Page 372 - 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
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konservator iji: profesionalizacija in specializacija glasbenega dela
name Zubeida hanuma.2 In 1850/1851 in Sarajevo, Zubeida hanuma, togeth-
er with Emina – Latas’s daughter from the first marriage, took private piano
lessons delivered by her brother – a private piano teacher himself.
Although these data testify of the existence of contacts with Western
European tradition and of the existence of informal music teaching, they
do not suffice for serious discussion of the beginnings of development of
music education in BiH in institutional contexts. Consequently, the first
forerunners of institutional education should be sought as late as in the
period of Austro-Hungarian administration (1878–1918), which witnessed
opening of public state schools, which in turn assigned an extremely signif-
icant role to music.3 Indeed, music was important part of curricula, both in
general-education institutions and in confessional schools which were not
beneficiaries of state subsidies.4 Although state public schools (People’s pri-
mary schools, gymnasiums, teachers’ schools) considered music mostly as
a political weapon supposed to contribute to spreading Austro-Hungarian
goals, it was them that constituted a significant starting point for local pop-
ulation’s acquaintance with the newly-arrived music trends. Actually, mu-
sic education within general-education institutions was systematically di-
rected to gaining the elementary knowledge of music, mastering of music
basics, as well as to arousing love and understanding of music art.5 As ex-
amples of this claim, one can review curricula of Teachers’ School in Sa-
rajevo kept in the Archives of Bosnia and Herzegovina; e. g., the syllabi of
courses Piano and Organ Playing delivered by Czech Bogomir Kačerovský6
2 For more details see: Lana Paćuka, Ženski identiteti u muzičkom životu austrougar-
skog Sarajeva (Sarajevo: Muzička akademija Univerziteta u Sarajevu, 2019); Rudolf
Zaplata, “Omerpašin brak sa Anom Simonis”, Jugoslavenski list 45 (1933): 3.
3 Mitar Papić, Školstvo u Bosni i Hercegovini za vrijeme austrougarske okupacije
(1878–1918) (Sarajevo: Svjetlost, 1972).
4 Music education played an extremely significant role in confessional schools of BiH
Catholics (Girls’ College in St. Josip Institute and College within the “Sisters of Mer-
cy” order), where attention was primarily paid to teaching church singing. Besides,
a similar view of music education reigned in Orthodox schools as well, where chant-
ing and singing were taught.
5 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 200.
6 Bogomir Kačerovský was born in Litomyšl (Bohemia) on 7. 11. 1873. When he was
two, he moved with his parents to Croatia (Petrinja), where he spent his childhood
and completed primary education. He also attended Royal teachers’ College there
(1889–1893), and then went to Zagreb where he enrolled at Croatian Music Institute;
upon the completion (1896), he was awarded the diploma of teacher of singing and
music. He came to Sarajevo in 1898, and it was there where he developed rich artis-
tic and pedagogical activity, as a teacher of music courses at Teachers’ School and at
high school Velika Gimnazija. He remained in Sarajevo until 1917, when he moved
370
name Zubeida hanuma.2 In 1850/1851 in Sarajevo, Zubeida hanuma, togeth-
er with Emina – Latas’s daughter from the first marriage, took private piano
lessons delivered by her brother – a private piano teacher himself.
Although these data testify of the existence of contacts with Western
European tradition and of the existence of informal music teaching, they
do not suffice for serious discussion of the beginnings of development of
music education in BiH in institutional contexts. Consequently, the first
forerunners of institutional education should be sought as late as in the
period of Austro-Hungarian administration (1878–1918), which witnessed
opening of public state schools, which in turn assigned an extremely signif-
icant role to music.3 Indeed, music was important part of curricula, both in
general-education institutions and in confessional schools which were not
beneficiaries of state subsidies.4 Although state public schools (People’s pri-
mary schools, gymnasiums, teachers’ schools) considered music mostly as
a political weapon supposed to contribute to spreading Austro-Hungarian
goals, it was them that constituted a significant starting point for local pop-
ulation’s acquaintance with the newly-arrived music trends. Actually, mu-
sic education within general-education institutions was systematically di-
rected to gaining the elementary knowledge of music, mastering of music
basics, as well as to arousing love and understanding of music art.5 As ex-
amples of this claim, one can review curricula of Teachers’ School in Sa-
rajevo kept in the Archives of Bosnia and Herzegovina; e. g., the syllabi of
courses Piano and Organ Playing delivered by Czech Bogomir Kačerovský6
2 For more details see: Lana Paćuka, Ženski identiteti u muzičkom životu austrougar-
skog Sarajeva (Sarajevo: Muzička akademija Univerziteta u Sarajevu, 2019); Rudolf
Zaplata, “Omerpašin brak sa Anom Simonis”, Jugoslavenski list 45 (1933): 3.
3 Mitar Papić, Školstvo u Bosni i Hercegovini za vrijeme austrougarske okupacije
(1878–1918) (Sarajevo: Svjetlost, 1972).
4 Music education played an extremely significant role in confessional schools of BiH
Catholics (Girls’ College in St. Josip Institute and College within the “Sisters of Mer-
cy” order), where attention was primarily paid to teaching church singing. Besides,
a similar view of music education reigned in Orthodox schools as well, where chant-
ing and singing were taught.
5 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 200.
6 Bogomir Kačerovský was born in Litomyšl (Bohemia) on 7. 11. 1873. When he was
two, he moved with his parents to Croatia (Petrinja), where he spent his childhood
and completed primary education. He also attended Royal teachers’ College there
(1889–1893), and then went to Zagreb where he enrolled at Croatian Music Institute;
upon the completion (1896), he was awarded the diploma of teacher of singing and
music. He came to Sarajevo in 1898, and it was there where he developed rich artis-
tic and pedagogical activity, as a teacher of music courses at Teachers’ School and at
high school Velika Gimnazija. He remained in Sarajevo until 1917, when he moved
370
