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Journal articles on the topic 'Croatian Musicians'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Vasic, Aleksandar. "Two views on the Yugoslav ideology in Serbian music periodicals between the two world wars." Muzikologija, no. 17 (2014): 155–66. http://dx.doi.org/10.2298/muz1417155v.

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This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article
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12

Anamarija, Žugić Borić. "From Postdramatic Heterogeneity to New Reflections on Noise: The House of Extreme Music Theater and the Schachtophonia Accenni for Kamov." Pulse: the Journal of Science and Culture 9 (June 5, 2022): 21. https://doi.org/10.5281/zenodo.10547257.

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Performative methodology of the House of Extreme Music Theater led by Croatian,Zagreb-based performing artists Damir Bartol Indoš and Tanja Vrvilo is largely based on thecreation, recycling and abundant use of sound objects, deconstruction of voice and text, andcollaborations with alternative rock and noise musicians and multimedia artists. But preciselybecause of its apparently chaotic, noisy manifestation, it is easy to miss the structureand concept that is undoubtedly in the background of every performance. If we takeinto account the predominance of musi
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13

Vasic, Aleksandar. "'The Music Herald' 1922: A esthetical and ideological aspects." Muzikologija, no. 9 (2009): 97–111. http://dx.doi.org/10.2298/muz0909097v.

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The Music Herald was the first music magazine to appear in Belgrade after WWI. It was published monthly, for a year (January - December 1922). Its editor-in-chief was Petar Krstic, a composer. Other members of the editorial staff were Bozidar Joksimovic, Stevan Hristic, Kosta Manojlovic (composers) Vladimir R. Djordjevic (an ethnomusicologist) and Jovan Zorko (a violinist). Over 200 articles were published in the magazine. It dealt with different genres of music writings, such as articles, treatises, documents on the history of Serbian / Yugoslav music, music criticism, polemics, necrologies a
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14

Vuković, Silvija. "Celebrities turning into populists." Medijske studije 13, no. 25 (2022): 50–65. http://dx.doi.org/10.20901/ms.13.25.3.

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Populist politicians performing as celebrities and celebrities becoming populist politicians is a phenomenon that illustrates how populism and celebrity politics can easily be combined in contemporary political communication. This study aims to gain a deeper understanding of the latter type of celebrity populist by analyzing the Facebook posts of Croatian musician and populist politician, Miroslav Škoro, during the 2019 presidential campaign in Croatia. The conducted qualitative content analysis led to the conclusion that, in the context of celebrity populism, the concept of “the people” attai
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15

Duraković, Lada. "From the Croatian Music Archives. Slavko Zlatić (1910-1993) - Musician, Ideologist, Agitator." English version, no. 10 (October 22, 2018): 271–86. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.271.

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Most of the legacy of Slavko Zlatić – a composer, conductor, music pedagogue and ethnomusicologist, is kept in the Pazin State Archives. The article is specifically focused on the documents pertaining to Zlatić’s pedagogical and political engagements, and it has a purpose of drawing attention to the versatility of their possible use, as well as to their value in the context of scientific research and education.
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16

Vukobratović, Jelka. "Music Labour of Local Musicians in the Social Life of Križevci, Croatia." Arti musices 51, no. 1 (2020): 137–39. http://dx.doi.org/10.21857/yrvgqte5d9.

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17

Jurkić-Sviben, Tamara. "Musicians of Jewish origin in Norhern Croatia 1815-1941 : [sažetak doktorskog rada]." Arti musices 2 (2017): 323–28. http://dx.doi.org/10.21857/yvjrdcqeky.

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18

Stipčević, Ennio, and Ennio Stipcevic. "The Social and Historical Status of Music and Musicians in Croatia in the Early Baroque Period." International Review of the Aesthetics and Sociology of Music 18, no. 1 (1987): 3. http://dx.doi.org/10.2307/836903.

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19

Korošec, Kaja, Blaženka Bačilija Susić, and Katarina Habe. "Improvisation as the Foundation of Flow in Music Education: Connections to Attitudes, Gender and Genre." Revija za elementarno izobraževanje 15, no. 3 (2022): 339–56. http://dx.doi.org/10.18690/rei.15.3.339-356.2022.

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The aim of our study was to explore the connection between improvisation and flow. Data were collected from 252 tertiary music students from Slovenia and Croatia (121 male and 131 female musicians), who filled in The Questionnaire on Attitudes to Music Improvisation, The Inventory on Feelings associated with Music Improvisation, and the Work-related Flow Inventory. The results show that the female students have significantly more negative feelings and attitudes toward improvisation, and they experience less flow while improvising. Differences were even more pronounced when comparing students w
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20

Jurić, Dorian. "Heralds at the Bells: Messages of Hope from West Balkan Bards During the Coronavirus Pandemic." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 24 (July 16, 2021): 85–117. http://dx.doi.org/10.17161/folklorica.v24i.15691.

