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Place of springs - valorization of tangible and intangible heritage of the southern slope of Biokovo Mountain in Tučepi
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Activity of Ambro Novak in the field of music criticism and journalism
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Traditional vocal music in Istria at the beginning of the 21st century: characteristics and mutual influences in four autochthonous ethnic communities
No full textU radu se vizualizira postojeće etnomuzikološko stanje u Istri početkom 21. stoljeća gdje svjedočimo svojevrsnoj revitalizaciji starih napjeva. Izuzev podrobnog dijalektološkog, zemljopipisnog, povijesnog, društvenog, morfološkog i glazbenog opisa ovaj rad uglavnom obrazlaže sadašnje (djelomično i prošlo) stanje glazbenih napjeva i pjesama prisutnih u četirima istarskim etničkim skupinama (Hrvatima, Talijanima, Slovencima, Istrorumunjima). Prikazani su utjecaji i radovi renomiranih stručnjaka koji su do današnjeg dana proučavali ovo područje u Istri, ali i umjetnika koji danas stvaraju na istoj glazbenoj građi koristeći se fragmentima glazbene strukture ili u glazbenoj kombinaciji i s drugim žanrovima. Posljednjih se nekoliko desetljeća njeguje identitet i spašava tradicijska baština koju provode mnogi nositelji: razne udruge, zajednice, kulturna društva i institucije koji provode niz aktivnosti te posebno razne smotre i festivale.Istria has always been a multiethnic turning point. Various peoples fought for it, dwelling on its land. In the distant past, man inhabited its caves, so the Histri began to build forts on top of the hills; this territory was then conquered by the Romans and life was brought back to the sea, where people were manufacturing and spending time in rustic villas on the west coast; a period of turbulent alternation of authorities and peoples followed (Byzantines, Franks, Counts of Gorizia, Patriarchs of Aquileia and others; the last to conquer Istria were the Venetians and the Hapsburgs. At the same time, Istria as a region is situated at the turning point of the paths of major and minor powers, away from Ottoman raids so that many different cultures have found shelter here at many different stages. The characteristic coexistence encouraged the development of multiculturalism and multilingualism, which have over time evolved into diverse cultural exchanges and interweavings. Music and singing have always played a very important role in social life; they were and still are part of everyday life, even though in different ways and to a lesser extent. People sang in squares, at home, at the table, among family members, especially during festivals, parties, celebrations and holidays. People also sang in company, thus expressing their origin, their identity, but also their feelings.L’Istria è sempre stata una terra di svolta, multietnica. Molti popoli si sono battuti per conquistarla, fermandosi più o meno a lungo sui suoi “lidi”. Nel lontano passato l’uomo ha occupato le sue caverne, dopodicché gli Histri iniziarono a formare delle roccaforti in cima alle colline, fino a che i romani non li hanno sottomettessi per ritornare al mare dove producevano e oziavano in quella miriade di ville rustiche sparse sulle coste occidentali della penisola. Più in la ci fu un periodo in cui i vari poteri e popoli non hanno smesso di darsi il cambio (Bizantini, Franchi, conti di Gorizia, patriarchi di Aquileia...); infine arrivarono i Veneziani e gli Asburgo. Al contempo l’Istria come territorio è andato a trovarsi in un punto nevralgico, in un crocevia di percorsi e all’ombra delle persecuzioni turche tanto che diverse culture e in diversi periodi storici vi hanno trovato ricovero. Questa caratteristica convivenza ha giocato da stimolo per lo sviluppo di un clima multiculturale e multilingue che col tempo ha sfociato in una serie infinita di scambi e intrecci culturali. La musica e il canto hanno avuto da sempre un ruolo di primo piano nella vita sociale; erano e sono tuttora, anche se in misura molto minore, parte della vita. Si cantava nelle osterie, nelle case, a tavola, in famiglia, soprattutto in occasione di vari festeggiamenti e festività, celebrazioni, anniversari. Si cantava in compagnia ostentando le proprie origini, l’identità, ma anche emozione e sentimenti
Conservation - restoration works on a saint Sebastian sculpture from the Church of Assumption of the Blessed Virgin Mary in Kaštel Lukšić
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Pojava fotografije i njen utjecaj na slikarstvo 19. st.
No full textRazvoj fotografije i njen utjecaj na europsko slikarstvo razmatra se u kontekstu društvenih okolnosti 19. stoljeća. Pruža se povijesni pregled ideje o fotografiji i otkrićima koje su dovele do pojave fotografije u 19. stoljeću. Zatim se detaljno opisuje postupni razvoj fotografske tehnike kroz 19. stoljeće među kojima su najbitniji Niepceovi, Daguerrovi i Talbotovi doprinosi. Opisuju se društvene i industrijske reakcije na fotografiju. Slijedi minuciozna analiza pojedinačnih umjetnika i njihovog odnosa s fotografijom, te se na konkretnim primjerima pojašnjava povezanost s fotografijom. Mnogo je europskih slikara koji su se bavili fotografijom i integrirali je u vlastiti umjetnički rad, ali fokus je stavljen samo na najvažnije: Courbet, Ingres, Delacroix, slikari prerafaeliti, slikari Barbizonske škole, impresionisti, Manet, Degas, grupa Nabis, postimpresionisti i simbolisti. U zaključku se ukratko opisuje kako je fotografija djelovala na slikarstvo, ali se i naglašava važnost tematike u kontekstu povijesti umjetnosti.The evolution of photography and its influence on European painting is contextualized considering the social circumstances of the 19th century. The historical overview of the idea of photography and its inventions is given, which lead to the appearance of photography in the 19th century. Then the gradual development of the photographic technique is described in detail, among which of the most striking contributions are attributed to Niepce, Daguerre and Talbot. Social and industrial reactions to photography are described. Afterwards, a meticulous analysis of individual artists and their relation to photography is given, as well as specific examples that clarify their connection with photography. There have been many European painters who had engaged in photography and integrated it in their artistic work, but the emphasis is only placed on the most important ones: Courbet, Ingres, Delacroix, the PreRaphaelite Brotherhood, the Barbizon school of painters, the Impressionists, Manet, Degas, Les Nabis, the Post-Impressionists and Symbolists. The conclusion shortly describes how photography affected painting, but the importance of the matter is also highlighted in the context of art history
