Abstract

In this study some musical contacts and permeations existing between Venice and Dalmatia during the 16th and 17th centuries are analysed. Special attention is given to two aspects of musical culture in Dalmatia: profane and church polyphonic music. Musical scores of Dalmatian composers (e. g. Andrea Patrizi, Lambert Courtoys "il Vecchio," Giulio Schiavetti, Ivan Lukaric, Tomaso Cecchini) were exclusively printed in Venice. Although political and cultural contacts between Venice and Dalmatia were strong, the whole of this musical corpus presents some indigenous features. T. Cecchini "Veronese," who was active as "maestro di cappella" in Split and Hvar, wrote almost exclusively sacred music. His early compositions were receptive to the expressive utterance and early Baroque vocal virtuosity, while later he adapted his musical language to the modest performing possibilities. In final chapter it is shown that some aspects of musical life in Dalmatia were determinated by the broad "spectrum" of political and ecclesiastical conflicts at that time.