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.

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.

Ovaj se rad bavi analizom glazbenih preferencija i političkog ponašanja kod studenata na Sveučilištu u Zagrebu. U skladu s navedenim provedeno je istraživanje na studentima Sveučilišta u Zagrebu (N=140). Prvi dio rada obuhvaća teorijski pregled pri čemu se dotiče dosadašnjih istraživanja u sferi glazbenih preferencija te različitih aspekata političkog ponašanja. U drugom dijelu rada provedeno je istraživanje u kojem su se mjerile glazbene preferencije i političko ponašanje mladih. U kontekstu glazbenih preferencija obuhvaćene su sljedeće komponente: učestalost slušanja glazbe, utjecaj slušanja glazbe na život studenata i preferencije prema pojedinom žanru glazbe. Kako bi izmjerili političko ponašanje studenata mjerena je: politička orijentacija studenata, izlaznost na izbore, participacija u strankama, na prosvjedima, potpisivanjima peticija i štrajkovima, učestalost političkog informiranja, podrška demokraciji te je provjeravano znanje o osnovnim političkim pojmovima. Istraživanjem se pokušalo provjeriti postoji li povezanost između tih dvaju faktora. Rezultati istraživanja su pokazali kako su lijevo orijentirani ispitanici manje skloni popularno tradicionalnom glazbenom ukusu te pokazuju veću razinu političke participacije. Također, pokazalo se kako ispitanici u čijim životima glazba ima velik utjecaj, pokazuju manju razinu znanja o politici. ; This paper deals with the analysis of musical preferences and political behaviour among students at the University of Zagreb. In accordance following the aforementioned, a study was conducted on students of the University of Zagreb (N=140). The first part of the paper includes a theoretical overview, touching on previous research in the field of musical preferences and various aspects of political behaviour. In the second part, the research was conducted in which the musical preferences and political behaviour were measured. In the context of the musical components, the following components were included: frequency of the listening to the music, the impact on their ...

Ovaj rad nudi interdisciplinarni pogled i promišljanje međusobnih veza i odnosa između glazbe, ljudskog života i svijeta. S namjerom da se predstave mogući načini definiranja glazbe, razmatraju se dva pristupa: »glazbanje« (»musicking«) i disjunktivna strategija razumijevanja glazbe, od kojih oba nude deskriptivni, no ne i vrednujući pogled. Nakon kratkog osvrta na glazbu kao sredstvo političke propagande ili sredstvo iz sfere masovne produkcije i konformizma, šire je predstavljeno drugo lice glazbe pomoću pojma »glazbe zajednice«, gdje težnja k nemogućem, kao bezuvjetna dobrodošlica, te beskonačna odgovornost prema drugome čine glazbu univerzalnom vježbom etičkih gestā, otvorenosti i prihvaćanja. ; This paper offers an interdisciplinary account and a reflection of the interconnections and relations among music, human life, and the world. With the intention to present the possible ways of defining music, two approaches are examined. These approaches are "musicking" and the disjunctive strategy of understanding music, both of which provide a descriptive and not an evaluative account. After a brief acknowledgement of music as a means for political propaganda, and as a means belonging to the sphere of mass production and conformism, the other side of music is to be presented mainly through the concept of "community music", where the unconditional welcome of striving towards the impossible and the infinite responsibility towards the other makes music universal exercise in ethical gestures, openness, and acceptance. ; Cet article propose une approche interdisciplinaire et une réflexion sur les interconnexions et les relations entre la musique, le monde humain et le monde. Dans l'intention de présenter les différentes manières possibles de définir la musique, deux approches seront examinées : l'activité musicale en tant que processus (« musicking ») et la stratégie disjonctive de compréhension de la musique. Ces deux approches privilégient l'explication descriptive et n'offrent pas de critères d'appréciations. Ainsi, après avoir brièvement déterminé la musique en tant que moyen politique de propagande ou en tant que sphère de production de masse et de conformisme, l'autre facette de la musique sera présentée plus largement à travers le concept de « musique communautaire », où l'aspiration vers l'impossible en tant qu'accueil inconditionnel et responsabilité infinie des uns envers les autres font de la musique une pratique universelle des gestes éthiques, d'ouverture et d'acceptation. ; Dieser Artikel bietet einen interdisziplinären Bericht und eine Kritik an der Verbundenheit und den Beziehungen zwischen musik, menschenleben und Welt. mit der Absicht, mögliche Wege der Definition von musik zu präsentieren, werden zwei Ansätze untersucht: das "musicking" (musikpraxis) und die disjunktive Strategie des musikverständnisses. Beide Ansätze bieten eine deskriptive und keine evaluative Sehweise. Nach einer kurzen Rückschau auf die musik als mittel der politischen Propaganda oder als mittel aus der Sphäre der massenproduktion und des Konformismus wurde die andere Seite der musik in einer umfassenderen Art und Weise durch den Begriff der "Gemeinschaftsmusik" präsentiert, wo das Streben nach dem Unmöglichen als bedingungsloses Willkommen und die unendliche Verantwortung gegenü ber dem anderen die musik zu einer universellen Übung der ethischen Gesten, Offenheit und Akzeptanz machen.

