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Ethnomusicology and Ethnochoreology at the Institute from the Late Forties to the Eighties
Jerko Bezic
(Narodna umjetnost 35/1, 1998, pp 23-51)
Prior to the establishment of the Institute, rare
and modest in volume ethnomusicological research was carried out by the
Department for Folk Music of the Ethnographic Museum in Zagreb (1921-1948)
while folk songs were collected by the Archive of Folk Songs of the Croatian
Authors' Association in Zagreb (1943-1945). In its Department for Musical
Folklore the Institute (1948- ) with well-organised external associates
collected a large volume of material in the first twenty years of its
existence. In the seventies the research approach widened. Research was
conducted of older and newer forms, of the manifoldness and diversity
of folk music and dance, of the continuity and changes in tradition, of
processes of acculturation and transformation of musical and dance phenomena.
By accepting and applying the theory of communication in the eighties
the subject of ethnomusicological researches started to be determined
according to the specific way of life of musical and dance phenomena in
the direct communication of relatively small groups of performers and
listeners.
Keywords: Institute of Ethnology and Folklore Research, ethnomusico-logy,
ethnochoreology, Croatia
Previous aspirations and achievements
The history of music science in Croatia shows that the first Croatian
ethnomusicologist Franjo Ksaver Kuhac (1834-1911) struggled unsuccessfully
for years for the recognition of his status as a professional scholar
(Frankovic 1984:33-76).
At the beginning of the 20th century Zagreb did not have a scholarly or
expert institution that would offer an opportunity for permanent professional
ethnomusicological work.
The first indicators of a possibility for institutionally organised professional
ethnomusicological work were given by a proposal for the establishment
of the Odsjek za pucku glazbu[Department of Folk Music] at the
Ethnographic Museum in Zagreb that was drawn up in 1920 by the Museum's
curator Vladimir Tkalcic (1883-1971) and musicologist and composer Bozidar
irola (1889-1956). The proposal requested that previous work in the area
of folk music should be collected and classified. It requested assistance
for the work of the melographers of that time, for the acquisition of
folk music instruments, for collecting material for a dictionary of musical
terms, for phonographic recordings and for occasional critical publications
of folk songs. A reference library was to be established, as well as an
archive for manuscripts, a phonographic workshop with all the necessary
devices for the recording and scholarly research of sound material, an
archive of phonographic recordings and a collection of folk music instruments
(irola and Gavazzi 1931:3-4).
The Department of Folk Music was established following an order by the
Povjerenistvo za prosvjetu i vjere [Committee for Education and
Religions] on 12th August 1921 but on that occasion a position was not
opened for a museum curator who would be the head of this Department.
Owing to a serious lack of financial means the phonographic workshop could
not be formed, although it was specifically stated in the mentioned decree
(irola and Gavazzi 1931:6). Therefore, the Museum's administration turned
to the Phonogramm-Archiv of the Viennese Academy of Science that accepted
the Department as its post in Zagreb and let it use its phonograph. A
contract on using the phonographic recordings was drawn up: the original
recordings were to be kept at the Viennese Phonogramm-Archiv while the
copies would be kept at the Department of Folk Music at the Ethnographic
Museum in Zagreb. Despite very modest means, in the nineteen twenties
and thirties Milovan Gavazzi and Bozidar irola managed to collect valuable
phonographic recordings, notations of traditional tunes of ceremonial
songs, high quality exemplars of folk music instruments, an impressive
collection of photograph-recordings and the basic publications for the
reference library (irola and Gavazzi 1931:8-11, 18-20, 30-40, 41-51,
52-74).
On the other hand, at around the same time, first a priest, then a lawyer,
a melographer and later a famous Croatian ethnomusicologist Dr. Vinko
Zganec (1890-1976) himself published Hrvatske pucke popijevke iz Medjimurja
[Croatian Folk Songs from Medjimurje] (Zganec 1916, 1920, 1921). In
a very realistically founded article "Organizacija nase melografije"
[The Organisation of Our Melography] (Zganec 1922:81-84) he posed several
requests for the successful annotating (melographing) of folk melodies
based on his own experience in field research and in collecting songs
in his native Medjimurje. He requested, for instance, that the melographer
should be well acquainted with the people of the region in which he was
to annotate folk tunes.
Supported by his professor Franjo Dugan (1874-1948), he managed to get
the former Jugoslavenska akademija znanosti i umjetnosti (JAZU)
[Yugoslav Academy of Sciences and Arts] in Zagreb (today Hrvatska akademija
znanosti i umjetnosti - HAZU) [Croatian Academy of Sciences and Arts]
to publish two volumes of secular and ecclesiastical Croatian songs from
Medjimurje (Zganec 1924 and 1925). Following this Zganec moved to Backa
in 1927. He returned from Sombor to Zagreb in March 1941.
During the period from 1943 to 1945, as secretary general of Hrvatsko
autorsko drustvo (HAD) [Croatian Authors' Association], he proposed
that HAD establish an Archive of folk songs. With this aim in view and
with the associations consent he printed 40 000 sheets/forms for entering
notations of tunes of folk songs. With the support of the HAD he managed
to collect 1066 notations of folk songs. After the HAD ceased to exist
in 1945 Zganec became the head of the Department of Folk Music at the
Ethnographic Museum, and the HAD's collection was taken over by the Museum.
