Suchergebnisse

Svrha ovoga rada je ustanoviti temeljni razlog Platonove izjave da je filozofija najveća muzika. Smatrajući da je glavni uzrok pretpostavljenoj nejasnoći te tvrdnje drugačije poimanje muzike i filozofije kod Platona u odnosu na današnje, autor najprije izlaže izvorni grčki pojam muzike uspoređujući ga sa suvremenim. U drugom dijelu istražuje Platonov odnos prema muzici, ispitujući kakvu joj je ulogu dodijelio u svojoj filozofiji. Pokazuje se kako je uvriježena predodžba o Platonovu omalovažavanju pjesništva pogrešna. Svoje viđenje slo­ženijeg i pozitivnijeg Platonova odnosa prema muzici autor povezuje s njegovim političkim favoriziranjem frigijskog modusa, otkrivajući u tome slabo zapažen dionizijski aspekt kod Platona. Zaključuje se da tek uz brižljivu kulturološku kontekstualizaciju grčke filozofije postaje jasno zašto je ona za Platona bila najveća muzika. ; The purpose of this paper is to establish a fundamental reason for Plato's claim that philosophy is the greatest music. Holding that the main reason for its supposed unclearness is in fact a discrepancy in understanding of music and philosophy in Plato in respect to modern meaning, author firstly elaborates on the original Greek notion on music and compares it with the contemporary one. In the second part of the paper, author explored Plato's relationship with music, examining what role did he give to the music in his philosophy. It turns out that the traditional view of Plato's negative attitude towards music is false. Author provides a reader with a more complex analysis of the problem and offers a positive view on music in respect to Plato, which he then links to Plato's political preference of Phrygian mode, pointing towards rarely observed Dionysian aspect in Plato's thought. Only a proper cultural contextualization of Greek philosophy can get us closer to understanding why, for Plato, philosophy was greatest kind of music.

Glazba kakva se njegovala u ranijoj prošlosti prvog europskog komunalnog kazališta, Teotra forskega – u vremenu od njegova osnutka 1612. do privremenog zatvaranja 1888. (radi obnove dovršene dvanaest godina poslije) – do danas je ostala potpuno nepoznatim aspektom kulturne povijesti grada Hvara. Rasvjetljavanje ondašnje prakse i uloge javnog, svjetovnog muziciranja uvelike je otežano nedostatkom relevantnih arhivskih izvora, ponajprije notnih, koji bi eksplicite osvjedočili glazbeni, odnosno glazbeno-scenski repertoar, što su ga hvarskoj publici i posjetiteljima mogli predstavljati ponajprije gostujući talijanski glazbenici i operne družine, ali i lokalni glazbenici koji su se okupljali u vokalno-instrumentalne ansamble. Glazbenu praksu u krugu Hvarskoga kazališta posredno stoga sugeriraju do sada malobrojni, ali raznorodni (novo)otkriveni arhivski izvori, počevši od popisa danas izgubljenih notnih izdanja svjetovne (i crkvene) glazbe, dostupnih u Hvaru sredinom 17. stoljeća, preko zabilježbi pokojeg suvremenika o (glazbenim) priredbama u 18. stoljeću, pa do sačuvanih libreta, ponajprije talijanskih opera 19. stoljeća, što se danas čuvaju u Muzeju hvarske baštine. Na njihovu će se temelju u ovome radu ponuditi prvi pokušaj rekonstrukcije glazbene prakse i repertoara u hvarskom teatru unutar šireg vremenskog i društveno-političkog okvira, obilježenog u Hvaru najprije mletačkom, zatim kratkotrajnom francuskom, a potom i austrijskom vlašću, ponajviše kao poticaj za daljnja istraživanja ovog zanemarenog ali značajnog segmenta hvarske glazbene i uopće kulturne prošlosti. ; The music nurtured in the earlier past of the first European community theatre, i.e. the Theatre of Hvar – from the time of its establishment in 1612 to its temporary closure in 1888 (due to renovation finished twelve years later) – until today, has remained an entirely unfamiliar aspect of cultural history of the town of Hvar. Illuminating its practice of the time and the role of the public, secular music-making has been severely hindered by the lack of relevant archival sources, primarily of sheet music which would explicitly testify the musical, i.e. music and stage repertoire, that might have been represented to the audience of Hvar and its visitors by the guest Italian musicians and opera companies, as well as the local musicians gathered into vocal and musical ensembles. The musical practice within the theatre of Hvar has so far been represented by merely few, but diverse (newly) discovered archival sources, starting from the list of today lost sheet music publications of secular (and church) music, available in Hvar in the mid-17th century through the annotations made by contemporaries on (music) events in the 18th century, as well as preserved librettos, primarily of 19th century Italian operas, today preserved at the Hvar Heritage Museum. They were used as a foundation for this paper, which is a first attempt at a reconstruction of the musical practice and repertoire of the Hvar theatre within a wider chronological and social and political frame, characterised by the Venetian at first, then briefly French, and finally Austrian rule, mostly as an incentive for further research of this neglected but significant segment of Hvar's musical and cultural history.

