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Music of Croatia
The music of Croatia, like the divisions of the country itself, has two major influences: Central European, present in central and northern parts of the country including Slavonia, and Mediterranean, present in coastal regions of Dalmatia and Istria.
In Croatia both pop and rock are popular, as well as pop music influenced by Dalmatian or Slavonian folk elements.
Since the mid-20th century, schlager and chanson-inspired music have formed the backbone of the Croatian popular music.
The oldest preserved relics of musical culture in Croatia are sacral in nature and represented by Latin medieval liturgical chant manuscripts (approximately one hundred musical codices and fragments dating from the 11th to the 15th centuries have been preserved to date). They reveal a wealth of various influences and liturgical traditions that converged in this region (Dalmatian liturgy in Benevento script, Northern Gregorian chant, and original Glagolitic chant).
Early in the 15th century, the ideas of Humanism in Croatia brought about changes to the world of music. Interest in music began to spread outside of monastic and church walls with growing influence of new spiritual tendencies from Central European and particularly Italian cities. Humanists and philosophers promulgated new musical theories and aesthetic ideas: Federik Grisogono, Pavao Skalić, Frane Petrić. The writing down of folk and popular music began in mid-sixteenth century: in the poem Fishing and Fishermen's Talk from 1558, Petar Hektorović ingrained Neoplatonic ideals in popular music; and transcripts of Croatian musical folklore were printed in Venetian anthologies (Giulio Cesare Barbetta 1569, Marco Facoli 1588). Julije Skjavetić from Šibenik published his madrigals (Li madrigali a quattro, et a cinque voci 1562), while his Motetti a cinque et a sei voci, (1564) are characterised by a lavish polyphonic structure under the influence of the Dutch school. Music and dance were a component part of theatrical expression (Mavro Vetranović, Nikola Nalješković, Marin Držić, Marin Benetović), while the function of music and sound effects was under the influence of Italian pastorals.
The most prominent Croatian composers of this period include Ivan Lukačić, Vinko Jelić and Atanazije Jurjević.
New tendencies of early Baroque monody soon found their way into the domestic musical tradition, both sacral and secular. Tomaso Cecchini, from Verona, who spent his entire working life (1603–44) as a choirmaster, organist and composer in Split and Hvar, published his madrigals Armonici concetti, libro primo (1612) as the oldest Baroque collection written for the Croatian milieu. The collection Sacrae cantiones (Venice 1620) by Ivan Lukačić from Šibenik is valuable testimony of sacral music that was performed in Split, and is generally speaking, one of the most significant monuments of old Croatian music altogether. The Franciscans and Paulists cultivated sacral chants, mostly monophonic and without organ accompaniment (the manuscript cantos of Frane Divnić, Bone Razmilović, Filip Vlahović-Kapušvarac, Franjo Vukovarac and Petar Knežević). Also, worth mentioning is Ragusino Vincenzo Comnen, the only representative of the music of the Dubrovnik nobility.
The tradition of the Baroque was more lasting in church/sacral music, which was the musical form that was systematically nurtured in numerous monasteries (especially Franciscan ones) as well as in parish and cathedral churches. The preservation of music manuscripts and prints became a widespread practice in the mid-18th century. Simple vocal-instrumental music for two voices with organ continuo was the form most frequently performed in churches; more prominent individuals active in the sphere of music could be found only in larger urban centres. They were mostly organists and maestri di cappella, skilful composers who had small vocal and/or instrumental ensembles and who frequently acted as music teachers (private or in church schools). The gradual development of the middle class had as one of its consequences the corresponding secular organisation of musical life, particularly in the first decades of the 19th century, a period that saw the establishment of music ensembles, music societies (1827 in Zagreb, then in Varaždin, Rijeka, Osijek etc.) and music schools.
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Music of Croatia
The music of Croatia, like the divisions of the country itself, has two major influences: Central European, present in central and northern parts of the country including Slavonia, and Mediterranean, present in coastal regions of Dalmatia and Istria.
In Croatia both pop and rock are popular, as well as pop music influenced by Dalmatian or Slavonian folk elements.
Since the mid-20th century, schlager and chanson-inspired music have formed the backbone of the Croatian popular music.
The oldest preserved relics of musical culture in Croatia are sacral in nature and represented by Latin medieval liturgical chant manuscripts (approximately one hundred musical codices and fragments dating from the 11th to the 15th centuries have been preserved to date). They reveal a wealth of various influences and liturgical traditions that converged in this region (Dalmatian liturgy in Benevento script, Northern Gregorian chant, and original Glagolitic chant).
Early in the 15th century, the ideas of Humanism in Croatia brought about changes to the world of music. Interest in music began to spread outside of monastic and church walls with growing influence of new spiritual tendencies from Central European and particularly Italian cities. Humanists and philosophers promulgated new musical theories and aesthetic ideas: Federik Grisogono, Pavao Skalić, Frane Petrić. The writing down of folk and popular music began in mid-sixteenth century: in the poem Fishing and Fishermen's Talk from 1558, Petar Hektorović ingrained Neoplatonic ideals in popular music; and transcripts of Croatian musical folklore were printed in Venetian anthologies (Giulio Cesare Barbetta 1569, Marco Facoli 1588). Julije Skjavetić from Šibenik published his madrigals (Li madrigali a quattro, et a cinque voci 1562), while his Motetti a cinque et a sei voci, (1564) are characterised by a lavish polyphonic structure under the influence of the Dutch school. Music and dance were a component part of theatrical expression (Mavro Vetranović, Nikola Nalješković, Marin Držić, Marin Benetović), while the function of music and sound effects was under the influence of Italian pastorals.
The most prominent Croatian composers of this period include Ivan Lukačić, Vinko Jelić and Atanazije Jurjević.
New tendencies of early Baroque monody soon found their way into the domestic musical tradition, both sacral and secular. Tomaso Cecchini, from Verona, who spent his entire working life (1603–44) as a choirmaster, organist and composer in Split and Hvar, published his madrigals Armonici concetti, libro primo (1612) as the oldest Baroque collection written for the Croatian milieu. The collection Sacrae cantiones (Venice 1620) by Ivan Lukačić from Šibenik is valuable testimony of sacral music that was performed in Split, and is generally speaking, one of the most significant monuments of old Croatian music altogether. The Franciscans and Paulists cultivated sacral chants, mostly monophonic and without organ accompaniment (the manuscript cantos of Frane Divnić, Bone Razmilović, Filip Vlahović-Kapušvarac, Franjo Vukovarac and Petar Knežević). Also, worth mentioning is Ragusino Vincenzo Comnen, the only representative of the music of the Dubrovnik nobility.
The tradition of the Baroque was more lasting in church/sacral music, which was the musical form that was systematically nurtured in numerous monasteries (especially Franciscan ones) as well as in parish and cathedral churches. The preservation of music manuscripts and prints became a widespread practice in the mid-18th century. Simple vocal-instrumental music for two voices with organ continuo was the form most frequently performed in churches; more prominent individuals active in the sphere of music could be found only in larger urban centres. They were mostly organists and maestri di cappella, skilful composers who had small vocal and/or instrumental ensembles and who frequently acted as music teachers (private or in church schools). The gradual development of the middle class had as one of its consequences the corresponding secular organisation of musical life, particularly in the first decades of the 19th century, a period that saw the establishment of music ensembles, music societies (1827 in Zagreb, then in Varaždin, Rijeka, Osijek etc.) and music schools.