Papers by Maja Milošević Carić
Arti musices
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Dani hvarskoga kazališta, 46/1, 2020, str. 27-44.
The music nurtured in the earlier past of the first European community the atre, i.e. the Theatre... more The music nurtured in the earlier past of the first European community the atre, i.e. the Theatre of Hvar – from the time of its establishment in 1612 to its temporary closure in 1888 (due to renovation finished twelve years later) – until today, has remained an entirely unfamiliar aspect of cultural history of the city of Hvar. Illuminating its practice of the time and the role of the public, secular music-making has been severely hindered by the lack of relevant archival sources, primarily of sheet music which would explicitly testify the musical, i.e. music and stage repertoire, that might have been represented to the audience of Hvar and its visitors by the guest Italian musicians and opera companies, as well as the local musicians gathered into vocal and musical ensembles. The musical practice within the theatre of Hvar has so far been represented by merely few, but diverse (newly) discovered archival sources, starting from the list of today lost sheet mu sic publications of secular (and church) music, available in Hvar in the mid-17th century through the annotations made by contemporaries on (music) events in the 18th century, as well as preserved librettos, primarily of 19th century Italian operas, today preserved at the Hvar Heritage Museum. They were used as a foundation for this paper, which is a first attempt at a reconstruction of the musical practice and repertoire of the Hvar theatre within a wider chronological and social and political frame, characterised by the Venetian at first, then briefly French, and finally Austrian rule, mostly as an incentive for further research of this neglected but significant segment of Hvar’s musical and cultural history.
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Između Srednje Europe i Mediterana: glazba, književnost i izvedbene umjetnosti / Between Central Europe and Mediterranean: Music, Literature and Performing Arts, eds. Ivana Tomić Ferić – Antonela Marić, Split: Umjetnička akademija Split – Filozofski fakultet Split, 2021, 79-101.
Početci prodora (glazbe) cecilijanskog pokreta u Dalmaciju sežu u drugu polovicu 19. stoljeća, pr... more Početci prodora (glazbe) cecilijanskog pokreta u Dalmaciju sežu u drugu polovicu 19. stoljeća, pri čemu su – s obzirom na specifične društvene, kulturne i političke veze dviju jadranskih obala – njegove tekovine ponešto snažnije dopirale s područja sjeverne Italije. Dostupni glazbenoarhivski izvori ukazuju na to da su se skladbe sjevernotalijanskih cecilijanskih skladatelja uvriježile u repertoar katedralnih, samostanskih i župnih pjevačkih kapela diljem Dalmacije ponajviše u desetljećima krajem 19. i početkom 20. stoljeća. Međutim, iako ih je najveći dio s vremenom postupno iščeznuo iz crkvenih repertoara u Dalmaciji, posebice slabljenjem cecilijanskih strujanja nakon 1930-ih, iz suvremene izvođačke prakse razvidno je da su se pojedina djela održala do danas, postavši vrijednim segmentima lokalnih živućih pjevačkih tradicija. «Dalmatinska» prošlost i sadašnjost glazbe proizišle iz sjevernotalijanskog cecilijanskog pokreta skicirat će se u ovome radu na temelju studija triju slučaja: katedrale sv. Stjepana I. (pape i mučenika) u Hvaru, crkve Dominikanskog samostana sv. Petra Mučenika u Starome Gradu i župne crkve sv. Martina biskupa u Vranjicu. Zaključci o početcima i kontinuitetu glazbenih izvedbi nastojat će se iznijeti konzultiranjem glazbenoarhivskih izvora unutar triju navedenih lokaliteta, ali i uvidom u tamošnju suvremenu glazbenu praksu, što svjedoči o implementaciji (sjevernotalijanskog) cecilijanskog izričaja u onaj lokalni.
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Musicians’ Migratory Patterns in Time and Space: The Adriatic Coasts (series Cultural Expressions in Music), ed. Franco Sciannameo, New York: Routledge, 2018, pp. 82-107.
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The reception of Italian music in Central-Eastern Europe in the Seventeenth Century, ed. Marina Toffetti, Padova: Dipartimento dei Beni Culturali – Cracow: Musica Iagellonica, 2018, p. 85-118., 2018
A manuscript kept in the Chapter Archives in Hvar (Dalmatia, region of Southern Croatia) contains... more A manuscript kept in the Chapter Archives in Hvar (Dalmatia, region of Southern Croatia) contains a list of books and music material owned by the Chapter of the Hvar Cathedral in 1646/47. Although now lost, the recorded music titles bear witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only to the presence of contemporary Italian (mostly Venetian early-Baroque) music literature on the island; it also reveals two titles of Tomaso Cecchini’s to date unknown opuses, added here to the revised list of Cecchini’s works. Considering the importance of this source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is pre sented here by way of a table containing transcribed titles and additional details on the authors and printed editions, which were formerly a part of the Cathedral Chapter’s music collection.
