementation of symbolic practices and rituals of the new educational policy in music education in the early postwar period.<\/span><\/p>\n

Lada Durakovi\u0107, PhD<\/b>,<\/span> is an Associate Professor at the Academy of Music and a researcher at the Centre for Cultural and Historical Research of Socialism, Juraj Dobrila University of Pula. Her scientific interest has been oriented towards the correlation of ideology and music in the 20<\/span>th<\/span> century. She has taken part in conferences in the country and abroad, and has published many papers as well as lexicography articles for <\/span>The Croatian Biographical Lexicon<\/span><\/i> (<\/span>Hrvatski biografski leksikon<\/span><\/i>), <\/span>Grove Music Online<\/span><\/i> and <\/span>Istrian Encyclopaedia<\/span><\/i> (<\/span>Istarska enciklopedija<\/span><\/i>). Durakovi\u0107 is the author of numerous scientific articles and books: <\/span>The Musical Life in Pula under the Fascist Regime, 1926\u20131943<\/span><\/i> (<\/span>Pulski glazbeni \u017eivot u razdoblju fa\u0161isti\u010dke diktature, 1926.-1943.<\/span><\/i>); <\/span>Ideology and musical life: Pula\u2019s example in years 1945\u20131966<\/span><\/i> (<\/span>Ideologija i glazbeni \u017eivot: Pula 1945. - 1966.<\/span><\/i>); <\/span>Music as the Educational Mean in the Forming of the \u201cSocialist Man\u201d: Music Education in Primary Schools in Croatia (1945\u20131965<\/span><\/i> (<\/span>Glazba kao odgojno sredstvo u formiranju \u201cSocijalisti\u010dkog \u010dovjeka\u201d: Nastava glazbe u osnovnim \u0161kolama u Hrvatskoj (1945-1965)<\/span><\/i>). She is a co-author of the book <\/span>Franz Leh\u00e1r \u2013 Bandmaster of the Imperial and Royal Navy in Pula (1894 \u2013 1896)<\/span><\/i> (<\/span>Franz Lehar, kapelnik carske i kraljevske mornarice u Puli 1894. - 1896.<\/span><\/i>), and co-author of the book <\/span>Methodical aspects of processing musicological content: Media in music teaching<\/span><\/i> (<\/span>Metodi\u010dki aspekti obrade muzikolo\u0161kih sadr\u017eaja: Mediji u nastavi glazbe<\/span><\/i>).\u00a0<\/span><\/p>\n

Katarina Habe: Funkcije glasbe v kontekstu poslu\u0161anja in psiholo\u0161ke dobrobiti v pozni adolescenci glede na razlike med spoloma<\/b><\/p>\n

Univerza v Ljubljani, Akademija za glasbo, Ljubljana, Slovenija<\/span><\/p>\n

Glede na pomen glasbe v adolescenci je bila pri\u010dujo\u010da \u0161tudija namenjena raziskovanju razmerja med funkcijami glasbe, osredoto\u010denimi na kontekst poslu\u0161anja glasbe (socialni, intrapersonalni in sociokulturni), in psiholo\u0161ko dobrobitjo med \u0161tudenti (N = 603; N<\/span>\u017eenskih<\/span> = 454, N<\/span>mo\u0161kih<\/span> = 286). Glasbene lestvice RESPECT, SPWB in PANAS so bile uporabljene za oceno u\u010dinkovanja glasbe, psihi\u010dne dobrobiti in pozitivnega\/negativnega vpliva. Rezultati so pokazali, da \u017eenske pogosteje poslu\u0161ajo glasbo v medosebnem in dru\u017ebenem kontekstu kot mo\u0161ki. \u017denske so svoje psihi\u010dno po\u010dutje ocenile vi\u0161je kot mo\u0161ki pri osebni rasti in pozitivnih odnosih z drugimi. Poro\u010dale so tudi, da pogosteje kot mo\u0161ki do\u017eivljajo pozitivna in negativna \u010dustva. Regresijske analize so pokazale, da funkcije glasbe pojasnjujejo le majhen del variance psihi\u010dnega blagostanja. Konkretno, poslu\u0161anje glasbe je v dru\u017ebenem in sociokulturnem kontekstu pomembno pojasnilo le osebno rast in pozitivne odnose do drugih. Medosebne funkcije glasbe so napovedovale pozitiven u\u010dinek, medtem ko je socialna funkcija napovedovala negativen u\u010dinek.<\/span><\/p>\n

Dr. Katarina Habe<\/b> je docentka za podro\u010dje ob\u010de psihologije na Akademiji za glasbo Univerze v Ljubljani. Njeno znanstvenoraziskovalno in strokovno delo se usmerja na interdisciplinarno podro\u010dje psihologije glasbe. Pri izvedbi glasbenopsiholo\u0161kih predmetov redno sodeluje z In\u0161titutom Knoll za glasbeno terapijo in supervizijo ter s Pedago\u0161ko in Filozofsko fakulteto Univerze v Mariboru. Pri svojem delu zdru\u017euje analiti\u010dni um psihologinje in intuitivni um glasbenice, saj \u017ee vrsto let uspe\u0161no deluje na obeh podro\u010djih. Svoje strokovno delo predstavlja na \u0161tevilnih psiholo\u0161kih in glasbenih kongresih ter v znanstvenih in strokovnih revijah, kot npr. <\/span>Frontiers in Psychology<\/span><\/i>, <\/span>Brain Topography<\/span><\/i>, <\/span>International Journal of Psychophysiology<\/span><\/i>. Raziskovalno se ukvarja s preu\u010devanjem glasbe kot sredstvom za doseganje celostnega blagostanja: na eni strani jo zanima, kako glasbenike optimalno psiholo\u0161ko pripraviti na glasbeni nastop, na drugi pa, kako lahko pri splo\u0161ni populaciji in pri posameznikih s posebnimi potrebami z glasbenimi dejavnostmi spodbujamo celostno blagostanje (telesno, \u010dustveno, miselno, duhovno).<\/span>\u00a0<\/b><\/p>\n

Katarina Habe: Functions of music focused on the context of music listening, and psychological well-being in late adolescence regarding gender differences<\/b><\/p>\n

University of Ljubljana, Academy of Music, Slovenia<\/span><\/p>\n

Considering the importance of music in adolescence, the present study aimed to examine the relationship between the functions of music, focused on the context of music listening (social, intrapersonal and sociocultural), and the psychological well-being of university students (N = 603; N<\/span>female <\/span>= 454, N<\/span>male <\/span>= 286). The RESPECT music scale, the SPWB and the PANAS <\/span>[AT1] <\/span>were used to assess the functions of music, psychological well-being, and positive\/negative effects. Results showed that women were more likely to listen to music in an intrapersonal and social context than men. Women rated their psychological well-being higher than men in terms of personal growth and positive relationships with others. They also reported experiencing positive and negative emotions more often than men. Regression analyses revealed that the music functions explained only a small portion of the variance in psychological well-being. Specifically, music listening in a social and sociocultural context only significantly explained personal growth and positive relationships with others. The intrapersonal functions of music predicted positive affect, whereas the social function predicted negative affect.<\/span><\/p>\n

Katarina Habe, PhD<\/b>, is an assistant professor of psychology in the Department of Music Education at the Academy of Music, University of Ljubljana. Based on her professional background in music and psychology (she received her PhD in psychology and graduated from the Conservatory of Classical Music in Ljubljana), her research in the field of music psychology successfully combines the analytical approach of a psychologist with the intuitive, holistic thinking of a musician. She regularly collaborates with the Knoll Institute for Music Therapy and the Faculty of Arts, as well as the Faculty of Education and the Faculty of Arts at the University of Maribor. Recently, she has focused her research efforts on exploring the beneficial effects of music through music therapy, on the one hand, and through music education, on the other, for people with special needs. Her articles have appeared in a number of journals, including <\/span>Frontiers in psychology<\/span><\/i>, <\/span>Brain topography<\/span><\/i>, and <\/span>International journal of psychophysiology<\/span><\/i>.<\/span><\/p>\n

Darja Koter: Mladinsko zborovsko petje v prvi polovici 20. stoletja na Slovenskem<\/b><\/p>\n

Univerza v Ljubljani, Akademija za glasbo, Ljubljana, Slovenija<\/span><\/p>\n

Skladno s \u0161olsko zakonodajo je bilo v Avstro-Ogrski in nato v prvi Jugoslaviji prepevanje osnovno\u0161olskih otrok raz\u0161irjeno zgolj v obliki razrednega petja. U\u010ditelji so se temu posve\u010dali bolj ali manj zavzeto, odvisno od njihovih glasbenih sposobnosti in znanja, pevski repertoar pa je ve\u010dinoma obsegal skladbe z moralnimi sporo\u010dili, ki otrokom niso bila posebno blizu. Posamezni u\u010ditelji, ki so se zavedali, da razredno petje ne omogo\u010da dovolj poglobljenega pevskega razvoja otrok, so iz vrst najbolj\u0161ih pevcev ustanavljali samostojne pevske sestave ter razvijali repertoar, blizu otro\u0161ki du\u0161i. \u0160ir\u0161i razvoj mladinskega zborovskega petja povezujemo z obmo\u010djem Primorske, za katerega je bil najzaslu\u017enej\u0161i Sre\u010dko Kumar. V zgodnjih 20. letih je s tiski pesmaric in neformalnim izobra\u017eevanjem zborovodij pri tr\u017ea\u0161kem U\u010diteljskem pevskem zboru pripomogel k utrjevanju mladinskega petja med Slovenci. Svoj model izobra\u017eevanja zborovodij in pospe\u0161evanja nastajanja mladinskih zborovskih pesmi je zaradi fa\u0161isti\u010dnih pritiskov leta 1925 prenesel v Ljubljano. Prvak med zborovodji mladinskih sestavov na \u0160tajerskem je bil Franz Zacherl v Ljutomeru, ki je leta 1904 v okviru tamkaj\u0161njega Slovenskega pevskega dru\u0161tva ustanovil mladinski pevski zbor, s katerim je ob narodnostnih in vzgojno-izobra\u017eevalnih uresni\u010deval tudi umetni\u0161ke cilje. Od 30. let se je mladinsko zborovsko petje na Slovenskem precej raz\u0161irilo in utrjevalo zavedanje svojega pomena. Kot zborovodje mladinskih zborov so izstopali Jur\u010de Vre\u017ee, Makso Pirnik in Emil Ulaga, prvi vrhunec pa je bil dose\u017een z Avgustom \u0160uligojem in zborom Trboveljski slav\u010dek, ki je \u017ee sredi 30. let dosegel umetni\u0161ko raven, sistemati\u010dno spodbujal nova zborovska dela razli\u010dnih \u017eanrov in slogov ter dosegel mednarodno prepoznavnost. Pionirji mladinskega zborovstva so zaslu\u017eni za izjemen razvoj mladinskega petja in pevskega repertoarja po drugi svetovni vojni, ki je dosegel mednarodno prepoznavnost.\u00a0\u00a0<\/span><\/p>\n

Dr. Darja Koter<\/b> je leta 1983 diplomirala na Akademiji za glasbo Univerze v Ljubljani na Oddelku za glasbeno pedagogiko. Od leta 1990 do 2002 je bila kustodinja za zbirko glasbil v Pokrajinskem muzeju Ptuj. Pod njenim vodstvom je zbirka starih in\u0161trumentov leta 2000 dobila status nacionalnega pomena. Posve\u010da se zbiranju in\u0161trumentov, dokumentiranju in raziskovanju in\u0161trumentalne dedi\u0161\u010dine ter zgodovini izdelovanja glasbil na Slovenskem. Prou\u010duje arhivske vire in notno zapu\u0161\u010dino, biografije in opuse slovenskih skladateljev ter glasbeno ikonografijo slovenske likovne dedi\u0161\u010dine. Dosedanje raziskave je strnila v magistrski nalogi (1994) in doktorski disertaciji (1998), ki ju je ubranila na Akademiji za glasbo. Od leta 2002 je zaposlena na Akademiji za glasbo, kjer pou\u010duje zgodovino svetovne in slovenske glasbe. Izpopolnjevala se je v nekaterih pomembnih centrih za raziskovanje histori\u010dnih in\u0161trumentov (Dunaj, N\u00fcrnberg, Ju\u017ena Dakota in New York). Udele\u017euje se doma\u010dih in mednarodnih konferenc, je avtorica monografskih publikacij in \u010dlankov, objavljenih v pomembnih doma\u010dih in tujih publikacijah. Sodeluje v komisijah Zavoda za \u0161olstvo RS na podro\u010dju potrjevanja u\u010dbenikov in obnove u\u010dnih na\u010drtov.\u00a0<\/span><\/p>\n

