- University of Sarajevo, Muzicka akademija, Faculty Memberadd
- Lana Šehović graduated in Musicology at the Academy of Music, University of Sarajevo in 2006. She received her PhD in... moreLana Šehović graduated in Musicology at the Academy of Music, University of Sarajevo in 2006. She received her PhD in 2014 (Musical life in Sarajevo in the period of Austro-Hungarian rule). She was (2014–2019) Editor-in-chief of the Journal for music culture Music, the only musicological journal in Bosnia and Herzegovina. In 2016 she was elected for Vice-Dean for Concert Activities of the Academy of Music in Sarajevo, and from January 2020 Lana is Associated Professor. At this moment she is on position of the Head of the Department for Musicology and Ethnomusicology at the Academy of Music – University of Sarajevo.
Lana presented her scientific papers at symposiums organised by The Musicological Society of FBiH, The International Musicological Society and The International Council for Traditional Music in Bosnia and Herzegovina, Croatia, Serbia, Slovenia, Austria, Hungary and Czech Republic. She was guest professor at Academy of Music in Zagreb (Croatia) and Conservatorio Superior de Musica Vigo (Španija). Since 2016 she is member of the RILM National Committee for Bosnia and Herzegovina. During 2019 she was part of expert team to enlist Sevdalinka on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In 2019 she published a book Female identities in musical life of Austro-Hungarian Sarajevo – which is one of the first books about gender and position of women in cultural and musical life in BiH and region.edit
František Matĕjovský (Nehanice, 1871 – Sarajevo, 1938) graduated from the Conservatory in Prague (1897) and was the most distinguished Czech musician who lived and worked in Bosnia and Herzegovina. After a short engagement as an organist... more
František Matĕjovský (Nehanice, 1871 – Sarajevo, 1938) graduated from the Conservatory in Prague (1897) and was the most distinguished Czech musician who lived and worked in Bosnia and Herzegovina. After a short engagement as an organist of the chapel of the Austrian embassy in Istanbul (Turkey), and as a conductor of Serbian Orthodox parishes (1897–1900) in Veliki Bečkerek (Serbia), he lived and worked in Bosnia and Herzegovina from 1900 until his death. From 1900 to 1905, Matĕjovský worked in Banja Luka as a conductor of the Croatian singing society “Nada”, was a founder and first conductor of the Muslim Singing Society “Fadilet”, and a founder and head of a private music school (1902–1905). From May 1905, he worked in Sarajevo. In 1908 he founded a private music school (Glasbena škola F. Matějovsky) where, with brief interruptions, he worked until 1918. Students of this school were the first generation of Bosnian musicians in Sarajevo. Together with the teaching profession, Matĕjovský developed performing activity as a conductor of the Serbian Orthodox Church’s Sloga Singing Society (1905–1914), the amateur choirs “Napredak”, “Prosvjeta”, “Gajret”, and “Jukić”, and the choir of the Orthodox Church in Sarajevo, as well as the school choirs of the Sarajevo high schools where he worked as a teacher, also included premieres of his works. In the 1922–1923 season he was engaged at the National Theatre in Sarajevo as a conductor of the choir and orchestra, accompanist, and composer. In this way, Matĕjovský made a distinctive contribution to the development of compositional activity as a member of the first generation of composers of Bosnia and Herzegovina. For his work, he was awarded numerous prizes in the period between the world wars. The pedagogical and artistic work of František Matějovský corresponded to the needs of the environment where he worked and composed. The unfavorable socio-political climate shaped the musical life and directed the pedagogical and artistic affinities of Matějovský toward the kinds of activity that were urgently needed. Consequently, František Matĕjovský established himself as one of the pioneer personalities of the musical scene of the late nineteenth and early twentieth centuries, leaving an indelible trace in the history of music
in Bosnia and Herzegovina.
in Bosnia and Herzegovina.
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Rad prati dio raznovrsne umjetničke djelatnosti Ansambla gitarā Muzičke omladine Bosne i Hercegovine (MO BiH) pretežno na osnovu dokumenata Muzičke omladine po- hranjenih u Arhivu Jugoslavije, te Arhivu Muzičke akademije Univerziteta u... more
Rad prati dio raznovrsne umjetničke djelatnosti Ansambla gitarā Muzičke omladine Bosne i Hercegovine (MO BiH) pretežno na osnovu dokumenata Muzičke omladine po- hranjenih u Arhivu Jugoslavije, te Arhivu Muzičke akademije Univerziteta u Sarajevu.