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Prilozi povijesti otoka Hvara, 2019
Ambroz (Ambro) Novak (1899-1947) from Hvar was a prominent intellectual, musician, composer, musi... more Ambroz (Ambro) Novak (1899-1947) from Hvar was a prominent intellectual, musician, composer, music publicist and critic, jurist by profession. He was involved in a wide range of (public) music activities quite successfully, however only for a short period, during the time of his youth (between 1916 and 1925). Although once shared the stages with prominent Croatian musicians and composers of the so-called interwar period, Novak was completely erased from the cultural memory of Hvar, and generally omitted from the works of Croatian music historiography. The sources that might shed some light on Novak’s engagements in different music fields are today preserved among his legacy, kept in the Hvar Heritage Museum (in the city of Hvar). Based on its content (music manuscripts, articles, published concert programs, letters etc.) - previously arranged, catalogi zed and digitalized by author of this article within the current musicological pro ject of acronym GIDAL (financ. by the Croatian Science Foundation) - Novak’s biography, but also his interests and activities in performing and writing (about) music are introduced preliminary in this article. List of archival sources from Novak’s legacy is extensively represented here as well, not only as a chronological, quantitative and qualitative review of his musical and literal heritage, but also as a starting point for some future research focused on his life and work.
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in: Music Migrations in the Early Modern Age: Markets, Patterns, Styles (2015), ed. Vjera Katalin... more in: Music Migrations in the Early Modern Age: Markets, Patterns, Styles (2015), ed. Vjera Katalinić, Zagreb: Croatian Musicological Society, 2016, 103-117.
Having the emphasis on the presence of the migrant musicians, their adaptation as well as cultural and artistic contribution to environment in which they found temporal or permanent place to live and work, this article provides information about music life in the town of Hvar by examining the role of both domestic and foreign musicans who worked on its cultivation and development during the 17th and 18th century.
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in: Music Migrations in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Pa... more in: Music Migrations in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence, ed. Jolanta Guzy Pasiak – Aneta Markuszewska, Warsaw: Liber Pro Arte, 2016, 151-160.
This article offers an overview of the life and musical activities of Giuseppe
Raffaelli (1767–1843) from Hvar – the composer, organist, priest, and, at
one point of his life, music migrant.
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Dani Hvarskoga kazališta, 42/1, 2016, 190-227.
Most of Croatian towns and villages are missing th... more Dani Hvarskoga kazališta, 42/1, 2016, 190-227.
Most of Croatian towns and villages are missing the archival sources which could demonstrate the quality and the quantity of music repertory in the first half of the 17th century. However, a manuscript kept in the Archives of the Cathedral in the town of Hvar (on the island of Hvar) contains a list of books and music material owned by the Cathedral Chapter back in 1646/47, which could serve as strong and very rare evidence on music practice in the 17th century Hvar, and generally in Dalmatia. Although lost nowadays, recorded music titles, listed in eight different sections, are witnessing the presence of contemporary Italian (mostly Venetian early-baroque) music literature once in the town. Each section of music inventory is discussed in this article, with addition of tables showing its content regarding composers, years and publishers of first editions, and music genres.
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Arti musices, 46/2, 2015, 277-307.
A manuscript kept in the Cathedral Chapter Archives in Hvar c... more Arti musices, 46/2, 2015, 277-307.
A manuscript kept in the Cathedral Chapter Archives in Hvar contains a list of books and music material owned by the Cathedral Chapter back in 1646/47. Although lost nowadays, recorded music titles are witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only to the presence of contemporary Italian (mostly Venetian early-Baroque) music literature on the island; it also reveals four titles of Tomaso Cecchini’s to date unknown opuses, joined here to the revised list of Cecchini’s works. Considering the importance of this source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is presented here by way of a table containing transcripted titles and extra details on authors and printed editions, which were formerly a part of the Cathedral Chapter’s
music collection.
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Bašćinski glasi, knj. 11, 2013, 341-362.