Darja Koter: Youth choral singing in the first half of the 20<\/b>th<\/b> century in Slovenia<\/b><\/p>\n

University of Ljubljana, Academy of Music, Ljubljana, Slovenia<\/span><\/p>\n

According to the school legislation in the Austro-Hungarian Monarchy and later in the first Yugoslavia, singing by elementary school children was common only as a form of class singing. Teachers devoted themselves to these classes more or less enthusiastically, depending on their musical skills and knowledge. The singing repertoire consisted mainly of compositions with a moral message, which was not particularly close to the children. Individual teachers, knowing that classroom singing did not provide sufficiently in-depth singing development of children, formed independent singing groups from the ranks of the best singers and developed a repertoire closer to the children's souls. The broader development of youth choral singing was associated with the Primorska region, for which Sre\u010dko Kumar deserves great credit. In the early 1920s, he helped to strengthen youth choral singing among Slovenians by printing songbooks and informally training choral conductors at the Trieste region teachers' choir. In 1925, under pressure from fascists, he transferred his model of training choir leaders and promoting the creation of youth choral songs to Ljubljana. A pioneer among youth choir directors in Styria was Franz Zacherl in Ljutomer. He founded a youth choir in 1904 as part of the local Slovene Singing Society framework. With this choir, he realised artistic goals in addition to ethnic and educational goals. Since the 1930s, youth choral singing in Slovenia has expanded considerably and strengthened the awareness of its importance. Jur\u010de Vre\u017ee, Makso Pirnik, and Emil Ulaga distinguished themselves as choirmasters of youth choirs, and the first peak was reached with Avgust \u0160uligoj and the Trboveljski slav\u010dek choir, which reached an artistic level as early as the mid-1930s, , systematically promoted new choral works of various genres and styles, and achieved international recognition. The pioneers of the youth choir are responsible for the extraordinary development of youth singing and the singing repertoire after the Second World War, which gained an international reputation.<\/span><\/p>\n

Darja Koter, PhD<\/b>,<\/span> graduated at the Music Academy in Ljubljana, at the Department of Music Education, in 1983. From 1990 to 2002 she was the curator of the collection of musical instruments in the Ptuj Regional Museum. Under her leadership, the collection of old instruments received the status of national importance in 2000. She is dedicated to collecting instruments and to documenting and researching instrumental heritage and the history of musical instrument making in Slovenia. She studies archival sources and musical heritage, biographies and works of Slovenian composers, as well as the musical iconography of Slovenian art heritage. She summarized her previous research in a master\u2019s (1994) and a doctoral thesis (1998), which she defended at the Academy of Music. Since 2002 she has been employed at the Academy of Music, where she teaches the history of world and Slovenian music. She trained in some important centers for the research of historical instruments (Vienna, N\u00fcrnberg, South Dakota and New York). She participates in domestic and foreign conferences, is the author of monographic publications and articles published in important domestic and foreign publications. Participates in the committees of the Institute of Education of the Republic of Slovenia in the field of textbook certification and curriculum renewal.<\/span><\/p>\n

Mojca Kova\u010di\u010d: Vklju\u010devanje kot orodje za premagovanje predsodkov mladih do glasbe: primer opere in Glasbene matice Ljubljana\u00a0<\/b><\/p>\n

ZRC SAZU, Glasbenonarodopisni in\u0161titut, Ljubljana, Slovenija<\/span><\/p>\n

Vklju\u010devanje je najbolj\u0161e orodje za premagovanje kakr\u0161nih koli negativnih predsodkov, saj predsodki navadno temeljijo na predpostavkah, nepreverjenih informacijah ali posplo\u0161enih mnenjih ter predvsem na nepoznavanju pojavov in procesov. Opera je glasbena zvrst, ki je zaradi dru\u017ebenih, zgodovinskih, ekonomskih in drugih razlogov mladim zelo oddaljena, do te glasbene zvrsti pa imajo tudi odklonilen odnos. V zadnjih desetletjih so se nekatere glasbene in\u0161titucije odlo\u010dile, da premostijo meje, ki vplivajo na (ne)razumevanje dru\u017ebe dolo\u010dnih glasbenih zvrsti, premaknejo vzpostavljena hierarhi\u010dna razmerja, ki so mo\u010dno zakoreninjena v razli\u010dne segmente zahodne umetnostne glasbe, ter se pribli\u017eujejo in vklju\u010dujejo v \u017eivljenja prebivalcev okolice, v kateri delujejo.<\/span><\/p>\n

Prispevek bo prikazal mo\u017enosti premagovanja ovir in vklju\u010devanja mladih v operni svet, tematiziral bo pomen vklju\u010denosti mladostnikov v zunaj\u0161olske glasbene procese, gradnjo mostu med formalnim in neformalnim izobra\u017eevanjem ter razvoj in vrednotenje razli\u010dnih kompetenc, ki jih mladi pridobijo pri procesih vklju\u010devanja v zunaj\u0161olske glasbene dejavnosti. Osredoto\u010dil se bo na primere dobrih praks tako v mednarodnem okolju kot tudi pri Glasbeni matici Ljubljana, ki \u017ee nekaj let uspe\u0161no vklju\u010duje mlade v procese nastajanja opernega dela.\u00a0<\/span><\/p>\n

Dr. Mojca Kova\u010di\u010d<\/b> je etnomuzikologinja, ki prek raziskav ljudskega petja, ljudske in\u0161trumentalne glasbe ter sodobnih glasbenih in zvo\u010dnih pojavov preu\u010duje osnovne\u00a0zakonitosti teh pojavov in\u00a0izpostavlja njihova dru\u017ebena in politi\u010dna razmerja, kot so: glasba in spol, nacionalizem in glasba, kulturna politika, procesi ponarodevanja in koncepti popularne glasbe, glasba in identiteta. V zadnjih letih se je najve\u010d posve\u010dala vpra\u0161anjem zvo\u010dnosti mest, uli\u010dni glasbi in religijskim zvokom v sodobnem urbanem prostoru, mestnim politikam in izkustvenim vidikom percepcije zvo\u010dnosti. Od leta 2014 predava tudi predmet\u00a0Uvod v glasbeno folkloristiko, v okviru modula Slovenska ljudska glasbena dedi\u0161\u010dina na Akademiji za glasbo Univerze v Ljubljani. Je nacionalna predstavnica etnomuzikologov v mednarodnem etnomuzikolo\u0161kem zdru\u017eenju ICTM.\u00a0<\/span><\/p>\n

Mojca Kova\u010di\u010d: Inclusion as a tool to overcome prejudices of young people towards music: the case of opera and Glasbena matica Ljubljana<\/b><\/p>\n

ZRC SAZU, Institute of Ethnomusicology, Ljubljana, Slovenia<\/span><\/p>\n


\n<\/span>IInclusion is the best tool to overcome negative prejudice, because prejudice is usually based on assumptions, unexamined information or generalised opinions, and above all, ignorance of phenomena and processes. Opera is a musical genre that is very distant from the youth, who also have a negative attitude towards it, due to social, historical, economic and other reasons. In recent decades, some musical institutions have decided to overcome some of the boundaries that influence the social (mis)understanding of certain musical genres, to shift the established hierarchical relationships that are strongly rooted in various segments of Western art music, and to get closer to the residents of the neighborhoods in which they operate, integrating music into their lives.<\/span><\/p>\n

The paper highlights the ways in which barriers can be overcome and young people can be brought into the world of opera. It addresses the importance of engaging young people in extracurricular music processes, bridging formal and non-formal education, and developing and assessing the various competencies young people acquire through their involvement in extracurricular music activities. The focus is on examples of good practice both in the international environment and in the Glasbena matica Ljubljana society, which has been successfully involving young people in the process of opera production in the past years.<\/span><\/p>\n

Mojca Kova\u010di\u010d, PhD<\/b>, is head of the Institute of Ethnomusicology and a lecturer of the module Slovenian Folk Musical Heritage at the Academy of Music, University of Ljubljana, as well as an occasional guest lecturer at other faculties and departments. She has a great deal of experience with research and applied projects, both in leading and coordinating projects in which ZRC is a partner institution, besides that she also regularly organizes international scientific symposia. In her career, she has been a guest editor of scientific journals and a member of the international editorial board and has presented her research results at numerous international conferences. She is also the national representative of ethnomusicologists in the international ethnomusicological society ICTM.<\/span><\/p>\n

Rajko Mur\u0161i\u010d: Ali je jazz popularna glasba? O jazzu in popularni glasbi pri Glasbeni mladini Slovenije<\/b><\/p>\n

Univerza v Ljubljani, Filozofska fakulteta, Oddelek za etnologijo in kulturno antropologijo, Ljubljana, Slovenija<\/span><\/p>\n

Ko je leta 1979 iz\u0161la posebna \u0161tevilka revije Glasbene mladine Slovenije o jazzu, ki jo je spremljal kviz za najzagretej\u0161e bralke in bralce te revije, je jazz do\u017eivel morda dokon\u010dno uveljavitev v slovenskem glasbeno-\u0161olskem prostoru. Ali je s tem postal del etablirane in ne ve\u010d popularne glasbe? Pred nekaj leti smo se z nekaj hudomu\u0161nosti na rednem dveletnem sre\u010devanju preu\u010devalcev popularne glasbe v okviru zdru\u017eenja IASPM v Kasslu zapletli v nekajminutno razpravo o tem, \u010de jazz sploh sodi v popularno glasbo.\u00a0<\/span><\/p>\n

\u010ceprav je revija <\/span>Glasbena mladina<\/span><\/i> od samega za\u010detka poro\u010dala tudi o jazzu, popularna glasba ob njenih za\u010detkih v 70. letih \u0161e zdale\u010d ni bila samoumeven del revije. V 60. letih je za\u010delo izhajati nekaj revij o takratni popularni glasbi in kulturi, predvsem glede njene prodaje in s predstavljanjem njene medijske prisotnosti, na primer <\/span>Antena<\/span><\/i> in <\/span>Stop<\/span><\/i>, a je bila ta publicistika povsem druga\u010dna od poznej\u0161ih analiti\u010dnih prispevkov o popularni glasbi, ki so zaznamovali mladinski tisk (<\/span>Mladino<\/span><\/i>, <\/span>Katedro<\/span><\/i> in <\/span>Tribuno<\/span><\/i>) od poznih 70. let, \u0161e posebej pa v 80. letih. Takrat je postala pomemben del poro\u010danja o popularnoglasbenih zvrsteh tudi <\/span>Glasbena mladina<\/span><\/i>, \u0161e posebej v obdobju, ko se je preimenovala v <\/span>Musko<\/span><\/i>.<\/span><\/p>\n

Avtor bo skozi branje prvih letnikov revije Glasbene mladine Slovenije predstavil pisanje o popularni glasbi, njeno dojemanje in po\u010dasno emancipacijo v celotnem glasbenem \u017eivljenju\u00a0<\/span><\/p>\n

Dr. Rajko Mur\u0161i\u010d<\/b>. Rojen leta 1963 v Mariboru, diplomiral iz etnologije in filozofije (1991), magistriral iz kulturne antropologije (1995) in doktoriral iz etnologije (1998). Leta 2009 je bil izvoljen v naziv rednega profesorja. Bil je glavni urednik Glasnika SED in njegove knji\u017ene zbirke (1994\u20131997) ter ustanovitelj ter urednik oddel\u010dne zbirke Zupani\u010deva knji\u017enica (1999\u20132002). Je \u010dlan dobrega ducata mednarodnih (osem let je bil \u010dlan IO\u00a0<\/span>IUAES<\/span><\/a>) in doma\u010dih strokovnih dru\u0161tev (od 2012 do 2018 predsednik zdru\u017eenja\u00a0<\/span>Kula<\/span><\/a>), teles in uredni\u0161tev ter redno sodeluje pri pripravi mednarodnih znanstvenih sre\u010danj in poletnih \u0161ol (Creole IP in poletne \u0161ole v gr\u0161ki Konitsi).\u00a0<\/span><\/p>\n