U godini kada obilježavamo 250. obljetnicu hrvatskoga šumarstva, a u tijeku je 169. godina od utemeljenja Hrvatskoga šumarskoga društva i tiskanja 139. godišta našega znanstveno-stručnoga i staleškog glasila Šumarski list, interesantno je baciti pogled na tekstove iz prvih godišta tiskanja časopisa, pa i povući paralelu s današnjicom.Već u prvome godištu 1877 god. pozornost nam privlači članak Adolfa Danhelovskog "Predlozi o štednji drva u proizvadjanju francezkih duga", u kojemu kaže da se postupak proizvodnje neznatno poboljšao, "premda ova vrst robe zaslužuje, da se najvećom štednjom proizvadja, dočim su njoj namijenjeni najkrasniji hrastici". To mora raditi "vješt radnik", jer se inače može "mnogo drva potratiti …., a užje se duge imaju izradjivati od tanjih stabalah ili trupacah". Nastavno, preporuča se radi uštede sortirati trupce sukladno dužini i širini zadanih dimenzija dužica, a slijede ostale preporuke za uštedu. Povucimo sada paralelu s tadašnjim razmišljanjem i preporukama glede štednje i današnjim rasipanjem nacionalnog bogatstva, korištenjem "najkrasnijih hrastika", tako da netržišna cijena sortimenata omogućuje proizvodnju poluproizvoda, a ne visoko finaliziranih proizvoda s velikom dodanom vrijednošću i maksimalnom zaposlenošću. Najžalosnije je kada se furnirski sortiment kamuflira u pilanski prozvod za izvoz, čime se "izvoze" i radna mjesta za kojima plačemo. O tome smo detaljnije pisali u uvodniku ŠL br. 5-6/2012. "Odnos šumarstva i prerade drva". Stoga se ne slažemo s tvrdnjom resornog ministra izrečenoj u razgovoru poslije Konferencije za tisak o kojoj pišemo u rubrici Aktualno, da su potpisani netržišni ugovori s drvoprerađivačima spasili domaću preradu drva od inozemne konkurencije. Za nas je i dalje to način rasipanja nacionalnog bogatstva i trenutačni probitak za račun pojedinaca, a ne za opće dobro.Članak iz trećeg godišta, 1879. god. Alex. Nik. Schultz podnaslovom "Sedam glavnih točaka šumskoga gospodarstva i njihova teoretično-praktična uporaba" započinje motom: "Proizvadjanje najveće kvantitativne i kvalitativne množine drva na najmanjoj površini: i čim vrlije gospodarstvo". U članku navodi kako šumsko gospodarstvo dijeli djelatnosti na temeljne i pripomoćne. Temeljne su računarstvo i prirodoslovlje, a pomoćne: tehnologija, zakonodavstvo, državoznastvo, računovodstvo povijest i geografija. Razdioba praktičnih struka šumskog gospodarstva dijeli na: "gojenje šume, b) zaštita šume zajedno s šumskom stražom, c) šumska poraba za jedno sa šumskom tehnologijom, d) šumska procjena zajedno s uredbom obhodnje i obračunanjem vriednosti i e) šumska uprava i šumsko ravnateljstvo". Ako razmislimo o poanti i današnjem poštivanju mota članka, zaključujemo da se sugerira maksimalno moguće korištenje proizvodnosti pojedinog šumskog staništa, a njegova bi degradacija predstavljala katastrofu. Komentirajući spomenutih sedam točaka, ponajprije navodi da je prva i glavna točka upravljanja i rada "teoretično i praktično naobraženo gospodarstveno osoblje da se može šumom koristno i potrajno gospodariti". Pita se "kako može čovjek uobće, koji neima niti pojma o neophodno nuždnih znanosti, upravljati šumom s mnogimi njezinimi osebujnosti". Druga glavna točka je samostalno odgovorno vođenje gospodarstva "bez pohlepe za dobitkom". Treća točka govori ponajviše o načinima obnove sastojina – umjetnim načinom ili prirodnim pomlađivanjem. U četvrtoj točci bilježimo zaključak: "Pošteni šumar, koji znade računati, ne će nikada privoliti, da njegov gospodar, kada se u momentanoj novčanoj neprilici snadje, te bude prisiljen, uteći se šumi, postane žrtvom takvih švindlera i šumskih pustošnika, te će svu svoju duševnu snagu upotriebiti, da ono što se ne da izbjeći, ograniči bar na najmanji prostor i s obzirom na budućnost". Peta točka tiče se "šumske porabe zajedno sa šumskom tehnologijom i važnija je nego što se na prvi čas čini", a detaljnije obrazlažući zaključuje da joj treba posvetiti dužnu pozornost prateći razvoj i primjenu novih tehnologija. Šesta točka obuhvaća "šumsku taksaciju zajedno s uredjenjem obhodnje i vriednostnim obračunom", a sve spomenute točke međusobno se isprepleću i potrebno ih je ne razdvajati, "jer bez poznavanja jedne ne da se druga izvesti". O sedmoj točci "k šumskoj upravi i ravnateljstvu šuma" nema se što posebno reći kaže