The centuries-old procession Za križen (Following the C... more Bašćinski glasi, knj. 11, 2013, 341-362.
The centuries-old procession Za križen (Following the Cross) – a part of the Mediterranean tradition of settings of the story of the Passion of Jesus, and also a part of the UNESCO List of Intangible Cultural Heritage – passes through six villages on the island of Hvar (Jelsa, Pitve, Vrisnik, Svirče, Vrbanj and Vrboska) on the night from Maundy Thursday to Good Friday. Its central point is the performance of Gospin plač (Lamentation of Virgin Mary), a chant built around octosyllabic couplets, whose origins can be traced all the way to the medieval Croatian version of Planctus Mariae from the Osor-Hvar Hymnbook (1533). It is sung at the stations of the procession by two groups of male singers (kantaduri and odgovoroči) in a responsorial singing manner. The melody is based on a series of sequences separated by pauses, and each syllable can endure few sequences. Because of its unique melodic and rhythmic structure, and the way of interpretation, this one-part tune is very recognizable, but not easily memorable. The Gospin plač chant demands adequate interpretative, vocal and intonational abilities of performers. It is transmitted orally from one generation to another, already at a young age. Singers practice it mostly during rehearsals organised in the home of the križonoša (cross-bearer) during the Lenten season.
This paper provides descriptions of procession's formal characteristics and structure and a review of former notions of its roots and important parts of its history. However, the emphasis is given to the Gospin plač chant, to the provenance of its text and to the features, context and regime of its performance, sketched through conversations with participants and by observation of the contemporary praxis model in the village of Svirče.
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Arti Musices, 42/2, 2011, 209-235.
Since the beginning of the 1990s, klapa singing has grown int... more Arti Musices, 42/2, 2011, 209-235.
Since the beginning of the 1990s, klapa singing has grown into a movement that has crossed its local and regional borders. Along with winning awards at the Festival of Dalmatian Klapas Omiš (Festival dalmatinskih klapa Omiš), the success criteria for klapas became also their media exposure, which partly influenced the raise of a new type – the modern klapa – which searches for new music sources and new ways of presentation and communication. Because of its collaboration with pop singers and reaching for elements of popular music genres such as rap, soul, rock, reggae, this type became popular among the widest audience.
Circumstances of that period indirectly influenced the founding and development of Dalmatian Song Evenings (Večeri dalmatinske pisme), a festival founded in 1999 in Kaštel Kambelovac, Dalmatia. Its first section is dedicated to klapa performances of Croatian (mostly Dalmatian) and foreign popular songs arrangements, but also of new compositions, quite atypical for the canonic klapa repertoire. In the second section, popular music (jazz, rock, bluese, etno, ča and island wave) performers present new readings of traditional klapa songs.
In the first decade of this festival, klapas performed about 360 compositions and arrangements, which could be roughly divided in: arrangements of traditional chants (which prevailed in the beginning, when the content and name of the festival events had not been defined yet), new compositions, performed at New Compositions Evenings (Večeri novih skladbi), arrangements of foreign (performed at event Klapa Novelties / Klapske novitade) and domestic popular songs (performed at event Kaštela Style / Kaštelanski đir). Through the analysis of several examples, author of this article tried to reveal some of the new approaches found in modern klapa songs, used by composers and arrangers often with the price or tendency of neglecting the main characteristics of the traditional klapa repertoire.
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Talks by Maja Milošević Carić
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Papers by Maja Milošević Carić
Having the emphasis on the presence of the migrant musicians, their adaptation as well as cultural and artistic contribution to environment in which they found temporal or permanent place to live and work, this article provides information about music life in the town of Hvar by examining the role of both domestic and foreign musicans who worked on its cultivation and development during the 17th and 18th century.
This article offers an overview of the life and musical activities of Giuseppe
Raffaelli (1767–1843) from Hvar – the composer, organist, priest, and, at
one point of his life, music migrant.
Most of Croatian towns and villages are missing the archival sources which could demonstrate the quality and the quantity of music repertory in the first half of the 17th century. However, a manuscript kept in the Archives of the Cathedral in the town of Hvar (on the island of Hvar) contains a list of books and music material owned by the Cathedral Chapter back in 1646/47, which could serve as strong and very rare evidence on music practice in the 17th century Hvar, and generally in Dalmatia. Although lost nowadays, recorded music titles, listed in eight different sections, are witnessing the presence of contemporary Italian (mostly Venetian early-baroque) music literature once in the town. Each section of music inventory is discussed in this article, with addition of tables showing its content regarding composers, years and publishers of first editions, and music genres.