Rajko Mur\u0161i\u010d: Is jazz popular music? On jazz and popular music in the Musical Youth of Slovenia<\/b><\/p>\n

University of Ljubljana, Faculty of Arts, Department of Ethnology and Cultural Anthropology, Ljubljana, Slovenia<\/span><\/p>\n

In 1979, when a special issue of <\/span>Glasbena mladina<\/span><\/i> magazine about jazz was published, which was accompanied by a quiz for the most ardent readers of this magazine, jazz experienced perhaps its definitive establishment in the Slovenian music and school space. Has this made it part of established and no longer popular music? A few years ago, with some mischief, at the regular biennial meeting of popular music scholars within the IASPM association in Kassel, we got involved in a few-minute discussion about whether jazz belongs to popular music at all..<\/span><\/p>\n

Although the magazine <\/span>Glasbena mladina<\/span><\/i> also reported on jazz from the very beginning, popular music was far from being a self-evident part of the magazine at its beginnings in the 1970s. In the 1960s, a few magazines began to publish about popular music and culture of the time, mainly in terms of its sales and by presenting its media presence, for example <\/span>Antena<\/span><\/i> and <\/span>Stop<\/span><\/i>, but this journalism was completely different from the later analytical contributions about popular music, which characterized youth press (<\/span>Mladina<\/span><\/i>, <\/span>Katedra<\/span><\/i> and <\/span>Tribuna<\/span><\/i>) since the late 1970s, and especially in the 1980s. At that time, <\/span>Glasbena Mladina<\/span><\/i> also became an important part of reporting on popular music genres, especially in the period when it was renamed <\/span>Muska<\/span><\/i>.<\/span><\/p>\n

Through the reading of the first years of the magazine <\/span>Glasbena mladina<\/span><\/i>, the author will present writing about popular music, its perception and slow emancipation in the entire musical life of Slovenia at the time.<\/span><\/p>\n

Rajko Mur\u0161i\u010d, PhD<\/b>, born in Maribor, 1963; BA in ethnology and philosophy (1991), MA in cultural anthropology (1995), PhD in ethnology (1998). In 2009 he was elected full professor. He worked as a part-time journalist and editor (1986\u20131998), served as the chief editor of the journal Glasnik SED and its monographs collection (1994\u20131997). He was a founder and the first editor of the monograph series Zupani\u010deva knji\u017enica (1999\u20132002). He is a member of more than a dozen international and domestic professional associations (IUAES, EASA, IASPM; founding member of the Slovenian Ethnological and Anthropological Association Kula), bodies and editorial boards and is active in organisation of international conferences and summer schools (Mess; Easa; Konitsa Summer School in Anthropology, Ethnography and Comparative Folklore of the Balkans; Border Crossings Network).<\/span><\/p>\n

Sara Vesna Peno: \u201cLetnja duhovna akademija muzi\u010dke omladine\u201d \u2013 svedo\u010danstvo o duhovnim i muzi\u010dkim prilikama u Srbiji u periodu tranzicije<\/b><\/p>\n

Srpska akademija nauka i umetnosti, Institut za muzikologiju, Beograd, Srbija<\/span><\/p>\n

Godine 1992. u manastiru Studenici \u2013 zadu\u017ebini rodona\u010delnika srpske dinastije Nemanji\u0107 \u2013 odr\u017eana je prva po redu \u201cDuhovna akademija muzi\u010dke omladine\u201d u organizaciji Muzi\u010dke omladine Srbije, a pod pokroviteljstvom Ministarstva kulture i Ministarstva za omladinu i sport Srbije i s blagoslovom Srpske pravoslavne crkve. Koncepcija ove desetodnevne manifestacije bila je prakti\u010dno u celosti preuzeta iz \u201cJugoslovensko-nema\u010dke horske nedelje\u201d, koja je pred po\u010detak rata u Jugosloviji, nakon vi\u0161e od jedne decenije, bila iznenada prekinuta na inicijativu koordinatora iz Nema\u010dke. I jedna i druga manifestacija podrazumevale su negovanje horske duhovne muzike, zajedni\u010dki vi\u0161ednevni boravak i uklju\u010denost u pripremu odre\u0111enog muzi\u010dkog repertoara mladih polaznika, kao i zavr\u0161ni koncert na kome bi svi zajedno nastupali s programom na kojem se radilo. Studeni\u010dka akademija, budu\u0107i da se odvijala u manastiru sa aktivnim mona\u0161kim bratstvom, podrazumevala je i dobrovoljno u\u010de\u0161\u0107e mladih polaznika na redovnim bogoslu\u017eenjima, a pored svakodnevnih muzi\u010dkih proba, od\u017eavana su prigodna predavanja stru\u010dnjaka iz razli\u010ditih oblasti: od muzikologije i istorije umetnosti, preko teologije, pa \u010dak do klini\u010dke psihijatrije. Pored edukativne uloge, Studeni\u010dka akademija je bila prilika za odr\u017eavanje do tada neizvedenih dela duhovno-horske muzi\u010dke literature, kao i za javne nastupe manje ili vi\u0161e poznatih horova koji su primarno negovali \u017eanr duhovne muzike. U radu \u0107e biti predstavljen proces oblikovanja aktivnosti, programska okosnica, ciljevi i metodi sprovo\u0111enja unapred (ne)utvr\u0111enih planova u koncepciji \u201cDuhovne akademije muzi\u010dke omladine\u201d, ali \u0107e biti ukazano i na profil i zasluge predava\u010da, ujedno i organizatora manifestacije, kao i na prate\u0107e dru\u0161tvene i kulturne okolnosti onda\u0161njeg srpskog dru\u0161tva, s posebnim akcentom na prilike u samoj Srpskoj crkvi.\u00a0<\/span><\/p>\n

Dr. Vesna Sara Peno,<\/b> muzikologinja, znanstvena svetnica na Muzikolo\u0161kem in\u0161titutu Srbske akademije znanosti in umetnosti. Pou\u010devala je na Oddelku za liturgiko Teolo\u0161ke fakultete Univerze v Beogradu in na Oddelku za glasbo Akademije za likovno umetnost in multimedije v Beogradu. Bila je \u0161tipendistka Ministrstva za znanost in tehnologijo Republike Srbije, Dr\u017eavne \u0161tipendijske fundacije Republike Gr\u010dije, fundacije \u00bbAlexander Onassis\u00ab in danskega in\u0161tituta \u00bbElena Naku\u00ab, v Atenah, Solunu in Kopenhagnu je izpopolnjevala znanje s podro\u010dja teorije in prakse vzhodnega cerkvenega petja. Objavila je \u0161tiri knjige (eno v soavtorstvu) in okoli sto znanstvenih \u0161tudij in predstavitev. Raziskovalno zanimanje je usmerjeno v pravoslavno cerkveno glasbo, novej\u0161o pevsko tradicijo na Balkanu, glasbeno zgodovinopisje, povezave med glasbeno umetnostjo in literaturo ter mesto glasbene umetnosti v srbski dru\u017ebi in kulturi v 19. in 20. stoletju.<\/span><\/p>\n

Sara Vesna Peno: <\/b>\u201c<\/span>Summer spiritual academy of musical youth<\/b>\u201d<\/span> \u2013 testimony about spiritual and musical opportunities in Serbia during the period of transition<\/b><\/p>\n

Serbian Academy of Sciences and Arts, Institute of Musicology, Belgrade, Serbia<\/span><\/p>\n

In 1992, the first \u201cSpiritual Academy of Musical Youth\u201d was held at the Studenica monastery \u2013 the foundation of the progenitor of the Serbian Nemanji\u0107 dynasty. The organizer of the Academy was the Music Youth of Serbia. Financial support was provided by the Ministry of Culture and the Ministry of Youth and Sports of Serbia, while the Serbian Orthodox Church supported the event by providing hospitality for participants of the academy. The concept of this ten-day event was completely taken over from another event called The \u201cYugoslav-German Choir Week\u201d, which was suddenly interrupted before the beginning of the war in Yugoslavia after more than a decade,on the initiative of the coordinator from Germany. Both the one and the other manifestation included the nurturing of choral spiritual music, the involvement of the young participants in the elaboration of a specific musical repertoire to be presented at the final concert, as well as appropriate lectures on topics from various fields.\u00a0 Since the Academy in Studenica was held in a monastery with an active monastic brotherhood, it included the voluntary participation of the young people in the regular religious services. In addition to its pedagogical function, the Academy provided an opportunity for more or less well-known choirs of the time to present their interpretations of spiritual music works. Many compositions of the contemporary Serbian choral repertoire were performed for the first time in Studenica and thus made known to the public. The paper will present the process of designing the activities, the program framework, the goals and the methods of implementing the plans laid down in the concept of the \"Spiritual Academy of Musical Youth\". The profile and merits of the lecturer andas the organizer, as well as the accompanying social and cultural circumstances of the Serbian society at the time will be elaborated. Special emphasis is given to the presentation of the opportunities in the Serbian Orthodox Church, which was partly responsible for the revival of Serbian spiritual identity in the 1990s.<\/span><\/p>\n

Vesna Sara Peno, PhD<\/b>, musicologist, Principal Research Fellow at the Institute of Musicology of the Serbian Academy of Sciences and Arts. She was also an Associate Professor at the Department for Liturgy at the Faculty of Theology, University in Belgrade and at the Department for Music at the <\/span>Academy of Fine Arts and Multimedia.<\/span> She trained in the field of Eastern singing tradition and Neum paleography in Athens, Thessaloniki and Copenhagen. She was a scholarship recipient of prestigious foundations: The Ministry for Science and Technology of the Republic of Serbia, the Republic of Greece National Scholarship Foundation, as well as the \u201cAlexander Onassis\u201d foundation and the Danish Institute \u201cEleni Naku\u201d. She has published four books (one as a co-author) and over a hundred studies and essays. Her research interests include Orthodox church music, recent singing traditions in the Balkans, musical historiography, music and literature, music in Serbian society and culture in the 19th and 20th centuries.<\/span><\/p>\n

Ivana Perkovi\u0107: Mladi i muzika: pogled iz perspektive digitalizovane periodike na srpskom jeziku (od 1850. do 1941. godine)<\/b><\/p>\n

Univerzitet umetnosti u Beogradu, Fakultet muzi\u010dke umetnosti, Beograd, Srbija<\/span><\/p>\n

Dosada\u0161nja istra\u017eivanja muzi\u010dke periodike na srpskom jeziku nisu bila fokusirana na problematiku koja se odnosi na relacije izme\u0111u muzike i mladih u 19. veku i prvoj polovini 20. veka. Me\u0111utim, digitalizovani izvori dostupni putem web portala Univerzitetske biblioteke \u201cSvetozar Markovi\u0107\u201d nude mogu\u0107nost razmatranja mno\u0161tva provokativnih (a do sada zapostavljenih) pitanja relevantnih za navedenu temu. Imaju\u0107i to u vidu, cilj ovog rada jeste da se prikupljeni digitalizovani podaci o u\u010destvovanju mladih u muzi\u010dkom \u017eivotu istorijski i muzikolo\u0161ki problemski kontekstualizuju kao i da se sistematizuju u svetlu razli\u010ditih odnosa koji se uspostavljaju kroz svakodnevni \u017eivot, obrazovanje, izvo\u0111a\u010dku praksu i odnos sa publikom, socijalne relacije, humanitarnu delatnost i sli\u010dno. Neke od tema koje \u0107e biti razmotrene ti\u010du se: op\u0161teg, privatnog i javnog muzi\u010dkog obrazovanja dece i omladine; javnih nastupa mladih (u horovima ili individualno), prilika za nastupe i relacija sa publikom; raznovrsnih uloga mladih u muzi\u010dkom sloju religiozne prakse Srpske pravoslavne crkve (u\u010de\u0161\u0107e na bogoslu\u017eenjima, svetosavske proslave\/besede, slave i dr.); gostovanja muzi\u010dkih ansambala i dr. Istorijski posmatrano, polazi\u0161te \u0107e biti distinktivna svojstva napisa u periodici \u201cdugog 19. veka\u201d i me\u0111uratnog perioda; ove etape \u0107e se komparativno sagledavati, kako bi se ukazalo na kontinuitet i\/ili promene diskursa u napisima o mladima i muzici izme\u0111u 1850. i 1941. godine.\u00a0<\/span><\/p>\n