MUSIC AND POLITICS, THE INFLUENCE OF POLITICAL CIRCUMSTANCES ON THE MUSICAL LIFE IN ZADAR IN THE SECOND HALF OF THE 19th CENTURY

Ovom se studijom nastoje rekonstruirati osobitosti glazbene kulture u Mostaru u prvoj polovini XX. stoljeća, njezine vrste, ishodišta i značenje u kontinuitetu, s težištem na institucionalno organiziranoj glazbenoj praksi i njezinoj povezanosti sa širim društvenim kontekstom. Pristup što ga je nametnuo tako postavljeni istraživački cilj obuhvaća predstavljanje glazbene stvaranosti u okviru kulturne, ali i političke povijesti izabrana vremena, čiji je rezultat u najvećoj mjeri i bila. U polju autonomnoga, glazba do sredine XX. stoljeća gotovo da i nije postojala jer se funkcionalno povezivala s oblicima svijesti i načinima života sredine čiju su zbilju obilježile mijene režima, stranačka trvenja vlasti i vladara, gospodarske, političke i kulturološke razlike ostavivši zamjetne tragove u njezinu povijesnome hodu. Stoga se pristup glazbi kao dijelu cjelokupnoga društveno- političkog i kulturnoga života činio jedino ispravnim. Predložena građa može se promotriti kao mozaična cjelina satkana od dijelova što predočuju mjesta i oblike muziciranja, djelovanje istaknutih pjevačkih društava, amaterskih i profesionalnih glazbenih udruženja, školstva i organiziranih manifestacija preko kojih je glazba živjela u gradu Mostaru. ; This article was intended to reconstruct the peculiarities of the Mostar's musical culture in the first half of the 20th century, its species, starting points and meaning in the continuity, emphasizing the institutional organized musical practice and its connection with larger social context. The approach that was imposed by purpose of research includes the presentation of the musical reality whithin the cultural and political history of the determinated period, whose result in the larger part it was. In the field of the autonomous, music until the middle of 20.th century almost it has not existed, because it has been connecting functionally with the kindes of the conscience and living ways of the enviroment whose reality was determinated by regime changes, political party conflicts, economical, political and cultural differences leaving the significant tracks in its historical continuity. Because of that, the approach to music as the part of the entire socio-political and cultural life seemed to be the only correct one. The proposed material can be observed as the mosaic whole made of the parts presenting the localities and forms of the music practice, the activites of prominent choral societies, amateur and professional musical societies, the education and organized manifestations by which music has lived in Mostar.

