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The Brass Band of the Cultural and Artistic Society "Lovro Ježek", Marija Bistrica
No full textPredmet ovog rada je povijest, djelovanje, značaj i uloga Limene glazbe Kulturno umjetničkog društva „Lovro Ježek“ koja djeluje u okviru Kulturno-umjetničkog društva „Lovro Ježek“ u Mariji Bistrici. Rad je podijeljen u četiri dijela. Prvi dio opisuje Mariju Bistricu te povijest svetišta jer je to prostor u kojem Limena glazba KUD-a „Lovro Ježek“ najviše nastupa. Također, predstavljeni su i bistrički suveniri koji su imali važnu ulogu za razvoj glazbe u samom mjestu. Drugi dio rada bavi se osnivanjem i djelovanjem KUD-a „Lovro Ježek“ te njegovim sekcijama. Treći dio izlaže povijest Limene glazbe KUD-a „Lovro Ježek“ od njezina djelovanja u okviru Dobrovoljnog vatrogasnog društva u Mariji Bistrici do trenutka kada postaje dio KUD-a „Lovro Ježek“, uključujući vodstvo, repertoar te razgovore s članovima orkestra. U ovom dijelu posebno se ističe i poglavlje o najznačajnijem dirigentu Branku Jiraseku, pod čijim je vodstvom glazba doživjela svoj najveći uspon. Posljednji dio rada posvećen je redovitom radu Limene glazbe KUD-a „Lovro Ježek“, nastupima i gostovanjima u Hrvatskoj i inozemstvu, koji su važan dio njezina kulturnog angažmana. Ovaj rad pruža detaljan uvid u povijest ove glazbe, čime doprinosi očuvanju tradicije i kulturnom životu Marije Bistrice, a doprinijet će svojim podacima i monografiji koja se priprema povodom 130 godina djelovanja Limene glazbe KUD-a „Lovro Ježek“ i 50 godina postojanja samog Kulturno-umjetničkog društva „Lovro Ježek“.The subject of this paper is the history, activity, significance, and role of the Brass Band of the Cultural and Artistic Society "Lovro Ježek," which operates within the framework of the Cultural and Artistic Society "Lovro Ježek" in Marija Bistrica. The thesis is divided into four parts. The first part describes Marija Bistrica and the history of the sanctuary, as most of the Brass Band's performances take place within it. It also presents a souvenirs from Marija Bistrica, which played an important role in the development of music in the area. The second part of the work focuses on the founding and activities of the Cultural and Artistic Society "Lovro Ježek" and its sections. The third part outlines the history of the Brass Band from its operation within the Volunteer Fire Department in Marija Bistrica to the moment it became part of the Cultural and Artistic Society “Lovro Ježek”, including its conductors, repertoire, and interviews with band members. This section also includes a chapter dedicated to the most prominent conductor, Branko Jirasek, under whose leadership the band experienced it’s the most significant achievements. The final part of the thesis is dedicated to the regular activities of the Brass Band of Cultural and Artistic Society "Lovro Ježek," its performances, and guest appearances in Croatia and abroad, which are an important aspect of its cultural engagement. This work provides a detailed insight into the history of the Brass Band of the Cultural and Artistic Society “Lovro Ježek”, contributing to the preservation of its tradition and cultural life in Marija Bistrica. It also contributes to the monograph being prepared to mark the 130th anniversary of the Brass Band of the Cultural and Artistic Society "Lovro Ježek" and the 50th anniversary of the establishment of the Cultural and Artistic Society "Lovro Ježek.
