Palača Radosavljević/Golubić nalazi se u centru Slavonskog Broda. Trenutačni su vlasnici Mile i Ankica Golubić. U radu sam opisala važnost obitelji Radosavljević i Golubić u društvenom i kulturnom ...životu Slavonskog Broda. U njihovoj se kući nalazi povijesni klavir bečkoga graditelja Josepha Wopaternija iz druge polovice 19. stoljeća, koji je jedan od rijetkih i vrijednih, a možda i jedinstvenih primjeraka Wopaternijeva graditeljskog umijeća na području Hrvatske. Proučavanjem dostupne literature prepoznala sam važnost Josepha Wopaternija u kontekstu duge i bogate tradicije bečkih graditelja klavira. Na temelju stručne procjene i pregleda klavira potvrđeno je da je instrument u lošem stanju te da mu je potrebna cjelovita restauracija.
Plemićki grad Veliki Tabor jedan je od najbolje sačuvanih kasnosrednjovjekovnih i renesansnih utvrđenih gradova na području sjeverozapadne Hrvatske. U njegovu fundusu čuva se sedam glazbenih ...instrumenata. Premda je to relativno skromna brojka, zastupljeni su ne samo zanimljivi nego i naoko neobični primjerci. Najviše je trzalačkih instrumenata: dvije citre, mandolina i dvije drombulje. Instrumente s tipkama predstavlja stolni klavir, a puhačke (uvjetno rečeno) poštanski rog. Instrumenti se čuvaju unutar triju muzejskih zbirki: Kulturno-povijesne, Etnografske i Srednjovjekovne arheološke zbirke. Rad donosi njihov organološki opis kao i pokušaj smještanja u kulturnopovijesni kontekst. Za mandolinu koju je izradio istaknuti zagrebački graditelj Ernest Köröskényi određena je točna godina nastanka. Za stolni klavir otkriveno je tko su mu bili prijašnji vlasnici te kojem je inventaru najvjerojatnije pripadao.
Collection of musical instruments in the Museum of Slavonia in Osijek is the biggest and most diverse collection of its kind in the eastern Croatia. A section of keyboard instruments in the ...collection consists of 15 objects: nine different types of pianos, positive organ, physharmonica and four harmoniums. The square piano (Tafelklavier), the oldest instrument in the section, was built in Pest in 1815 by the carpenter Sebestyén Antal Vogel. It is chronologically followed by the three historical pianos (fortepiano, Hammerklavier or Hammerflügel), built in Vienna in the first half of the 19th century. These are characterized by the Austrian type of piano action (Ger. Prellmechanik). They were built by Ernst Wacke and Georg Gerstenberger, two lesser known builders, and Conrad Graf – one of the most prominent Viennese piano makers of the time. His historical piano, built in 1838 or 1839, is stored in the collection. Two grand pianos, made in the second half of the 19th century, and one made at the turn of the 19th to 20th centuries, also originate from Vienna. Leopold Schnabel’s piano was built around 1860; Gottfried Cramer’s and Wilhelm Mayer’s piano was built in 1878 or shortly thereafter (both with the Austrian type of piano action); and the Lauberger & Gloss’ piano (with the English type of piano action) was built around 1900. Two upright pianos are also kept in the collection. One built in the Caspar Lorenz & J. Stary workshop in Vienna around 1890, and the other built in the Petrof factory in Hradec Králové in the Czech Republic at the end of the 19th century. Along with different types of pianos, the collection stores the positive organ – small, one-manual pipe organ – of an unknown maker and provenance, probably built between 1850 and 1860. It was brought to the museum from the Fabing inn, whose owner may have been the innkeeper Antun Fabing. He shared his last name with the most productive organ builders family in eastern Croatia in the second half of the 19th century. The physharmonica was built in Vienna around 1840 by Jacob Deutschmann, an imperial and royal court organ maker. The collection also features four harmoniums dating from between 1880 and 1960. The most significant is the oldest one, built in