Dr. Ivana Perkovi\u0107<\/b> je muzikologinja, profesorica na Oddelku za muzikologijo Fakultete za glasbo v Beogradu. Je avtorica in soavtorica petih knjig (o srbski verski glasbi, zgodovini srbske glasbe, Fakulteti za glasbo, glasbi in interdisciplinarnosti), ve\u010d kot 70 \u010dlankov in poglavij v recenziranih revijah in monografijah. Je urednica recenzirane knjige <\/span>Musical Identities in European Perspective <\/span><\/i>(2017), ki jo je izdala zalo\u017eba Peter Lang Verlag in \u010dlanica IMS, SMS, ISOCM, uredni\u0161kega odbora revije <\/span>Journal of Stage Arts and Music<\/span><\/i>, sveta Evropskega zdru\u017eenja glasbenih konservatorijev (AEC), Komisije za pridobitev znanstvenih nazivov na Ministrstvu za izobra\u017eevanje, znanost in tehnolo\u0161ki razvoj Republike Srbije. Ima izku\u0161nje z ustvarjanjem in vodenjem \u0161tevilnih nacionalnih in mednarodnih akademskih in raziskovalnih projektov: Endangered Archives by British Library, TEMPUS, ERASMUS+.<\/span><\/p>\n

Ivana Perkovi\u0107: Youth and music: from the perspective of digitized historical newspapers in the Serbian language (between 1850 and 1941)<\/b><\/p>\n

University of Arts in Belgrade, Faculty of Music, Belgrade, Serbia<\/span><\/p>\n

The topics of music and youth, based on resources from newspapers in Serbian language published during the second half of 19<\/span>th<\/span> and first half of the 20<\/span>th<\/span> centuries, are insufficiently researched. However, the digitized sources available via the web portal of the \u201cSvetozar Markovi\u0107\u201d University Library in Belgrade, offer many provocative (and so far underresearched) issues relevant to the topic. Taking this into account, the goal of this presentation is to contextualize the collected digitized data on the participation of young people in musical life and culture \u2013 historically and musicological \u2013 as well as to systematize resources from the perspective of the various relationships established through the everyday life, education, performance practice and the relationship with the audience, social relations, humanitarian activities and similar. Some of the topics that will be discussed include: general, private and public musical education of children and youth; public performances of young people (choirs or individual performances) and relationship with the audience; various roles of young people in the musical layer of the religious practice of the Serbian Orthodox Church (participation in divine services, Saint Sava celebrations, <\/span>slavas \/patron day celebration\/<\/span><\/i>, etc.); guest appearances of youth musical ensembles, etc. From the historical point of view, the presentation will include distinctive features of the periodical writings in the (1) \u201clong 19<\/span>th<\/span> century\u201d and (2) the interwar period; these phases will be looked at comparatively, in order to point out the continuity and\/or changes of the discourse in writings about youth and music between 1850 and 1941.<\/span><\/p>\n

Dr. Ivana Perkovi\u0107, PhD<\/b>, musicologist, professor at the Department of Musicology, Faculty of Music, University of Arts in Belgrade. She is the author and co-author of five books (on Serbian religious music, history of Serbian music, the Faculty of Music, music and interdisciplinarity), over 70 articles and chapters in peer-reviewed journals and monographs. Editor of the peer-reviewed volume Musical Identities in European Perspective, published by Peter Lang Verlag (2017). Member of: IMS, SMS, ISOCM, member of editorial board of Matica Srpska Journal of Stage Arts and Music, Council of the European Association of Conservatories of Music (AEC), Commission for Acquiring Scientific Titles of the Ministry of Education, Science and Technological Development (MESTD) of the Republic of Serbia. She is experienced in creating and leading many national and international academic and research projects: Endangered Archives by British Library, TEMPUS, ERASMUS+ etc.\u00a0<\/span><\/p>\n

Gregor Pompe: Analiza toposov instrumentalnih skladb, namenjenih mladini in izdanih pri Edicijah Dru\u0161tva slovenskih skladateljev\u00a0<\/b><\/p>\n

Univerza v Ljubljani, Filozofska fakulteta, Oddelek za muzikologijo, Ljubljana, Slovenija<\/span><\/p>\n

Predmet preu\u010devanja bodo glasbena dela za mladino, ki so iz\u0161la pri Edicijah Dru\u0161tva slovenskih skladateljev. Seveda predstavlja tak izbor le izsek iz izredno razvejanega opusa mladinske glasbe, vendar se zdi tak delni izbor reprezentativen, saj je pri\u010dakovati, da so pri svoji mati\u010dni zalo\u017ebi skladatelji izdajali dela, v katerih estetski elementi mestoma prevladujejo nad zgolj funkcionalnimi, \u0161e posebej pedago\u0161kimi.\u00a0<\/span><\/p>\n

Med 73 izdajami, namenjenimi mladini (v smislu recepcije ali izvajanja), gre v 33 primerih za instrumentalna dela. Posebej zanimivo je, da je med temi kar 28 skladb (torej kar 85%), ki so domi\u0161ljene kot ciklusi miniatur, katerih posamezne enote nosijo povedne vsebinske ali celo programske naslove. Ob njihovi analizi se izka\u017ee, da se nekatere tak\u0161ne naslovno-programske etikete vztrajno ponavljajo, skupaj z njimi pa tudi tipi\u010dni glasbeni vzorci. Zato bi bilo mogo\u010de trditi, da imamo opravka s tipi\u010dnimi toposi otro\u0161ke\/mladinske glasbe, kar spro\u017ea vpra\u0161anje pomembnosti semanti\u010dno razberljivega naboja skladb, namenjenih mladini. Ob analizi toposov mladinske glasbe slovenskih skladateljev se bo mogo\u010de vpra\u0161ati, kje iskati njihov izvor in kak\u0161ni naj bi bili njihovi pedago\u0161ki u\u010dinki, tak\u0161na dileme pa posledi\u010dno spro\u017eajo splo\u0161na muzikolo\u0161ka vpra\u0161anja o razmerju med vsebinskim in abstraktnim oziroma sintakti\u010dnim in semanti\u010dnim.<\/span><\/p>\n

Dr. Gregor Pompe<\/b> je \u0161tudiral na Filozofski fakulteti v Ljubljani primerjalno knji\u017eevnost, nem\u0161ki jezik in muzikologijo. Zaposlen je na Oddelku za muzikologijo Filozofske fakultete v Ljubljani, kjer je obranil doktorsko nalogo in trenutno deluje kot redni profesor. Predaval je tudi na Pedago\u0161ki fakulteti Univerze v Mariboru in na Oddelku za muzikologijo Univerze Karla Franza v avstrijskem Gradcu. Njegovo zanimanje velja sodobni glasbi in glasbenemu gledali\u0161\u010du. Objavil je \u017ee ve\u010d \u010dlankov in samostojnih monografskih publikacij.<\/span><\/p>\n

Gregor Pompe: Topos analysis of the instrumental music for youth published by Editions of the Society of Slovenian Composers<\/b><\/p>\n

University of Ljubljana, Faculty of Arts, Department of Musicology, Ljubljana, Slovenia<\/span><\/p>\n

The subject of the study are musical works for youth published by the Editions of the Society of Slovenian Composers. Such a selection represents only an excerpt from an extremely diverse oeuvre of youth music. Anyway, such a partial selection also seems representative, as it is to be expected that the composers released works with their home label, in which in some places aesthetic elements dominate over purely functional ones, especially that of pedagogical nature.<\/span><\/p>\n

Among the 73 editions intended for young people (in the sense of reception or performance), 33 cases are instrumental works. It is particularly interesting that among these there are as many as 28 compositions (as much as 85%), which are conceived as cycles of miniatures, the individual units of which bear telling titles or represent programmatic ideas. When analyzing them, it turns out that some of such title\/program labels are persistently repeated, along with typical musical patterns. Therefore, it could be argued that we are dealing with typical topos of children\u2019s\/youth music, which raises the question of the importance of the emphasized semantics of compositions intended for young people. When analyzing the topos of youth music by Slovenian composers, a question appears where to look for their origin and what their pedagogical effects could be. Such dilemmas trigger general questions about the relationship between content and abstract, or syntactics and semantics in music.<\/span><\/p>\n

Gregor Pompe, PhD<\/b>,\u00a0studied comparative literature, German language and musicology at the Faculty of Arts in Ljubljana. He is employed at the Department of Musicology at the Faculty of Arts in Ljubljana, where he defended his doctoral thesis and is currently a full professor. He also lectured at the Faculty of Pedagogy at the University of Maribor and at the Department of Musicology at Karl Franz University in Graz, Austria. His interests lie in the field of contemporary music and music theatre. He has already published several articles and books.<\/span><\/p>\n

Branka Rotar Pance: Mladi in glasba skozi uredni\u0161ko delo dr. Primo\u017ea Kureta v reviji <\/b>Glasbena mladina<\/i><\/b><\/p>\n

Univerza v Ljubljani, Akademija za glasbo, Ljubljana, Slovenija<\/span><\/p>\n

Revija <\/span>Glasbena mladina,<\/span><\/i> ki je izhajala med letoma 1970<\/span>\u2212<\/span>1991, je bila ciljno orientirana k motiviranju mladih za glasbeno umetnost in kulturo, k njihovemu seznanjanju z glasbenimi dogodki doma in v tujini ter k promoviranju slovenskih glasbenih umetnikov in mladih glasbenikov. <\/span>Glasbena mladina<\/span><\/i> je bila v vseh letih izhajanja odprta za obravnavo tem z razli\u010dnih glasbenih podro\u010dij, zvrsti in obdobij. Obravnavala je umetno in ljudsko glasbo Slovenije, Jugoslavije in drugih evropskih dr\u017eav, vklju\u010devala je teme s podro\u010dij glasb sveta in tudi zvo\u010dne ekologije ter za\u010detkov uporabe ra\u010dunalni\u0161kih tehnologij pri glasbeni produkciji. Muzikolog dr. Primo\u017e Kuret je v razli\u010dnih vlogah podpiral, vodil in sprejemal te usmeritve, hkrati pa je sam v vseh prispevkih sledil na\u010delom muzikolo\u0161ke znanosti, kriti\u0161kega delovanja, estetskim na\u010delom ter ozave\u0161\u010dal pomen glasbene vzgoje in izobra\u017eevanja v splo\u0161nem in glasbenem \u0161olstvu. Kot pisec prispevkov je sodeloval z revijo vsa leta njenega izhajanja. V letih 1973<\/span>\u2212<\/span>1976 je deloval kot \u010dlan uredni\u0161kega odbora <\/span>Glasbene mladine<\/span><\/i>, v letih 1978<\/span>\u2212<\/span>1987 pa je bil njen odgovorni urednik. V tej vlogi si je prizadeval, da bi bralcem predstavil aktualne vsebine s podro\u010dij glasbene zgodovine, estetike, glasbene teorije, oblikoslovja in glasbene pedagogike. Njegova uredni\u0161ka politika je bila naravnana k pripravi in objavi prispevkov, namenjenih u\u010dencem vi\u0161jih razredov osnovne \u0161ole, srednje\u0161olcem, \u0161tudentom glasbe in odraslim ljubiteljem glasbe. V objavljenih prispevkih je bila razvidna skrb za uporabo strokovne terminologije in vklju\u010devanje novih slovenskih glasbenih pojmov ter skrb za sloven\u0161\u010dino kot materni jezik. <\/span>Glasbena mladina<\/span><\/i> je bila v \u010dasu njegovega urednikovanja bogato fotografsko in likovno opremljena.\u00a0<\/span><\/p>\n