Suite za violončelo solo Johanna Sebastiana Bacha, BWV 1007-1012 – pristupi interpretaciji u 20. i 21. stoljeću
No full textSuite za violončelo solo Johanna Sebastiana Bacha, BWV 1007 – 1012, ubrajaju se među najvažnija djela violončelističkog repertoara. U ovom radu razmatra se povijesni kontekst nastanka ovih skladbi, praksa njihova izvođenja od skladateljeve smrti do danas te pregled promjena u načinu interpretacije koje su se dogodile tijekom tog razdoblja, pogotovo nakon pojave povijesno obaviještenog pristupa. Ove skladbe preživjele su mnoga glazbena razdoblja i stilove te budući da su danas popularnije nego za vrijeme Bachovog života, dokazale su da su nezamjenjivi dio violončelističkog repertoara i da će ih izvoditi i brojne buduće generacije, kojima predmet ovoga rada može biti od neposredne koristi.Johann Sebastian Bach’s Suites for Solo Cello, BWV 1007 - 1012 are among the most important pieces in the cello repertoire. This paper examines the historical context of the creation of these pieces, the performance practice in the period from the composer’s death to the present day, and an overview of the interpretative changes that have taken place during that period – particularly since the emergence of historically informed approach. These pieces have survived through many musical periods and styles and, being more popular today than during Bach’s lifetime, they have proven to be an irreplaceable part of the cello repertoire. They will undoubtedly continue to be performed by many future generations, for whom the subject of this paper may be of immediate relevance
Selected Aspects of Solfeggio Classes in Individual Piano Lessons for Upper Grades in Elementary Music School
No full textOvaj rad istražuje problematiku povezivanja Solfeggia viših razreda osnovne glazbene škole na individualnoj nastavi Klavira. U teorijskom dijelu prikazan je povijesni pregled učenja glazbe od starih civilizacija do suvremenih priručnika učenja Solfeggia. Nakon povijesnog pregleda analizirani su Nastavi plan i program na nastavi Solfeggia i Klavira, te pojasniti metodiku svakog predmeta. Osvrnut ćemo se na važnost povezivanja i kurikulumske pristupe dvaju navedenih predmeta. U empirijskom djelu rada provedena je anketa u nekoliko glazbenih škola gdje sam hospitirala na nastavi Klavira te mi je cilj bio pronaći problematiku povezivanja dvaju predmeta. Kroz osam pitanja koja sam postavila kao bazu istraživanja, izradila sam deskriptivnu analizu te najslabije ocjenjena pitanja prema aritmetičkoj sredini obradila kroz koncepciju nastave. Koncepcija se sastoji od određenih elemenata koji su bili problematični, te je prikazano kako se oni mogu primijeniti na nastavi Solfeggia, a da su izraženi u kurikulumu prema Nastavnom planu i programu. Nakon izrađene koncepcije nastave najslabije ocjenjenih pitanja izradila sam komparaciju dvaju predmeta s ciljem da se u klavirskoj literaturi pronađu elementi koji se obrađuju u višim razredima glazbene škole. Zaključno, rad pokazuje na potrebu za većom prilagodljivosti Nastavnog plana i programa kako bi se elementi u oba predmeta mogli što više podudarati, te lakše primijeniti na nastavi. Iznimno je važno da učenik razumije strukturu skladbe, a to će postići tako da povezuje sa nastavom Solfeggia. Najveći doprinos u ovom radu vidljiv je u empirijskom dijelu kroz provedeno istraživanje i u tablici deskriptivne ankete s datim rezultatima koje sam primijenila u moguću koncepciju nastave viših razreda osnovne glazbene škole.This paper examines the issue of linking Solfeggio in upper grades of elementary music schools to individual Piano lessons. The theoretical part of the paper presents a historical overview of music learning from ancient civilizations to modern manuals for learning Solfeggio. After the historical overview, the curriculum for Solfeggio and individual Piano lessons is analyzed, and the methodology of each subject is explained. The importance of linking the two curriculum approaches of the mentioned subjects is further examined. In the empirical part of the paper, a survey was conducted in several music schools where I observed Piano lessons, and where my goal was to find the issue of linking the two subjects. Through eight questions that I set as the basis for the research, I created a descriptive analysis and processed the lowest rated questions according to the arithmetic mean through a teaching conception. The conception