269
Music as a protocol element
“Protocol” by definition means a set of formal and social rules of interaction between official state representatives. “Protocol music” is consequently a musical means of achieving these rules.
Music as a protocol element represents a notable part of a ceremonial, as it helps to frame it and has the ability to structurally dictate the course of action through sound and its form. At the same time it has the power to emotionally affect the individual and in such way underline the true meaning of an individual protocol occasion or event.
As being used in various protocol events to convey a message or influence the listen- er in a certain way, music has always had an important role in diplomacy. Musicians were supposed to have gathered in ensembles as soon as the early high cultures of the old East, but especially since the end of the Middle Ages, ensembles of brass, woodwind and percussion instruments became a visible (protocol) element of European courts and cities. Similar to today, the early court ceremonial already had the primary func- tion of “promoting the ruler” and establishing discipline or managing the interactions among court society, using music as an important medium to achieve these objectives.
The origins of brass bands, army and police orchestras, as we know them today, go back a very long way. Their original role was a practical one, as they encouraged soldiers and cheered them up, besides serving as audible signaling.
In the Slovene lands, wind instrument ensembles have a long lasting and rich herit- age, as they were first mentioned in the 14th and 15th century. If “deželni trobentači”
(regional trumpeters), a division of the regional militia, count as the first military brass band in Ljubljana, then the “mestni piskači” (city whistlers) can be regarded as the first civilian organized brass band in Ljubljana.
In the second half of the 19th century, the first civilian city brass bands, as we know them today, began to form in the region. In Slovenia, there are currently around 120 such brass bands. While performing in open air, contemporary musicians still use the traditional skill of playing and moving at the same time, conducted by a drum major.
The external appearance of the brass band is an important aspect of the performance, especially when they are in the spotlight, as in the case of the Police Orchestra, which is a symbol of national identity – being the state protocol orchestra.
After gaining its independence, Slovenia had to create the foundations of a new state protocol and thereby define the role and the repertoire of the protocol orchestra during ceremonial events. For a comprehensive understanding of the protocol appa- ratus in the Republic of Slovenia and an insight in the role of music in state ceremoni- als, one must have systematic knowledge of all of its forms. Roughly, it is divided into strictly ceremonial events and more relaxed occasions – regarding performance and repertoire. The first case applies to protocol events, which are based on an established ceremonial with corresponding music forms, mostly performed by the Police Orchestra.
At the more relaxed events, among which the cultural programs of state celebrations are the most expressive, there are basically only few (but important) restrictions – the principles of moderation, adequacy and appropriateness.
N . G A L A K U Š E J • M U S I C A S A P R O T O C O L E L E M E N T
MZ_2017_2_FINAL.indd 269 22.6.2017 15:21:38
270
M U Z I K O L O Š K I Z B O R N I K • M U S I C O L O G I C A L A N N U A L L I I I / 1 The latter (cultural parts of state celebrations) vary and are characterized by, among other factors, different production and directing approaches of how the event is structured, which defines the role of music as a structural element of each individual celebration. This also defines the work of the music composer or author, as the concept of the celebration determines, if a certain composition or piece will be performed in the original form or as an adaptation, and if the music is serving as the background or if it is a central element of the event. In any case, the music at state celebration events can be comprehensively presented only in the context of other structural elements, which applies not only to state celebrations, but to protocol music in general; this actually cat- egorizes it as a musical genre.
Music in the function of or as a protocol element represents one of the building blocks of an individual protocol event or ceremonial. It is music that cannot exist by itself and cannot fulfill its function by itself, but has its practical function and conveys a message only within the protocol framework. Therefore its artistic value can only be discussed within its context. At the same time it is music that is absolutely and insepa- rably tied to the event; it is subjected to the event in a certain way and supports it. After all, fanfares cannot truly exist without a ruler and there is no real point in state celebra- tions without an audience.
Defended on 14 June 2016, Faculty of Arts, University of Ljubljana.
MZ_2017_2_FINAL.indd 270 22.6.2017 15:21:38