A manuscript kept in the Cathedral Chapter Archives in Hvar contains a list of books and music material owned by the Cathedral Chapter back in 1646/47. Although lost nowadays, recorded music titles are witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only to the presence of contemporary Italian (mostly Venetian early-Baroque) music literature on the island; it also reveals four titles of Tomaso Cecchini’s to date unknown opuses, joined here to the revised list of Cecchini’s works. Considering the importance of this source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is presented here by way of a table containing transcripted titles and extra details on authors and printed editions, which were formerly a part of the Cathedral Chapter’s
music collection.
The centuries-old procession Za križen (Following the Cross) – a part of the Mediterranean tradition of settings of the story of the Passion of Jesus, and also a part of the UNESCO List of Intangible Cultural Heritage – passes through six villages on the island of Hvar (Jelsa, Pitve, Vrisnik, Svirče, Vrbanj and Vrboska) on the night from Maundy Thursday to Good Friday. Its central point is the performance of Gospin plač (Lamentation of Virgin Mary), a chant built around octosyllabic couplets, whose origins can be traced all the way to the medieval Croatian version of Planctus Mariae from the Osor-Hvar Hymnbook (1533). It is sung at the stations of the procession by two groups of male singers (kantaduri and odgovoroči) in a responsorial singing manner. The melody is based on a series of sequences separated by pauses, and each syllable can endure few sequences. Because of its unique melodic and rhythmic structure, and the way of interpretation, this one-part tune is very recognizable, but not easily memorable. The Gospin plač chant demands adequate interpretative, vocal and intonational abilities of performers. It is transmitted orally from one generation to another, already at a young age. Singers practice it mostly during rehearsals organised in the home of the križonoša (cross-bearer) during the Lenten season.
This paper provides descriptions of procession's formal characteristics and structure and a review of former notions of its roots and important parts of its history. However, the emphasis is given to the Gospin plač chant, to the provenance of its text and to the features, context and regime of its performance, sketched through conversations with participants and by observation of the contemporary praxis model in the village of Svirče.
Since the beginning of the 1990s, klapa singing has grown into a movement that has crossed its local and regional borders. Along with winning awards at the Festival of Dalmatian Klapas Omiš (Festival dalmatinskih klapa Omiš), the success criteria for klapas became also their media exposure, which partly influenced the raise of a new type – the modern klapa – which searches for new music sources and new ways of presentation and communication. Because of its collaboration with pop singers and reaching for elements of popular music genres such as rap, soul, rock, reggae, this type became popular among the widest audience.
Circumstances of that period indirectly influenced the founding and development of Dalmatian Song Evenings (Večeri dalmatinske pisme), a festival founded in 1999 in Kaštel Kambelovac, Dalmatia. Its first section is dedicated to klapa performances of Croatian (mostly Dalmatian) and foreign popular songs arrangements, but also of new compositions, quite atypical for the canonic klapa repertoire. In the second section, popular music (jazz, rock, bluese, etno, ča and island wave) performers present new readings of traditional klapa songs.
In the first decade of this festival, klapas performed about 360 compositions and arrangements, which could be roughly divided in: arrangements of traditional chants (which prevailed in the beginning, when the content and name of the festival events had not been defined yet), new compositions, performed at New Compositions Evenings (Večeri novih skladbi), arrangements of foreign (performed at event Klapa Novelties / Klapske novitade) and domestic popular songs (performed at event Kaštela Style / Kaštelanski đir). Through the analysis of several examples, author of this article tried to reveal some of the new approaches found in modern klapa songs, used by composers and arrangers often with the price or tendency of neglecting the main characteristics of the traditional klapa repertoire.
Talks by Maja Milošević Carić
Having the emphasis on the presence of the migrant musicians, their adaptation as well as cultural and artistic contribution to environment in which they found temporal or permanent place to live and work, this article provides information about music life in the town of Hvar by examining the role of both domestic and foreign musicans who worked on its cultivation and development during the 17th and 18th century.
This article offers an overview of the life and musical activities of Giuseppe
Raffaelli (1767–1843) from Hvar – the composer, organist, priest, and, at
one point of his life, music migrant.
