Bojan Bujić

muzikolog (Sarajevo, BiH, 6. listopada 1937.)
Završio u Sarajevu studij engleskog jezika i književnosti (1961.) i 1963. diplomirao na Muzikološkom odjelu Muzičke akademije. Doktorat iz muzikologije stekao 1967. na sveučilištu u Oxfordu. God 1965.–66. mlađi znanstveni suradnik sveučilišta u Edinburghu. Od 1967. u Sarajevu predavao na Srednjoj muzičkoj školi i na Muzičkoj akademiji; ondje je osnovao i vodio ansambl Musica rediviva s kojim je izvodio srednjovjekovnu i renesansnu glazbu. Od 1969. u Velikoj Britaniji nastavnik na katedri za muzikologiju sveučilišta u Readingu; ondje je istodobno 1972.–1975. bio dirigent sveučilišnog komornog zbora Palestrina. God. 1971. gost profesor na sveučilištu Cornell u državi New York, SAD, 1976.–1979. gost predavač na postdiplomskom tečaju estetike glazbe na King’s Collegeu u Londonu. Od 1978. do umirovljenja, 2005. profesor je muzikologije na glazbenom fakultetu i Magdalen Collegeu u Oxfordu. Glavna su područja njegova rada glazba u Italiji i Dalmaciji u XVI. i
XVII. stoljeću, estetika glazbe te Arnold Schoenberg i njegov krug.
RADOVI: Cecchinijeva tretja knjiga madrigalov »Amorosi concetti«, Muzikološki zbornik, II, 1966.; Zadarski neumatski fragmenti u Oxfordu, ibid., IV, 1968Cecchinijeve mise iz godine 1617.,Arti musices, 1, 1969.; Jedan rondel iz Dalmacije, Arti musices, 3, 1972.; Josquin, Leonardo and the »scala peccatorum«, The International Review of the Aesthetics and Sociology of music, IV, 1973. (hrvatski prijevod u Arti musices, 6, 1975.); Aesthetics of Music — Some of its Aims and Limitations, The British Journal of Aesthetics, XV, 1975. (hrvatski prijevod u Arti musices, 8, 1977.); An Early Croat Translation of Rinuccini’s »Euridice«, Muzikološki zbornik, XII, 1976.; Tematska struktura u I. gudačkom kvartetu J. Slavenskog, ibid., XIV, 1978.; Kamerna muzika u XX. stoljeću — Kulturna i kompozicijska kriza jednog žanra, ibid., XVII, 1981. (engleski prijevod u British Journal of Aesthetics, XX, 1982.); ‘Musicology and Intellectual History: A Backward Glance to the Year 1885’, Proceedings of the Royal Musical Association, CXI, 1984–85;‘Anti–Polish Propaganda and Russian Opera: The Revised Version of Glinka’s Ivan Susanin’, European History Quarterly, XV, 1985; ‘Egon Wellesz über das Problem der Moderne in der Musik des 20. Jahrhunderts’, Egon Wellesz (Studien zur Wertungsforschung, 17) ur. O.Kolleritsch, Universal Edition, Graz und Wien, 1986; Music in European Thought 1851–1912, Cambridge University Press, Cambridge, 1988; »Figura poetica molto vaga«: Structure and Meaning in Rinuccini’s Euridice’, Early Music History, X, 1991; ‘Guillaume Dufay as a Reader of Petrarch’, The Italianist, XI, 1991; ‘Humanist Tradition, Geography and the Style of Late Sixteenth–century Music’,Acta Musicologica, LV, 1993; ‘Notation and Realization: Musical Performance in Historical Perspective’, The Interpretation of Music: Philosophical Essays, ur. M. Krausz, Oxford University Press, Oxford, 1993; ‘Patronage and Taste in Venetian Dalmatia: The Case of Tomaso Cecchino’s »Amorosi concetti«, Revista de Musicología (Proceedings of the 15th Congress of the IMS, Madrid, 1992), XVI, 1993; ‘Music, Ethos, and the Historical Past in Hektorović’s »Fishing and Fishermen’s Conversations«’, Petar Hektorović, Fishing and Fishermen’s Conversations, prev. E. D. Goy, Stari Grad, 1997; ‘Música en palabras: los aspectos cambiantes del evasivo concepto de »expresión«’, La realidad musical, ed. Juan Cruz Cruz (Pamplona, 1998); ‘Pastorale o melodramma? Le traduzioni croate di »Euridice« e »Arianna« per le scene di Dubrovnik’, Musica e storia, 6, 1998; ‘Form and Forming: From Victorian aesthetics to the mid–twentieth–century avant–garde’, Composition, Performance, Reception. Studies in the Creative Process in Music, ur. Wyndham Thomas, Aldershot, 1998; ‘Palestrina, Willaert, Aracadelt and the Art of Imitation’,Recercare, X, 1998; ‘»Vero modo del comporre«: Rore’s Reading of Della Casa’s »O sonno«’,

Affetti musicologici. Book of Essays in Honour of Professor Z.
