This study explores the artistic legacy of Zeqirja Ballata a distinguished Kosovan-Slovenian composer, pedagogue, music publicist and pianist whose transnational career from the 1960s onward articulates the cultural interplay between Kosovo and Slovenia. As the first Kosovan composer to study in Ljubljana, Ballata’s oeuvre exemplifies a sophisticated synthesis of Albanian music elements and Western avant-garde idioms. His legacy demonstrates the enduring impact of cross-cultural exchange and the transformative power of blending tradition with modernity in high artistic levels.
This article analyses France Marolt’s interpretations and reconstructions of the Zeleni Jurij ritual, drawing on archival sources and historical materials. It examines his role in shaping its canonization and institutionalization as a representative tradition within Slovenian folkloristics and heritage-making.
During the final years of the Austro-Hungarian Monarchy, the Royal and Imperial Navy Orchestra in Pula was conducted by bandmaster Theodor Christoph. Under his baton, the orchestra regularly performed at the Navy Casino and the theatre, most often as part of charity events and ceremonial performances, and also at open-air concerts. Particularly noteworthy were the orchestra’s guest performances in Ljubljana and Graz in 1918.
This essay examines a historical segment of the musical life of New York. It aims to make a contribution to the sociology of culture and music as connected to contemporary urban theory. Its focus is the independent musical formation of practitioners of what came to be known as “new Downtown music”. Those musicians are self-employed and their main creative work and source of income comes from appearances at commercial music clubs and other performance venues. The concept of cultural formation is reintroduced in the historical analysis of the wider material and social conditions of the activities of groups of New York musicians in the recent past.
This article examines how archival collections shaped the development of Macedonian ethnomusicology within contested Balkan political contexts. It analyzes nineteenth- and twentieth-century folk song collections, their classification within different national frameworks and historical contexts, and the role of archives in constructing, preserving, and negotiating Macedonian musical identity and cultural continuity.