He organised other melographers as external associates of the Department
(Zganec 1950a:230). Thus, after about 25 years he achieved one of his
proposals on how to organise the annotation of folk melodies (Zganec 1922:81-84,
Zganec 1946:3, Zganec and Bezic 1970:370).
Zganec's extensive review under the title Muzicki folklor na smotri
Hrvatske seljacke kulture [Musical Folklore at the Festival of Croatian
Peasant Culture] (Zganec 1946:3) informs us directly of the abilities
of the Department at that time, the ideational trends of its work and
is the first known announcement of the Institut za narodnu glazbu
[Institute for Folk Music]. Here are some characteristic extracts:
The festival of Croatian peasant culture that was prepared on 22nd September
1946 in Zagreb by Seljacka Sloga [Peasant Concord] brought, not
only to the public at large that was present in great numbers at the festival,
but primarily to us musicians, a realisation once again that our nation
possesses inexhaustible sources of musical creative strength, and that
our folk music is such an autochthonous and valuable creation that our
art music can indeed be built on its foundations...
Now there is a new task before us - perhaps this is the final moment -
to organise the collecting of musical folklore according to a plan. If
this is not undertaken seriously at last, our traditional musical folklore
runs the danger of straying from its original and autochthonous way and
hit-songs could take it to cosmopolite musical waters.
Today the collecting and research of Croatian musical folklore is done
by the Department of Folk Music at the Croatian Ethnographic Museum in
Zagreb. This Department has very limited capabilities and even more limited
means for this work. Only one expert melographer is working on it [i.e.
Zganec, note J. B.] in addition to an expert for folk dances [i.e. the
Museum's curator at that time Zvonimir Ljevakovic (1908-1981), later a
famous ethnochoreographer, the art director of the ensemble Lado, note
J. B.]. With regard to the work that needs to be done here, this is totally
inadequate. Therefore, serious measures are being undertaken with the
authorities to establish an independent Institut za narodnu glazbu
[Institute for Folk Music] [underlined by J. B.] at which at least 6 to
8 experts should be employed and would first have to collect all the musical
material that has so far been preserved in our population.... Until this
is carried out, there can be no discussion of any serious and scholarly
work in this field. Years and years of work are necessary for this task.
And this is the last moment to do it because all this traditional wealth
is deteriorating from day to day.
From the material available the author of this text as yet does not know
why the name mentioned in Zganec's article Institut za narodnu glazbu
[Institute for Folk Music] was extended somewhat later in 1948 to the
Institut za narodnu umjetnost [Institute for Folk Art].
The second task of the Institute following the performed work would be
to undertake scholarly analysis and research of the material, and the
writing of studies on our folk musical expression. Furthermore, to work
on comparative musicology through which the problems of our folk music
will become even clearer.
Critical-scholarly work is today rendered difficult especially because
the previous records are not completely reliable... Previous collectors
did not have enough technical aids for this delicate task. ...
The Department of Folk Music at the Ethnographic Museum has recorded a
festival phonographically with the assistance of a Radio station in Zagreb
so that now we have records of all the material that was performed at
this festival.
In 1947 the number of notations of folk songs at the Department of Folk
Music grew to over 3 000 examples (Zganec 1950a:230-231). Therefore, their
classification (lexicographing) became a task that could not be
postponed.
At the beginning of 1948 Zganec wrote his article Kako da leksikografiramo
narodne popijevke (Zganec 1948:1-2) [How to Lexicographise Folk Songs]
in which he elaborated the basic requests on which the forms for annotating
folk songs are based.
These requests were:
1) Each song has its own sheet/form with a musical and textual part
2) All melodies (leading parts) are entered in such a way that the final
tone is g1.
3) The title of the song is the first line of its text.
4) The notation of the song is entered with a clearly marked range of
individual parts of the tune, i.e. melodic (musical) lines.
5) In the space reserved for the analysis of the tune, the tone row of
tones used in the song was entered, ranging from the lowest to the highest,
the so-called material scale and the melody ambit was singled out.
6) The structure of melody-stanza was entered separately, the melody lines
(melody sections) were marked with a capital letter of the alphabet below
which there were numbers denoting the number of syllables of the sung
text in one melody line.
7) The final tones of each melody line (cadences) were entered in numbers
that denoted the magnitude of the interval between these tones and the
final tone of the song.
8) They were followed by a space for entering rhythmic patterns of individual
melody lines with a space beside it for various notes on the song.
9) A "comparative crossword" was aimed at having various determined
data on the song in one place, but was not filled in then or later.
10) First only the first verse of the text would be written with all the
repetitions of parts of the text, inserted parts and refrains, and then
the complete text of the song would be written separately with no repetitions,
no inserted parts and no refrains.
We have given a detailed description of these forms because they were
used later at the Institute for Folk Art right to the 1970s.
