Dana 15. studenog 2021. akademik Stanislav Tuksar održao je online jednosatno predavanje pod naslovom “The Idea of ‘National’ in Croatian 19th-century Musical Culture: Sources and Ideological Backgrounds” za šezdesetak doktoranada muzikologije i njihovih mentora na rumunjskim sveučilištima u gradovima Bukureštu, Cluju-Napoci (Kluž-Napoka) i Iaşiju (Jaš).
The idea of “national” in music in Croatian 19th-century musical culture has been closely connected with the ideas of political, social and cultural emancipation within the multi-cultural Habsburg Monarchy. In this, strong ties can be established between these ideas and activities, and similar phenomena throughout Europe and the 19th-century history of ideas within the bourgeois Romantic movement.
This idea of „national“, as developed mostly in the capital of Zagreb and in northern Croatian lands, shows evolutionary tendencies which can be articulated in four phases. It started in 1800-1830 period as a construct leading towards higher general musical standards (with the Zagreb Bishop Maksimilijan Vrhovac), displaying as its ideal universality above particularity.
It continued in 1830-1850 period with pragmatic treatment of music as incidental to poetry, supporting non-musical, mostly political issues (with the linguist and politician Ljudevit Gaj), where universality equaled particularity.
It achieved in 1850-1870 period the status of a substantial part of national being in the scholarly re-construction of national history (with the historian Ivan Kukuljević Sakcinski), still equaling universality with particularity.
And finally, as a concept of ethnic/national art music, it reached in 1870-1916 period a pedestal of general interest in national cultural life and education (with the musicologist and music teacher Franjo Ksaver Kuhač), displaying particularity above universality. In this, the general idea was formulated that the so-called «Croatian national music», both vocal and instrumental one, should be based on specific musical features of the particular folk tunes.
The lecture will highlight some singular most important phenomena accompanying the projection of these ideas in Croatian 19th-century social and cultural reality on one side, and offer a general theoretical frame for their explanation using contemporary sociological, historiographical and cultural-anthropological schemes, suggested by J. Hutchinson, H. Kohn, E. Gellner, A. D. Smith, and some others, on the other side.