on, jer je uglavnom obuhvaćena u prethodnim točkama, ali zaključuje kako prema staroj poslovici "od glave riba smrdi, a preneseno na šumsku industriju: ne valja li ravnateljstvo, to ne valja ni cielo šumsko podčinjeno osoblje. To vriedi kod svake grane gospodarstva, a potvrdjuju to i nebrojeni dokazi u čovječjem družtvenom životu i u svih strukah". Na kraju mi zaključujemo ovaj tekst s porukom – usporedite sami!Uredništvo ; The 250th anniversary of Croatian forestry and the 169th year of the foundation of the Croatian Forestry Association and the publication of the 139th issue of the scientific-professional and specialist magazine Forestry Journal offer an ideal opportunity to look back at the texts published in the first issues and draw a parallel with present times. The very first volume from the year 1877 contains an interesting article by Adolf Danhelovski "Recommendations on saving wood in the production of French staves", which states that the production process has improved slightly "although this type of goods requires maximal saving in its production, since they are produced of the most beautiful oak trees". Work should be performed by a "skilful labourer", otherwise much of the wood "might go to waste". Narrower staves should be made of thinner trees or logs". Furthermore, logs should be classified according to the length and width of stave dimensions required. Other recommendations for saving follow. Let us draw a parallel with the present manner and recommendations related to saving and present squandering of national resources by using "the most beautiful oak forests", so that the non-market prices of the assortments allows the production of semi-finished goods and not high-quality products with a high added value and maximal employment. What is detrimental is the fact that veneer assortments are camouflaged into sawmill products intended for export; this also means "export" of working places which we sorely need. We discussed this in more detail in the Editorial of the Forestry Journal No. 5-6/2012, "The relationship between forestry and wood processing". This is why we do not agree with the words of the competent minister said after a Press conference, which we discuss in the column Current Affairs. The minister claimed that non-market contracts with wood processors had saved home wood processing from foreign competition. We continue to perceive this as a way of squandering national wealth for momentary gain of an individual and not for the benefit of the society as a whole. The article published in the third year of publication in 1879, written by Alex. Ni. Sshulz and entitled "Seven main points of forest management and their theoretical-practical use" starts with a motto: "Production of he highest quantitative and qualitative amount of wood in the smallest area: and the best management". According to the article, forest management activities are divided into basic and auxiliary. The basic activities are mathematics and natural sciences and the auxiliary ones are technology, law-making, political sciences, book keeping, history and geography. Practical parts of forest management are divided into "a) silviculture, b) forest protection together with forest surveillance, c) use of forests together with forest technology, d) forest inventory with rotation and calculation of value and e) forest administration and forest directorate". From the present standpoint, the motto of the article suggests maximum possible use of the productivity of a particular forest site, whose degradation would mean catastrophe. In his comment of the seven points that follow, the author stresses that the first and the main point of management and work lies in "highly educated management personnel who posses theoretical and practical knowledge for useful and sustainable management of forests". He asks himself: "How can a person who has absolutely no knowledge of the basic sciences manage such a highly complex system as a forest?" The second point is independent management devoid of "greed for profit". The third point is primarily concerned with stand regeneration methods - artificial or natural regeneration. The fourth point contains a conclusion: "An honest forester who knows how to calculate will never allow his master, who, if faced with financial problems and