Page 362 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 362
nova glasba v »novi« evropi med obema svetovnima vojnama
efforts to follow European trends, it penetrated more deeply and more wi-
dely into the Slovene region than any media before it. In the field of music,
Radio Ljubljana made a contribution at a number of levels: music occupied
the biggest share of radio programming. The music it broadcast had a range
of origins: it could be music performed by the radio station‘s own quartet
(later orchestra) in the studio, music by outside performers, live broadcas-
ts of operas at home and abroad, or music from gramophone records. The
musicking did not only manifest itself in the context of the production/re-
production of various types of music, but also at the level of radio broad-
casts about music and musicians. An important role was also played by Ra-
dio Ljubljana‘s own newspaper, which now provides us with information
on the programming of domestic and foreign radio stations at the same
time as shedding light on those topics that conditioned the gradual forma-
tion of the new institution. Like every other institution, Radio Ljubljana
was also „burdened“ by a specific ideology. This may be observed both at
the institutional level (the new management and the founding of the week-
ly newspaper Novi Val [New Wave]) and in the musical orientation of the
programming.
Keywords: Radio Ljubljana, music, media, institution, ideology, Prosvetna
zveza, Anton Dolinar
Ivan Florjanc
The creativity of the composers of the Primorska region
during the italian occupation in the fascist period – social,
compositional and stylistic insights
Following the signing of the Treaty of Rapallo on 12 November 1920, the
whole of Slovene Primorska (corresponding to those parts of the three
provinces of the former Austrian Küstenland/Litorale historically inhabit-
ed by Slovenes) passed, along with its hinterland (despite the objections of
US president Woodrow Wilson), under Italian control, where it remained
until 1945 (and where a part still remains today). The situation worsened
considerably after Mussolini and Pašić signed the secret Treaty of Rome
between Italy and Yugoslavia on 27 January 1924, an event which coincid-
ed with heightened terror ramped up by the new Fascist party and the to-
tal suppression of the public life of the Slovenes in Primorska. Subsequent
events saw a further deterioration, eventually culminating in the “cultur-
al genocide” and linguistic ethnic cleansing of Primorska (after 1926). In
these conditions, it was the composers in the Primorska region – in addi-
360
efforts to follow European trends, it penetrated more deeply and more wi-
dely into the Slovene region than any media before it. In the field of music,
Radio Ljubljana made a contribution at a number of levels: music occupied
the biggest share of radio programming. The music it broadcast had a range
of origins: it could be music performed by the radio station‘s own quartet
(later orchestra) in the studio, music by outside performers, live broadcas-
ts of operas at home and abroad, or music from gramophone records. The
musicking did not only manifest itself in the context of the production/re-
production of various types of music, but also at the level of radio broad-
casts about music and musicians. An important role was also played by Ra-
dio Ljubljana‘s own newspaper, which now provides us with information
on the programming of domestic and foreign radio stations at the same
time as shedding light on those topics that conditioned the gradual forma-
tion of the new institution. Like every other institution, Radio Ljubljana
was also „burdened“ by a specific ideology. This may be observed both at
the institutional level (the new management and the founding of the week-
ly newspaper Novi Val [New Wave]) and in the musical orientation of the
programming.
Keywords: Radio Ljubljana, music, media, institution, ideology, Prosvetna
zveza, Anton Dolinar
Ivan Florjanc
The creativity of the composers of the Primorska region
during the italian occupation in the fascist period – social,
compositional and stylistic insights
Following the signing of the Treaty of Rapallo on 12 November 1920, the
whole of Slovene Primorska (corresponding to those parts of the three
provinces of the former Austrian Küstenland/Litorale historically inhabit-
ed by Slovenes) passed, along with its hinterland (despite the objections of
US president Woodrow Wilson), under Italian control, where it remained
until 1945 (and where a part still remains today). The situation worsened
considerably after Mussolini and Pašić signed the secret Treaty of Rome
between Italy and Yugoslavia on 27 January 1924, an event which coincid-
ed with heightened terror ramped up by the new Fascist party and the to-
tal suppression of the public life of the Slovenes in Primorska. Subsequent
events saw a further deterioration, eventually culminating in the “cultur-
al genocide” and linguistic ethnic cleansing of Primorska (after 1926). In
these conditions, it was the composers in the Primorska region – in addi-
360
