Relevant bibliographies by topics / Croatian Musicians

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  1. Journal articles
  2. Books
  3. Book chapters
  4. Conference papers

Academic literature on the topic 'Croatian Musicians'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "Croatian Musicians"

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Butkovic, Ana, and Dunja Rancic Dopudj. "Personality traits and alcohol consumption of classical and heavy metal musicians." Psychology of Music 45, no. 2 (2016): 246–56. http://dx.doi.org/10.1177/0305735616659128.

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The purpose of this study was to compare personality traits using the Big Five personality taxonomy and alcohol consumption of classical and heavy metal musicians. Also, we compared personality traits of classical and heavy metal musicians with norms for the Croatian population, and data on alcohol consumption with a representative sample of the general Croatian population. Participants in the study were men ( N = 249) playing either classical ( N = 113) or heavy metal music ( N = 136). Personality was measured with the IPIP-50 personality questionnaire and participants answered several questi
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Vasic, Aleksandar. "Music in Serbian literary magazine and Yugoslav ideology." Muzikologija, no. 4 (2004): 39–59. http://dx.doi.org/10.2298/muz0404039v.

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It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine?s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojevic began to develop
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Katalinić, Vjera, and Sara Ries. "Franz Liszt’s Contacts with Croatian Musicians and Dignitaries." Arti musices 49, no. 1 (2018): 49–68. http://dx.doi.org/10.21857/yvjrdcqpvy.

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Potter, Keith. "Zagreb: ISCM Festival/Zagreb Biennale." Tempo 59, no. 234 (2005): 35–36. http://dx.doi.org/10.1017/s0040298205210306.

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The Zagreb Music Biennale is one of the world's venerable new-music festivals. Its early years – the festival was founded by the Croatian composer Milko Kelemen in 1961 – might have been the most prestigious, but both before and since the upheavals of former Yugoslavia in the 1990s, it has offered an important outlet for Croatian composers and performers themselves, and for foreign music and musicians, to receive an airing in a city always looking to the West for inspiration – and recognition. It's also an uncommonly well-run and friendly festival.
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Bezić, Nada. "Tracing Beethoven in Zagreb." Studia Musicologica 61, no. 1-2 (2021): 161–68. http://dx.doi.org/10.1556/6.2020.00012.

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Beethoven’s Zagreb and Croatian acquaintances included his aristocratic friends, the two countesses, Ana Barbara Keglevich and Anne Marie Erdődy née Niczky, whom he intented to visit in 1817 in her castle near Zagreb. His other friends, Nanette and J. A. Streicher, were ancestors of today’s Zagreb musicians, and general Greth, husband of Jeannette d’Honrath, played on a private concert there in 1819. Beethoven’s music was performed on the first concert of the Musikverein in Zagreb (today Croatian Music Institute, CMI) in 1827. A representative of the Musikverein was present at the Vienna cente
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Forry, Mark. "The Tamburitza Extravaganza and its “evolution” in the American tamburitza musical ecosystem." Muzikologija, no. 35 (2023): 87–104. http://dx.doi.org/10.2298/muz2335087f.

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The Tamburitza Extravaganza, a musical event in the United States organized by the Tamburitza Association of America (TAA), has presented tambura-based ensembles for over 50 years. At the event, American stylistic variants of Croatian and Serbian music are performed to exuberant diaspora audiences, and musicians are honored for sustaining tamburitza music. Drawing on the author?s experience as an Extravaganza performer, interviews with TAA members, published TAA documents, and published tamburitza sources, the Tamburitza Extravaganza is analyzed as a sui generis music festival using the musica
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Rašić, Nikola. "Ḍom(b)a – Dobošari – Romanies Migrations of Indian Musician Castes to the West." Migration and ethnic themes 41, no. 1 (2025): 121–52. https://doi.org/10.11567/met.2025.5.

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The paper deals with the Indian etymology of the name for the Roma (Rroma, Romanies, Gypsies). It is generally known that the Roma are originally from India and migrated to Europe about 1,000 years ago. Although the Roma are constantly undergoing linguistic assimilation and losing their Indian language, it is still spoken by large populations, especially in Eastern and Southeastern Europe. This language is the only old Indo-Aryan language present in Europe and differs from all known languages of the Indian subcontinent.The name Rroma originates from the Indian word ḍom(b)a, which denotes a lo
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Guzy-Pasiak, Jolanta. "Polish Music in Zagreb Between the Two World Wars (as exemplified by the Croatian Music Institute)." Muzyka 66, no. 4 (2022): 115–30. http://dx.doi.org/10.36744/m.1074.

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Bilateral diplomatic and economic relations between Poland and the Kingdom of Serbs, Croats and Slovenes (from 1929 the Kingdom of Yugoslavia) between the two world wars have been presented quite comprehensively in numerous studies. The same cannot be said, however, about research into cultural relations between the two states. This may be attributable partly to the fact that cultural cooperation is harder to trace, since most of the projects during that period were ‘grassroots’ initiatives undertaken for the benefit of eminent individual artists and academics, and on their responsibility. It
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Baker, Catherine. "Your Race Sounds Familiar?" Race and European TV Histories 10, no. 20 (2021): 83. http://dx.doi.org/10.18146/view.267.

