Page 388 - 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. 388
konservator iji: profesionalizacija in specializacija glasbenega dela
was Petar Stojanović (1877–1957), an acclaimed violinist of international re-
nown, who had previously worked as professor and director of the Music
School “Stanković”.12 Whilst preparing the official documents for the new-
ly established Academy, Manojlović, Hristić and Stojanović relied upon the
curricula and rulebooks of the academies in Ljubljana and Zagreb.13 The
Secondary Music School attached to the Academy was intended to educate
teachers who would teach music at elementary schools, and it also served as
a pool for recruitment of students for the Academy. Studies of composition
and conducting were conceived to last five years (10 semesters), while stud-
ies at all other departments lasted four years (8 semesters).
Ivana Perković cites a 1938 newspaper article about the working condi-
tions at the newly established Academy:
Today the academy is situated in a large building. It has the most
modern classrooms, 13 grand pianos of the best worldwide brands,
a musical library with 2600 volumes and an archive.14
As testified by Branko Kozarski and relayed by Dubravka Jovičić, the
very first pianos that arrived to the Academy were actually donations of
wealthy families: according to this testimonial (which supplements the of-
ficial preserved documents about the purchase of instruments), upon vis-
iting the newly opened Academy, Prince Pavle [Paul] Karađorđević (then
serving as the deputy monarch, in lieu of the underage King Petar [Peter]
II) was disappointed by the state of the instruments and he himself donat-
ed 10 new Stainway pianos.15 On the other hand, in her article dedicated
12 On Stojanović’s life and work see: Biljana Milanović, “Reaffirmation of the Forgotten
Serbian Music: Three Sonatas of Petar Stojanović for One String Instrument and Pia-
no,” CD Booklet Sonatas of Petar Stojanović (Belgrade: Serbian Musicological Society,
2019), 5–19; Biljana Milanović, “Proučavanje umetničke biografije i muzičkog delo-
vanja Petra Stojanovića: prilog identifikaciji i razmatranju istraživačkih izvora” [The
Study of Artistic Biography and Musical Activities of Petar Stojanović: A Contribu-
tion to the Identification and Consideration of Research Sources], Zbornik Matice
srpske za scenske umetnosti i muziku 61 (2019): forthcoming; Biljana Milanović, ed.,
Na marginama muzikološkog kanona: kompozitorska generacija Petra Stojanovića,
Petra Krstića i Stanislava Biničkog [On the Margins of the Musicological Canon: The
Generation of Composers Petar Stojanović, Petar Krstić and Stanislav Binički] (Bel-
grade: Serbian Musicological Society and the Institute of Musicology SASA, 2019).
13 Rulebooks and policies of the Academy were published in its first annual report:
Manojlović, Muzička akademija u Beogradu, 93–108.
14 Cited in: Perković, “Dva početka. Godine 1937–1957,” 26.
15 Dubravka Jovičić, “Katedra za klavir” [The Department for Piano], in Naših 80 go-
dina – Kultura sećanja [Our 80 Years – The Culture of Remembrance], ed. Ivana
Perković (Belgrade: Faculty of Music, 2018), 152.
386
was Petar Stojanović (1877–1957), an acclaimed violinist of international re-
nown, who had previously worked as professor and director of the Music
School “Stanković”.12 Whilst preparing the official documents for the new-
ly established Academy, Manojlović, Hristić and Stojanović relied upon the
curricula and rulebooks of the academies in Ljubljana and Zagreb.13 The
Secondary Music School attached to the Academy was intended to educate
teachers who would teach music at elementary schools, and it also served as
a pool for recruitment of students for the Academy. Studies of composition
and conducting were conceived to last five years (10 semesters), while stud-
ies at all other departments lasted four years (8 semesters).
Ivana Perković cites a 1938 newspaper article about the working condi-
tions at the newly established Academy:
Today the academy is situated in a large building. It has the most
modern classrooms, 13 grand pianos of the best worldwide brands,
a musical library with 2600 volumes and an archive.14
As testified by Branko Kozarski and relayed by Dubravka Jovičić, the
very first pianos that arrived to the Academy were actually donations of
wealthy families: according to this testimonial (which supplements the of-
ficial preserved documents about the purchase of instruments), upon vis-
iting the newly opened Academy, Prince Pavle [Paul] Karađorđević (then
serving as the deputy monarch, in lieu of the underage King Petar [Peter]
II) was disappointed by the state of the instruments and he himself donat-
ed 10 new Stainway pianos.15 On the other hand, in her article dedicated
12 On Stojanović’s life and work see: Biljana Milanović, “Reaffirmation of the Forgotten
Serbian Music: Three Sonatas of Petar Stojanović for One String Instrument and Pia-
no,” CD Booklet Sonatas of Petar Stojanović (Belgrade: Serbian Musicological Society,
2019), 5–19; Biljana Milanović, “Proučavanje umetničke biografije i muzičkog delo-
vanja Petra Stojanovića: prilog identifikaciji i razmatranju istraživačkih izvora” [The
Study of Artistic Biography and Musical Activities of Petar Stojanović: A Contribu-
tion to the Identification and Consideration of Research Sources], Zbornik Matice
srpske za scenske umetnosti i muziku 61 (2019): forthcoming; Biljana Milanović, ed.,
Na marginama muzikološkog kanona: kompozitorska generacija Petra Stojanovića,
Petra Krstića i Stanislava Biničkog [On the Margins of the Musicological Canon: The
Generation of Composers Petar Stojanović, Petar Krstić and Stanislav Binički] (Bel-
grade: Serbian Musicological Society and the Institute of Musicology SASA, 2019).
13 Rulebooks and policies of the Academy were published in its first annual report:
Manojlović, Muzička akademija u Beogradu, 93–108.
14 Cited in: Perković, “Dva početka. Godine 1937–1957,” 26.
15 Dubravka Jovičić, “Katedra za klavir” [The Department for Piano], in Naših 80 go-
dina – Kultura sećanja [Our 80 Years – The Culture of Remembrance], ed. Ivana
Perković (Belgrade: Faculty of Music, 2018), 152.
386