Dr. Branka Rotar Pance<\/b>, izredna profesorica na Akademiji za glasbo (Univerza v Ljubljani), predava predmete s podro\u010dja glasbene didaktike na dodiplomskem in magistrskem \u0161tudiju in je mentorica doktorskim \u0161tudentom na smeri glasbena pedagogika. Raziskovalno se ukvarja z razli\u010dnimi temami s podro\u010dja glasbene pedagogike, motivacije v glasbenem izobra\u017eevanju, dela z nadarjenimi u\u010denci, ustvarjalnosti u\u010dencev, IKT v glasbenem izobra\u017eevanju, vse\u017eivljenjskim u\u010denjem u\u010diteljev glasbe, kulturno-umetnostno vzgojo in zgodovino slovenske glasbene pedagogike.<\/span><\/p>\n

Branka Rotar Pance: Youth and music through the editorial work of dr. Primo\u017e Kuret in the journal <\/b>Glasbena mladina<\/i><\/b><\/p>\n

University of Ljubljana, Music Academy, Ljubljana, Slovenia<\/span><\/p>\n

The journal <\/span>Glasbena mladina<\/span><\/i>, which was published in the years 1970<\/span>\u2212<\/span>1991, was aimed at motivating young people for musical art and culture, introducing them to musical events at home and abroad, and promoting Slovenian musical artists and young musicians.<\/span><\/p>\n

In all the years of publication, <\/span>Glasbena mladina<\/span><\/i> has been open to discussing topics from various musical fields, genres and periods. It dealt with classical and folk music of Slovenia, Yugoslavia and other European countries. It included topics from the fields of world music, sound ecology and the first articles dedicated to the use of computer technologies in music production. In various roles, musicologist dr. Primo\u017e Kuret supported, led and accepted these orientations, while at the same time he himself followed the principles of musicological science, musical criticism and aesthetics in all his contributions. He raised awareness of the importance of general music education and education in music schools. As a writer, he contributed to the journal throughout the years of its publication. In the years 1973<\/span>\u2212<\/span>1976 he acted as a member of the editorial board of <\/span>Glasbena mladina<\/span><\/i>, and in the years 1978<\/span>\u2212<\/span>1987 he was its editor-in-chief. In this capacity, he strove to present readers with current content from the fields of music history, aesthetics, music theory, musical form and music education. Its editorial policy was aimed at the preparation and publication of articles intended for students in the last grades of primary school, high school students, academic music students as well as adult music enthusiasts. Care for the use of professional terminology and the inclusion of new Slovenian musical concepts, as well as care for Slovenian as a mother tongue was evident in his editorial work and published contributions. During his editorship, the journal greatly improved its visual learning material.<\/span><\/p>\n

Branka Rotar Pance, PhD<\/b>, is an associate professor at the Academy of Music (University of Ljubljana). She lectures on music didactics in the bachelor's and master's programmes and supervises doctoral students. Her research interests are in the various fields of music education, motivation, working with talented students, musical creativity, ICT in music education, lifelong learning of music teachers, art and culture education, and history of Slovenian music pedagogy.<\/span><\/p>\n

Leon Stefanija: Za\u010detki Glasbene mladine Slovenije in njena dru\u017ebena vloga<\/b><\/p>\n

Univerza v Ljubljani, Filozofska fakulteta, Oddelek za muzikologijo, Ljubljana, Slovenija<\/span><\/p>\n

Od ustanovitve naprej je Glasbena mladina Slovenije (1969) snovala svoje delo po \u0161iroki vsebinski pahlja\u010di. Vsebinski razmah je razviden na dveh ravneh. Po eni strani je o\u010diten iz pisanja v reviji <\/span>Glasbena mladina<\/span><\/i> (kasneje <\/span>Muska<\/span><\/i> in danes <\/span>Glasna<\/span><\/i>). Uvodnik prve \u0161tevilke revije zapi\u0161e, da bo revija zadostila \u00bbvsem tak\u0161nim in podobnim zahtevam, torej: naj bo na\u0161e glasilo dostopno tako u\u010dencu osemletke kot bolj zahtevnemu dijaku srednje \u0161ole ali tudi glasbenemu amaterju, \u010dloveku, ki se zanima za glasbeno umetnost in ki ne najde tega v na\u0161em dnevnem in tedenskem \u010dasopisju\u00ab. Po drugi plati je \u0161irina razvidna iz sestave odbora Glasbene mladine Slovenije, ki je \u0161tel na za\u010detku 27 \u010dlanov iz razli\u010dnih plasti slovenskega glasbenega \u017eivljenja. Mejnik vsebinske \u0161irine je \u2013 profesionalizem.\u00a0<\/span><\/p>\n

Lo\u010dnica med profesionalizmom in \u00bbtistim prej\u00ab je zgolj ena od klju\u010dnih pri delovanju Glasbene mladine Slovenije. V programih koncertov in recepciji glasbenega \u017eivljenja Slovenije skozi o\u010di njihove revije je namre\u010d prisotna ve\u010dina slovenskih instrumentalistov, med katerimi so mnogi, ki so \u0161e danes med najvidnej\u0161imi glasbeniki Slovenije. Obenem pa je Glasbena mladina Slovenije spremljala tudi drugo plat glasbenega \u017eivljenja, ki jo je uvodnik prve \u0161tevilke revije opisal kot \u00bbpopularno in progresivno\u00ab glasbo. Tudi sodelovanje Glasbene mladine Slovenije s \u0161tevilnimi ustanovami po Sloveniji nakazuje omenjeno \u0161irino delovanja Glasbene mladine Slovenije tako v smer institucionaliziranega poklicnega muziciranja kakor tudi v smer \u00bbsocializacijskega\u00ab muziciranja, ki ga ponavadi ozna\u010dujemo kot \u00bbpopularno glasbeno kulturo\u00ab.<\/span><\/p>\n

Prispevek povzema za\u010detke procesa delitve na umetnostno (resno, klasi\u010dno) in popularno (zabavno) glasbo po na\u010delu <\/span>thick description <\/span><\/i>dogodkov prvih dveh let delovanja Glasbene mladine Slovenije. Klju\u010dno vpra\u0161anje se glasi: ali je Glasbena mladina Slovenije ustanova, ki je \u2013 \u00bbko na Slovenskem ni [bilo] nobenega \u0161irokega glasbenega obzornika\u00ab \u2013 uspela postaviti delovanje in \u010dasopis, ki bi imel \u00bbtudi naravo \u0161ir\u0161ega glasbenega informatorja\u00ab, ali pa je ostala ustanova, vezana na delovanje mladih glasbenikov. Ka\u017ee, da je bila Glasbena mladina Slovenije tista, ki je posredovala med dvema medsebojno povezanima dru\u017ebenima sistemoma: ljubiteljskim in poklicnim ter svetom mladih in odraslih.\u00a0<\/span><\/p>\n

Dr. Leon Stefanija<\/b> (1970, Ljubljana) je \u0161tudiral muzikologijo na Filozofski fakulteti v Ljubljani (diploma 1995, magisterij 1997, doktorat 2000). Med \u0161olanjem je bil dvakrat \u0161tipendist programa TEMPUS, ki mu je med drugim omogo\u010dil tudi semester \u0161tudija v Exeterju (Zdru\u017eeno kraljestvo), in Knafljev \u0161tipendist. Habilitiral je leta 2000 in bil v letih 2008\u20132012 predstojnik Oddelka za muzikologijo. Redno sodeluje z Vi\u0161jo baletno \u0161olo Konservatorija za glasbo in balet Ljubljana, Univerzo Karla Franza in Umetni\u0161ko univerzo v Gradcu, glasbenimi akademijami v Ljubljani, Zagrebu in Sarajevu ter Fakulteto za glasbo v Beogradu. Je \u010dlan uredni\u0161kih odborov ve\u010d muzikolo\u0161kih in z glasbo povezanih revij po svetu ter knji\u017enih serij. Raziskovalno, pedago\u0161ko in uredni\u0161ko se osredoto\u010da na zgodovino novej\u0161e, zlasti slovenske glasbene kulture, sociologijo glasbe in spoznavoslovje glasbe. Za svoje delo je leta 1995 prejel Pre\u0161ernovo nagrado Filozofske fakultete v Ljubljani, <\/span>Priznanje za pedago\u0161ko in\/ali raziskovalno delo 2012<\/span><\/a>, in Odli\u010dni v znanosti 2018. Ve\u010d na: <\/span>https:\/\/lstefa.splet.arnes.si<\/span><\/a>\/<\/span><\/p>\n

Leon Stefanija: Beginnings of the Jeunesses Musicales of Slovenia and its social role<\/b><\/p>\n

University of Ljubljana, Faculty of Arts, Department of Musicology<\/span><\/p>\n

Since its foundation, the Musical Youth of Slovenia (1969) has striven for an extremely broad content. The breadth of its activities is evident on two levels. First, it is evident in the writing in the magazine <\/span>Glasbena mladina<\/span><\/i> (later <\/span>Muska<\/span><\/i> and today <\/span>Glasna<\/span><\/i>). The editorial of the first issue of the magazine states that the magazine will meet \"all such and similar demands, i.e. our journal should be accessible to an elementary school student as well as to a more demanding high school student or even to a musical amateur, a person who is interested in the art of music and cannot find anything about it in our daily and weekly newspapers.\" On the other hand, the breadth is also reflected in the composition of the Glasbena mladina committee, which originally included 27 members from various sectors of the Slovenian music scene. The milestone of the field of activity is - professionalism.<\/span><\/p>\n

The border between professionalism and \"before that\" is only one of the key points in the work of the Musical Youth. Most Slovenian instrumentalists are present in the concert programs and reception of Slovenian musical life through the eyes of their magazine, including many who are still among the most prominent musicians in Slovenia today. At the same time, Musical Youth of Slovenia also pursued the \"other\" side of musical life, which was described in the editorial of the first issue of the magazine as \"popular and progressive\" music. The cooperation of the Musical Youth of Slovenia with many institutions in Slovenia also points to the implied broad field of activity of the Musical Youth of Slovenia, both in the direction of institutionalized professional music making and in the direction of \"socializing\" music making, usually referred to as \"popular music culture.\"<\/span><\/p>\n

The paper summarizes the beginnings of the process of institutional division of the musical art world into artistic (serious, classical) and popular (entertaining) through a dense description, focusing on the events of the first two years of the Music Youth of Slovenia. The key question is: Is the Musical Youth of Slovenia an institution that - \"when there was [still] no music magazine of a larger scale in Slovenia\" - managed to launch activities and a newspaper that \"also has the character of a broader music information magazine\", or has it remained an institution associated with the activities of young musicians? It turns out that the musical youth of Slovenia was the one that mediated between two interconnected social systems: the amateur and the professional, and the world of young people and adults.<\/span><\/p>\n

Leon Stefanija, PhD<\/b> (1970, Ljubljana), is a professor\u00a0of musicology at the Faculty of Arts in Ljubljana. He served as the chair of systematic musicology, between 2008 and 2012 also as the chair of the Department of Musicology.\u00a0His main\u00a0research interests and teaching areas are the epistemology\u00a0of music research, sociology of music, and history of contemporary, primarily Slovenian music since 1918. He cooperates regularly with the Music Academy in Zagreb, Faculty of Music Belgrade, Karl-Franzens-Universit\u00e4t Graz, Music Academy in Sarajevo, and Ballet College in Ljubljana. He has been granted Pre\u0161ern\u2019s price of the Faculty of Arts in Ljubljana (1995), <\/span>Acknowledgment for teaching and \/ or research work 2012<\/span><\/a>, and <\/span>Excellent in Science 2018<\/span><\/a> for the book \u201cSisyphusartig sch\u00f6n: Portr\u00e4t des Komponisten\u201d (Wien: Hollitzer Verlag, 2018). More on:\u00a0<\/span>https:\/\/lstefa.splet.arnes.si<\/span><\/a>\/\u00a0<\/span><\/p>\n

Ur\u0161a \u0160ivic: Razumevanje popularne in ljudske glasbe v prispevkih revije <\/b>Glasbena mladina<\/i><\/b>\u00a0<\/b><\/p>\n