M. Szveykowski, ur. P. Poźniak, Kraków, 1999; ‘Cinquecento Madrigalists as Readers of Poetry’, Music, Words, and Images. Essays in Honour of Koraljka Kos, ur. V. Katalinić i
Z. Blažeković, Zagreb, 1999; ‘Rinuccini the Craftsman: A view of his L’Arianna’, Early Music History, XVIII, 1999; ‘La Dafne Between Florence and Mantua’, Essays in Honour of Jože Sivec, ur. J. Snoj i D. Frelih, Ljubljana, 2000; ‘A »Provincial« Musician and his Wider Circle: Some Aspects of Tomaso Cecchino’s Secular Music’, Musica e storia, V, 2000; ‘Le tradizioni nazionali’,Enciclopedia della musica, ur. J.–J. Nattiez, sv. 1, Einaudi, Torino, 2001, Francuski prijevod:‘Nationalismesettraditionsnationales’, Musiques. Une encyclopédie pour le XXIe siècle, ur. J.–J. Nattiez, Arles i Paris, 2003; ‘«Navigating through the Past«: Issues Facing an Historian of Music in Bosnia’, IRASM, XXXVII, 2006; ‘Stilemi petrarcheschi nei libretti delle prime opere in musica’, Il Petrarchismo. Un modello di poesia per l’Europa, ur. Loredana Chines, Bulzoni Editore, Roma, 2006; ‘A Sacred Bridge or an Unsteady Pontoon? — Some Communication Problems Between Philosophers and Musicians’, MZ XLIII /1, 2007; ‘Uzdasi u poodmakloj dobi — Petrarca, Vinci, Wert i Marenzio’, MZ, XLIII/2, 2007; ‘Siate cauto di non far barabarismi: Intellect and Feeling in the Music of the Early Cinquecento’, A due. Musical Essays in Honour of John D. Bergsagel and Heinrich W. Schwab, ur. Ole Kongsted, Niels Krabbe, Michael Kube i Morten Michelsen, The Royal Library, Copenhagen, 2008; ‘Do we Care what we Sing: Editing the Poetry of Italian Madrigals’, The Consort, LXV, 2009; ‘A Hundred or so Years of Musicology: What have we Learned?’, Glazba prijelaza /Music of Transition. Essays in Honour of Eva Sedak, ur. Nikša Gligo, Dalibor Davidović i Nada Bezić, Artresor, Zagreb, 2009; ‘Odjeci talijanske muzike u kulturi hrvatskoga priobalnoga područja u šesnaestom stoljeću’, Kroatologija, I/1, 2010; ‘Sound and Symbol in Antonio Fogazzaro’s Malombra’, Musicologie sans Frontières / Muzikologija bez granica / Musicology without Frontiers, Essays in honour of Stanislav Tuksar, ur. Ivano Cavallini i Harry White, Zagreb, Hrvatsko muzikološko društvo, 2010; Arnold Schoenberg, Phaidon, London, 2011; ‘Unter dem Doppeladler. Muzika u Bosni i Hercegovini u procjepu između umjetnosti i politike’, Nova nepoznata glazba. Svečani zbornik za Nikšu Gliga / New Unkown Music. Essays in honour of Nikša Gligo, ur. /ed. Dalibor Davidović i Nada Bezić, Zagreb, DAF, 2012; ‘Quo vadis, Petre?’, Bašćinski glasi XI, 2013); ‘Language and Identity — Wagner and some of the dilemmas of early modernism’, The Musical Times, CVV, br. 1926, 2014. — Više priloga u enciklopedijama The New Grove Dictionary of music i The New Oxford Companion to Music. Redakcije: Tomaso Cecchini, Osam sonata, Zagreb, 1984; Gabriello Puliti, Baci ardenti, u: Gabriello Puliti, Baci ardenti (1609), Armonici accenti (1621) — (Monumenta artis musicae Sloveniae XLIV), Ljubljana, 2003.