20.500.12556/RUP-22759 To be or not to be a civil association? Postati ali ne postati civilno združenje? Before 1989, the Association of Hungarian Musicians was the only professional organisation for all kinds of musicianship in the country. Departments for composers, performing artists, musicologists, experts in education as well as popular music worked on a more or less reasonable level. Music was not a real subject of interest in politics, unlike, for instance, literature, so a relative and growing freedom could be realised from the 1970s on. No amount of financing can ever be enough for the arts, but solid support was given for concerts, radio recordings, and publishing, with the record label financing contemporary works from its own income. Since 1989 other music societies started to be established, and one of the first was the Hungarian Composers’ Union (HCU). Most of these gathered within the framework of Hungarian Music Council. The Composers’ Union did not join the Council, stating that its voice in the overall music scene had to be louder than some of the smaller societies. In line with Hungarian “tradition”, another umbrella organisation was soon founded, with a political motive, called the Hungarian Music Chamber, and later renamed the Forum of Hungarian Musicians. The HCU did not join this, either. This independence came in useful, as when the government wanted to engage with the Hungarian music scene its partners became the Council, the Forum and the HCU. In the three and a half decades of civil democracy the struggle for financing has become more and more difficult: the National Cultural Fund has decreased, and according to the changes in copyright law the CMOs, mainly Artisjus, now have to finance composers’ work. At the same time, the role of civil society has decreased in Hungary, and the governmental authorities show no interest in contacting independent music societies. After 35 years of the Hungarian Composers’ Union, the following question remains open: What is our future in the coming decades? Pred letom 1989 je bilo Združenje madžarskih glasbenikov edina poklicna organizacija za različne glasbene poklice v državi. Oddelki za skladatelje, izvajalce, muzikologe, strokovnjake za izobraževanje in množično glasbo so delovali na bolj ali manj ustrezni ravni. Ker glasba – v nasprotju z denimo književnostjo – ni bila resnični predmet zanimanja politike, je bila od sedemdesetih let mogoča relativna in vse večja svoboda. Čeprav je za umetnost vedno premalo sredstev, je bila zagotovljena solidna podpora za koncertno življenje, radijske posnetke in založništvo (založba je sodobne projekte financirala iz lastnih prihodkov). Po letu 1989 so začela nastajati ločena združenja, med prvimi je bila Zveza madžarskih skladateljev (HCU). Večina teh združenj je bila zbrana v okviru Madžarskega glasbenega sveta. Zveza skladateljev se mu ni pridružila, saj je menila, da mora biti njen glas na glasbenem prizorišču glasnejši kot glas nekaterih manjših združenj. V skladu z madžarsko »tradicijo« je kmalu nastala še ena krovna organizacija (ustanovljena po političnih smernicah): Madžarska glasbena zbornica (pozneje imenovana Forum madžarskih glasbenikov). Tudi tej organizaciji se HCU ni pridružila. To je imelo svoje koristi: pri odločitvah, pri katerih se je vlada obrnila na glasbeno sceno, so bili njeni partnerji Svet, Forum in HCU. V treh in pol desetletjih državljanske demokracije je boj za financiranje postajal vse težji: Nacionalni kulturni sklad se je zmanjšal, v skladu s spremembami zakona o avtorskih pravicah pa so ga morale financirati organizacije za kolektivno upravljanje avtorskih pravic, zlasti društvo Artisjus. Hkrati se je pomen civilnih organizacij zmanjšal, državni organi pa ne kažejo zanimanja za sodelovanje. Po 35 letih delovanja Zveze madžarskih skladateljev se postavlja vprašanje: kakšna je naša prihodnost v prihodnjih desetletjih? contemporary music scene composers’ societies changing of the system in Central Europe sodobna glasbena scena skladateljska društva spremembe sistemov v Srednji Evropi true false false Založba Univerze na Primorskem in Festival Ljubljana Angleški jezik Slovenski jezik Delo ni kategorizirano 2026-03-10 12:01:06 2026-03-10 12:01:06 2026-03-11 03:08:27 0000-00-00 00:00:00 2026 0 Koper in Ljubljana 0 str. 263-268 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 9789612935559 https://doi.org/10.26493/978-961-293-555-9.263-268 ZUP_Hollos_Mate_2026.pdf ZUP_Hollos_Mate_2026.pdf 1 7D5365577A102A091BE3ED26568E3DBE 07eed24fc957193461f262a6106525036e858ef4262eb80212c5654b343c79a2 cf1c7255-1c70-11f1-9e8d-005056ac49c0 https://repozitorij.upr.si/Dokument.php?lang=slv&id=33165 https://hippocampus.si/ISBN/978-961-293-555-9/263-268.pdf 0 ca684ef2-1c70-11f1-9e8d-005056ac49c0 https://repozitorij.upr.si/Dokument.php?lang=slv&id=33164 Založba Univerze na Primorskem 0 0 0