APA 6th Edition Tuksar, S. (2015). Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima. Arti musices, 46 (1), 5-25. Preuzeto s https://hrcak.srce.hr/143631
MLA 8th Edition Tuksar, Stanislav. "Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima." Arti musices, vol. 46, br. 1, 2015, str. 5-25. https://hrcak.srce.hr/143631. Citirano 24.09.2020.
Chicago 17th Edition Tuksar, Stanislav. "Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima." Arti musices 46, br. 1 (2015): 5-25. https://hrcak.srce.hr/143631
Harvard Tuksar, S. (2015). 'Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima', Arti musices, 46(1), str. 5-25. Preuzeto s: https://hrcak.srce.hr/143631 (Datum pristupa: 24.09.2020.)
Vancouver Tuksar S. Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima. Arti musices [Internet]. 2015 [pristupljeno 24.09.2020.];46(1):5-25. Dostupno na: https://hrcak.srce.hr/143631
IEEE S. Tuksar, "Dubrovački ranobarokni skladatelj Vinko Komnen i mreža njegovih odnosa s prethodnicima i suvremenicima", Arti musices, vol.46, br. 1, str. 5-25, 2015. [Online]. Dostupno na: https://hrcak.srce.hr/143631. [Citirano: 24.09.2020.]
Sažetak The article explores the biographical sources, identity, bibliography and music output of the early-Baroque composer, erudite and Dominican monk Vincenzo Comneno (Vinko Komnen; 1590-1667), who lived and worked in Dubrovnik, Rome, Naples and Spain. The research is based on the new insights and interpretations of the complex publication (a kind of Miscellanea Proceedings) entitled Le glorie cadute dell’Antichissima, ed Augustissima Famiglia Comnena, edited by Lorenzo Miniati and published in Venice in 1663, as its second edition.
It has been stated that V. Comneno is in fact the author of two texts included in this publication. Concerning the bibliography of historiographical sources used for genealogical purposes, special attention is drawn to Comneno’s Croatian and Italian predecessors: „Historia di Ragusa del Padre D. Eusebio Caboga …“; „Historia di Ragusa di Giacomo di Pietro Lucari …“; „Historia di Ragusa di Fra Serafino Razzi …“; „Ludouico Cerua, detto Tuberone, Abbate Benedettino“; „Mauro Orbini, Abbate Benedettino“; „Vincenzo Probieuich“ (sic!). In addition, a network of his Croatian contemporaries has been discovered (Christoforo Ivanovich — Kristofor Ivanović, Ioannis Tonci Margnavitius Dalmata — Ivan Tomko Mrnavić, Raffaele Leuakouich — Rafael Levaković, Thomaso Ierinich — Toma Jerinić, Vuladislauo (sic!) Menze — Vladislav Menčetić and Giouanni Gondola — Ivan Dživo Gundulić), who were included in this publication either with their texts or by their names being mentioned on various occasions. Some of them (Ivanovich in Venice, Levakovich in Rome) were also dealing otherwise with musical issues, but not on this occasion.
In the part dealing with music, it has been confirmed that his three madrigals, printed in this publication, have been intended for the wedding of Maria Anna of Austria and Philipp IV, but doubts have been expressed about Comneno’s motives for this gesture. The same is true for his alleged activities as composer of motets and canzonettas, as well as for his skill in playing various musical instruments. The hypothetical musico-theoretical work Annotationes in Geometriam, Arithmetica, Musicam, & Astrologiam, not found as yet, probably conservative in attitudes, might have been used in Comneno’s activities as teacher in the Naples Dominican University during the 1630s and 1640s.
Future analyses and hermeneutical approaches will have a difficult task in trying to distinguish in two ways what is apocryphal in Miniati’s publication Le glorie cadute: firstly, what was written by Comneno himself and what was originally done by other writers (even the music of the madrigals themselves); and, secondly, what is correct and incorrect in various assertions, most important among them being those dealing with his allegedly Comnenian-Byzantine paternal origins.