Ideja nacionalnog u glazbi i njezin razvitak u Hrvatskoj

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<div><p>The idea of »national« in Croatian 19th-century musical culture shows evolutionary tendencies which can be articulated in four phases. It started (in the period 1800-1830) as a construct leading towards higher general musical standards (with the Zagreb Bishop Maksi- milijan Vrhovac), displaying universality above particularity as its ideal. It continued (in the period 1830-1850) with the pragmatic treatment of music as incidental to poetry, supporting non-musical, mostly political issues (with the linguist, writer and politician Ljudevit Gaj), where universality equaled particularity. It achieved (in 1850-1870) the status of an essential part of national being in the scholarly reconstruction of national history (with the historian Ivan Kukuljević Sakcinski), still equaling universality with particularity. And finally, as a concept of ethnic/national art music, it reached (in 1870-1916) a pedestal of general interest in national musico-cultural life and education (with the musicologist and music teacher Franjo Ksaver Kuhač), displaying particularity above universality. The truth and myth about the Bat¬tle of Szigetvâr and the personality of Nikola Šubić Zrinski fit into both the end of the third and the beginning of the fourth phases of this scheme on the issue of national in music.</p><p>The paper examines the single most important phenomena accompanying the projection of these ideas in Croatian 19th-century social and cultural reality on one hand, and offers a general theoretical framework for their explanation using contemporary sociological, historiographical and cultural-anthropological schemes suggested by J. Hutchinson, H. Kohn, E. Gellner, A. D. Smith, and some others, on the other.</p></div>