forced to exploit his forest, to become a victim of swindlers and forest exploiters, and will use all his spiritual strength to at least limit what is unavoidable to the smallest space with regard to the future". The fifth point refers to "use of forests together with forest technology, which is more important that might seem at first glance". In his detailed explanation, the author concludes that the development and application of new technologies should be given due importance. The sixth point comprises "forest taxation together with rotations and value calculation". All the above points are mutually intertwined and cannot be separated from one another, "since without knowing one it is impossible to perform another". In the author´s words, the seventh point concerning "forest administration and forest directorate" requires no comments because everything is contained in the previous points, but he concludes that, as the old proverb says, "the fish rots from the head down", or translated into forest industry: if the directorate is no good, then the entire subordinate personnel will be no good. This refers to all branches of economy, and has been proven myriad of times in the human society and in all the professions". We conclude this text with the message – compare!Editorial Board

Dubrovački renesansni filozof i pjesnik Miho Monaldi (1540. – 1592.) u svojoj je estetičkoj raspravi Irena, iliti o ljepoti (Irene, overo della belleza, Venecija, 1599.) glazbenoj problematici posvetio čitavo poglavlje – Dialogo ottavo (fol. 135–153) – da bi predstavio svojevrsnu opću teoriju glazbene umjetnosti. U tom se poglavlju Monaldi detaljno bavio pojedinim aspektima glazbe, a to su: podjela glazbe na različite vrste, intervali, značenje u glazbi, funkcije glazbe, modusi, glazbala, odnos između glazbe i politike, odnos između glazbe i drugih »predmeta sluha« te kriteriji za postizanje »ispravne glazbe«. Radi se, dakle, o prilično velikom broju tema vezanih uz glazbenu problematiku, zbog čega se to Monaldijevo djelo smatra najznačajnijim doprinosom refleksiji o glazbi na hrvatskom području u renesansnome razdoblju. U svojoj klasifikaciji glazbe Monaldi je prednost dao vokalnoj glazbi (u odnosu na instrumentalnu), što je u potpunome skladu s općim renesansnim poimanjem glazbe. ; The work Irene, overo della bellezza (Venice, 1599), written by the Renaissance philosopher and poet Michele Monaldi (1540–1592) from Dubrovnik, is considered to be the first aesthetic treatise that originates from Croatia. In that dialogue, Monaldi devoted a whole chapter to music and presented his version of the general theory of it. Monaldi's thoughts on beauty and music originate primarily from the philosophy of Plato and Aristotle. He was mainly theoretically oriented, thus his ideas on music are primarily based on Plato's philosophical thoughts, and only partially on Aristotle's. In the greater part of this chapter, Monaldi does not consider the changes that occurred in the field of music in the second half of the 16th century and on the turn of the 17th century. Thus, his ideas on music and art, in general, can be interpreted almost as a purely theoretical model, without any indications of its possible use in practice. Monaldi's Platonic orientation is also evident in the form of his work, which is the dialogue form modelled after similar dialogues written by Plato. In some aspects of his discussion on music, though not numerous, Monaldi still relies on Aristotle, especially when it comes to functions of music. In his chapter devoted to music (Dialogo ottavo, fol. 135–153) Monaldi rather thoroughly discusses several aspects of music: the divisions of music into different branches, the intervals, the meaning in music, the functions of music, the modes and the instruments, the relationship between music and politics, the relationship between music and other "objects of hearing", as well as criteria necessary to achieve "proper music". Given the fact that Monaldi treated quite a large number of music issues, his work Irene, overo della bellezza is considered to be the most valuable contribution to the reflection on music from Croatia in the Renaissance period. This paper presents Monaldi's understanding of music, based on the example of his classifications of it into different categories.