In his article (Zganec 1948:1-2) the author stated that he had formed
his exposition on the lexicographing of folk songs according to the principles
for classifying folk melodies that were laid down by Finnish musicologist
and composer Ilmari Krohn (1867-1960) (Krohn 1903, 1943). The form for
annotating folk songs - that Zganec had printed with the support of the
Croatian Authors' Association in 1943 - had a special "comparative
crossword" just as I. Krohn had described in the article "Methods
of Comparative Research of Folk Melodies" that was published in Hungarian
in February of the same year (Krohn 1943:47-110).
From the establishment of the Institute to the sixties
When, after much preparatory work, the Institute for Folk Art was founded
in 1948, in the third year of this institution's work Vinko Zganec published
an extensive report on the establishment of the Institute and its initial
work (Zganec 1950a:229-232). Here are some characteristic extracts from
this article by Zganec.
The Institute for Folk Art in Zagreb was founded following a special Decree
by the Government Presidency and the Ministry of Education of NRH [People's
Republic of Croatia] of 6th February 1948 no. 6809. Its task is given
in the text of the Decree itself. The Institute needs to a) organise work
on collecting and researching material in the field of our traditional
artistic creation (folklore wealth), b) to collaborate with organisations,
associations and institutions that work on promoting our traditional art
so that this work is more professional and closer to its source, c) to
give advice and expert opinions on all issues of appliance of our traditional
art in the areas of building-trade, industry, handicrafts etc. and d)
to take care of the preservation and conservation of our traditional arts'
acquirements...
Due to various difficulties of technical and personal nature in the beginning
the work of all the Institutes branches could not be realised. Right
until the beginning of 1950 the Institute had in fact only one Department:
for musical folklore. It also had only one expert-musicologist (the author
of this article), [i.e. Zganec, note J. B.] so it was necessary to turn
to various auxiliary means in order to enable as successful a work as
possible, even with fewer capabilities. First, external associates of
the Institute started to be gathered, which mainly voluntarily, out of
a special idealism, began collecting folk songs. The list of collections
of folk songs that can be found at the Institute today shows which external
associates worked at the Institute and with what results. Without their
abundant collaboration the Institute would in fact be an institution without
sufficient vitality as only one permanent expert--musicologist is working
at the Institute while, considering the volume of the Institute's tasks
there should be at least five people.
In the first trimester of 1950 there was a reorganisation at the Institute,
a plan of regulations was made for the internal organisation and work.
According to this plan the following specialising departments exist at
the Institute: a) Department for musical folklore, b) Department for dance
folklore, c) Department for literary folklore, d) Department for traditional
fine art and e) Department for traditional games and customs.
The Ministry of Education has approved the dynamic plan of increasing
the staff from which it can be seen that by the end of 1950 the Institute
will have twelve to fourteen employees. [This did not happen, note J.
B.]. For the time being three departments are active: for musical folklore,
for literary folklore and for traditional fine art. There is a chance
that during 1950 the other departments will start to operate.
The work of these departments is performed according to the following
general tasks:
a) Gathering all sorts of folklore material on site by collecting, melographing,
mechanically recording and choreographing;
b) Organising fieldwork in which external associates are included;
c) Filing the collected material;
d) Keeping a record of all existing folklore material owned by other institutions,
private persons and on site;
e) Researching and scholarly determining the particularities of our entire
folklore expression;
f) Editing various collections of gathered folklore material;
g) Collaboration with other related state, semi-state and private institutions
on collecting folklore material;
h) The Department for literary folklore is also researching our artistic
linguistic expression, it is studying traditional metrics and is preparing
a general bibliography of written traditional literature and papers on
it.
Zganec goes on to give a list of 48 manuscript collections of notations
of tunes and texts of folk songs that were collected until the end of
the first trimester of 1950, 8108 notations in all. This material was
only partially analysed, lexicographised and rewritten for publishing.
During those years Zganec was remarkably active, editing in 1949 Zagorska
zbirka [A Collection from Zagorje] (Zganec 1950b, 1952 and 1971),
Kajkavska pjesmarica [A Book of Kajkavian Songs] (Zganec
1950c) and material for a collection of the Peasant Concord (Zganec 1951a).
He continues to report that at the Institute around 3000 texts of folk
songs have been rewritten from various collections of manuscripts.
Several festivals of the Peasant Concord have been recorded on folio records
in collaboration with the Radio station... The Institute is collaborating
with the Yugoslav Academy of Sciences and Arts, which has been covering
travelling expenses for some of our external associates since 1949. It
is collaborating with the Peasant Concord, with the Savez kulturno-prosvjetnih
drustava [Federation of Cultural-Educational Associations], with Matica
Hrvatska [Matrix Croatica] and other institutions that work on folklore
(Zganec 1950a:232).