Arhivski nalazi daju općeniti uvid u rad MO BiH, pri čemu posebno mjesto pripada radu Ansambla gitara. Ansambl je osnovan 1971. godine u Sarajevu, a tokom svog djelovanja, koje je trajalo do 1992. godine, pozicionirao se kao jedan od vodećih muzičkih sastava Bosne i Hercegovine. Djelatnost Ansambla predvođena Milom Rakanović doživljava uspon nakon realizirane turneje u Austriji, koja je činila prekretnicu za njegov dalji razvoj.
Arhivski nalazi daju općeniti uvid u rad MO BiH, pri čemu posebno mjesto pripada radu Ansambla gitara. Ansambl je osnovan 1971. godine u Sarajevu, a tokom svog djelovanja, koje je trajalo do 1992. godine, pozicionirao se kao jedan od vodećih muzičkih sastava Bosne i Hercegovine. Djelatnost Ansambla predvođena Milom Rakanović doživljava uspon nakon realizirane turneje u Austriji, koja je činila prekretnicu za njegov dalji razvoj.
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The paper provides a concise insight into the activity of Slovenian musicians residing in Sarajevo during the Austro-Hungarian administration. Besides the Slovenian musicians’ activities at the collective level, the paper discusses their... more
The paper provides a concise insight into the activity of Slovenian musicians residing in Sarajevo during the Austro-Hungarian administration. Besides the Slovenian musicians’ activities at the collective level, the paper discusses their individual endeavours and also endeavours from perspective of guest artists. Guest Slovenian artists such as Slovenian opera, was one of the most renowned ensemble that visited Austro-Hungarian Bosnia and Herzegovina.
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Traditional folk music of Bosnia and Herzegovina can be best understood in light of the multicultural heritage of Bosniaks, Serbs and Croats, as well as many ethnic minority groups. But in the period 1878–1918, traditional music became... more
Traditional folk music of Bosnia and Herzegovina can be best understood in light of the multicultural heritage of Bosniaks, Serbs and Croats, as well as many ethnic minority groups. But in the period 1878–1918, traditional music became open to Western European influences. Openness, as well as exposure, to the “new” becomes one of the characteristic signs of the Austro-Hungarian empire, whose new system of governance brought the unknown Western European cultural spirit to the population of Bosnia and Herzegovina. In the mentioned period, new musical instruments appeared, which were previously unknown (e.g. clarinet, accordion), as well as professional musical ensembles which were not common in Bosnian tradition. These and similar appearances made the period of Austro-Hungarian empire a unique turning point in the development of urban traditional music which was developed within the Bosnian and Herzegovinian cafes.
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Abraham S. Suzin, a music pedagogue, conductor and composer, is an almost unknown name in the musicology of Bosnia and Herzegovina. Bulgarian by origin, he came to Sarajevo in the Austro-Hungarian period and developed a very lively... more
Abraham S. Suzin, a music pedagogue, conductor and
composer, is an almost unknown name in the musicology of Bosnia and Herzegovina. Bulgarian by origin, he came to Sarajevo in the Austro-Hungarian period and developed a very lively musical life involving roles as a choirmaster, music pedagogue, and composer. This paper is aimed at expanding our present knowledge of the life and work of Abraham S. Suzin based on relevant archival documents and press from his time.
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Abraham S. Suzin, muzički pedagog, dirigent i kompozitor, malo je poznato ime u bosanskohercegovačkoj muzikologiji.
Porijeklom Bugarin, u Sarajevo je došao u austrougarskom periodu razvivši veoma živu muzičku aktivnost horovođe, muzičkog
pedagoga i kompozitora. Cilj ovog rada je proširiti dosadašnja
saznanja o životu i djelu A. Suzina na temelju relevantnih arhivskih
dokumenata i onovremene štampe.
composer, is an almost unknown name in the musicology of Bosnia and Herzegovina. Bulgarian by origin, he came to Sarajevo in the Austro-Hungarian period and developed a very lively musical life involving roles as a choirmaster, music pedagogue, and composer. This paper is aimed at expanding our present knowledge of the life and work of Abraham S. Suzin based on relevant archival documents and press from his time.
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Abraham S. Suzin, muzički pedagog, dirigent i kompozitor, malo je poznato ime u bosanskohercegovačkoj muzikologiji.
Porijeklom Bugarin, u Sarajevo je došao u austrougarskom periodu razvivši veoma živu muzičku aktivnost horovođe, muzičkog
pedagoga i kompozitora. Cilj ovog rada je proširiti dosadašnja
saznanja o životu i djelu A. Suzina na temelju relevantnih arhivskih
dokumenata i onovremene štampe.