Vienna around 1880 in the workshop of Teofil Kotykiewicz, who was also an imperial and royal court builder. Two harmoniums were made in the early 20th century: one in the Wilcox & White factory in Connecticut, USA and the other in Joseph Lenarčič’s factory in Vrhnika, Slovenia. The most recent is the Theosten Helgesson’s harmonium, produced in Herrljunga, Sweden around 1960. The number and variety of the keyboard instruments kept in the Museum of Slavonia is proof of a favourable economic situation of their past owners, which allowed them to purchase these instruments from reputable international workshops. It is also an evidence of their adequate music education, as well as intensive music life in Osijek. Besides in Osijek, the intsruments were played in Zagreb, Zelčin, Vinkovci, Vođinci, and Sombor. The process of instrument collection by the Museum of Slavonia is a testimony of a developed awareness of their significance and an effort to save as many of them as possible. The instruments are stored in the museum storerooms on the no. 6 Trg Svetog Trojstva and the no. 2 Josip Bösendorfer Street. The piano built by Gottfried Cramer and Wilhelm Mayer is the only keyboard instrument exhibited in the temporary permanent exhibition. The positive organ is the only instrument that is currently in the process of being restored. Hopefully, some of the other instruments in the collection will follow this example. This primarily refers to Graf’s piano, Vogel’s square piano and Deutschmann’s physharmonica. Considering their age, a small number of similarly preserved instruments in Croatia, and the fact that they represent achievements of exquisite makers, they are significant not only for regional and national, but also for international cultural heritage.
Provider: EUscreen - Institution: Deutsche Welle - Data provided by Europeana Collections- Nguyen van Quy lebt in Hanoi und ist Komponist für Instrumentalmusik. Sein Vorbild ist Beethoven, von ihm ...hat er praktisch alles gelernt. Die Musik des deutschen Komponisten inspirierte ihn, seine eigenen Sonaten zu schreiben.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
U savremenoj nastavi klavira učenicima se postavlja sve veći broj zahteva od samog početka školovanja, usled konstantnog napretka savremenog pijanizma. Istovremeno, nastava klavira nije obavezna za ...pohađanje, a njeni ciljevi nisu samo školovanje budućih profesionalnih muzičara, već i buduće koncertne publike. Povećanjem obima i nivoa nastavnog gradiva u osnovnim školama i umnožavanjem zahteva u nastavi klavira, uz razumevanje da nastava klavira nije obavezna za pohađanje, javlja se potreba za razmatranjem mogućnosti novih pristupa u radu sa učenicima.
Značajan faktor nastave su udžbenici, zbog čega je predmet ove disertacije proučavanje kvaliteta savremenog udžbenika za nastavu klavira kao faktora nastave kojim se može uticati na celokupnu nastavu klavira. Uzimajući u obzir da su udžbenici u nastavi klavira neophodni u radu sa početnicima mlađeg školskog uzrasta zbog potpuno novog nastavnog gradiva koje im se prezentuje, predmet ove disertacije je upravo proučavanje kvaliteta savremenih udžbenika za navedeni uzrast i nivo sviranja učenika. Problemsko polje disertacije obuhvata razmatranje mogućnosti analize savremenih udžbenika za klavir, postavljanjem analitičkog okvira kao osnove za istraživanje. Cilj ove disertacije je istraživanje kvaliteta postojećih udžbenika za nastavu klavira za početnike mlađeg školskog uzrasta u kategorijama kvaliteta: nastavnih sadržaja, didaktičkog oblikovanja nastavnih sadržaja i jezika i drugih medija udžbenika. Instrument istraživanja su standardi i indikatori kvaliteta za udžbenike za klavir kreirani na osnovu analitičkog okvira izvedenog iz relevantne naučne literature i formulisanog u teorijskom delu ove disertacije. U disertaciji se koristi metoda komparativne analize sadržaja za proučavanje tri inostrana i jednog nacionalnog udžbenika za klavir za početnike mlađeg školskog uzrasta, a analizirani udžbenici su:1. Benthien, A. (1997). Keyboard aktiv band 1 & 2. Mainz: Schott Musik International