consisted of certain elements that were problematic, and it is shown how they can be applied to Solfeggio lessons, while being a part of the Curriculum. After creating the teaching conception of the lowest-rated questions, I created a comparison of the two subjects with the aim of finding elements in piano literature that are covered in the higher grades of music school. In conclusion, the work shows the need for greater adaptability of the Curriculum so that the elements in both subjects can match as much as possible and be more easily applied in teaching. It is extremely important that the student understands the structure of the composition, and this can be achieved by connecting it to Solfeggio. The greatest contribution in this work is visible in the empirical part through the conducted research and in the table of descriptive surveys where the gathered results were applied in a possible conception of teaching in the higher grades of elementary music school
The role of the performer in the creation of a new piece : Case Study Margareta Ferek Petrić: Wirrwarr Song Nr. 3 "Impeach the Kitsch"
No full textRad “Uloga izvođača u nastanku novog djela, Case Study Margareta Ferek Petrić: Wirrwarr Song Nr.3: „Impeach the Kitsch“ prikazuje nastanak novog djela od same ideje, preko narudžbe, rada na tehnikama i razvoju djela kroz suradnju skladateljice i izvođača, do izvedbe, te opisuje cjelokupan proces – kako bi odgovorio na postavljeno pitanje u naslovu. Kao uvod naveden je povijesni presjek i kontekst odnosa skladatelj – izvođač (violist) od renesanse do danas, uz spomen nekih od najznačajnijih glazbenika i suradnji koje su u kontekstu teme ovog rada obilježile svaku epohu. Poseban je fokus stavljen na 20. i 21. stoljeće, budući da je tada došlo do procvata viole kao solističkog instrumenta. U zaključku rada nalazi se rezime i moje viđenje uloge izvođača kroz, između ostalog, i empirijska saznanja vlastitog umjetničkog djelovanja.Thesis “The role of the performer in the creation of a new piece, Case Study Margareta Ferek Petrić: Wirrwarr Song Nr.3: “Impeach the Kitsch”, illustrates the process of developing a new composition—from its initial idea, through the commission, work and collaboration of the composer and the performer, to its performance. It provides a comprehensive overview of the entire process. The introduction offers a historical overview and contextualizes the relationship between composer and performer (violist) from the Renaissance to the present day, highlighting some of the most significant musicians and collaborations that shaped each era in the context of this topic. Special attention is given to the 20th and 21st centuries, a period marked by the flourishing of the viola as a solo instrument. The conclusion of the study includes a summary and my reflections on the role of the performer, informed, among other things, by empirical insights from my own artistic practice
Uloga roga u glazbi 20. i 21. stoljeća
No full textOvaj diplomski rad istražuje ulogu roga u glazbi 20. i 21. stoljeća. Analizira se razvoj glazbene literature za rog, promjene u tehnici sviranja, te širenje uloge roga izvan tradicionalnog orkestra, uključujući solističku, komornu i popularnu glazbu. Poseban naglasak stavljen je na suvremene skladatelje i inovacije koje su oblikovale današnju percepciju i upotrebu roga. Rad također razmatra kako su tehnološki napreci i promjene u obrazovanju utjecali na interpretaciju i izvođačke mogućnosti roga u suvremenom glazbenom kontekstu. U ovom radu obrađuje se i uloga roga u hrvatskoj glazbi, s pregledom najvažnijih skladatelja, djela i izvođača koji su pridonijeli njegovu razvoju na domaćoj sceni.This thesis explores the role of the horn in 20th and 21st-century music. It examines the development of horn repertoire, changes in playing technique, and the expansion of the horn’s role beyond the traditional orchestra, including solo, chamber, and popular music. Special attention is given to contemporary composers and innovations that have shaped the modern perception and use of the horn. The paper also discusses how technological advancements and changes in music education have influenced the interpretation and performance possibilities of the horn in today’s musical context. Additionally, the thesis highlights the role of the horn in Croatian music, offering an overview of significant composers, works, and performers who have contributed to its development in the national music scene