As the first director of the Institute (1948-1951) - and in the subsequent
years - Zganec successfully continued to hire musicians experts, melographers,
predominantly older people as external associates of the Institute and
the JAZU. He also collected the material that these musicians had written
down earlier. In connection to this I wish to quote a warning by Nikola
Hercigonja (1911- ), composer, musicologist and former melographer at
festivals of the Peasant Concord in Zagreb, a warning that he put forth
at the First Congress of Composers of Yugoslavia (Belgrade, 12-13th February
1950): "... work in the field of musical folklore is no longer left
exclusively to the initiative and interest of the individual, the national
rule has seen to it that institutes for folklore have been established
in various peoples republics... However, a new problem is cropping up
in the lack of younger staff that would dedicate themselves to researching
musical folklore..." (s. n. /1950: 93). The chronological order in
an incomplete list of the melographers of that time, external associates
of the Institute and JAZU namely states then already older musicians,
predominantly composers: Luka Lukic (1875-
-1956), Vladimir Stahuljak (1876-1960), Antun Dobronic (1878-1955), Ivan
Matetic Ronjgov (1880-1960), Zlatko poljar (1892-1981), Josip Andric
(1894-1967), Slavko Jankovic (1897-1971), Franjo Zidovec (1903-
-1987), Stjepan L. Stepanov (1901-1984); the somewhat younger ones were
Slavko Zlatic (1910-1993), Nikola Hercigonja (1911- ), Zvonimir Lovrencevic
(1911-1990), Josip Dravec (1912-1992) and Nedjeljko Karabaic (1924-1958)
who was young then. (Data on the quantities of collected material in individual
collections of MSS of the mentioned researchers and melographers are given
in Turcin and Pavlovic 1985:85-
-169).
In addition to the material that it inherited from the former Department
for Folk Music at the Ethnographic Museum in Zagreb and so many external
associates, melographers - in the period 1948-1968 the Institute managed
to collect a total of 20055 notations of tunes and instrumental melodies
(B[oskovic]-S[tulli] 1968:686). Tape-recording of folk music that Zganec
had initiated in some areas during the fifties became a regular manner
of collecting folk music in the sixties. Therefore, after 1968 the documentation
of the Institute received many tape recordings while the number of their
transcriptions, notations of the recorded material increased only slowly
and in 1994 came to 25739 (Pavlovic and Tomik 1994:381).
Although Zganec believed that collecting material was the primary task
of the Institute and even though he himself rewrote notations by hand
from the collections of other institutions (mostly JAZU) or from private
owners - Zganec's ethnomusicological activity was by no means limited
just to collecting material.
He developed a classification of Croatian folk songs (Zganec 1951b:5-9),
wrote about the extensive work of F. Ks. Kuhac in the wide field of the
science of music (Zganec 1950d:135-148 and 1962a:435-446, 1962b:5-8).
He participated in the preparations for the folklore festival on the occasion
of the Fourth conference of the International Folk Music Council (IFMC)
in Opatija in 1951 (Zganec 1951c:441-462). At IFMC Conferences he read
papers on folklore elements in Yugoslav Orthodox and Roman Catholic liturgical
chants (Zganec 1956:19-22), on tonal and modal structures in Yugoslav
folklore music (Zganec 1958a:18-21). He researched and tape-recorded the
traditional Glagolitic chant in coastal Croatia (Zganec 1959:479-482).
Musical pedagogue, composer and conductor Stjepan Stepanov (1901-1984)
began his ethnomusicological, especially melographical work in 1947 in
Baranja at the Museum of Slavonija in Osijek (Stepanov 1958). In the subsequent
years he was a external associate of JAZU and the Institute until 1954
when he became the second permanently employed ethnomusicologist at the
Institute. By the time he retired in 1965 he had collected ample material
(40 collections of folk music, 33 collections of other material; a comprehensive
review is given by Miroslava Valasek-
-Hadzihusejnovic 1982/83:251-275). In addition to the published large
collections from Donja Letina (Posavina), Konavle, Gorjani and Potnjani
(-akovo) (Stepanov 1963 and 1964, 1966, 1971), his manuscript music collections
are also valuable (e.g. from Zumberak, IEF MS collection N 229 and N 244).
He visited some of the places that he researched several times, e.g. Donja
Letina between 1954 and 1961.
Apart from the mentioned collections Stepanov researched tunes of certain
narrative songs with the performance of the entire text of the song and
the historical basis of the contents of the text (e.g. Stepanov 1962:66-
-80) as well as traditional musical instruments (Stepanov 1964:283-296).
He also worked on general ethnomusicological issues, e.g. the problem
of the age of certain forms of musical expression (Stepanov 1960:285-293).
Although he began already in 1960 it was only after he had retired in
1965 that he systematically researched and tape-recorded the Glagolitic
chant for the Old Slavic Institute "Svetozar Ritig" in Zagreb.
He published transcriptions and analyses of collected material from Poljica
near Split (Stepanov 1983).
Towards the end of the period in which the researchers of folk music strove
to write down only what could be determined as domestic and autochthonous
traditional wealth based on the character of the melody and text in local
language (Zganec 1955:364-365) on 1st October 1964 ethnomusicologist Jerko
Bezic arrived at the Institute from Zadar where he had been serving from
1958 as an assistant of the Department for Ethnography and Musical Folklore
at the JAZU Institute. Shortly afterwards he published the results of
his ethnomusicological field research in the Zadar region and in the area
of Sinj (Bezic 1966:29-58 and 1968:175-275). He has a vivid recollection
of a woman who was about 40 at that time from the latter area in 1965,
at a fête in Otok. When he asked her whether she could sing a traditional
song she answered that she knew several songs, but not the kind a researcher
would be interested in (because they were more recent and accepted from
other communities).
