Page 377 - 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. 377
socio-political discourses of the development of music education ...
tišek Matějovský in Banja Luka and Sarajevo, Gustav Vilim Brož15 in Tuzla
and Albert eff. Suzin16 in Sarajevo. Some of them, such as the music school
opened by Czech František Matějovský first in Banja Luka (1902) and then
in Sarajevo as well (1908)17, educated the first generations of Bosnian and
Herzegovinian artists. In professional terms, the common thread of these
schools’ work was comprehensive education in theoretical courses (harmo-
ny, counterpoint, music forms) and instruments taught by renowned artists
of foreign background – such as Czech-born singer Naša Přibyl.18 On the
other hand, the schools had to provide funds themselves and therefore their
principals were also instructors, musicians and persons in charge of rais-
ing funds. Thus, forms of raising funds included the organization of charity
concerts to support the schools’ work, as well as advertising in periodicals
and dailies aimed at recruiting as many students as possible. Unfortunate-
ly, most schools closed due to financial problems, e.g. Karlo Pienta’s school,
15 Gustav Vilim Brož was born in the Czech town of Týnce nad Labem in 1861. Upon
completing education at the Prague School of Organ Playing, he worked in Maribor,
Innsbruck, Senj, Sušak, and then arrived in BiH. He worked as a conductor of Croa-
tian Singing and Tambours Playing Society “Vlašić” in Travnik, and then continued
his artistic activity in Tuzla, as a teacher of singing at the High School. Besarović,
“Počeci muzičkog školstva u Sarajevu,” 333; Tünde Polomik, “O ulozi Čeha u formi-
ranju muzičkog života u Bosni i Hercegovini 1878–1918,” Prilozi 24 (1988): 148; Mi-
radet Zulić, “Muzički život u Sjeveroistočnoj Bosni 1878–1992” (PhD diss., University
of Sarajevo, 2008), 33.
16 Since their beginnings, School of Music and Summer Course A. Sabita eff. Suzin
were involved in private instructions of music, which a Jew of Bulgarian origins be-
gan to give upon his arrival in Sarajevo. The name the young conductor, composer
and pedagogue appeared in available sources in around 1912, when he was first rec-
ommended to Sarajevo public as a talented and consummate artist, as well as a ped-
agogue suitable for private music lessons that he gave both at students’ homes and
on the premises of “La Lira”. Indeed, the Society let him use its premises as the cur-
rent conductor while waiting for the permit by Regional Government for official reg-
istration of classes. In the meantime, Suzin began to give instruction in violin, pia-
no, singing and harmony, and it is assumed that he received the approval for work by
Regional Government in the period between 1912 and 1914. The first summer course
lasted from 1 July to 30 August 1914, and the fact that the school worked successfully
is supported by the news in the papers published four years later. Indeed, Bosnische
post published data that the 1918/1919 school year at the School of Music, approved
by the Regional Government, was to start on 20 August, and that students would
be able to attend classes in violin, piano, singing, science of harmony and composi-
tion. It was also recorded that school continued its work after the end of World War
I. Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 232.
17 Archive of Bosnia and Herzegovina, ZVS, 1908, 221–77.
18 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 229.
375
tišek Matějovský in Banja Luka and Sarajevo, Gustav Vilim Brož15 in Tuzla
and Albert eff. Suzin16 in Sarajevo. Some of them, such as the music school
opened by Czech František Matějovský first in Banja Luka (1902) and then
in Sarajevo as well (1908)17, educated the first generations of Bosnian and
Herzegovinian artists. In professional terms, the common thread of these
schools’ work was comprehensive education in theoretical courses (harmo-
ny, counterpoint, music forms) and instruments taught by renowned artists
of foreign background – such as Czech-born singer Naša Přibyl.18 On the
other hand, the schools had to provide funds themselves and therefore their
principals were also instructors, musicians and persons in charge of rais-
ing funds. Thus, forms of raising funds included the organization of charity
concerts to support the schools’ work, as well as advertising in periodicals
and dailies aimed at recruiting as many students as possible. Unfortunate-
ly, most schools closed due to financial problems, e.g. Karlo Pienta’s school,
15 Gustav Vilim Brož was born in the Czech town of Týnce nad Labem in 1861. Upon
completing education at the Prague School of Organ Playing, he worked in Maribor,
Innsbruck, Senj, Sušak, and then arrived in BiH. He worked as a conductor of Croa-
tian Singing and Tambours Playing Society “Vlašić” in Travnik, and then continued
his artistic activity in Tuzla, as a teacher of singing at the High School. Besarović,
“Počeci muzičkog školstva u Sarajevu,” 333; Tünde Polomik, “O ulozi Čeha u formi-
ranju muzičkog života u Bosni i Hercegovini 1878–1918,” Prilozi 24 (1988): 148; Mi-
radet Zulić, “Muzički život u Sjeveroistočnoj Bosni 1878–1992” (PhD diss., University
of Sarajevo, 2008), 33.
16 Since their beginnings, School of Music and Summer Course A. Sabita eff. Suzin
were involved in private instructions of music, which a Jew of Bulgarian origins be-
gan to give upon his arrival in Sarajevo. The name the young conductor, composer
and pedagogue appeared in available sources in around 1912, when he was first rec-
ommended to Sarajevo public as a talented and consummate artist, as well as a ped-
agogue suitable for private music lessons that he gave both at students’ homes and
on the premises of “La Lira”. Indeed, the Society let him use its premises as the cur-
rent conductor while waiting for the permit by Regional Government for official reg-
istration of classes. In the meantime, Suzin began to give instruction in violin, pia-
no, singing and harmony, and it is assumed that he received the approval for work by
Regional Government in the period between 1912 and 1914. The first summer course
lasted from 1 July to 30 August 1914, and the fact that the school worked successfully
is supported by the news in the papers published four years later. Indeed, Bosnische
post published data that the 1918/1919 school year at the School of Music, approved
by the Regional Government, was to start on 20 August, and that students would
be able to attend classes in violin, piano, singing, science of harmony and composi-
tion. It was also recorded that school continued its work after the end of World War
I. Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 232.
17 Archive of Bosnia and Herzegovina, ZVS, 1908, 221–77.
18 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 229.
375