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Your Face Sounds Familiar, a celebrity talent television format developed by the Dutch production company Endemol and first broadcast in Spain in 2011, has entertained audiences in more than forty countries with the sight of well-known professional musicians impersonating foreign and domestic stars through cross-gender drag and, on many national editions, cross-racial drag, with results that would widely be regarded as offensive blackface where this has already been extensively challenged as racist in public. In central/south-east Europe, however, blackface is sometimes justified by arguing th
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Baker, Catherine. "When Seve Met Bregović: Folklore, Turbofolk and the Boundaries of Croatian Musical Identity." Nationalities Papers 36, no. 4 (2008): 741–64. http://dx.doi.org/10.1080/00905990802230514.

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In 2006 the Croatian singer Severina Vučković attempted to represent Croatia at the Eurovision Song Contest with a song arranged by Goran Bregović, the ex-Yugoslav musician from Sarajevo. Before the song “Moja štikla” [My Stiletto] had even been released, the Croatian (and Serbian) mass media had questioned its “Croatianness” in an escalating sequence of claims and counter-claims to authenticity. Its use of musical elements based on folk song and dance left it open to allegations that it had compromised folk music's authenticity; those elements’ regional associations (especiallygangaandrerasin
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Books on the topic "Croatian Musicians"

1

Dražen, Buhin, and Stanislav Zvonimir, eds. Hrvatski glazbeni vodič =: Croatian musicians' handbook 2000. Piano, 1999.

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Buhin, Dražen. Almanah hrvatske glazbe 2007: Croatian Musicians' Almanac 2007. Piano, 2007.

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Dražen, Buhin, and Stanislav Zvonimir, eds. Hrvatski glazbeni vodič 2005 =: Croatian musicians' handbook 2005. Piano, 2005.

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4

HATTABI, Hamza EL. I Am Croatian and I Love Guitar: 25 String Guitar Chord and Tablature Staff Music Paper for Guitar Players, Beginner Kids, Musicians, Teachers and Students. Independently Published, 2021.

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Book chapters on the topic "Croatian Musicians"

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Bogunović, Blanka, Renee Timmers, and Sanela Nikolić. "1. Introduction." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.01.

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The psychology of music is a broad research area in the range of questions and topics it addresses and the interdisciplinary research methods it employs to investigate music perception, cognition, emotion, and performance in every day and expert musical situations. It is an area of research flourishing in the Western Balkans as well as in Western Europe. This introductory chapter provides a brief historical overview of research in the Western Balkans, which has received relatively less attention and coverage in international research publications. It presents developments in music psychology i
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Marković, Ana. "Sounds of Resistance: A Socio-Political Critique of Post-war Croatia Through the Lenses of Music." In Music with a Message: Words, Music and Propaganda 2. University of Maribor Press, 2025. https://doi.org/10.18690/um.ff.3.2025.6.

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This chapter analyses the emergence and development of socially engaged music in Croatia during the post-war transition period from the end of the Homeland war until the present. A content analysis of fifty socially engaged songs by Croatian musicians will identify main themes concerning how socially engaged music reflected the social, political, and economic realities of this period. Following the content analysis, three major themes emerge: a critique of the corrupt and criminal system, a critique of society, and a critique of the Balkans in general. The findings suggest that socially engage
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MacMillen, Ian. "Tambura Bands and Sonic Flag Rituals in Croatian Weddings." In The Oxford Handbook of Slavic and East European Folklore. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.4.

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Abstract Based upon fieldwork with tambura chordophone bands at Croatian weddings, this chapter examines the musical procession of flags in wedding convoys. Scholars typically see flags’ symbolic roles as more semiotically limited than those of national music, but this assumes both forms’ stability (as symbols for interpretation) and discreteness from other sensory phenomena; these conditions do not hold as banners are lifted from static positions (where onlookers view them in two dimensions) into chaotic scenes obscured by automobiles, flares, and smoke. Tambura songs blasted by car speakers
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"The Case of Juraj Križanić (1619-1683?) – His Texts on Music. From Artefacts to Cultural Study (Croatian Writers on Music and The Transfer of Ideas in Their New Environments)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839435045-020.

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Tuksar, Stanislav. "The Case of Juraj Križanić (1619-1683?) – His Texts on Music. From Artefacts to Cultural Study (Croatian Writers on Music and The Transfer of Ideas in Their New Environments)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839435045-020.

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"People and Places in a (Music) Source. A Case Study of Giuseppe Michele Stratico and His Theoretical Treatises (Croatian Writers on Music and Transfer of Ideas in Their New Environments)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839435045-021.

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7

Konfic, Lucija. "People and Places in a (Music) Source. A Case Study of Giuseppe Michele Stratico and His Theoretical Treatises (Croatian Writers on Music and Transfer of Ideas in Their New Environments)." In Musicians' Mobilities and Music Migrations in Early Modern Europe. transcript Verlag, 2016. http://dx.doi.org/10.1515/9783839435045-021.

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Conference papers on the topic "Croatian Musicians"

1

Šehović, Lana. "Guest Croatian Female Musicians on Sarajevo Concert Life (1878–1918)." In Simpozij Umrežavanje glazbom u "dugom 19. stoljeću" (2021 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, Odsjek za povijest hrvatske glazbe, 2023. http://dx.doi.org/10.21857/mnlqgcr57y.

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Journal articles
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