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Art Music in Croatia during 20th-Century: Strivings for an Equilibrium between Aesthetics, Ideologies and Politics

Socio-political movements based on populist ideologies - leftist, centrist or rightest - from the Croatian Peasant Party in 1920s and 1930s, via ultra-nationalists during the World War II, to Stalinists until the end of 1950s, all favoured or tried to impose types of music based on the combination of neo-Romantic and folklore inspiration ; but in this, final outcome rejected the wishful unidimensionality of "intentions above inventions" (to paraphrase E. Hanslick), creating master-pieces both in-and outside the pressuring systems. The Austro-Hungarian period (1900-1920), the mature Communist era (early 1960s-1991), and the newest independent Croatia tolerate(d) stylistic pluralism and the creative autonomy ; in this, aesthetical autonomy was/is following immanent rules of creativeness, market and perception, but remains open to aesthetical manipulations (the case of avant-garde in 1960-80). The identified Croatia's 20th-century general turnpoint around 1960, when composing of art music has definitely become prevalently independent of any extra-musical ideo-political determinants, points to the fact that musical culture of this "old new" European country has finally achieved, in its primary sphere, the stage of matureness more developed European countries have experienced several generations earlier. The reasons for this rhythm of its own can be easily found in Croatia's (un)typical set of historical events. This makes its specifity viable and justified both in music reality and its historiography.

Art Music, Croatia, 20th-Century, Aesthetics, Ideologies, Politics

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