2. Palmer, W. A., Manus, M., Vick Lethco, A., Kowalchyk, G. & Lancaster, E. L. (1997). Group Piano Course book 1 & 2 & 3 & 4. USA: Alfred Publishing Co. Inc
3. Petrović, M. (1995). Školica za klavir nivo A i B. Knjaževac: Muzičko-izdavačko preduzeće ,,Nota"
4. Thompson, J. (1955). Easiest piano course 1&2. Florence, Kentucky: The Willis Music Co.Na osnovu dobijenih rezultata istraživanja utvrđeno je da analizirani udžbenici u dovoljnoj meri ispunjavaju zahteve postavljene instrumentom istraživanja. Rezultati istraživanja ukazuju da se najznačajnija razlika među analiziranim udžbenicima sastoji u načinu didaktičkog oblikovanja nastavnih sadržaja. Dovodeći u vezu potrebe savremene nastave klavira i rezultate sprovedenog istraživanja, u disertaciji su formirane implikacije za kreiranje novog savremenog udžbenika za nastavu klavira za početnike mlađeg školskog uzrasta.
U savremenoj nastavi klavira učenicima se postavlja sve veći broj zahteva od samog početka školovanja, usled konstantnog napretka savremenog pijanizma. Istovremeno, nastava klavira nije obavezna za ...pohađanje, a njeni ciljevi nisu samo školovanje budućih profesionalnih muzičara, već i buduće koncertne publike. Povećanjem obima i nivoa nastavnog gradiva u osnovnim školama i umnožavanjem zahteva u nastavi klavira, uz razumevanje da nastava klavira nije obavezna za pohađanje, javlja se potreba za razmatranjem mogućnosti novih pristupa u radu sa učenicima. Značajan faktor nastave su udžbenici, zbog čega je predmet ove disertacije proučavanje kvaliteta savremenog udžbenika za nastavu klavira kao faktora nastave kojim se može uticati na celokupnu nastavu klavira. Uzimajući u obzir da su udžbenici u nastavi klavira neophodni u radu sa početnicima mlađeg školskog uzrasta zbog potpuno novog nastavnog gradiva koje im se prezentuje, predmet ove disertacije je upravo proučavanje kvaliteta savremenih udžbenika za navedeni uzrast i nivo sviranja učenika. Problemsko polje disertacije obuhvata razmatranje mogućnosti analize savremenih udžbenika za klavir, postavljanjem analitičkog okvira kao osnove za istraživanje. Cilj ove disertacije je istraživanje kvaliteta postojećih udžbenika za nastavu klavira za početnike mlađeg školskog uzrasta u kategorijama kvaliteta: nastavnih sadržaja, didaktičkog oblikovanja nastavnih sadržaja i jezika i drugih medija udžbenika. Instrument istraživanja su standardi i indikatori kvaliteta za udžbenike za klavir kreirani na osnovu analitičkog okvira izvedenog iz relevantne naučne literature i formulisanog u teorijskom delu ove disertacije. U disertaciji se koristi metoda komparativne analize sadržaja za proučavanje tri inostrana i jednog nacionalnog udžbenika za klavir za početnike mlađeg školskog uzrasta, a analizirani udžbenici su: 1. Benthien, A. (1997). Keyboard aktiv band 1 & 2. Mainz: Schott Musik International 2. Palmer, W. A., Manus, M., Vick Lethco, A., Kowalchyk, G. & Lancaster, E. L. (1997). Group Piano Course book 1 & 2 & 3 & 4. USA: Alfred Publishing Co. Inc 3. Petrović, M. (1995). Školica za klavir nivo A i B. Knjaževac: Muzičko-izdavačko preduzeće „Nota” 4. Thompson, J. (1955). Easiest piano course 1&2. Florence, Kentucky: The Willis Music Co. Na osnovu dobijenih rezultata istraživanja utvrđeno je da analizirani udžbenici u dovoljnoj meri ispunjavaju zahteve postavljene instrumentom istraživanja. Rezultati istraživanja ukazuju da se najznačajnija razlika među analiziranim udžbenicima sastoji u načinu didaktičkog oblikovanja nastavnih sadržaja. Dovodeći u vezu potrebe savremene nastave klavira i rezultate sprovedenog istraživanja, u disertaciji su formirane implikacije za kreiranje novog savremenog udžbenika za nastavu klavira za početnike mlađeg školskog uzrasta.
