Naslov
Le cappelle musicali in Split (Spalato) and Dubrovnik (Ragusa) in the 18th Century – Repertories, Cultural Missions, and Social Importance

Autori
Tuksar, Stanislav

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
Barooco padano. Atti del IX Convegno internazionale sulla musica sacra nei secoli XVII-XVIII

Urednik/ci
Colzani, Alberto ; Luppi, Andrea ; Padoan, Maurizio

Izdavač
Applied Mathematics and Information Sciences

Grad
Brescia

Godina
2002

Raspon stranica
363-377

ISBN
XXX

Ključne riječi
Cathedral Chappel in Split; Duke's Orchestra in Dubrovnik; 18th century; musicxal repertories; Late-Baroque music; Pre-Classical music; Classical music; Early-Romantic music; Italian musical circles; Central-European musical circles

Sažetak
The performing practice has been registered and investigated in several cities in inner and coastal Croatia continuously from the Late Middle Ages on ; in this, the situation in Split and Dubrovnik, especially during the 18th century, seems to be most interesting. The identified performing bodies in the two coastal cities . the Cathedral Cappella in Split and the Duke's Band in Dubrovnik – manifested during the 18th century quite different profiles, repertories, and functions. The preserved Split repertories consist prevalently of compositions written by local composers, and mostly of church music ; to the contrary, in the Dubrovnik repertories secular music prevails, mostly composed by foreign composers (the majority coming from Italian and Central-European musical circles). The cultural missions of these two performing entities were different: the Split Cathedral Cappella primarily fulfilled Church needs, and only secondarily met the City's music demands ; the Dubrovnik Duke's Band gradually split into three performing bodies, but with interchanging musicians and divided tasks, which primarily served for the representation of the State, then for the entertainment for aristocracy and rich citizens, and finally for the needs of the Church. The today's social significance of both music-making contexts can be identified as more similar than its repertoires and cultural missions: both met the cities' needs for cultivated art music with recent stylistic trends and representative quality of performances ; in this, the independent Dubrovnik seems to have been much more open to foreign influences and complex in demands, while Split remained in general a rather sleepy provincial town at the edge of the collapsing Venetian civilisation ; however, musical materials preserved in both Split and Dubrovnik witness to the astonishing penetration of Late Baroque, Pre-Classical, Classical and Early Romantic styles down to the furthest south-east points of Christian Europe, literally on the threshold of the Ottoman Empire.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

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