Naslov
Ivan Belostenec, Gazophylacium - Terminologija vokalne glazbe
(Ivan Belostenec, Gazophylacium - Terminology of Vocal Music)

Autori
Tuksar, Stanislav

Vrsta, podvrsta i kategorija rada
Radovi u zbornicima skupova, cjeloviti rad (in extenso), znanstveni

Izvornik
Lepoglavski zbornik 1998 / Mohorovičić, Andro - Lepoglava : Turistička zajednica grada Lepoglave - Zavod za znanstveni rad H, 1999, 39-66

Skup
Glazba u djelima pavlina

Mjesto i datum
Lepoglava, Hrvatska, 12.09.1998

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Domaća recenzija

Ključne riječi
glazbena terminologija; pavlini; rječnici; barok
(music terminology; Paulines; dictionaries; Baroque)

Sažetak
Belostenec's life masterpiece is, of course, the big encyclopaedic dictionary in two parts, the Gazophylacium, seu latino-illyricorum onomatum aerarium (Latin to Croatian part) and Gazophylacium illyrico-latinum (Croatian to Latin part). Besides this impressive monument of all Croatian culture, that with its importance greatly outdoes the frames of lifetime opus, there are traces of two more of Belostenec's works: collection of poems Bogumila, printed in Graz in 1655 (lost) and Ten sermons on Eucharist, printed in Graz in 1672 (preserved in two copies: one, incomplete, in Budapest and one in franciscan monastery in Zagreb). The Gazofilacij itself was characterized as <one of the most controversal produces of our culture before Illyrism> (Vončina 1973: 213-214). Its appearance, authority, faith, content and importance have for ages been the subject of research and evaluation for many home and foreign lexicographers and historians of literature and their results include specific thematic aspects and implications of social and political as well. There is no unique thesis on momentos of his works: older generation of scientists (Dukat, Fancev) was likely to minimize the role of Belostenec in the creation of Gazofilacij, while the younger generation (Hadrovits, Vončina) tries to <rehabilitate him> (Tuksar 1992: 55-56). To conclude one can generally and fundamentally state that: - Belostenec's terminology on vocal music is as varied as the terminology of instrumental music, and that some work has to be done to conclude editing it separately as well as within the preillyric lexicography; - richness and elaboration of this terminological area shows the corresponding richness in appearance in music and social reality; - Croatian language, especially the kajkavian dialect, was so highly developped more than 300 years ago, that it could express the delicate varieties within such an area as music in general and vocal music in particular. So, the area of music suggests that in different socio-political circumstances (perhaps after a successful independence of Croatia following the conspiracy of Zrinski and Frankopan?) the Croatian language could have overtaken the role and function of a major communication system instead of Latin, Italian, German and Hungarian.

Izvorni jezik
Hrvatski

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