Page 374 - 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. 374
konservator iji: profesionalizacija in specializacija glasbenega dela
in the education system was a significant link in educating school-going
youth. Through music classes, which did not require a great talent for mu-
sic since they were aimed at mastering music basics, BiH children got the
opportunity to get in touch with cultural trends typical of Western Euro-
pean countries, which directly and irreversibly affected raising and direct-
ing their awareness in a new direction, close to European understanding of
culture.8
Emergence of Private music Teachers and Schools
However, although the inclusion of the group of music courses in gen-
eral-education institutions greatly improved and facilitated mastering of
music basics, music knowledge that students could gain was exclusive-
ly of the elementary nature, and as such it could only be a pre-requisite
and starting point for the development of musical professionalism. Bos-
nian and Herzegovinian land longed for the development of schooling
that would provide young people with an opportunity to gain professional
music education, which should eventually result in the emergence of first
local professional musicians. However, the emergence of music education
required a favourable cultural climate, and consequently young genera-
tions that felt a need for musical advancement. In this complex process,
the pioneering role was played by private music tutors, who constituted
one of the main forms of professional music training. However, music ed-
ucation could not rely solely on the private segment of activity, the more
so since majority of population was musically illiterate, and consequent-
ly raising population’s awareness in the area of music culture required a
systematic and planned organization. Besides, most private tutors taught
only one area of music, mostly instrumental, and a thorough education in
the theoretical area was typically lacking. Another characteristic of pri-
vate lessons was the fact that there were no clearly designed syllabi and the
level of teaching rather depended exclusively on the level of readiness and
talent of each individual student. In short, private music teaching was not
institutionalized but was rather characterized by a lack of system and dis-
continuity! Besides, data also reveal that most music tutors, such as Edu-
8 Lana Paćuka, “Općeobrazovne institucije Austro-Ugarske monarhije kao temelj ra-
zvoja profesionalne muzičke edukacije u Bosni i Hercegovini,” in Zbornik radova
Naučno savjetovanje Naučna/znanstvena misao u Bosni i Hercegovini/historijski ra-
zvoj do kraja XX stoljeća, ed. Jasmin Branković (Mostar: Federalno ministarstvo ob-
razovanja i nauke/znanosti, 2018), 663–676.
372
in the education system was a significant link in educating school-going
youth. Through music classes, which did not require a great talent for mu-
sic since they were aimed at mastering music basics, BiH children got the
opportunity to get in touch with cultural trends typical of Western Euro-
pean countries, which directly and irreversibly affected raising and direct-
ing their awareness in a new direction, close to European understanding of
culture.8
Emergence of Private music Teachers and Schools
However, although the inclusion of the group of music courses in gen-
eral-education institutions greatly improved and facilitated mastering of
music basics, music knowledge that students could gain was exclusive-
ly of the elementary nature, and as such it could only be a pre-requisite
and starting point for the development of musical professionalism. Bos-
nian and Herzegovinian land longed for the development of schooling
that would provide young people with an opportunity to gain professional
music education, which should eventually result in the emergence of first
local professional musicians. However, the emergence of music education
required a favourable cultural climate, and consequently young genera-
tions that felt a need for musical advancement. In this complex process,
the pioneering role was played by private music tutors, who constituted
one of the main forms of professional music training. However, music ed-
ucation could not rely solely on the private segment of activity, the more
so since majority of population was musically illiterate, and consequent-
ly raising population’s awareness in the area of music culture required a
systematic and planned organization. Besides, most private tutors taught
only one area of music, mostly instrumental, and a thorough education in
the theoretical area was typically lacking. Another characteristic of pri-
vate lessons was the fact that there were no clearly designed syllabi and the
level of teaching rather depended exclusively on the level of readiness and
talent of each individual student. In short, private music teaching was not
institutionalized but was rather characterized by a lack of system and dis-
continuity! Besides, data also reveal that most music tutors, such as Edu-
8 Lana Paćuka, “Općeobrazovne institucije Austro-Ugarske monarhije kao temelj ra-
zvoja profesionalne muzičke edukacije u Bosni i Hercegovini,” in Zbornik radova
Naučno savjetovanje Naučna/znanstvena misao u Bosni i Hercegovini/historijski ra-
zvoj do kraja XX stoljeća, ed. Jasmin Branković (Mostar: Federalno ministarstvo ob-
razovanja i nauke/znanosti, 2018), 663–676.
372