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Uloga žena u glazbenom životu austrou-garskog Sarajeva (1878-1918) bila je značajna u kontekstima njegova etabliranja i razvoja u skla-du sa zapadnoeuropskim glazbenim tekovina-ma. Djelatnost žena evidentna je u amaterskim, ali i u... more
Uloga žena u glazbenom životu austrou-garskog Sarajeva (1878-1918) bila je značajna u kontekstima njegova etabliranja i razvoja u skla-du sa zapadnoeuropskim glazbenim tekovina-ma. Djelatnost žena evidentna je u amaterskim, ali i u profesionalnim segmentima glazbenog života, počevši od salonskih druženja, nastupa pri pjevačkim društvima i ansamblima, pa do koncertnog podija koji je bio rezerviran za profe-sionalne umjetnice, kao i u sferama glazbene pedagogije i povremeno skladateljske prakse. Analiza dostupnih arhivskih izvora i no-vinskih članaka koji su objavljeni u službenim glasilima pokazala je da je većina protagonisti-ca glazbenog života glavnoga grada BiH dola-zila iz susjedne Hrvatske. Stoga se tekst fokusi-ra na rasvjetljavanje identiteta hrvatskih dose-ljenica, na načine njihove infi ltracije u glazbeni život, s naglaskom na stvaranje i izgradnju veza između Hrvatskoga glazbenog zavoda i lokalnih sudionika glazbenih prilika. Također, tekst će težiti i odgovoru na pitanje u kojim su se to sferama glazbenog djelovanja Hrvatice nametnule kao glavne protagonistice i nositelji-ce zapadnoeuropskih glazbenih strujanja.
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Govor o društveno-sociološkim diskursima lika i djela Avde Smailovića predstavlja univerzalnu priču o muzičkom stvaralaštvu Bosne i Hercegovine. Na primjeru Smailovića moguće je sagledati kako i na koji način su društvene, političke i... more
Govor o društveno-sociološkim diskursima lika i djela Avde Smailovića predstavlja univerzalnu priču o muzičkom stvaralaštvu Bosne i Hercegovine. Na primjeru Smailovića moguće je sagledati kako i na koji način su društvene, političke i sociološke okolnosti oblikovale opuse kompozitorskih bardova ovih prostora, te koji su bili putevi sazrijevanja njihovih opusa. Bazirajući se mahom na napisima objavljivanim u dnevnom listu Oslobođenje, te intervjuima za Radio Sarajevo, rad će se fokusirati na period ranih 60-tih i 70-tih godina prošlog stoljeća, kada je stvaralačka energija Smaliovića tekla uzlaznom putanjom dajući neke od najplodonosnijih ostvarenja zabilježenih u historiji kompozitorstva BiH. S druge strane, vremenski period oblježen djelovanjem Komunističke partije Jugoslavije, ali i stalnim reminiscencijama na Narodnooslobodilačku borbu, neupitno su utjecali na umjetničko promišljanje i kreativne odabire umjetnika onog vremena. Stoga, slijedeći sintagmu " Radnik – muzički kompozitor " datu u naslovu rada, a proizašlu iz novinskog napisa čiji redovi veličaju trnoviti, radnički put Avde Smailovića, tekst će pokušati dati odgovor na pitanje da li je, i u kolikoj mjeri, Smailović bio " dijete svog " vremena, ili je pak njegov kreativni credo uspjevao nadrasti društveno-sociološke diskurse perioda u kome je djelovao.
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Musical life of the Western European type began to develop in the shelter of the immigrant middle class after the occupation by Austro-Hungarian monarchy (1878–1918). In the process of incorporation of new flows into the sphere of musical... more
Musical life of the Western European type began to develop in the shelter of the immigrant middle class after the occupation by Austro-Hungarian monarchy (1878–1918). In the process of incorporation of new flows into the sphere of musical life, a considerable role was played by the piano – an instrument that became a herald of new music trends, and then their main carrier. Musical life of Sarajevo took the shape of Biedermeier music culture where music for piano was part of everyday life, and also the main base for development of music infrastructure. What's more, the piano had become "the main actor" of concert events, entertainment evenings and salon gatherings organized by the settlers or national choral societies. Omnipresence of the piano in the musical life was also evident in the professional segments of musical activities, for example piano classes in the first private music schools or the composing activity of the first BH composers. In the next historical period of political development of Bosnia and Herzegovina, i.e the context of the first Yugoslav community (1918–1941) – the piano, once a symbol of the culture of immigrants, became a symbol of newly accepted culture of the local population. The results of this process can be monitored through a variety of activities where the piano had a prominent place: the establishment of the first subsidized music school, the appearance of the first domestic pianists and piano teachers, and organisation of well visited concerts of piano music of local and foreign pianists. The piano has not been "the imported, foreign" instrument anymore; the piano become "domestic" instrument – the base for the next step in development of the Bosnian musical culture.