Predstavljanje razvoja nastave Pjevanja u osnovnoj školi na području Hrvatske započinjemo razdobljem koje obilježava bujanje narodne svijesti i težnje manjih naroda za samostalnošću koja dovodi do uvođenja hrvatskog jezika u škole. Uporabom narodnog jezika u škole uvedena je i glazba kao obvezan predmet pod nazivom Pjevanje. U tom razdoblju nastaju prve pjesmarice, udžbenici i priručnici na hrvatskom jeziku. Glazbeni pedagozi, učitelji i drugi autori glazbeno-pedagoške literature pod utjecanjem su nacionalnih pokreta prepoznali važnost narodne pjesme za nastavu pjevanja, i ne samo kao instrument pri nacionalnom odgoju, već kao važan didaktičko sredstvo za ispunjenje glazbenih, odgojnih i estetskih ciljeva pjevanja. Ovo je razdoblje institucionalne reforme školstva u kojemu su doneseni važni školski zakoni koji postavljaju temelje nacionalnog školstva. Značajni doprinos razvoju glazbene pedagogije dali su Franjo Kuhač i Vjenceslav Novak koji su među prvima promišljali o metodici rada u nastavi Pjevanja i time postavljaju temelje razvoja glazbeno-pedagoške misli u Hrvatskoj. ; Presentation of the development of teaching of Singing in elementary school at the Croatian territory we are going to begin with the period that is marked by flourishing of national consciousness and aspirations of smaller nations for independence, that leads to the involvement of the Croatian language in schools. By using the national language was also introduced music as a compulsory subject in school under the name Singing. During this period arose first songbooks, textbooks and manuals in the Croatian language. Music pedagogues, teachers and other authors of the musical pedagogical literature, under the impact from the national movement, recognized the importance of folk songs for singing lessons, and not only as an instrument for national education, but also as an important instrument for the didactic fulfillment of musical, educational and aesthetic goals of singing. This was a period of institutional reform in education in which have been adopted important school laws that set the foundations of national education. Significant contribution to the development of music pedagogy gave Franjo Kuhač and Vjenceslav Novak who are among the first to reflect on teaching methods in teaching of Singing, which lay the foundations of the development of musical pedagogical thought in Croatia.

Učeničko društvo Svačić počelo je djelovati 1906. godine kao tamburaški zbor unutar varaždinske Gimnazije, a ubrzo je kao organizirano tamburaško društvo nastupalo i izvan škole. Pod vodstvom prof. Milana Stahuljaka oblikovani su kvalitetan tamburaški i pjevački zbor te salonski orkestar koji su do ljeta 1913. godine, priređivali glazbeno-deklamatorne produkcije povremeno dopunjavane amaterskim predstavama i organiziranim plesom. Bez Svačićevog sudjelovanja ubrzo je postala nezamisliva svaka ozbiljnija priredba u Gimnaziji, a njegovi programi znatno su obogatili kulturnu i zabavnu ponudu u gradu. Pred Prvi svj. rat ulogu Svačićevog zborovođe preuzeo je prof. Tomislav Miškulin pod čijim je vodstvom ova djelatnost nadopunjena izuzetno kvalitetnim koncertnim aktivnostima. Čim su to političke okolnosti dopustile, Svačićevi su nastupi, tijekom i nakon rata, pomogli prikupljanju novca za pomoć siromašnim gimnazijalcima i ratnim stradalnicima. Zalaganjem Milana Kamana, novog ravnatelja varaždinske Gimnazije, diktatorski režim kralja Aleksandra je 1930. ipak dozvolio osnivanje Varaždinskog gimnazijskog udruženja "Svačić" s ciljem da lakše kontrolira izvannastavne aktivnosti u školi. Rad udruženja propisan je Pravilima potvrđenim od Ministarstva prosvjete i organiziran je kroz sekcije. U početku su utemeljene glazbena, znanstvena i literarna, a sljedećih godina oformljene su sportska, likovna šahovska i filatelistička sekcija. Nastavni savjet imenovao je profesore voditelje sekcija koje su održavale radne sastanke pripremajući programe za tzv. sijela, priredbe putem kojih su svoj rad predstavljale unutar škole ili na nivou grada, a povremeno su Gimnaziju predstavljale i na višim razinama. Pritom se posebno isticala sportska sekcija pod vodstvom prof. Zvonimira Suligoja koja se, uz lokalne manifestacije predstavljala na državnim sletovima. Glazbena sekcija pod vodstvom prof. Tomislava Miškulina je svoje koncertne programe predstavljala u Hrvatskom glazbenom zavodu i zagrebačkoj katedrali. Literarna sekcija je učeničke radove povremeno objavljivala u zagrebačkim književnim revijama, a samostalno je izdavala učenički list Svačić. Zahvaljujući njihovoj aktivnosti kulturni, zabavni i društveni život u Gimnaziji i Varaždinu 30-ih godina 20. stoljeća bio je znatno bogatiji i kvalitetniji. No promjenom političkih odnosa neposredno pred Drugi svjetski rat, rad ove udruge bio je ugašen. ; Student association Svačić was founded in 1906 as a tamburitza orchestra operating within Varaždin Gymnasium and later it was converted into a tamburitza music association that held concerts outside school as well. Led by teacher Milan Stahuljak it consisted of a high-quality tamburitza orchestra and choir as well as a chamber orchestra. By summer 1913 they used to organize music and declamatory productions which were sometimes complemented with amateur shows and organized ballroom dances. Soon thereafter Svačić became one of the must-have participants of all the important events in Gymnasium, and their programs added new qualities to the cultural and entertainment offer in Varaždin. Before World War I teacher Tomislav Miškulin became their choirmaster and he put special emphasis on concert activities of the association. As soon as the political circumstances became more favorable (during and after the war) Svačić performances aided significantly in raising resources for the poor Gymnasium students and casualties of war. As a consequence of the persistent work by Milan Kaman, the new head of Varaždin Gymansium, the dictatorial regime of the king Aleksandar eventually allowed the foundation of Varaždin Gymnasium association "Svačić" in 1930 so that they may supervise extracurricular activities of the school. The activity of the association was defined by a rulebook ("Pravilnik") which was approved by the Ministry of Education and it was set up through various sections. The first sections to be founded were the music, science, and literary sections, and in the upcoming years sports, visual arts, chess and philatelic sections were set up as well. The board of teachers appointed teachers who were leaders of particular sections which in turn held meetings where they elaborated programs for the so-called soirees. Those were events where sections presented their activities within the school or for the general population. Sometimes they even represented the school on a more formal level as well. A section that was especially prominent was the sports section which was led by teacher Zvonimir Suligoj. They were active both at local and state events. Music section, which was led by teacher Tomislav Miškulin, held concerts in the Croatian Music Association and Zagreb Cathedral. The literary section sometimes published students' works in Zagreb literary journals, and they published their own student journal called Svačić. With the help of their activities, social, culture and entertainment segment of Varaždin life in the 1930s was extremely rich and colorful. However, because of new political developments in the period leading up to World War II, this association ceased to exist.