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Between March and May of 2020, a number of guslars (bards) and other traditional singers from Bosnia-Herzegovina, Croatia, Montenegro, and Serbia flooded YouTube with songs about the COVID-19 pandemic. Though the musicians chose divergent vantage points from which to approach the topic of the pandemic, all settled on a similar goal. They sought to deliver a message of solidarity and hope to those struggling with the realities of life under lockdown measures and to allay the fears and uncertainties that spread with the virus. This article provides a critical overview of the guslars’ songs to ex
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21

Pavlić, Matej, Matea Kramarić, and Ana Butković. "The Relationship between Personality and Creative Self-Beliefs at Different Levels of Personality Hierarchy." Psihologijske teme 32, no. 1 (2023): 125–41. http://dx.doi.org/10.31820/pt.32.1.7.

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In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 indivi
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22

Butković, Ana, Nikolina Vukojević, and Sara Carević. "Music performance anxiety and perfectionism in Croatian musicians." Psychology of Music, January 7, 2021, 030573562097869. http://dx.doi.org/10.1177/0305735620978692.

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Music performance anxiety (MPA) is part of every musician’s life. Individual differences in MPA have been associated with individual differences in perfectionism, especially maladaptive perfectionism. The aim of this study was to examine MPA and its association with perfectionism in a combined sample of music students studying at the Academy of Music and members of the professional orchestras in Zagreb. Based on the previous studies, we hypothesized that gender, age, and maladaptive perfectionism would predict higher MPA. Data were collected for 239 musicians (152 music students, 87 orchestral
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23

"(Im)possibility of doing Ethnomusicology beyond Urban/Rural Dichotomy." English version, no. 10 (October 22, 2018): 256–67. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.256.

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The dichotomy between urban and rural culture was accentuated and partially constructed by early European ethnographic disciplines. Though the critical discourse and paradigmatic changes brought the clear divisions between those two cultures into question, perception of the urban/rural dichotomy still persists in daily discourse and can be frequently encountered in discourses about music. The case study focusing on popular music bands and gig players from the town of Križevci in Croatia shows some of the mechanisms of maintaining this perception. Special attention in the analysis of those mech
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24

Będkowska-Kopczyk, Agnieszka. "Скопје има микроклима… Językowo-kulturowa analiza warstwy onimicznej i tekstowej repertuaru Vlatka Stefanovskiego". Poznańskie Studia Slawistyczne, № 27 (31 грудня 2024). https://doi.org/10.14746/pss.2024.27.15.

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This article examines the linguistic and cultural aspects of the language layer in the works of Macedonian musician Vlatko Stefanovski, created during his time with the band Leb i sol (Bread and Salt) and his solo career. The research material comprises the proper names (the band name, album names, and song titles) and lyrics of recordings released in Serbo-Croatian, Macedonian, and English. Therefore, the factors influencing the choice of a particular language in phonographic publications were first studied. Then, the analysis focuses on references to Macedonian culture in selected proper nam
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25

Šimunović, Zrinka, Sabina Vidulin, and Dubravka Miljković. "Flow Experiences in Adolescents: Comparison of Musically Educated, Athletically Active, and Other Adolescents/Doživljaj zanesenosti kod adolescenata: razlike između glazbeno obrazovanih, sportaša i ostalih adolescenata." Croatian Journal of Education - Hrvatski časopis za odgoj i obrazovanje 24, no. 4 (2022). http://dx.doi.org/10.15516/cje.v24i4.4703.

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Abstract The experience of flow affects the current feeling of happiness, as well as the experience of subjective well-being. Adolescents most often experience flow by engaging in activities that fulfil them. However, it is necessary to investigate whether there are differences in the experience of flow in adolescents who are musically educated, athletically active, and other adolescents. The aim of this study is to examine the frequency and conditions of experiencing flow in musically educated and athletically active adolescents. In this study, data were collected through questionnaires with
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26

Dawson, Andrew. "Reality to Dream: Western Pop in Eastern Avant-Garde (Re-)Presentations of Socialism's End – the Case of Laibach." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1478.

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Introduction: Socialism – from Eternal Reality to Passing DreamThe Year of Revolutions in 1989 presaged the end of the Cold War. For many people, it must have felt like the end of the Twentieth Century, and the 1990s a period of waiting for the Millennium. However, the 1990s was, in fact, a period of profound transformation in the post-Socialist world.In early representations of Socialism’s end, a dominant narrative was that of collapse. Dramatic events, such as the dismantling of the Berlin Wall in Germany enabled representation of the end as an unexpected moment. Senses of unexpectedness res
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