The influence of 20th and 21st century composers on trumpet literature
No full textDiplomski rad analizira razvoj trubačke literature pod utjecajem skladatelja 20. i 21. stoljeća. Kroz povijesni pregled razvoja trube, rad pokazuje na koji je način razvoj njezinih tehničkih mogućnosti omogućio instrumentu da se ostvari kao solistički. Fokus je na djelima skladatelja kao što su Hindemith, Arutiunian, Tomasi, Hubeau i suvremenih skladatelja poput MacMillana, Neuwirth i Turnagea, čija su djela značajno proširila trubački repertoar, uvela eksperimentalne tehnike te tako omogućila trubi da se ostvari kroz elektroniku i razne druge medije. Analiza stilskih i tehnički razvojnih promjena jasno nam ukazuje zašto je truba kao instrument i danas sveprisutna u raznim glazbenim žanrovima.The thesis analyzes the development of trumpet literature throughout under the influence of composers of the 20th and 21st centuries. Through a historical overview of the development of the trumpet, the paper shows how the development of its technical capabilities enabled the instrument to be realized as a solo instrument. The focus is on the works of composers such as Hindemith, Arutiunian, Tomasi, Hubeau and contemporary composers such as MacMillan, Neuwirth and Turnage, whose works significantly expanded the trumpet repertoire, introduced experimental techniques and thus enabled the trumpet to be realized through electronics and various other media. The analysis of various stylistic and technical developmental changes clearly shows us why the trumpet as an instrument is still omnipresent today in various musical genres
Digitization of musical works as a part of the e-Culture project "Digitization of cultural heritage"
No full textOvaj diplomski rad bavi se procesom digitalizacije glazbenih izvora u sklopu nacionalnoga projekta e-Kultura koji je usmjeren na digitalizaciju kulturne baštine. Glavni cilj ovoga rada bio je istražiti trenutačno stanje digitalne transformacije glazbenih zbirki u Hrvatskoj s posebnim osvrtom na dio poslovanja Nacionalne i sveučilišne knjižnice u Zagrebu koja je jedan od glavnih partnera projekta e-Kultura. Obuhvaćeno je nekoliko faza uključenih u proces digitalizacije, pa tako i odabir materijala, digitalna konverzija, upravljanje metapodacima i tehnike dugoročnog očuvanja. Rad ističe prednosti digitalizacije - poboljšanu dostupnost kulturnih dobara, zaštitu osjetljivih predmeta i mogućnost inovativnih obrazovnih i istraživačkih perspektiva. Međutim, rad ističe i neke poteškoće povezane s digitalizacijom, kao što su zahtjevi za znatnim financijskim sredstvima, tehnološka stručnost i usklađenost sa zakonodavnim okvirima. Rezultati rada pokazuju da, iako digitalizacija nudi mnoge prednosti za očuvanje i dostupnost kulturnih artefakata, ona zahtijeva precizno planiranje i raspodjelu resursa kako bi se zajamčila njezina dugoročna održivost i učinkovitost.This thesis examines the process of digitization of musical sources within the national project e-Culture, which is aimed at digitizing cultural heritage. The main objective of the thesis was to analyze the current state of digital transformation of music collections in Croatia, with a special focus on the part of the role of the National and University Library in Zagreb, which is one of the main partners of the e-Culture project. Several stages involved in the digitization process, including material selection, digital conversion, metadata management and long-term preservation techniques. The thesis highlights the benefits of digitization, including improved accessibility of cultural goods, protection of sensitive objects and the possibility of innovative educational and research perspectives. However, the thesis also highlights some of the difficulties associated with digitization, such as the requirements for significant financial resources, technological expertise and compliance with legislative frameworks. The results of the thesis demonstrate that while digitization offers many benefits for the preservation and accessibility of cultural artefacts, it requires precise planning and allocation of resources to ensure its long-term sustainability and efficiency
Wagner's influence on the creation of a new instrument - Wagner tuba