The subjects in the field of music theory that the two permanently employed
ethnomusicologists as well as the melographers - external associates of
the Institute worked on during the fifties and sixties were musical characteristics
of traditional folk music and the classification and systematisation of
folk melodies. The mentioned subjects were present in central and eastern
Europe at that time too. Therefore, one of the first study groups of the
International Folk Music Council to start work was the Study group for
the systematisation of folk music in 1965 in Bratislava. The Institute's
representative J. Bezic participated at its first working meeting. In
1967 he participated at the founding meeting of the "Study Group
Concerned with Research and Editing of the Sources of Folk Music before
1800" in Freiburg i. Br. The activity of these study groups developed
and strengthened contacts between the Institute and ethnomusicologists
from abroad, contacts that the Fourth IFMC Conference in Opatija had already
initiated in 1951.
During those years congresses of folklorists of Yugoslavia (from 1965
congresses of the Savez udruzenja folklorista Jugoslavije [Confederation
of Associations of Folklorists of Yugoslavia]) were a good opportunity
to present the achievements of ethnomusicological work at the Institute.
The headquarters of the Drustvo folklorista Hrvatske [Association
of Folklorists of Croatia] that was founded in 1955 in Zagreb was at the
Institute. Vinko Zganec was the first president of this association from
1955 until 1963 and after that its honorary president for life.
Vinko Zganec conducted research of the Croats' folk music outside of
Croatia - in Hungary - in the late fifties (Zganec 1961b:367-369)
and early sixties (Zganec 1963:319-330). He published collected and transcribed
material from the area of Nagykanizsa (Zganec 1974).
Towards the end of the first twenty years of the Institute, researches
of oral literature, folk music, dance and customs in the Croatian Diaspora
in Slovakia in four villages in the wider vicinity of Bratislava from
1966-1968 and in 1970 were published. By careful research and listening
it was observed "... that in addition to Croatian songs the musical
repertoire of Slovakian Croats consists of many Slovakian, Hungarian and
even certain German songs" (Bezic 1973b:147).
Research of folk dances from 1948 to 1968
Vinko Zganec began researching and writing down folk dances already from
1947 onwards. He introduced his own method of writing down simple dance
movements. Using simple note symbols he would note the basic dance movements
(steps) of the dancer's feet on a horizontal line drawn under the musical
staves that were used for the transcription of the vocal or instrumental
musical accompaniment to the dance (Zganec 1950b: e.g. 338, 428-430; 1958:45-48).
"Zganec's unusually simple, clear and practically easily applicable
system has remained the most suitable one for writing down quickly on
site" (Ivancan 1968:12); it was - with a more comprehensive and more
precise Knust-Laban notation - still used in the eighties (Ivancan 1982,
Kostelac 1987).
The first dance expert who placed her first manuscript collection of traditional
dances - from Sunjska Greda (1948) - in the documentation of the Institute
was Ana Maletic (1904-1986), dance pedagogue and choreographer, an external
associate of the Institute at that time. First as an external associate
(1952) and then as the first permanently employed researcher of folk dances
Lelja Tas-Maissen worked at the Institute (1953-1954) and added 15 MSS
collections of folk dances to the documentation (Sremac 1983:84-85, Zebec
1996:94-96).
Ethnochoreographer and ethnochoreologist Ivan Ivancan (1927- ) was permanently
employed at the Institute from 1955 to 1974 after having previously spent
five years in practical ethnochoreographical work in the Zbor narodnih
plesova i pjesama [Assembly of Folk Dances and Songs] of the Omladinsko
kulturno-umjetnicko drustvo "Joza Vlahovic" [Youth Cultural
Club "Joza Vlahovic"] and doing field research in connection
to this. Namely, most of the records of dances in his first published
collection (Ivancan 1956) originate from 1950. He also wrote down tunes
of songs, instrumental melodies, data on the musicians and musical instruments,
customs that go with the dances and other folklore material. In addition
to his own analytical description of the dances he used Zganec's dance
denotation system and Knust-Laban's internationally recognised dance notation
already in his first collection. In filing the material in the archive
he introduced detailed transcriptions of certain dances as separate archive
units. They also contain variants of such a separate dance. The results
of this intensive work in a relatively short period of time (1956-1969)
are five books on folk dances from Croatia (Ivancan 1956, 1963a, 1963b,
1967 and 1969) and the paper "Geografska podjela narodnih plesova
u Jugoslaviji" [A Geographical Distribution of Folk Dances in Yugoslavia]
(Ivancan 1964).
The two permanently employed ethnochoreologists at the Institute had been
working for just two years (1966-1968) when Ivancan was joined by Zorica
Vitez (1939- ) with research in the coastal area of Makarska, on the islands
of olta and Brac and with research of dances and customs connected to
dance in Croatian villages in Slovakia.
How did the new socialist relations influence ethnomusicology during
the first twenty years of the Institutes existence?
In 1945 Slavko Jankovic had already gathered the collection Borbene
i partizanske pjesme [Marching and Partisan Songs] (97 examples) for
the Department of Folk Music at the Ethnographic Museum in Zagreb (Zganec
1950a:230). Around twenty years later in the Documentation of the Institute
records were found for "... 500 covers with texts and tunes of songs
from the National-liberation war and for massive revolutionary songs with
the accompanying documentation on each song (author V. Zganec)..."
