Naslov
Music, Reformation and Catholic Renewal in Early 17th-Century Dalmatia

Autori
Stanislav Tuksar

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

Izvornik
Barocco Padano 7. Atti del XV Convegno internazionale sulla musica italiana nei secoli XVII-XVIII, Milano, 14-16 luglio 2009 / Alberto Colzani ; Andrea Luppi ; Maurizio Padoan - Como : Applied Mathematics and Information Sciences, 2012, 399-412

ISBN
978-88-97859-00-0

Skup
XV Convegno internazionale sulla musica italiana nei secoli XVII-XVIII

Mjesto i datum
Como, Italija, 14.07.2009. - 16.07.2009

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Music; Reformation; Catholic renewal; 17th century; Split; Hvar; Dalmatia; Croatia : Markantun De Dominis; Tomaso Cecchini; Giorgio Alberti; Ivan Lukačić; Sforza Ponzoni; Glagolitic chant
(Music; Reformation; Catholic renewal; 17th century; Split; Hvar; Dalmatia; Croatia : Markantun De Dominis; Tomaso Cecchini; Giorgio Alberti; Ivan Sforza Ponzoni; Glagolitic chant)

Sažetak
The topic – as formulated in the title of this article – has never been articulated as such up to now within Croatian musicology. This article is the first attempt to offer a sketch of its scope as known nowadays. Protestantism gained some ground in its early periods during the 16th century in Croatia, more in the northern continental territories and Istria than in Dalmatia ; by the mid-17th century it was no longer an important social issue in Croatian society at large. Consequently, the Counter- Reformation in the Croatian lands was in reality much more a Catholic Renewal movement, aimed at improving the existing ecclesiastical and cultural circumstances, and less at the issue of the rivalry between the Lutheran and Calvin doctrines. The main force which generated it in Croatia seems to have been the Roman Church’s thriving for the unification with Christian churches of the Eastern rites, and the ‘Reconquista’ of the territories lost to the Islamic Ottomans in Bosnia and Herzegovina in the 15-16th centuries, using Croatian territories as a stronghold for these endeavours. In this, music played no decisive role en general, but its psychological and social importance should not be underestimated. There are few data concerning the direct connection of music with Protestantism in Croatia, especially in Dalmatia. However, the issue “music and Protestantism” might have made up part of the most notorious 17th- century Dalmatian scandal concerning this complex question. In this scandal, a series of various social events had involved the Split Archbishop Markantun De Dominis, his nephew and successor as Archbishop, Sforza Ponzoni, two members of the local Split aristocratic family of Capogrosso, and, very probably, musicians such as Tomaso Cecchini (displaced from Split to Hvar), Ivan Lukačić (introduced as the new main musician in Split) and the young music theoretician Giorgio Alberti. The possible construct, as displayed in this article, within the episode of replacing the De Dominis-Cecchini team with the Ponzoni-Lukačić- Alberti music team in the Split Archbishopric during the 1614-1620 period, shows – as a case study – that music and politics, of both State and Church, can never escape, especially during times of social crisis, a kind of liasions dangereuses. In this, they always influence not only the individual destinies of musicians, but can also promote or hinder the quality of musicianship and even the stylistic orientation of a certain area. The article ends with a provocative hypothesis: with the Protestant movement far from being a truly dangerous adversary in 16-17th century Dalmatia, the Roman Church was very probably aiming at the Glagolitic ecclesiastical and cultural dimension of Croatian and Slavic society on the eastern shores of the Adriatic to be put aside in the great strategical moves more far towards the East. In this, the music of the replaced composer and organist T. Cecchini was not what really mattered ; it was very probably the deeply-rooted Glagolitic chant, a kind of Croatian Hussite chorale. If put in this way, had not the Croats had their own successful Protestantism (music included) called Glagolism long before German Protestantism?

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

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