SOCIAL SENSE AND EFFECT OF MUSIC

Focusing on the presence of prevailing ideology in
the music curricula and music promoted by the media
in the periods prior to and after Croatian
independence, the book analyzes socio-political
aspects in music. The key issue is reflection of the
changing ideological priorities and socio-economic
context on the musical values of the socialist and
democratic Croatia. A view of ideology in connection
with music is presented on two levels: one is the
change in the content and orientation of the music
curriculum after Croatian independence, and the
other is formation of Croatian music identity as an
ideological category. The shift of ideology is
traced from the period when the role of music was to
help support communist ideology and multinational
unification of the former Yugoslavia, to the recent
revival of national rhetoric and the process of re-
traditionalization and de-secularization in
independent Croatia. Repercussions of such
ideological shift are clearly manifested in the
changes of the educational concepts and the content
of the music curriculum, as well as in the types of
music promoted and broadcasted by media.

Autorentext

Dr. Masha Magzan is an assistant professor at ZSEM. The focus of her work is interdisciplinary teaching and research. Besides studying social transformations through interdependence among economic, social, cultural and political aspects, she is also involved in the integration of new communication technologies in education.

Klappentext

Focusing on the presence of prevailing ideology in the music curricula and music promoted by the media in the periods prior to and after Croatian independence, the book analyzes socio-political aspects in music. The key issue is reflection of the changing ideological priorities and socio-economic context on the musical values of the socialist and democratic Croatia. A view of ideology in connection with music is presented on two levels: one is the change in the content and orientation of the music curriculum after Croatian independence, and the other is formation of Croatian music identity as an ideological category. The shift of ideology is traced from the period when the role of music was to help support communist ideology and multinational unification of the former Yugoslavia, to the recent revival of national rhetoric and the process of re-traditionalization and de-secularization in independent Croatia. Repercussions of such ideological shift are clearly manifested in the changes of the educational concepts and the content of the music curriculum, as well as in the types of music promoted and broadcasted by media.