(B[oskovic]-S[tulli] 1968:689). Many songs from the National--liberation
war were written down and tape-recorded, saved in MSS collections of the
Institute and also published with songs of other contents from a certain
region or province.
In the Rezolucija o zadacima Saveza kompozitora Jugoslavije [Resolution
of the Tasks of the Association of Composers of Yugoslavia] that was declared
at the First Congress of this association in Belgrade in 1950, musical
writers are - among other things - obliged "...to take care of ideologically
and professionally educating composers, music scholars and youth as conscientiously
and comprehensively as possible", but also that "...with might
and main, as a collective and individually, they will work on collecting
and scholarly elaborating our musical folklore, and on the elaboration
of traditional motives that also leads to knowing and deepening the national
musical language" (s.n. 1950:96-97).
A far more radical approach was taken in the apprehension of the role
of national creation (folklore) "... as a powerful weapon for the
ideological education of the people" (Buric 1950:4). In addition
to folk songs that accompany man's life and work and his customs where
"... one should not be ashamed of an old tune and contents"
it is desirable (according to the opinion of composer and music professor
Marijan Buric (1913-1979) that songs from the National-liberation war
1941-1945 and songs that bear witness to our new reality be performed
as much as possible. "... It is the duty and task of our scholars
to also research the new that is born daily", i.e. songs "...
of fighters fallen in action, of mothers and women partisans,... of comrade
Tito and the Army, of brotherhood and unity" (Buric 1950:3). Uneducational
and worthless songs of taverns, wine and betyar songs - according
to Buric - should be rejected.
According to Buric the singers and composers of new songs in traditional
models "... should be respected,... one should learn from them, but
also influence them to create such songs that... interest our people and
speak of our days, our aspirations" (Buric 1950:4).
Of the younger experts only Nikola Hercigonja could have directed the
Institute in such a radical direction, but he had left for Belgrade already
in 1946. The Institute's experts participated in publishing work on a
new, contemporary theme: partisan dance in Croatia was elaborated by I.
Ivancan (1960) while material from Croatia was contributed to Zbornik
partizanskih narodnih napeva [A Collection of Partisan Folk Songs]
(Belgrade 1962) by the editor of this publication N. Hercigonja, V. Zganec
and external associates of the Institute Ivan Matetic Ronjgov and Slavko
Zlatic.
The aspiration that the researcher of folk music gets closer to the current
social situation was demonstrated at the beginning of the sixties by seventy-year-old
V. Zganec when he showed a certain openness to the current issues of that
time (e.g. songs from public building-sites, songs of factory workers),
but he did this leaving some questions open and did not go into the problem
of such phenomena using the excuse that we still do not have enough collected
material (Zganec 1961:350). He accepted the urban song as a subject of
ethnomusicological research, but at the same time believed "... that
still the village is not only a reservoir of artistically perfected folklore,
but that for creating folklore at all, and musical folklore especially,
conditions were more favourable in the village than in the town"
(Zganec 1962b:7).
In the fifties and at the beginning of the sixties at the Institute and
among its external associates there obviously wasn't a young, i.e. younger
researcher who could understand the requests of the authorities of that
time also as a special challenge for experts to really try to expand the
field and subject of their musical research.
The seventies
Towards the end of the sixties and in the seventies a significant shift
took place in the approaches to researching folk music and dance. In the
scholarly programme of the Institute for the period 1972-1975 one of the
basic segments (of the projects) is complex research of folklore traditions
in Croatia according to its regions thereby continuing the work initiated
in the fifties, but this was directly influenced by the second part titled
Transformacija folklornih tradicija u suvremenoj kulturi [The Transformation
of Folklore Traditions in Contemporary Culture] which was soon changed
to Interakcija folklornih tradicija i suvremene kulture [The Interaction
of Folklore Traditions and Contemporary Culture] (Rihtman-Augustin, Naric
and Pavlovic 1973:501-502; Rihtman-
-Augustin, Turcin and Pavlovic 1979:178-179). "The research consisted
of ethnological and folkloristic theory and methodology thereby dispersing
interest to contemporary material or material that had until then not
been regarded as folkloric or ethnological" (Rihtman-Augustin,...
1979:179).
In the seventies and eighties Jerko Bezic believed that the basic and
mutual characteristic of all folk music was the specific way of life of
folk music phenomena. He considered them as folklore when they were the
result of live practice in which they were introduced by the will of their
performers - by free and direct musical communication in their social
group or community. This opinion was based on the results of researchers
of oral literature (A. Dundes 1964:251-265; D. Ben-Amos 1971:3-15; M.
Boskovic-Stulli 1973:149-184 and 237-260) and ethnomusicologist A. P.
Merriam (1960:107-114 and 1977:189-204) who, in determining folklore phenomena,
took the way of life of literary or musical phenomena and the processes
of free and direct communication in smaller groups of people into more
consideration than the contents and forms of these phenomena (Bezic 1985:442).
