Notes on the Mediterranean music heritage in Slovenia: A conceptual analysis

Abstract

Historians are familiar with different processes of transfer in music history. Three forms of transfer are especially important: a transfer of meanings through music (the foundation of musicology as a discipline), an economic transfer of musical goods (from instruments and scores to recordings and performances), and a transfer of musical culture through different practices of what Christopher Small calls “musicking” (from school to media and social networks). Some music crosses borders easily, while other music remains more attractive on a local level. The relationship of identity to music, explored by Jules Combarieu in 1907 in a pseudo-Bach Sonata, and which Simon Frith (2004) calls the concept of “homology” in the context of popular music, can have a broad set of variables. This article discusses the question of a transfer of the Mediterranean to music from the perspective of a Slovene musicologist, or, more precisely, the transfer of the concept of the Mediterranean with regard to the music in Slovenia of the last fin de siècle.