Most of Croatian towns and villages are missing the archival sources which could demonstrate the quality and the quantity of music repertory in the first half of the 17th century. However, a manuscript kept in the Archives of the Cathedral in the town of Hvar (on the island of Hvar) contains a list of books and music material owned by the Cathedral Chapter back in 1646/47, which could serve as strong and very rare evidence on music practice in the 17th century Hvar, and generally in Dalmatia. Although lost nowadays, recorded music titles, listed in eight different sections, are witnessing the presence of contemporary Italian (mostly Venetian early-baroque) music literature once in the town. Each section of music inventory is discussed in this article, with addition of tables showing its content regarding composers, years and publishers of first editions, and music genres.
A manuscript kept in the Cathedral Chapter Archives in Hvar contains a list of books and music material owned by the Cathedral Chapter back in 1646/47. Although lost nowadays, recorded music titles are witness to the quantity and quality of music in the town of Hvar (and generally in Dalmatia) during the 1st half of the 17th century. This (music) inventory testifies not only to the presence of contemporary Italian (mostly Venetian early-Baroque) music literature on the island; it also reveals four titles of Tomaso Cecchini’s to date unknown opuses, joined here to the revised list of Cecchini’s works. Considering the importance of this source in the context of Croatian music historiography and (early) Baroque culture, a focal point of this article is an overview of the inventory’s musical content. It is presented here by way of a table containing transcripted titles and extra details on authors and printed editions, which were formerly a part of the Cathedral Chapter’s
music collection.
The centuries-old procession Za križen (Following the Cross) – a part of the Mediterranean tradition of settings of the story of the Passion of Jesus, and also a part of the UNESCO List of Intangible Cultural Heritage – passes through six villages on the island of Hvar (Jelsa, Pitve, Vrisnik, Svirče, Vrbanj and Vrboska) on the night from Maundy Thursday to Good Friday. Its central point is the performance of Gospin plač (Lamentation of Virgin Mary), a chant built around octosyllabic couplets, whose origins can be traced all the way to the medieval Croatian version of Planctus Mariae from the Osor-Hvar Hymnbook (1533). It is sung at the stations of the procession by two groups of male singers (kantaduri and odgovoroči) in a responsorial singing manner. The melody is based on a series of sequences separated by pauses, and each syllable can endure few sequences. Because of its unique melodic and rhythmic structure, and the way of interpretation, this one-part tune is very recognizable, but not easily memorable. The Gospin plač chant demands adequate interpretative, vocal and intonational abilities of performers. It is transmitted orally from one generation to another, already at a young age. Singers practice it mostly during rehearsals organised in the home of the križonoša (cross-bearer) during the Lenten season.
This paper provides descriptions of procession's formal characteristics and structure and a review of former notions of its roots and important parts of its history. However, the emphasis is given to the Gospin plač chant, to the provenance of its text and to the features, context and regime of its performance, sketched through conversations with participants and by observation of the contemporary praxis model in the village of Svirče.
Since the beginning of the 1990s, klapa singing has grown into a movement that has crossed its local and regional borders. Along with winning awards at the Festival of Dalmatian Klapas Omiš (Festival dalmatinskih klapa Omiš), the success criteria for klapas became also their media exposure, which partly influenced the raise of a new type – the modern klapa – which searches for new music sources and new ways of presentation and communication. Because of its collaboration with pop singers and reaching for elements of popular music genres such as rap, soul, rock, reggae, this type became popular among the widest audience.
Circumstances of that period indirectly influenced the founding and development of Dalmatian Song Evenings (Večeri dalmatinske pisme), a festival founded in 1999 in Kaštel Kambelovac, Dalmatia. Its first section is dedicated to klapa performances of Croatian (mostly Dalmatian) and foreign popular songs arrangements, but also of new compositions, quite atypical for the canonic klapa repertoire. In the second section, popular music (jazz, rock, bluese, etno, ča and island wave) performers present new readings of traditional klapa songs.
In the first decade of this festival, klapas performed about 360 compositions and arrangements, which could be roughly divided in: arrangements of traditional chants (which prevailed in the beginning, when the content and name of the festival events had not been defined yet), new compositions, performed at New Compositions Evenings (Večeri novih skladbi), arrangements of foreign (performed at event Klapa Novelties / Klapske novitade) and domestic popular songs (performed at event Kaštela Style / Kaštelanski đir). Through the analysis of several examples, author of this article tried to reveal some of the new approaches found in modern klapa songs, used by composers and arrangers often with the price or tendency of neglecting the main characteristics of the traditional klapa repertoire.