ZRC SAZU, Glasbenonarodopisni in\u0161titut, Ljubljana, Slovenija<\/span><\/p>\n

Snovalci revije <\/span>Glasbena mladina<\/span><\/i> so se \u017ee v na\u010drtu svojega dela odlo\u010dili s prispevki nagovarjati mladino, ljubiteljske in poklicne glasbenike, ob tem pa so za\u010drtali predstavljanje glasbe z (danes te\u017eko predstavljivim) pluralnim konceptom \u017eanrskega razumevanja glasbe. Tako je uvod k prvi \u0161tevilki revije (1970) napovedal, da bo revija med \u0161tevilnimi zvrstmi pozornost posve\u010dala tudi \u00bbljubiteljem popularne in progresivne glasbe\u00ab. Poleg \u0161tevilnih glasbenih podro\u010dij pa je s\u010dasoma pomembno vlogo v reviji dobila tudi ljudska glasba.\u00a0<\/span><\/p>\n

Pri\u010dujo\u010di prispevek bo zasnovan kot analiza histori\u010dnih virov, torej prispevkov o popularni in ljudski glasbi, predvsem z vidika zanimanja, na kak\u0161en na\u010din so avtorji metodolo\u0161ko, tipolo\u0161ko in slogovno predstavljali omenjene glasbene zvrsti, ter kako so jih ume\u0161\u010dali v aktualna dru\u017ebena in umetnostna gibanja.<\/span><\/p>\n

Dr. Ur\u0161a \u0160ivic<\/b> je zaklju\u010dila podiplomski \u0161tudij muzikologije na Oddelku za muzikologijo v Ljubljani in je zaposlena na ZRC SAZU, Glasbenonarodopisnem in\u0161titutu. Raziskovalno se osredoto\u010da na vokalno ljudsko glasbo, njene strukturne zna\u010dilnosti, vplive institucionalnih politik in kriterijev na ljudske glasbene prakse. Analiti\u010dno se ukvarja s priredbami ljudskih pesmi v zborovski in popularni glasbi, raziskuje pa tudi odnose med preteklostjo in sedanjostjo v glasbenih prostorih, kot so petje kolednikov, \u0161ege, pogrebi, idr.<\/span><\/p>\n

Ur\u0161a \u0160ivic: The understanding of popular and traditional music in the texts of the magazine <\/b>Glasbena mladina<\/i><\/b><\/p>\n

ZRC SAZU, Institute of Ethnomusicology, Ljubljana, Slovenia<\/span><\/p>\n

The founders of the magazine <\/span>Glasbena mladina<\/span><\/i> already decided in their work plan to address with their articles the youth, amateur and professional musicians, and at the same time outlined the representation of music with an understanding (difficult to imagine today) of music conceived as a multi genre art. Thus, the introduction to the first issue of the magazine (1970) announced that it would address those interested in \"popular and progressive music,\" among many other genres. In addition to many musical fields, traditional music also played an important role in the journal over time.\u00a0<\/span><\/p>\n

The present contribution is understood as an analysis of historical sources, i.e. articles on popular and traditional music, primarily from the point of view of how the authors presented the aforementioned musical genres terminologically, methodologically, typologically, and stylistically, and how they placed them in current social and artistic movements.<\/span><\/p>\n

Ur\u0161a \u0160ivic, PhD<\/b>, finished her study of musicology at the Department of Musicology in Ljubljana (Slovenia) and is employed as an ethnomusicologist at the ZRC SAZU, Institute of Ethnomusicology. Her scientific focus is researching traditional vocal music, its structural features, influences of institutional policies and criteria on traditional music practices. \u0160ivic analytically studies traditional song arrangements in choral and popular music, observes the relationship between past and present in musical fields such as carol singing, traditional customs, funerals etc.<\/span><\/p>\n

Maja Vasiljevi\u0107: Judovska mladina in glasba<\/b><\/p>\n

Univerzitet u Beogradu, Filozofski fakultet, Beograd, Srbija<\/span><\/p>\n

Prispevek se osredoto\u010da na glasbene prakse, ki sta jih promovirali Zveza judovskih mladinskih organizacij Kraljevine Jugoslavije (Savez \u017eidovskih zdru\u017eenj Kraljevine Jugoslavije) in levi\u010darsko sionisti\u010dno gibanje Ha-Shomer Ha-tzair (Mladi \u010duvaj), ki se je raz\u0161irilo v tridesetih letih prej\u0161njega stoletja v ve\u010d mest od Osijeka na Hrva\u0161kem, Sarajeva v Bosni do Novega Sada, Zemuna v Srbiji, Bitole v Makedoniji itd. Avtorica analizira velike napore omenjenih mladinskih organizacij v procesu emancipacije obeh \u2013 judovske skupnosti v Kraljevini Srbov, Hrvatov in Slovencev\/Jugoslavija in prevrat sionizma s pripravo na naselitev v Palestini. Raziskava, ki je bila opravljena za ta \u010dlanek, je potekala v Arhivu Judovskega muzeja v Beogradu, pa tudi okoli virov iz Arhiva Eventov v Izraelu in <\/span>Hanoarja<\/span><\/i>, \u010dasopisa judovske mladine Jugoslavije (1926\u20131933), ki je izhajal v Zagrebu. Poleg dejavnosti judovske mladine bo za to prilo\u017enost posebna pozornost namenjena repertoarju pesmi, ad hoc zasedbam ter celotnim plesnim in glasbenim praksam, ki so bile del skavtske, izobra\u017eevalne in promocijske dejavnosti sionizma. Ker Ha-Shomer Ha-Tzair in Mladinska organizacija Jugoslavije nista pritegnili pozornosti znanstvenikov, saj so viri raztreseni po arhivih po holokavstu ali zapisani v hebrej\u0161\u010dini, bo ta \u010dlanek najprej podal pregled osnovne ideologije, vrednot in vrst glasbenih dejavnosti, ki jih propagirajo omenjene organizacije ali glasbe, ki jo izvajajo. Po drugi strani pa bo avtorica prispevka predstavila do\u017eivljanje glasbe skozi \u010dlanstvo v teh mladinskih organizacijah, med katerimi bo izpostavila tudi nekatere priznane glasbenike.<\/span><\/p>\n

Maja Vasiljevi\u0107<\/b> je doktorica sociologije ter magistrica sociologije in muzikologije. Zaposlena je kot asistentka na Filozofski fakulteti Univerze v Beogradu (Srbija). Izdala je monografiji <\/span>Jevrejski muzi\u010dari u Beogradu: Od Balfurove deklaracije do Holokausta<\/span><\/i> (<\/span>Judovski glasbeniki v Beogradu: Od Balfourjeve deklaracije do holokavsta<\/span><\/i>; 2021) in <\/span>Filmska muzika u SFRJ: Izme\u0111u politike i poetike<\/span><\/i> (<\/span>Filmska glasba v SFRJ: Med politiko in poetiko<\/span><\/i>; 2016), veliko \u010dlankov o razli\u010dnih temah: filmska glasba, voja\u0161ka glasba, rasizem, hladna vojna, spol in manj\u0161inska politika v okupiranem Beogradu med drugo svetovno vojno, dru\u017ebena gibanja ter glasba v veliki vojni.<\/span><\/p>\n

Maja Vasiljevi\u0107: Jewish Youth and Music<\/b><\/p>\n

University of Belgrade, Faculty of Philosophy, Belgrade, Serbia<\/span><\/p>\n

The paper is focused on the musical practices disseminated by the Union of Jewish Youth Organizations of the Kingdom of Yugoslavia (\"Savez \u017eidovskih udru\u017eenja Kraljevine Jugoslavije\") and the Left Zionist movement Ha-Shomer Ha-tzair (The Young Guardian) in the 1930s in various cities from Osijek in Croatia, Sarajevo in Bosnia to Novi Sad, Zemun and Bitola in Macedonia etc. The author analyzes the enormous efforts of the mentioned youth organizations in the process of emancipation of the Jewish community in the Kingdom of Serbs, Croats and Slovenes\/Yugoslavia and the Zionist upheaval with the preparation for settlement in Palestine. The research for this work was conducted in the archives of the Jewish Museum in Belgrade, but also using sources from the Eventov archive in Israel and 'Hanoar', the newspaper of the Jewish Youth of Yugoslavia (1926-1933) published in Zagreb. In addition to researching the activities of the Jewish youth, special attention will be paid on this occasion to the repertoire of songs, ad hoc ensembles and general dance and music practices that were part of their scouting, educational and Zionism-promoting activities. Since, on the one hand, Ha-Shomer Ha-Tzair and the Youth Organization of Yugoslavia haven't attracted scholarly attention as the sources are mainly scattered in post-Holocaust archives or written in Hebrew, this paper will first provide an overview of the basic ideology, values, and nature of the musical activities propagated by the aforementioned organizations or conveyed through the music they performed. On the other hand, the author of this paper will present the experience of music through membership in these youth organizations, but will also single out some well-known musicians as members.<\/span><\/p>\n

Maja Vasiljevi\u0107<\/b> is a PhD in Sociology, and MA in Sociology and Musicology. She works as a research assistant at the Faculty of Philosophy, University of Belgrade (Serbia). She published a monograph <\/span>Jevrejski muzi\u010dari u Beogradu: Od Balfurove deklaracije do Holokausta<\/span><\/i> (<\/span>Jewish musicians in Belgrade: From Balfour Declaration to the Holocaust<\/span><\/i>; 2021) and <\/span>Filmska muzika u SFRJ: Izme\u0111u politike i poetike<\/span><\/i> (<\/span>Film Music in SFRY: Between Poetics and Politics<\/span><\/i>; 2016), many papers on different topics: film music, military music, racism, Cold War, gender, and minority politics in occupied Belgrade in WWII, social movements and music and music in the Great War.\u00a0<\/span><\/p>\n

Ivana Vesi\u0107: Kulturna demokratizacija in jugoslovanska mladina: O prizadevanjih in dose\u017ekih Dru\u0161tva prijateljev glasbe Beograd in Glasbene omladine Jugoslavije<\/b><\/p>\n

Srbska akademija znanosti in umetnosti, In\u0161titut za muzikologijo, Beograd, Srbija<\/span><\/p>\n

Ko je jugoslovanska dru\u017eba v 50. letih 20. stoletja do\u017eivljala temeljite reforme in politi\u010dne premike, so se v kulturni sferi za\u010dele pojavljati nove pobude, katerih cilj je bil spremeniti obstoje\u010de na\u010dine sprejemanja glasbe in umetnosti ter narediti estetsko naprednej\u0161e repertoarje dostopnej\u0161e \u0161ir\u0161im slojem prebivalstva. Posebna pozornost je bila v tem pogledu namenjena jugoslovanski mladini, ki je bila razgla\u0161ena za klju\u010dnega nosilca socialisti\u010dne preobrazbe dru\u017ebe v prihodnosti. Tako so \u0161olarji, dijaki, mladi delavci in \u0161tudentje postali glavna \u00bbciljna skupina\u00ab ve\u010d organizacij, sprva lo\u010denih, kasneje pa povsem integriranih, ki so se v 50. letih pojavile v jugoslovanskih urbanih sredi\u0161\u010dih (Beograd in Zagreb). Dru\u0161tvi prijateljev glasbe (Dru\u0161tvo prijatelja muzike) sta bili ustanovljeni leta 1954 v Beogradu in Zagrebu, leta 1959 pa sta se razvili v bolj ambiciozno organizacijo \u2013 Glasbeno mladino Jugoslavije, katere cilj je bil ustvariti \u0161iroko mre\u017eo lokalnih \u00bbpodru\u017enic\u00ab v razli\u010dnih jugoslovanskih regijah. V prispevku bo glavni cilj rekonstruirati zgodnjo fazo delovanja Glasbene mladine Jugoslavije (pred letom 1974) vklju\u010dno z delovanjem Dru\u0161tva prijateljev glasbe v Beogradu. S kombinacijo rezultatov arhivskega raziskovanja in analize glasbene periodike (<\/span>Savremeni akordi<\/span><\/i>,<\/span> Zvuk<\/span><\/i>,<\/span> Pro musica<\/span><\/i>) bo prednostna naloga pokazati njihove klju\u010dne motive in delovanje ter razli\u010dne ovire, s katerimi so se sre\u010devali. Na primeru njihovega delovanja bo mogo\u010de razpravljati o kompleksnosti procesa kulturne demokratizacije v socialisti\u010dni Jugoslaviji in njegovih \u0161tevilnih izzivih.<\/span><\/p>\n