The collection of musical instruments from the holdings of the Museum of Arts and Crafts is the only complete collection of this type in the museums of Zagreb, and also the most important such ...collection in Croatia. Within that collection is a modest but diverse group of keyboard instruments: a clavichord, three square pianos, a portable travel piano, fortepiano, positive, physharmonica, harmonium, an upright piano, two pianos, and five pianos. Because of the lack of space, some instruments are located in the furniture depot. The instruments date from the second half of the 18th century until the turn from the 19th to the 20th century. Most of them originate from Austria, largely Vienna, thus confirming its musical influence on Zagreb. The paper gives a description of these instruments and attempts to find their place in the historical and social context since their owners mostly belonged to the citizenry, some of them having earned a prominent place in the cultural and artistic life of Zagreb and Croatia. Economically well-situated, they regularly cherished home music-making and, thanks to their music education, were able to play themselves. Some of the exhibited instruments are in poor condition. They would reach their full value and beauty only if they were restored and well tuned, so their repair is necessary. At least one part of the instruments, especially those that are well preserved, should be made playable because that is their primary and undeniable function.
Collection of musical instruments in the Museum of Slavonia in Osijek is the biggest and most diverse collection of its kind in the eastern Croatia. A section of keyboard instruments in the ...collection consists of 15 objects: nine different types of pianos, positive organ, physharmonica and four harmoniums. The square piano (Tafelklavier), the oldest instrument in the section, was built in Pest in 1815 by the carpenter Sebestyén Antal Vogel. It is chronologically followed by the three historical pianos (fortepiano, Hammerklavier or Hammerflügel), built in Vienna in the first half of the 19th century. These are characterized by the Austrian type of piano action (Ger. Prellmechanik). They were built by Ernst Wacke and Georg Gerstenberger, two lesser known builders, and Conrad Graf – one of the most prominent Viennese piano makers of the time. His historical piano, built in 1838 or 1839, is stored in the collection. Two grand pianos, made in the second half of the 19th century, and one made at the turn of the 19th to 20th centuries, also originate from Vienna. Leopold Schnabel’s piano was built around 1860; Gottfried Cramer’s and Wilhelm Mayer’s piano was built in 1878 or shortly thereafter (both with the Austrian type of piano action); and the Lauberger & Gloss’ piano (with the English type of piano action) was built around 1900. Two upright pianos are also kept in the collection. One built in the Caspar Lorenz & J. Stary workshop in Vienna around 1890, and the other built in the Petrof factory in Hradec Králové in the Czech Republic at the end of the 19th century.
Along with different types of pianos, the collection stores the positive organ – small, one-manual pipe organ – of an unknown maker and provenance, probably built between 1850 and 1860. It was brought to the museum from the Fabing inn, whose owner may have been the innkeeper Antun Fabing. He shared his last name with the most productive organ builders family in eastern Croatia in the second half of the 19th century. The physharmonica was built in Vienna around 1840 by Jacob Deutschmann, an imperial and royal court organ maker. The collection also features four harmoniums dating from between 1880 and 1960. The most significant is the oldest one, built in Vienna around 1880 in the workshop of Teofil Kotykiewicz, who was also an imperial and royal court builder. Two harmoniums were made in the early 20th century: one in the Wilcox & White factory in Connecticut, USA and the other in Joseph Lenarčič’s factory in Vrhnika, Slovenia. The most recent is the Theosten Helgesson’s harmonium, produced in Herrljunga, Sweden around 1960.