No full textRichard Wagner jedan je od najutjecajnijih skladatelja 19. stoljeća. Njegova jasna glazbena vizija nadahnula je graditelje instrumenata na izradu Wagner tube. Instrument je nastao prema ideji Richarda Wagnera koji je tražio instrument s kojim je mogao dobiti točno određene boje zvuka radi dočaranja motiva Valhale. Wagner tuba je ovalnog oblika s rotirajućim ventilima i poprilično širokim stožastim otvorom te se svira s usnikom kao kod roga. Postoje dvije inačice instrumenta prema ugađanju. Tenor tuba je u B a bas tuba je u F ugađanju. Mali je broj skladatelja nakon Wagnerove smrti koji su pisali ili upotrijebili ovaj novi instrument, ali najpoznatiji od njih su Anton Bruckner, Richard Strauss i Igor Stravinski.Richard Wagner is one of the most influential composers of the nineteenth century. His clear musical vision inspired instrument makers to develop the Wagner tuba. The instrument was created according to Wagner’s idea. Wagner sought an instrument capable of producing very specific tonal colors to evoke the motifs of Valhalla. The Wagner tuba has an oval shape with rotary valves and a rather wide conical bell, and it is played with a mouthpiece similar to that of the French horn. There are two versions of the instrument based on tuning: the B-flat tenor tubas and the F-bass Wagner tubas. Only a small number of composers after Wagner’s death wrote for or used this new instrument, but the most famous among them are Anton Bruckner, Richard Strauss, and Igor Stravinsky
Ukrajinski narodni glazbeni instrumenti
No full textU ovom diplomskom radu istraživao sam tradicionalne ukrajinske glazbene instrumente. Opisana je njihova struktura, materijali od kojih su izrađeni, način na koji se dobiva zvuk, metode sviranja, razlike između varijanti istih instrumenata, primjena i uloga u narodnoj glazbi. Radi bolje ilustracije njihovog izgleda, uz opis su priložene i slike.In this graduation thesis, I researched traditional Ukrainian musical instruments. Their structure, materials from which they are made, the way in which sound is obtained, playing methods, differences between types of the same instrument, applications and roles in folk music are described. For a better illustration of their appearance, pictures are attached along with the description
Usporedna analiza drame Le Roi s’amuse Victora Hugoa i opere Rigoletto Giuseppea Verdija
No full textVictor Hugo je 1832. godine napisao dramu Le Roi s’amuse, koja je, zbog svojih političkih konotacija, bila zabranjena već nakon prve izvedbe. Devetnaest godina kasnije, Giuseppe Verdi i njegov libretist Francesco Maria Piave posežu za ovom dramom kao predloškom svoje nove opere, koju na koncu naslovljuju prema njezinu glavnom protagonistu, dvorskoj ludi, Rigoletto. U ovome radu analiziran je kompleksan i višeslojan odnos između Hugove drame i Verdijeve operne adaptacije, s posebnim naglaskom na povijesno-politički kontekst njihova nastanka, te na ulogu cenzure u oblikovanju obaju djela. Usporednom dramaturškom i karakterološkom analizom pokazuje se kako je Verdi, unatoč formalnim ograničenjima i pritiscima cenzure, uspio stvoriti autonomno i umjetnički zaokruženo djelo koje ne samo da čuva temeljne motive Hugoove drame, nego ih i produbljuje glazbenim sredstvima. Opera tako prerasta svoj literarni predložak, afirmirajući specifične izražajne mogućnosti glazbene dramaturgije, u kojoj glazba postaje ravnopravni nositelji dramskog sadržaja i značenja.In 1832, Victor Hugo wrote the play Le Roi s’amuse, which was banned after its first performance due to its political connotations. Nineteen years later, Giuseppe Verdi and his librettist Francesco Maria Piave turned to this drama as the source for their new opera, which they ultimately titled after its main protagonist, the court jester, Rigoletto.This thesis analyzes the complex and multilayered relationship between Hugo’s play and Verdi’s operatic adaptation, with particular emphasis on the historical and political context of their creation, as well as the role of censorship in shaping both works. Through comparative dramaturgical and character analysis, it is shown that Verdi, despite formal constraints and censorship pressures, succeeded in creating an autonomous and artistically coherent work which not only preserves the fundamental motifs of Hugo’s drama but deepens them through musical means. The opera thereby transcends its literary source, affirming the specific expressive capacities of musical dramaturgy, in which music becomes an equally significant bearer of dramatic content and meaning