Page 376 - 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. 376
konservator iji: profesionalizacija in specializacija glasbenega dela
and ambitious project did not strike a chord with authorities. The appli-
cant received a negative response, with the rationale that opening of a mu-
sic conservatory was premature for the social and cultural circumstances
of Sarajevo and BiH, and that the implementation of such a project would
require ungrounded financial expenses.12 Excuses that National Govern-
ment provided in their communication were the typical formulation used
to decline any political, social and cultural attempt that did not conform
to its current vision of the development of social and other circumstances
in BiH. Establishment of professionally profiled institutions that could di-
minish the dominating impact of Austro-Hungary and Vienna on the one
hand, and allow BiH population to be educated locally on the other was
not welcome, since it could constitute a potential basis for a fight for so-
cial cultural and intellectual independence and autonomy. Therefore, by
obstructing the opening of higher-education institutions Austro-Hunga-
ry strove to bind its subjects to Vienna and other Austro-Hungarian cen-
tres, thus nourishing acceptable staff, loyal to them.13
Although no music school subsidized by Monarchy was opened over
the forty years of its administration in BiH, musical life was marked by a
few private schools such as those owned by Karlo Pienta14 in Sarajevo, Fran-
12 Ivan Čavlović, Historija muzike u Bosni i Hercegovini (Sarajevo: Muzička akademija
Univerziteta u Sarajevu, 2011), 110.
13 Besides Vienna, Hrvatski glazbeni zavod was one of prominent centres of BiH pop-
ulation’s music education. School reports of this prestigious music institution show
that a great number of young people from BiH attended this music institution.
14 Karlo Pienta, born in Cernik in 1869, was one of the first private teachers of music
who came up with the idea of opening a public school of music. Upon completing
Teachers’ College in Zagreb (1885–1888), Pienta enrolled at the Croatian Music In-
stitute, where he was awarded the diploma of teacher of organ playing and singing.
He arrived in Sarajevo in around 1894, where he actively joined the work of Croa-
tian Choral Society “Trebević” as one of its choir leaders. Besides his duties relat-
ed to leading the choir, he decided to open a school of singing and music and, to
this purpose, he submitted the request to the Joint Ministry of Finance and Region-
al Government. In 1900, the renowned and pro-regime oriented annual Bosnischer
Bote published the news that the choir leader of “Trebević” opened the public school
of music approved by the government. It was a school with a seriously elaborated
curriculum, and courses that allowed students sound music education. However, a
number of financial problems affected its work and survival, and it is certain that the
school operated only for a year or, more accurately, in the period 1899–1900. Lana
Paćuka, “Muzički život u Sarajevu za vrijeme Austro-Ugarske uprave kroz napise
o muzici u Sarajevskom listu” (MA, University of Sarajevo, 2010), 84–85; Božidar
Širola, Pregled povijesti hrvatske muzike (Zagreb: Edition Pirop, 1922), 282.
374
and ambitious project did not strike a chord with authorities. The appli-
cant received a negative response, with the rationale that opening of a mu-
sic conservatory was premature for the social and cultural circumstances
of Sarajevo and BiH, and that the implementation of such a project would
require ungrounded financial expenses.12 Excuses that National Govern-
ment provided in their communication were the typical formulation used
to decline any political, social and cultural attempt that did not conform
to its current vision of the development of social and other circumstances
in BiH. Establishment of professionally profiled institutions that could di-
minish the dominating impact of Austro-Hungary and Vienna on the one
hand, and allow BiH population to be educated locally on the other was
not welcome, since it could constitute a potential basis for a fight for so-
cial cultural and intellectual independence and autonomy. Therefore, by
obstructing the opening of higher-education institutions Austro-Hunga-
ry strove to bind its subjects to Vienna and other Austro-Hungarian cen-
tres, thus nourishing acceptable staff, loyal to them.13
Although no music school subsidized by Monarchy was opened over
the forty years of its administration in BiH, musical life was marked by a
few private schools such as those owned by Karlo Pienta14 in Sarajevo, Fran-
12 Ivan Čavlović, Historija muzike u Bosni i Hercegovini (Sarajevo: Muzička akademija
Univerziteta u Sarajevu, 2011), 110.
13 Besides Vienna, Hrvatski glazbeni zavod was one of prominent centres of BiH pop-
ulation’s music education. School reports of this prestigious music institution show
that a great number of young people from BiH attended this music institution.
14 Karlo Pienta, born in Cernik in 1869, was one of the first private teachers of music
who came up with the idea of opening a public school of music. Upon completing
Teachers’ College in Zagreb (1885–1888), Pienta enrolled at the Croatian Music In-
stitute, where he was awarded the diploma of teacher of organ playing and singing.
He arrived in Sarajevo in around 1894, where he actively joined the work of Croa-
tian Choral Society “Trebević” as one of its choir leaders. Besides his duties relat-
ed to leading the choir, he decided to open a school of singing and music and, to
this purpose, he submitted the request to the Joint Ministry of Finance and Region-
al Government. In 1900, the renowned and pro-regime oriented annual Bosnischer
Bote published the news that the choir leader of “Trebević” opened the public school
of music approved by the government. It was a school with a seriously elaborated
curriculum, and courses that allowed students sound music education. However, a
number of financial problems affected its work and survival, and it is certain that the
school operated only for a year or, more accurately, in the period 1899–1900. Lana
Paćuka, “Muzički život u Sarajevu za vrijeme Austro-Ugarske uprave kroz napise
o muzici u Sarajevskom listu” (MA, University of Sarajevo, 2010), 84–85; Božidar
Širola, Pregled povijesti hrvatske muzike (Zagreb: Edition Pirop, 1922), 282.
374