The number and variety of the keyboard instruments kept in the Museum of Slavonia is proof of a favourable economic situation of their past owners, which allowed them to purchase these instruments from reputable international workshops. It is also an evidence of their adequate music education, as well as intensive music life in Osijek. Besides in Osijek, the intsruments were played in Zagreb, Zelčin, Vinkovci, Vođinci, and Sombor. The process of instrument collection by the Museum of Slavonia is a testimony of a developed awareness of their significance and an effort to save as many of them as possible. The instruments are stored in the museum storerooms on the no. 6 Trg Svetog Trojstva and the no. 2 Josip Bösendorfer Street. The piano built by Gottfried Cramer and Wilhelm Mayer is the only keyboard instrument exhibited in the temporary permanent exhibition. The positive organ is the only instrument that is currently in the process of being restored. Hopefully, some of the other instruments in the collection will follow this example. This primarily refers to Graf’s piano, Vogel’s square piano and Deutschmann’s physharmonica. Considering their age, a small number of similarly preserved instruments in Croatia, and the fact that they represent achievements of exquisite makers, they are significant not only for regional and national, but also for international cultural heritage.
Plemićki grad Veliki Tabor jedan je od najbolje sačuvanih kasnosrednjovjekovnih i renesansnih utvrđenih gradova na području sjeverozapadne Hrvatske. U njegovu fundusu čuva se sedam glazbenih ...instrumenata. Premda je to relativno skromna brojka, zastupljeni su ne samo zanimljivi nego i naoko neobični primjerci. Najviše je trzalačkih instrumenata: dvije citre, mandolina i dvije drombulje. Instrumente s tipkama predstavlja stolni klavir, a puhačke (uvjetno rečeno) poštanski rog. Instrumenti se čuvaju unutar triju muzejskih zbirki: Kulturno-povijesne, Etnografske i Srednjovjekovne arheološke zbirke. Rad donosi njihov organološki opis kao i pokušaj smještanja u kulturnopovijesni kontekst. Za mandolinu koju je izradio istaknuti zagrebački graditelj Ernest Köröskényi određena je točna godina nastanka. Za stolni klavir otkriveno je tko su mu bili prijašnji vlasnici te kojem je inventaru najvjerojatnije pripadao.
The Veliki Tabor castle is one of the best preserved late-medieval and Renaissance fortresses in northwest Croatia. Seven musical instruments are kept in its museum fundus. Although it is a relatively modest number, it includes not only interesting, but also unusual objects. Most numerous are the plucked instruments: two zithers, one mandolin, and two Jew’s harps. Keyboard instruments are represented by the square piano, and brass instruments (conditionally) by the post horn. The preservation quality of the instruments varies widely. The zithers were partially restored before 1989; the mandolin is damaged; the square piano and the post horn are well preserved; and the Jew’s harps are incomplete. Although carefully stored in the museum, none of them is publicly accessible. This paper illuminates this invisible part of the museum’s treasure by providing the instruments’ organological description and their cultural and historical context. Even though quite simple, Jew’s harps made in the late 16th or early 17th century represent the earliest instruments registered so far in Croatian museums. It was determined that the mandolin was built by the prominent Zagreb guitar maker Ernest Köröskényi in 1947. Previous owners of the square piano have been discovered: Juraj Andrassy and Hubert Andrassy (born Igalffy); it most likely belonged in the inventory of the Trnovec castle in Gornja Pačetina in Hrvatsko zagorje region. With the exception of the square piano, in the past these instruments did not belong to the inventory of the castle and thus do not provide any details of making music by the nobility. With the exception of the Jew’s harp, they were acquired from other sources, and are kept at present in Veliki Tabor Castle. Nevertheless, they bear witness to the music (the zithers, the mandolin, the square piano) and culture of everyday life (the post horn, the Jew’s harp) of one geographical area and, being kept in the museum, they are protected from being lost and forgotten.