ovom radu razmatra se značaj i specifičnosti marketinga neprofitnih organizacija s obzirom na njihovu ulogu u razvoju društva na primjeru Hrvatske glazbene unije. Razvojem neprofitnih organizacija te primjenom marketinških koncepata omogućilo se rješavanje ključnih problema koji su kočili daljnji razvoj i funkcioniranje određenih društava. Neprofitnim organizacijama smatraju se sve organizacije čija glavna svrha postojanja nije ostvarivanje "dobiti" već ostvarivanje viših društvenih ciljeva. Rad je koncipiran u nekoliko dijelova, u cilju teorijske razrade marketinga neprofitnih organizacija, te analize marketing miksa neprofitne organizacije Hrvatske glazbene unije. U prvom, uvodnom dijelu radi lakšeg razumijevanja teme rada, pružena je razrada osnovnih pojmova poput neprofitne organizacije te osnovni koncept izgleda rada i ciljeva koji se žele postići. Teorijski dio rada koncipiran je oko razrade specifičnosti marketinga neprofitnih organizacija kao i razvoja neprofitnih organizacija te osvrta na temu neprofitnog sektora u kojem neprofitne organizacije djeluju. Sljedeći dio rada prikazuje primjenu neprofitnog marketinga na primjeru Hrvatske glazbene unije. Ističe se struktura udruge i njeni ciljevi, ciljani dionici te razrada marketing miksa za korisnike. Marketing miksom omogućuje se uvid u analizu proizvoda koje udruga nudi, cijene, promocije i distribucije udruge. Također su pružene preporuke za rad udruge u budućnosti kako bi udruga mogla unaprijediti svoje poslovanje uz nekoliko preinaka koje bi im zasigurno omogućile više korisnika, te bolje načine za ostvarenje postavljenih ciljeva. Posljednji dio rada pruža zaključak koji predstavlja osvrt na završni rad u cijelosti. ; This paper examines the importance and specifics of nonprofit marketing with the importance of their role in the development of society on the example Croatian Music Union. The development of non-profit organizations and the application of marketing concepts have made it possible to solve key problems that have hindered the further ...

