Page 181 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 181
the establishment of the conservatory of the glasbena matica in ljubljana ...
tor of the Conservatory. He believed that the numbers enrolled at the Glas-
bena Matica school and the existing teaching staff already met the neces-
sary conditions to raise the school to a higher level, and began discussions
to this end with the Provincial Government.
He also advocated in favour of the Conservatory through newspaper
articles in which he tirelessly promoted the initiative. In an article entitled
“The Yugoslav Conservatory of the Glasbena Matica in Ljubljana” for the
teachers’ newspaper Učiteljski tovariš (“The Teacher’s Companion”), he in-
cluded the following among the various tasks of the nascent establishment:
The Conservatory should be a cultural temple of the musical, oper-
atic and dramatic arts. It should liberate, promote and sedulous-
ly cultivate its own Yugoslav musical culture to the highest pitch of
perfection, thereby enabling it to compete with the other cultural
nations of the world.24
In keeping with the new cultural and political reality, the adjective
“Yugoslav” began to appear increasingly frequently alongside the adjective
“Slovene”. In the same article, Hubad noted that the country had sufficient
home-grown talent, but that the establishment of the Conservatory would
satisfy one of the fundamental conditions for the more rapid progress not
only of Slovene but of pan-Yugoslav musical culture. This would raise music
education to a higher level capable of satisfying the new state’s needs with
regard to the development of musical creativity.25
On 21 May 1919 it became apparent that Hubad’s ideas had fallen on
fertile ground. On that day, the board of the Glasbena Matica decided
that the society would begin to offer teaching at the pre-conservatory lev-
el. At the same time, it was decided that the music school attached to the
Philharmonic Society would be incorporated into the Glasbena Matica’s
own music school. In mid-September that same year, the dates of entrance
examinations in piano, violin, singing, harmony and counterpoint, and
drama were announced in Slovenski narod.26 At the next meeting of the
board, Hubad was able to report that – even before the end of the deadline
for admissions – the number of candidates wishing to enrol had increased
so much that there were not enough teachers for the just under 200 piano
24 Matej Hubad, “Jugoslovanski konservatorij Glasbene Matice v Ljubljani,” Učiteljski
tovariš 59, no. 35 (27 August 1919): 1.
25 Ibid.
26 “Konservatorij ‘Glasbene Matice,” Slovenski narod 52, no. 214 (14 September 1919):
5, http://www.dlib.si/?URN=URN:NBN:SI:DOC-9RCZI5KT.
179
tor of the Conservatory. He believed that the numbers enrolled at the Glas-
bena Matica school and the existing teaching staff already met the neces-
sary conditions to raise the school to a higher level, and began discussions
to this end with the Provincial Government.
He also advocated in favour of the Conservatory through newspaper
articles in which he tirelessly promoted the initiative. In an article entitled
“The Yugoslav Conservatory of the Glasbena Matica in Ljubljana” for the
teachers’ newspaper Učiteljski tovariš (“The Teacher’s Companion”), he in-
cluded the following among the various tasks of the nascent establishment:
The Conservatory should be a cultural temple of the musical, oper-
atic and dramatic arts. It should liberate, promote and sedulous-
ly cultivate its own Yugoslav musical culture to the highest pitch of
perfection, thereby enabling it to compete with the other cultural
nations of the world.24
In keeping with the new cultural and political reality, the adjective
“Yugoslav” began to appear increasingly frequently alongside the adjective
“Slovene”. In the same article, Hubad noted that the country had sufficient
home-grown talent, but that the establishment of the Conservatory would
satisfy one of the fundamental conditions for the more rapid progress not
only of Slovene but of pan-Yugoslav musical culture. This would raise music
education to a higher level capable of satisfying the new state’s needs with
regard to the development of musical creativity.25
On 21 May 1919 it became apparent that Hubad’s ideas had fallen on
fertile ground. On that day, the board of the Glasbena Matica decided
that the society would begin to offer teaching at the pre-conservatory lev-
el. At the same time, it was decided that the music school attached to the
Philharmonic Society would be incorporated into the Glasbena Matica’s
own music school. In mid-September that same year, the dates of entrance
examinations in piano, violin, singing, harmony and counterpoint, and
drama were announced in Slovenski narod.26 At the next meeting of the
board, Hubad was able to report that – even before the end of the deadline
for admissions – the number of candidates wishing to enrol had increased
so much that there were not enough teachers for the just under 200 piano
24 Matej Hubad, “Jugoslovanski konservatorij Glasbene Matice v Ljubljani,” Učiteljski
tovariš 59, no. 35 (27 August 1919): 1.
25 Ibid.
26 “Konservatorij ‘Glasbene Matice,” Slovenski narod 52, no. 214 (14 September 1919):
5, http://www.dlib.si/?URN=URN:NBN:SI:DOC-9RCZI5KT.
179