Ivana Vesi\u0107<\/b> je doktorica sociologije in magistra muzikologije. Je vi\u0161ja znanstvena sodelavka na Muzikolo\u0161kem in\u0161titutu Srbske akademije nauka i umetnosti v Beogradu (Srbija). Njen raziskovalni interes je osredoto\u010den na teme popularne kulture, kulturnih politik, kulturne diplomacije, glasbe in ideologije ter vzorcev in praks glasbene potro\u0161nje. Izdala je dve knjigi in souredila dva zbornika. Njeni \u010dlanki, poglavja in recenzije so bili objavljeni v srbskih in mednarodnih revijah ter izdajah nekaterih priznanih mednarodnih zalo\u017enikov (Brepols, Routledge\/Studies in Cultural History, Oxford University Press \u2013 v tisku).<\/span><\/p>\n

Ivana Vesi\u0107: Cultural democratization and Yugoslav youth: On the efforts and accomplishments of Society of Friends of Music in Belgrade and Musical Youth of Yugoslavia\u00a0<\/b><\/p>\n

Serbian Academy of Sciences and Arts, Institute of Musicology, Belgrade, Serbia<\/span><\/p>\n

As Yugoslav society underwent profound reforms and political changes in the 1950s, new initiatives began in the cultural sphere aimed at changing existing forms of music and art consumption and making esthetically sophisticated repertoires accessible to broader parts of the population. Special attention was paid to Yugoslav youth, who were proclaimed as key figures in the future socialist transformation of society. Accordingly, schoolchildren, secondary school students, young workers and students became the main \"target group\" of several initially separate but later fully integrated organizations that emerged in the 1950s in Yugoslav urban centers (Belgrade and Zagreb). The Societies of Friends of Music (Dru\u0161tvo prijatelja muzike) were founded in 1954 in Belgrade and Zagreb, but in 1959 they evolved into a more ambitious organization - the Musical Youth of Yugoslavia, whose goal was to create a large network of local \"branches\" in various Yugoslav regions. This paper will mainly reconstruct the early phase of the work of the Musical Youth of Yugoslavia (before 1974), including the functioning of the Society of Friends of Music in Belgrade. Based on the results of archival research and the analysis of music magazines (<\/span>Savremeni akordi<\/span><\/i>,<\/span> Zvuk<\/span><\/i>,<\/span> Pro musica<\/span><\/i>), the main motives and activities, as well as the various obstacles they faced, will be highlighted. Using their functioning as an example, it will be possible to discuss the complexity of the process of cultural democratization in socialist Yugoslavia and its numerous challenges.<\/span><\/p>\n

Ivana Vesi\u0107<\/b> holds a PhD in Sociology and MA in Musicology. She is a Senior Research Associate at the Institute of Musicology Serbian Academy of Sciences and Arts in Belgrade (Serbia). Her research interest is focused on the topics of popular culture, cultural policies, cultural diplomacy, music and ideology and music consumption patterns and practices. She published two books and co-edited two collective volumes. Her articles, chapters and reviews appeared in Serbian and international journals and volumes of some of the renowned international publishers (Brepols, Routledge \/ Studies in Cultural History, Oxford University Press \u2013 forthcoming).\u00a0\u00a0<\/span><\/p>\n

Jelka Vukobratovi\u0107: Zalo\u017eba Jugoton in mladinska kulturna politika poznih 40. in 50. let prej\u0161njega stoletja<\/b><\/p>\n

Univerza v Zagrebu, Glasbena akademija, Zagreb, Hrva\u0161ka<\/span><\/p>\n

Povojna 40. in 50. leta 20. stoletja v Federativni ljudski republiki Jugoslaviji so bila obdobje, ko so se za\u010deli oblikovati razli\u010dni kulturni procesi, od katerih so mnogi \u0161ele kasneje dobili jasno obliko. Med njimi so na eni strani nastanek doma\u010de povojne glasbene industrije in poskusi opredelitve njene dru\u017ebene vloge, na drugi strani pa oblikovanje mladinskih organizacij in mladinsko usmerjene kulturne politike, ki ka\u017ee na prepoznavnost mladih kot posebne demografske skupine z izrazitimi dru\u017ebenimi in kulturnimi potrebami.<\/span><\/p>\n

Ta prispevek interpretira tendence kulturne politike Federativne ljudske republike Jugoslavije v poznih 40. in 50. letih 20. stoletja z opazovanjem prese\u010di\u0161\u010da dveh pojavov: pojava doma\u010de glasbene industrije na eni strani in na drugi strani mladinsko usmerjene kulturne politike (oboje zgrajeno od zgoraj in od spodaj). Prispevek bo na podlagi mladinskega tiska, arhivskega gradiva o delovanju hrva\u0161ke Glasbene mladine in takratne Jugotonove produkcije osvetlil na\u010dine izobra\u017eevalne uporabe gramofonskih plo\u0161\u010d (na primer v \u0161olah in klubih), ki pri\u010dajo o spremembi dojemanje vloge plo\u0161\u010d v \u017eivljenju mladih v povojni Jugoslaviji.<\/span><\/p>\n

Dr. Jelka Vukobratovi\u0107<\/b> je zaklju\u010dila \u0161tudij flavte leta 2008 in \u0161tudij muzikologije leta 2012 na Akademiji za glasbo Univerze v Zagrebu. Doktorat iz etnomuzikologije je prejela leta 2020 na Univerzo za glasbo in upodabljajo\u010do umetnost v Gradcu (Avstrija) na temo glasbenika kot aktivnega v lokalni dru\u017ebeni infrastrukturi socializma in postsocializma na podro\u010dju Kri\u017eevcev. Zaposlena je bila kot profesorica flavte in zgodovine glasbe na Glasbeni \u0161oli Alberta \u0160trige v Kri\u017eevcih, od leta 2015 pa je zaposlena kot asistentka za etnomuzikolo\u0161ke predmete na Oddelku za muzikologijo Akademije za glasbo v Zagrebu. Objavila je \u0161tevilna znanstvena dela na temo glasbe in nacionalizma, etni\u010dnih in diasporskih identitet, avtorskega prava in popularnoglasbene produkcije v nekdanji Jugoslaviji. Trenutno je znanstvena sodelavka pri projektu \u00bbDiskografska industrija u Hrvatskoj od 1927-e do kraja 1950-ih\u00ab.\u00a0<\/span><\/p>\n

Jelka Vukobratovi\u0107: Jugoton records and the youth cultural politics of the late 1940s and 1950s\u00a0<\/b><\/p>\n

University of Zagreb, Music Academy, Zagreb, Croatia<\/span><\/p>\n

The post-war period of the 1940s and 1950s in the Federal Peoples\u2019 Republic of Yugoslavia was the time when various cultural processes emerged, many of which were to take a clear form only later. These include, on the one hand, the emergence of the domestic post-war record industry and the attempt to define its social role, and, on the other hand, the formation of youth organisations and youth-oriented cultural policies, indicating the recognition of youth as a specific demographic group with distinct social and cultural needs.<\/span><\/p>\n

This paper attempts to interpret cultural policy trends in\u00a0 the FPRY in the late 1940s and 1950s by observing the intersection of these two phenomena-the emergence of the domestic record industry, on the one hand, and youth-oriented cultural policies (both those from above and those from below), on the other. Based on the youth press, archival material on the activities of the Croatian Music Youth Organisation, and the Jugoton production of the time, the paper will bring out the modes of educational application of gramophone records (e.g., in schools and clubs) that witness a change in perception of the role of records in the lives of young people in the post-war Yugoslavia.<\/span><\/p>\n

Jelka Vukobratovi\u0107, PhD<\/b>, graduated flute in 2008 and musicology in 2012 at the Music Academy of the University of Zagreb. In 2020, she obtained a doctorate in ethnomusicology at the University of Music and Performing Arts in Graz with a dissertation on musicians as workers in the local social infrastructure during socialism and postsocialism in the town of Kri\u017eevci. She worked as a flute and music history teacher at the Albert \u0160triga Music School in Kri\u017eevci, and since 2015 she has been employed as a teaching assistant for ethnomusicology subjects at the Department of Musicology of the Music Academy in Zagreb. She has published several papers focusing on music and nationalism, ethnic and diasporic identities, as well as copyright and popular music production in former Yugoslavia. She is currently a research associate on the project \u201cThe Record Industry in Croatia from 1927 to the end of the 1950s\u201d.<\/span><\/p>\n

\u00c1kos Windhager: Mladinska, pop glasba in mad\u017earska sodobna klasi\u010dna glasba (Mladi in glasba \u2013 stoletje popularne glasbe)\u00a0<\/b><\/p>\n

Mad\u017earska akademija umetnosti, In\u0161titut za teorijo umetnosti, Budimpe\u0161ta, Mad\u017earska<\/span><\/p>\n

V prispevku bom obravnaval mad\u017earske klasi\u010dne glasbene skladbe z elementi pop glasbe, ki so danes dobro poznane mlaj\u0161emu ob\u010dinstvu. Raziskal bom tudi vpra\u0161anje, kako mladi dojemajo obi\u010dajne filharmoni\u010dne koncerte. \"Kje so mladi na koncertih klasi\u010dne glasbe?\" je bilo najpogosteje zastavljeno vpra\u0161anje na mad\u017earski koncertni sceni 20. stoletja. Prvi poskus, da bi jih nagovoril, je bilo Kod\u00e1lyjevo Pevsko mladinsko gibanje (1932-1948), ki je vklju\u010devalo ljudsko glasbo in skladbe J. S. Bacha. Tako je imela Mad\u017earska sredi 20. stoletja in (delno) v drugi polovici 20. stoletja zaradi svoje priljubljenosti precej mladega koncertnega ob\u010dinstva. Dana\u0161nje ob\u010dinstvo, ki so ga v\u010dasih sestavljali predvsem mladi, se je postaralo, preference so postale bolj konvencionalne, nove generacije pa niso pri\u0161le (v velikem \u0161tevilu). Rock kitarist Levente Sz\u00f6r\u00e9nyi (1945*) in jazzovski pianist Gy\u00f6rgy Szabados (1939-2011) sta v osemdesetih letih prej\u0161njega stoletja posku\u0161ala zdru\u017eiti pop in visoko kulturo. S free jazzom, ljudskimi baladami in aleatori\u010dno glasbo je Szabados zaslovel v mad\u017earski glasbi.<\/span> Sons Turned into Stags<\/span><\/i> in <\/span>The Death of the Governor<\/span><\/i> sta njegovi najbolj\u0161i deli. Okoli njega se je razvil kontemplativni kult. Velika uspe\u0161nica so bile Sz\u00f6r\u00e9nyijeve rockovske opere in balet. Levente Gy\u00f6ngy\u00f6si (1975*), simfoni\u010dni skladatelj, je svoje cilje zasledoval \u0161e dlje in zdru\u017eil black metal, ljudsko glasbo, politi\u010dne pesmi, Mozarta in Aero Smith. Ta jezik je uporabil v <\/span>Simfoniji \u0161t. 4 <\/span><\/i>(<\/span>Ill\u00e9s<\/span><\/i>), ki jo je navdihnil Sz\u00f6r\u00e9nyi, ter v operi <\/span>Mojster in Margaret<\/span><\/i>a. Obe deli sta priljubljeni pri mlademu ob\u010dinstvu, zlasti na spletu, pa tudi na predstavah v \u017eivo. Le desetletja bodo pokazala, ali lahko ti primeri dolgoro\u010dno re\u0161ijo tradicionalno glasbo.<\/span><\/p>\n