ovom radu razmatra se značaj i specifičnosti marketinga neprofitnih organizacija s obzirom na njihovu ulogu u razvoju društva na primjeru Hrvatske glazbene unije. Razvojem neprofitnih organizacija te primjenom marketinških koncepata omogućilo se rješavanje ključnih problema koji su kočili daljnji razvoj i funkcioniranje određenih društava. Neprofitnim organizacijama smatraju se sve organizacije čija glavna svrha postojanja nije ostvarivanje "dobiti" već ostvarivanje viših društvenih ciljeva. Rad je koncipiran u nekoliko dijelova, u cilju teorijske razrade marketinga neprofitnih organizacija, te analize marketing miksa neprofitne organizacije Hrvatske glazbene unije. U prvom, uvodnom dijelu radi lakšeg razumijevanja teme rada, pružena je razrada osnovnih pojmova poput neprofitne organizacije te osnovni koncept izgleda rada i ciljeva koji se žele postići. Teorijski dio rada koncipiran je oko razrade specifičnosti marketinga neprofitnih organizacija kao i razvoja neprofitnih organizacija te osvrta na temu neprofitnog sektora u kojem neprofitne organizacije djeluju. Sljedeći dio rada prikazuje primjenu neprofitnog marketinga na primjeru Hrvatske glazbene unije. Ističe se struktura udruge i njeni ciljevi, ciljani dionici te razrada marketing miksa za korisnike. Marketing miksom omogućuje se uvid u analizu proizvoda koje udruga nudi, cijene, promocije i distribucije udruge. Također su pružene preporuke za rad udruge u budućnosti kako bi udruga mogla unaprijediti svoje poslovanje uz nekoliko preinaka koje bi im zasigurno omogućile više korisnika, te bolje načine za ostvarenje postavljenih ciljeva. Posljednji dio rada pruža zaključak koji predstavlja osvrt na završni rad u cijelosti. ; This paper examines the importance and specifics of nonprofit marketing with the importance of their role in the development of society on the example Croatian Music Union. The development of non-profit organizations and the application of marketing concepts have made it possible to solve key problems that have hindered the further ...

U radu se na temelju izvornoga arhivskoga gradiva istražuje jedan aspekt kulturne politike Jugoslavije i Hrvatske prema iseljeništvu – gostovanja glazbenih umjetnika i kulturno-umjetničkih društava u zemljama iseljavanja 60-ih i 70-ih godina XX. stoljeća. U kratkom prikazu iseljeničke službe na saveznoj i republičkoj razini daje se uvid u njezinu ulogu u formiranju i realiziranju te nadzor nad tim dijelom kulturne politike. Nastojanje Jugoslavije da ostvari organizacijski i ideološki nadzor nad tim aktivnostima dodatno je ilustriran primjerima dvojice hrvatskih popularnih pjevača – Ive Robića i Vice Vukova. ; Based on the original archives, the paper explores one aspect of the cultural policy of Yugoslavia and Croatia towards emigration—guest appearances by music artists and cultural and artistic societies in the countries of emigration in the 1960s and 1970s. The policy towards emigrants, especially 'temporary workers abroad', has been particularly important since the early 1960s, as emigration began to be perceived as a vital force, for both political and economic reasons. Therefore, the emigration service in the 1960s expanded and operated through several working bodies at the federal and republican levels, and played an essential role in the formation and implementation as well as the supervision of cultural policy towards emigrants. The idea was to maintain and strengthen the influence of self-managing socialist Yugoslavia in the 'Seventh Republic', and to neutralise the impact of political émigrés averse to the communist regime as much as possible. Music, as a segment of cultural policy, was a trump card that was known to have good reception with the audience, and guest appearances by musicians—singers and cultural and artistic societies—became very popular and frequent in Western Europe and overseas. Visits thus became a medium of ideological and promotional activities towards emigrants; organisers, performers, programs, and performances were regularly monitored by the state and Party bodies, diplomatic missions, and the State Security Service. Among the implementers of cultural policy towards emigrants, a significant role was played by the Heritage Foundation of Croatia, which operated according to the instructions of state and Party bodies, but had the best insight into the situation among immigrants and maintained continuous relations with them. Yugoslavia's efforts to gain organisational and ideological control over musical guest appearances are further illustrated through the examples of two Croatian popular singers—Ivo Robić and Vice Vukov.