Music as an ideological construct: Prevailing ideology in the music curricula in Croatia before and after its independence.

摘要

The present study deals with a continuum of presence of ideology in the music curriculum in Croatia before and after its independence. Music curriculum is viewed as a part of "social totality" and a reflection of complex patterns of political and economic processes. Special attention is given to music as an ideological category. The goal of the research is to examine how and why music curricula reflects the prevailing ideology. The focus of the interest is the relationship between political implications in music and specific aspects of socio-historical reality in Croatia prior to and after its independence.; The study demonstrates the political role of music in defusing and eliminating ethnic conflicts and helping the promotion of national identity. In order to understand the relationship between music and decisions and events seemingly outside of the realm of music, the study deals with non-musical aspects such as anthropological perspectives on the war in Croatia, definitions of ideology, and cultural and educational policies. Such an approach is necessary in order to understand the relationship between music and society.; 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 study traces the shift of ideology from the period when the role of music was to help produce unity among the different ethnic groups in former Yugoslavia, to the recent tendency of national rhetoric and the promotion of national music expressions.; The study analyzes and compares the actions of pressure groups in exerting influence over the curricula and music promoted by the media in the periods prior to and after Croatian independence. Changes in the content of the music curricula in Croatia in the 1990s reflect the socio-political changes in the country. Emphasis on the socialist collective musicianship rooted in the socialist idea of "art for all" and the intention to bridge the gap between art and common people is replaced with interest in the artistic values and national music forms in independent Croatia. An examination of textbooks reveals exclusion of music referring to Yugoslavia, Yugoslavianess, communism or socialism, and inclusion of religious music as a symbolic expression of freedom and independence from socialist regime, suggesting that valuable music is that which serves the interests of the ruling class and the prevailing ideology. Ideological construction of musical meaning is thus confirmed.