Page 146 - Weiss, Jernej, ur./ed. 2023. Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo ▪︎ Music societies in the long 19th century: Between amateur and professional culture. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 6
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glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
would be transformed in line with musical trends of the other members of
the Empire.2
For Bosnia and Herzegovina, and for Sarajevo as its center, Aus-
tro-Hungarian occupation meant opening to “new” political and socio-cul-
tural trends. As the “youngest” member of the Austro-Hungarian Empire,
Bosnia and Herzegovina was supposed to become an example of the civili-
zational mission led by the Minister of Finance Benjamin von Kállay.3 Local
population was supposed to be enlightened and attracted to contemporary
achievements, then turned towards the model of national unity – instead
of the idea of forming national identities of the three ethnic groups, which
was to be followed by work on raising the economic standard of the entire
Bosnian and Herzegovinian society.4 In so broadly conceived conception
of modeling Bosnia and Herzegovina, the decisive role was assigned to set-
tlers, whom the administrative system considered suitable and competent
for implementing the far-reaching set goals.5
The changes in the cultural life resulted from the settlement of a large
number of foreigners, clerks of the Austro-Hungarian administration and
experts of various profiles. Conditioned by the settlers’ needs, the cultur-
al life developed in line with the general trends of the centers of the Aus-
tro-Hungarian Empire.6 Happenings and innovations in the culture and
2 Ottoman rule left significant traces in the practice of Bosnian and Herzegovinian
traditional music. Its influence was decisive in the development of instrumental,
spiritual and urban musical practice. It particularly pertained to some of the aero-
phone and chordophone instruments (e.g. long-necked lute, popularly known under
the name of tambura), wedding songs and urban music tradition – sevdalinka. Ta-
mara Karača Beljak and Jasmina Talam, “Ottoman Influence on Folk Music Tradi-
tion of Bosnia and Herzegovina,” Musicological Annual, no. 1 (2009): 117–27.
3 In his youth, Benjamin von Kállay (Budapest, 1839 – Vienna, 1903) expressed an in-
terest in politics, particularly in the so-called Eastern Question. He acted as the Aus-
tro-Hungarian consul in Belgrade, and in 1872 he travelled to Bosnia and Herzego-
vina and became familiar with local features and political conditions. In 1877, he
wrote a work entitled Historija Srba (History of Serbs), which was published in Hun-
garian and German a year later. A significant date in his political career is 4 June
1882, when he was appointed Austro-Hungarian Minister of Finance and admin-
istrator of Bosnia and Herzegovina. He remained on these positions until he died.
Robert Donia, Sarajevo: biografija grada (Sarajevo: Institut za istoriju, 2006), 84–5.
4 Sarita Vujković, U građanskom ogledalu. Identiteti žena bosanskohercegovačke
građanske kulture 1878–1941 (Banja Luka: Muzej savremene umjetnosti Republike
Srpske, 2009), 19.
5 Donia, Sarajevo: biografija grada, 87; Iljas Hadžibegović, Postanak radničke klase u
Bosni i Hercegovini i njen razvoj do 1914. godine (Sarajevo: Svjetlost, 1980), 117–8.
6 Lana Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–
1918)” (Ph.D. diss., University of Sarajevo, 2014), 271.
144
would be transformed in line with musical trends of the other members of
the Empire.2
For Bosnia and Herzegovina, and for Sarajevo as its center, Aus-
tro-Hungarian occupation meant opening to “new” political and socio-cul-
tural trends. As the “youngest” member of the Austro-Hungarian Empire,
Bosnia and Herzegovina was supposed to become an example of the civili-
zational mission led by the Minister of Finance Benjamin von Kállay.3 Local
population was supposed to be enlightened and attracted to contemporary
achievements, then turned towards the model of national unity – instead
of the idea of forming national identities of the three ethnic groups, which
was to be followed by work on raising the economic standard of the entire
Bosnian and Herzegovinian society.4 In so broadly conceived conception
of modeling Bosnia and Herzegovina, the decisive role was assigned to set-
tlers, whom the administrative system considered suitable and competent
for implementing the far-reaching set goals.5
The changes in the cultural life resulted from the settlement of a large
number of foreigners, clerks of the Austro-Hungarian administration and
experts of various profiles. Conditioned by the settlers’ needs, the cultur-
al life developed in line with the general trends of the centers of the Aus-
tro-Hungarian Empire.6 Happenings and innovations in the culture and
2 Ottoman rule left significant traces in the practice of Bosnian and Herzegovinian
traditional music. Its influence was decisive in the development of instrumental,
spiritual and urban musical practice. It particularly pertained to some of the aero-
phone and chordophone instruments (e.g. long-necked lute, popularly known under
the name of tambura), wedding songs and urban music tradition – sevdalinka. Ta-
mara Karača Beljak and Jasmina Talam, “Ottoman Influence on Folk Music Tradi-
tion of Bosnia and Herzegovina,” Musicological Annual, no. 1 (2009): 117–27.
3 In his youth, Benjamin von Kállay (Budapest, 1839 – Vienna, 1903) expressed an in-
terest in politics, particularly in the so-called Eastern Question. He acted as the Aus-
tro-Hungarian consul in Belgrade, and in 1872 he travelled to Bosnia and Herzego-
vina and became familiar with local features and political conditions. In 1877, he
wrote a work entitled Historija Srba (History of Serbs), which was published in Hun-
garian and German a year later. A significant date in his political career is 4 June
1882, when he was appointed Austro-Hungarian Minister of Finance and admin-
istrator of Bosnia and Herzegovina. He remained on these positions until he died.
Robert Donia, Sarajevo: biografija grada (Sarajevo: Institut za istoriju, 2006), 84–5.
4 Sarita Vujković, U građanskom ogledalu. Identiteti žena bosanskohercegovačke
građanske kulture 1878–1941 (Banja Luka: Muzej savremene umjetnosti Republike
Srpske, 2009), 19.
5 Donia, Sarajevo: biografija grada, 87; Iljas Hadžibegović, Postanak radničke klase u
Bosni i Hercegovini i njen razvoj do 1914. godine (Sarajevo: Svjetlost, 1980), 117–8.
6 Lana Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–
1918)” (Ph.D. diss., University of Sarajevo, 2014), 271.
144