The attitude was that research should try to encompass folklore music
as a whole so as to draw nearer to "a more faithful and integral
picture of the general musical culture of a particular area and/or particular
social community" (Bezic 1980:560). In addition to traditional folk
music, it was necessary to do research on the developmental dynamism of
contemporary folklore musical phenomena (see Bezic 1985:443), and to study
the entire musical world of the bearers of folk music, linking active
repertoire which was being performed with passive repertoire which was
only listened to (see Bezic 1980:555). This meant that attention should
also be paid to that "kind of musical activity which often is not
folklore, but is a composite part of musical life..., and indirectly also
influences local folklore music" (Bezic 1981:71) (Marosevic 1992:124).
In researches the method of participating in folklore events and recording
the material in spontaneous, authentic performances is applied more often
with compulsory tape-recordings and towards the end of the seventies also
video-recordings (Marosevic 1989:160) thereby expanding the research subject
and directing the interest at communicational characteristics of music
and dance.
As results of field researches of folk music and dance in addition to
collections (e.g. Zganec 1974 and 1979; Ivancan 1973; Stepanov 1971) monographs
on music and dance in individual geographical areas appeared. These brought
a new kind of material, e.g. material that originated from other regions,
from urban milieus (Bezic 1973:309-377; Ivancan 1973b:259-307 with separate
subtitles "ta se danas plese" [What is Danced Today] and "Transformacije"
[Transformations]; Bezic 1977:23-54) the local church folk singing on
the island of Brac was researched and presented (Bezic 1975:305-307 and
313-314); in addition to the rich and diverse material on the island of
Zlarin a just slightly adapted song "Puste su kale" [The Callas
are Deserted] by the composer of entertainment music Dusan arac (1942-
) from ibenik was recorded (Bezic 1981:54-55, 110).
Researches of traditional folk music instruments started to appear more
intensively following the encouragement of the 7th Congress of the Confederation
of Folklorists of Yugoslavia in 1960 in Skoplje and at Ohrid (Stepanov
1964:283-296; Ivancan 1964:253-260). During her short employment at the
Institute (1968-1972) Dunja Rihtman-otric (1944- ), an ethnomusicologist
from Sarajevo, researched folk music instruments in addition to vocal
music. (Rihtman 1969:287-289 and 1975:235-299). Ethnomusicologist Kresimir
Galin's (1947- ) arrival at the Institute in 1973 saw the beginning of
systematic field research of traditional musical instruments and their
transformations (Galin 1977:51-81).
With the departure of I. Ivancan in 1974 to the post of director of the
dance ensemble Lado ethnochoreologist Stjepan Sremac (1943- ) arrived
at the Institute and, in addition to field researches of folk dances also
researched regional folklore festivals comparing their programmes from
the nineteen twenties, thirties and seventies (Sremac 1978:97-116). A
complex research of movement, singing and metrorhythmic performance of
texts spread to researches of the children's folklore of that time in
Zagreb (Rajkovic 1978:37-96).
Folk music and dance of Burgenland Croats were part of the Institute's
research project Folklor Gradiscanskih Hrvata [The Folklore of
Burgenland Croats]. Researches of folk music in the period from 1971 to
1974 strove to understand the musical world of Burgenland Croats in its
entireness. Therefore, apart from their traditional folk music they also
included other musical phenomena regardless of their very varied origin.
The results of this research lasting several years were not published
until around twenty years later (Bezic 1995:361-402; Ivancan 1995:403-419).
Among the many other ethnomusicological themes we shall also mention acculturation
as a possibility of the further existence of folk music (Bezic 1974:149-154),
the spontaneous and organised music life in the village in Croatia (Bezic
1979:89-97), as well as papers on themes closer to music itself, on tone
relations (Bezic 1976:193-208 and 1981:33-50) and on rhythm, on unequal
units of measure (Bezic 1977:314-319).
In 1976 the Institute was joint organiser of the Symposium of Folk Arts
in Yugoslavia in Pittsburgh, USA, together with the Duquesne University
Tamburitzans Institute of Folk Arts. The Institute also organised the
Sixth meeting of the Study Group for Historical Sources of Folk Music
of the International Folk Music Council in Medulin near Pula in 1979.
While the very thoroughly prepared selection of musical examples from
the whole of Croatia on a record that was put together and commented by
Stjepan Stepanov as early as in 1961 for a German publisher (Stepanov
1961) did not have visible repercussions in Croatia, a more well known
and successful record was Da si od srebra, da si od zlata: Izvorni
glazbeni folklor Hrvatske [Were You of Silver, Were You of Gold: Authentic
Musical Folklore of Croatia] (Jugoton LPY-V-739). It was released in 1970,
the recordings were from the archive of Radio-Television Zagreb and the
archive of the Institute, selection of recordings: Ivancan and Bezic;
comments: Bezic, Ivancan and Dunja Rihtman-[otric]; transcription of
recordings: Bezic and Rihtman-[otric].
Around the middle of 1979 ethnomusicologist Grozdana Marosevic (1955-
) joined the Department for Folk Music at the Institute.
The eighties
In the eighties, the researchers were much less attracted by intensive
regional research in comparison to the previous decade. The ethnomusicological
research in Karlovacko pokuplje combined the older type of regional research
with new approaches to the all-encompassing musical culture, with particular
emphasis on the performance manner (Marosevic 1993).
