APA 6th Edition Bezić, N. (2001). TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE. Narodna umjetnost, 38 (2), 97-115. Preuzeto s https://hrcak.srce.hr/33254
MLA 8th Edition Bezić, Nada. "TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE." Narodna umjetnost, vol. 38, br. 2, 2001, str. 97-115. https://hrcak.srce.hr/33254. Citirano 19.05.2019.
Chicago 17th Edition Bezić, Nada. "TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE." Narodna umjetnost 38, br. 2 (2001): 97-115. https://hrcak.srce.hr/33254
Harvard Bezić, N. (2001). 'TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE', Narodna umjetnost, 38(2), str. 97-115. Preuzeto s: https://hrcak.srce.hr/33254 (Datum pristupa: 19.05.2019.)
Vancouver Bezić N. TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE. Narodna umjetnost [Internet]. 2001 [pristupljeno 19.05.2019.];38(2):97-115. Dostupno na: https://hrcak.srce.hr/33254
IEEE N. Bezić, "TAMBURICA – HRVATSKI IZVOZNI PROIZVOD NA PRIJELAZU 19. U 20. STOLJEĆE", Narodna umjetnost, vol.38, br. 2, str. 97-115, 2001. [Online]. Dostupno na: https://hrcak.srce.hr/33254. [Citirano: 19.05.2019.]
Sažetak Playing the tamburitza had been a part of the Croatian urban population's musical lives
from the year 1880, when the first tamburitza concert took place in Zagreb, until 1918.
This is documented in so-far not well researched sources: the journal Tamburica (published
in Sisak from 1903 to 1914 by Janko Stjepušin, the owner of a tamburitza factory) as well
as in the legacy of Milan Stahuljak (kept the Archive of HGZ – Croatian Music Institute).
In the cities, the tamburitza was played by amateurs, who were the members of the
intelligentsia, and who considered the playing the tamburitza to be their contribution to
the fight against the Habsburg dominance. During that period, the tamburitza music was a
mode to present Croatia to the foreign visitors (such as tourists and eminent politicians).
The urban circles were soon joined by both foreign and Croatian aristocracy. The
promotion of Croatia through the tamburitza music was conducted by amateur and
professional societies who used to travel through European east and west. However, the
tamburitza was not automatically accepted as a Croatian instrument, for which were the
musicians and the texts about them (advertising, printed media) to blame, and which
resulted in the non-satisfaction of the Croatian public. Already known history of the
tamburitza ensembles in the United States the author enriches by the data on the tamburitza
scores – arrangements of the American songs published in the journal Tamburica. The
emigrant tamburitza ensembles that should also be taken into consideration are the ones
founded around the year 1900 in South Africa (Johannesburg) and Indochina (today's