Dr. \u00c1kos Windhager <\/b>je raziskovalec kulturnega spomina na Raziskovalnem in\u0161titutu Mad\u017earske akademije umetnosti in izredni profesor na Katoli\u0161ki univerzi P\u00e1zm\u00e1ny P\u00e9ter. Njegova glavna raziskovalna zanimanja so srednjeevropski kulturni spomin in zgodovina mad\u017earske glasbe v preteklih dveh stoletjih. Odgovoren je bil za za\u010detek treh osrednjih raziskovalnih projektov in\u0161tituta: primerjalne \u0161tudije o zgodovini baleta na Mad\u017earskem, prekinjenih tradicijah srednjeevropske glasbene kulture in pomenu v glasbi. Njegove dolgoletne raziskave so se osredoto\u010dale na spreminjanje ob\u010dinstva in repertoarja. Njegov teko\u010di projekt raziskuje Skrjabinovo recepcijo v srednjeevropski glasbi. Dela Gy\u00f6rgyja Szabadosa in Levente Gy\u00f6ngy\u00f6si (skladateljev, predstavljenih v tem priepsvku) je analiziral v znanstvenih \u010dlankih in na konferencah z vidika modernosti, identitete in recepcije. Je avtor treh monografij in ve\u010d esejev.<\/span><\/p>\n

\u00c1kos Windhager: Youth, pop music and Hungarian contemporary classical music (Youth and music \u2013 a century of popular music)<\/b><\/p>\n

Hungarian Academy of Arts, Research Institute of Art\u2019s Theory, Budapest, Hungary<\/span><\/p>\n

In the paper I will discuss Hungarian classical music pieces with pop music components, which are well-known to a younger audience today. I will also explore the question of how young people perceive conventional philharmonic concerts. \"Where are the young people at classical concerts?\" was the most frequently asked question in the Hungarian concert scene of the 20th century. The first attempt to address them was Kod\u00e1ly's Singing Youth Movement (1932-1948), which incorporated folk music and chorales by J. S. Bach. Thus, Hungary had a considerable young concert audience in the mid-20th century and (partly) in the second half of the 20th century due to its popularity. Today's audience, which used to consist mainly of young people, has aged, preferences have become more conventional, and new generations have not arrived (in large numbers). Rock guitarist Levente Sz\u00f6r\u00e9nyi (1945*) and jazz pianist Gy\u00f6rgy Szabados (1939-2011) both tried to combine pop and high culture in the 1980s. Using free jazz, folk ballads, and aleatoric music, Szabados rose to fame in Hungarian music. <\/span>Sons Turned into Stags<\/span><\/i> and <\/span>The Death of the Governor<\/span><\/i> are two of his finest works. A contemplative cult developed around him. A major hit were Sz\u00f6r\u00e9nyi's rock operas and ballets. Levente Gy\u00f6ngy\u00f6si (1975*), a symphonic composer, pursued his goals even further by fusing black metal, folk music, political songs, Mozart and Aero Smith. He used this language in the Sz\u00f6r\u00e9nyi-inspired <\/span>Symphony No. 4<\/span><\/i> (Ill\u00e9s) and the opera <\/span>Master and Margherita<\/span><\/i>. Both works are popular with young audiences, especially on the Internet, but also at live performances. Only decades will tell whether these examples can save traditional music in the long run.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00c1kos Windhager, PhD<\/b>, is a researcher at the Research Institute of the Hungarian Academy of Arts as well as an associate professor at P\u00e1zm\u00e1ny P\u00e9ter Catholic University. His main research interests are the cultural memory of Central Europe and the history of Hungarian music during the previous two centuries. Three of the Institute's primary research projects\u2014the philosophical exploration of \"meaning in music,\" a comparative examination of the history of ballet in Hungary, and the investigation of the broken traditions of Central European music culture\u2014were started by him. Most of his considerable research has focused on audience and repertoire change. In academic publications and conferences, he has analysed the works of the composers Gy\u00f6rgy Szabados and Levente Gy\u00f6ngy\u00f6si from the perspectives of modernity, identity, and reception. In addition to three biographies, he has produced other essays.<\/span><\/p>\n

Katarina Zadnik: Pevska vzgoja in izobra\u017eevanje v Glasbeni matici Ljubljana neko\u010d in danes\u00a0<\/b><\/p>\n

Univerza v Ljubljani, Akademija za glasbo, Ljubljana, Slovenija<\/span><\/p>\n

Sodobno dru\u0161tvo Glasbena matica Ljubljana uspe\u0161no nadaljuje poslanstvo dru\u0161tvene preteklosti na podro\u010dju pevske vzgoje in izobra\u017eevanja. Dru\u0161tvo, ki je v preteklosti namenjalo pozornost pevski vzgoji z lastnim me\u0161anim pevskim zborom, z obveznim predmetom zborovsko petje in predmetom solopetje znotraj glasbene \u0161ole, tudi danes udejanja svoje osrednje poslanstvo na podro\u010dju pevske dejavnosti. Osi\u0161\u010de podro\u010dja dru\u0161tvenega delovanja se odra\u017ea v \u010dvrsti zborovski piramidi, od Otro\u0161kega in Mladinskega pevskega zbora ter Mladinske vokalne skupine k odraslim zborom \u2013 Me\u0161anemu pevskemu zboru in Seniorskemu pevskemu zboru. Delovanje zborovske piramide je podprto s kakovostno pevsko vzgojo in izobra\u017eevanjem pevcev v Pevski \u0161oli in z glasbenimi programi Pevska pripravnica, Cicibanski zbori in Mali glasbenik. Glasbeni programi za najmlaj\u0161e imajo pomembno vlogo pri navdu\u0161evanju za petje v najzgodnej\u0161em \u017eivljenjskem obdobju in za kasnej\u0161e vklju\u010devanje mladih pevcev v zborovsko piramido. V jubilejnem letu dru\u0161tva bomo predstavili delovanje glasbenih programov za najmlaj\u0161e, Otro\u0161kega in Mladinskega pevskega zbora in izpostavili vlogo pevske dejavnosti v sodobnem dru\u0161tvu. Ugotavljamo, da sodobno dru\u0161tvo ohranja zgodovinski glasbeni spomin dru\u0161tvene preteklosti in s spodbujanjem interesa za petje in zborovsko dejavnost pri najmlaj\u0161ih uresni\u010duje aktualne smernice in trende vklju\u010devanja v glasbene dejavnosti v zgodnjem otro\u0161tvu. V primerjavi z naravnanostjo dru\u0161tvene preteklosti, ki je poudarjala profesionalno glasbeno izobra\u017eevanje, se sodobna dru\u0161tvena identiteta odra\u017ea v povezovalni vlogi med formalnim in neformalnim glasbenim izobra\u017eevanjem. Sodobna identiteta dru\u0161tva Glasbena matica Ljubljana tako predstavlja pomemben \u010dlen neformalnega glasbenega izobra\u017eevanja na pevskem podro\u010dju, s svojim osrednjim podro\u010djem delovanja sodi med pomembnej\u0161e ustanove pevskega izobra\u017eevanja in je uveljavljeno pevsko vzgojno-izobra\u017eevalno sredi\u0161\u010de v slovenskem prostoru.\u00a0<\/span><\/p>\n

Dr. Katarina Zadnik<\/b> je predstojnica Oddelka za glasbeno pedagogiko na Akademiji za glasbo, Univerze v Ljubljani, deluje kot docentka na podro\u010dju specialnih glasbenih didaktik za pred\u0161olsko obdobje, prvo triletje osnovne \u0161ole in predmeta nauk o glasbi in solfeggio v ni\u017eji glasbeni \u0161oli. Izdala je dve znanstveni monografiji: <\/span>Opisno ocenjevanje glasbenega razvoja pet- in \u0161estletnih otrok<\/span><\/i> (2005) in <\/span>Nauk o glasbi v slovenski glasbeni \u0161oli: Med preteklostjo, sedanjostjo in prihodnostjo<\/span><\/i> (2019). Od leta 2021 sodeluje pri raziskovalnem projektu Glasba mladih po 1945 in Glasbena mladina Slovenije.\u00a0<\/span><\/p>\n

Katarina Zadnik: Singing education in Glasbena matica Ljubljana in the past and present<\/b><\/p>\n

University of Ljubljana, Academy of Music, Ljubljana, Slovenia<\/span><\/p>\n

Today\u2019s Glasbena Matica Ljubljana society successfully continues the task of singing education from its past. The society, which in the past paid attention to singing education with its mixed choir, with the compulsory subject of choral and solo singing within the music school, still today realizes its central task in the field of singing education. The axis of today\u2019s society work is reflected in the solid choral pyramid, from the children\u2019s and youth choirs and the youth vocal group to the adult choirs, the mixed choir and the senior choir. The functioning of the choral pyramid is supported by high quality vocal training and the training of singers in the Singing School and the music programs in the earliest childhood, vocal preparation, preschool choirs (Ciciban choirs) and Little Musicians. The music programs for the youngest play an important role in generating enthusiasm for singing at the earliest stage of life and the subsequent integration of young singers into the choral pyramid. In the anniversary year of the society, we will present the activities of the music programs for the youngest, children\u2019s and youth choirs and highlight the role of singing in today\u2019s society. The study has shown that the society preserves the historical musical memory of the social past and, by promoting interest in singing and choral activities among the youngest, implements the current trends of participation in musical activities in early childhood. Compared to the social past, which focused on professional music education, the contemporary social identity is reflected in the unifying role between formal and informal music education. The contemporary identity of the Glasbena Matica Ljubljana society thus represents an important part of informal music education in the field of singing, and it is one of the most important institutions with its central singing pedagogical activity, as well as it represents the established singing pedagogical center in the Slovenian area.<\/span><\/p>\n

Katarina Zadnik<\/b>,<\/span> PhD<\/b>, is head of Music Education Department at the<\/span> Academy of Music, University of Ljubljana, and assistant professor, specializing in didactics of music education in preschool, in the first triennial in the general school, and for group lessons of Music theory and Solfeggio in the lower music school<\/span>. <\/span><\/i>She published scientific monographs: <\/span>A descriptive assessment of musical development of five and six-year-old children<\/span><\/i> (2005) and<\/span> Music Theory in the Slovenian Music School between the Past, Present and Future<\/span><\/i> (2019). Since 2021, she has been participating in the research project Youth music after 1945 and<\/span> Jeunesses Musicales<\/span> Slovenia<\/span>.<\/span><\/i><\/p>\n

Programski odbor * <\/span>Programme Committee<\/span><\/i>:<\/span><\/h2>\n

Lada Durakovi\u0107, Helena Filip\u010di\u010d Gardina, Rajko Mur\u0161i\u010d, Ale\u0161 Nagode, Svanibor Pettan, Nejc Sukljan, Ur\u0161a \u0160ivic, Ivana Vesi\u0107, Katarina Zadnik\u00a0<\/span><\/p>\n

Organizacijski odbor * <\/span>Organizational Committee<\/span><\/i>:<\/span><\/h2>\n

Anja Serec Hod\u017ear, Leon Stefanija, Nejc Sukljan, Ur\u0161a \u0160ivic, Teja Turk<\/span>\ufeff<\/span>\ufeff<\/span><\/p>\n<\/div><\/div><\/div><\/div>

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Glasba mladih po 1945 in Glasbena mladina<\/h3>\n
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Oddelek za muzikologijo Filozofske fakultete<\/a>, Akademija za glasbo<\/a> Univerze v Ljubljani<\/a>, Fakulteta za ra\u010dunalni\u0161tvo in informatiko<\/a>, Fakulteta za dru\u017ebene vede<\/a> in Glasbenonarodopisni in\u0161titut \u2013 ZRC SAZU<\/a> vabimo na dvodnevni mednarodni simpozij<\/p>\n

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  1. in 11. oktobra 2024 <\/strong><\/li>\n<\/ol>\n

    v prostore <\/strong>Akademije za glasbo Univerze v Ljubljani<\/a> na Kongresnem trgu 1<\/a><\/p>\n

    Glasba mladih po 1945 in Glasbena mladina<\/em><\/strong><\/p>\n

    Znanstveno sre\u010danje bo namenjeno predstavitvi izsledkov in dopolnjevanju tematike projekta Glasba mladih po letu 1945 in Glasbena mladina Slovenije<\/a><\/strong> (http:\/\/muzikologijaff.si\/gmgm<\/a>).<\/p>\n

    V ta namen vabimo raziskovalce, da predstavijo svoje \u0161tudije iz naslednjih tematskih sklopov oziroma iz sorodnih podro\u010dij:<\/p>\n