Different researches of certain subjects in the field of folk music and
dance introduced an increasing diversity in ethnomusicology and ethnochoreology
at the Institute. In addition to this, the question of folk music appliance
was emphasised.
The wide diversity of themes is best denoted by the titles of individual
ethnomusicological papers at the beginning of the eighties. "Elementi
za klasifikaciju folklorne glazbe u Hrvatskoj" [Elements for the
Classification of Folklore Music in Croatia] (Bezic 1983:105-117) were
a reflection of previous analyses of morphological characteristics of
folk music. The connection to the wider programme of the Institute was
shown by the papers "Kontinuitet i promjene u glazbenom repertoaru
u svadbenim obicajima Karlovackog Pokuplja" [The Continuity and Changes
in the Musical Repertoire of Wedding Customs of the Pokuplje Region near
Karlovac] (Marosevic 1984a:345-349) and "O hrvatskom tancu, drmesu,
cardasu i porijeklu drmesa" [On the Croatian tanac, drmes,
csardas and the origin of the drmes] (Sremac 1983:57-74). The
paper "Die Frau als Trägerin der Volksmusik in Medjimurje (Murinsel,
Muraköz)" (Bezic 1982:97-108) was a sign of newer themes.
In 1984, together with the JAZU of that time, the Institute was the joint
organiser of a scholarly meeting on occasion of the 150th anniversary
of the birth of F. Ks. Kuhac for which the Institute's associates prepared
papers on Kuhac's contribution to ethnomusicology (Bezic 1984:7-11; Marosevic
1984b:77-110), ethnochoreology (Sremac 1984:201-216), ethnoorganology
(Galin 1984:217-131) and oral literature (Peric-Polonijo 1984:111-155).
In 1985, as a contribution to the European Year of Music, the Institute
organised an international conference in Zagreb "Glazbeno stvaralastvo
narodnosti (narodnih manjina) i etnickih grupa" [The Musical
Creation of Nationalities (National Minorities) and Ethnic Groups] at
which in addition to three papers from Croatia, 6 more were read from
the former SFR Yugoslavia and 8 from neighbouring countries (Marosevic
1989:119-121).
The Institute's ethnomusicologists participated at conferences abroad
more and more frequently. Besides those organised by The International
Council for Traditional Music (ICTM, in 1981 adopted new name for the
former IFMC), there were conferences of the European Seminar in Ethnomusicology
(ESEM) and other international foreign organisations. The published papers
from such meetings also include specific themes related to music and dance
(e.g. Bezic 1990:81-85; Ivancan 1983:56-81; Marosevic 1990:181-191).
The ethnomusicological researches also comprise works of music by Croatian
composers (e.g. Hatze's opera Adel i Mara [Adel and Mara] - - Bezic
1982b:253-259), the Glagolitic chant of northern Dalmatia (Bezic 1986:109-122),
the manufacturing of so-called folk music with a special review of problems
and forms of folk music presentation (Marosevic 1984c:11-12) and the ethnomusicological
work of Bozidar irola (Bezic 1985:5-39).
In 1985 Ruza Bonifacic (1960- ) joined the Department for Folk Music with
research of the folklore music of the island of Krk (Bonifacic 1987:443-449).
On the eve of the 12th International Congress of Anthropological and Ethnological
Sciences in Zagreb in 1988 the Institute published papers (in English)
that dealt with a then completely new ethnomusicological and ethnochoreological
themes, the conception of traditional music, the manner in which it is
performed in Croatia in spontaneous performances and in the mass communication
media, and its appliance in "neo-traditional" musical creation
(Marosevic 1988:75-98), the dance in contemporary Carnival customs in
Croatia (Sremac 1988:99--125) and the archaeological discoveries of musical
instruments in Yugoslavia (Galin 1988:123-148).
A theme that especially drew the attention of ethnomusicologists, but
also ethnologists from the Institute during those years was novokomponirana
narodna muzika [newly composed folk music] (Bezic 1988:49-73; Marosevic
1988:75-98; Prica 1990:279-282 - and already at the beginning of the eighties
- Povrzanovic 1983:775-779).
On occasion of the centenary of the birth of Vinko Zganec in 1990, in
addition to the celebration, the Institute organised an International
conference in collaboration with the Centar za kulturu [Culture
Centre] in ťakovec. The first theme of this conference was Znacenje
djelatnosti Vinka Zganca na polju etnomuzikologije, etnokoreologije, usmene
knjizevnosti i glazbene umjetnosti [The Significance of Vinko Zganec's
Work in the Field of Ethnomusicology, Ethnochoreology, Oral Literature
and Musical Art]. The participants from the Institute were J. Bezic (1991:31-37),
G. Marosevic (1991:55-69), K. Galin (1991:85-100), Nives Ritig-Beljak
(1991:105-110), I. Ivancan (1991:121-132) and Tanja Peric-
-Polonijo (1991:149-166).
Towards the end of this period, in 1988, ethnomusicologist Svanibor Pettan
(1960- ) and two years later ethnomusicologist Naila Ceribasic (1964-
) and ethnochoreologist Tvrtko Zebec (1962- ) joined the Institute.
(Translated by Laurette Rako-Zechner)
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