In this dissertation, the music textbooks and manuals in the Croatian language written by teachers of the Hrvatski glazbeni zavod (Croatian Music Institute) music school were analyzed. The research was focused on the period from 1829, when the school was founded, to 1921, when it passed into state hands and when the Kraljevski državni konzervatorij (Royal State Conservatory) was created. In addition to textbooks and manuals, songbooks that had a textbook-manual character were also analyzed. The authors of the works were the most educated musicians of their time. They were employees of the most influential Croatian music school, but they also taught music in other schools (in teachers' schools, general education schools and private schools) and wrote textbooks for them. Thanks to their involvement in the general and private education system, they had a strong influence on the development of music teaching and also on the perception and position of music in a wider socio-cultural context. The analysis of literature that was written both for the Hrvatski glazbeni zavod music school and for teaching music in the general education system gave a complete and relevant insight into the goal of this research, which isto study the development and determinants of music education in Zagreb in the 19th century. Only literature in Croatian language was researched because it encouraged and enabled the beginning of the development and standardization of Croatian professional music terminology, as well as the development of the Croatian teachers’ own pedagogical ideas, adapted to the visions and needs of the cultural, intellectual and social life in Zagreb. Until 1877, the teaching language in the Hrvatski glazbeni zavod music school was German, but from that year, on the initiative of the Hrvatski glazbeni zavod administration, the teaching language started to be Croatian. That was the ground for writing textbooks and manuals in the Croatian language. Only published literature was analyzed (except for one work) because it was officially approved by competent institutions and used by a large number of students. Also, enough sources have been preserved according to which we can trace the history of their use. The research was based on the hypothesis that textbooks and manuals express values and attitudes reproduced by their own culture, and their meaning does not derive only from their content, but from the role that society has assigned to them. Accordingly, this dissertation is focused on both the interpretation of the discursiveness of music education in Zagreb in the sociocultural context as well as the reconstruction of the system of values and meanings of music that was created and confirmed in that context. Within the framework of the educational system, the values and meanings of music are defined and controlled by the educational policy – the prescribed curricula and contents of the textbooks aligned with it – so the research of these elements was necessary in order to achieve the goal of the research. Also, this research is a historiographical contribution to both the interpretation and structuring of the history of Croatian music of the 19th century as well as a historical understanding and critical considering of contemporary Croatian music education. The first part of the research was focused on the activities of Hrvatski glazbeni zavod music school, which included thorough analysis of primary sources (among which the most important are the Annual reports of the Hrvatski glazbeni zavod music school published since 1868) and secondary sources. It resulted in findings that were not revealed in previous research, e.g. the periodization of the development of school's activity and new knowledge about the school operation, the foundation of teaching of various musical disciplines and the educational goals. The importance of the school in the context of civil society was pointed out – it worked persistently on awakening national consciousness and cultivating national musical expression. The so far established theses about the school's exclusively cosmopolitan activity are opposed by those according to which the school acted as an institution that was neither strictly cosmopolitan nor nationally exclusive and that its teachers successfully combined these two aspects. The activities of the Hrvatski glazbeni zavod music school were also analyzed in the context of the general education system – its legislative framework and the role of teachers in the 19th century Zagreb society. The legislative system was mainly reflected in the education of music teachers, the financing of public educational institutions, the prescription of textbooks and curricula, the social and political function that music subjects had in general and professional education, and also in the permanent struggle for the national language and identity. Increasingly professional and pedagogical competences were expected from teachers and during the 1870s the pedagogical literature in the Croatian language was intensively published. The teachers worked more intensively on affirming their class and fighting for better living and working conditions. The presentation and the analysis of the literature is divided into two parts. The first one is dedicated to textbooks and manuals and the second one to songbooks. Each work was analyzed using the same methodology and presented according to the same scheme. The information about the place, time and circumstances of its writing, its purpose and the scope of its use are presented first. This is followed by a biography of the author with a special emphasis on his pedagogical activities and by a presentation of the contents of the textbook accompanied by analytical comments. At the end, the conclusion about the author's methodical and professional-musical principles is made. From the field of music theory, the following works were analyzed: Franjo Kuhač's Katekizam glazbe [Catechism of Music] (18751 , 18902 ), Ivan Oertl's Obćenita teoretično-praktična pripravna nauka glasbe [General Theoretical-Practical Preparatory Music Theory] (1880), Antun Stöckl's Kratak opći nauk o glazbi za učenike glazbene škole Hrvatskog zem. glazbenoga zavoda u Zagrebu [A Short General Music Theory for the Students of the Croatian Music Institute Music School in Zagreb] (1899) and Vjenceslav Novak's Priprava k nauci o glazbenoj harmoniji [Introduction to Music Harmony] (18891 , 18982 ). The analysis of these works gives us insight into the definition and the scope of music theory, reveals which European authors were role models for Croatian teachers, which methodical and didactic principles aforementioned authors followed and how they contributed to the development of music education and music theory in Croatia. Kuhač's Katekizam glazbe laid the foundations of Croatian professional musical terminology, and Oertl's and Stöckl's textbooks were the first music theory textbooks created for the needs of the Hrvatski glazbeni zavod music school that were written in the Croatian language, mainly following Kuhač's terminology. That is why in these two textbooks attention is also paid to the terminological issue. The only textbook on harmony is Vjenceslav Novak's Nauka o glazbenoj harmoniji za učiteljske škole (i privatnu poduku) [Music Harmony for Teachers' Schools and Private Lessons] (18901 , 18982 ). The work testifies to the development of the theory of harmony in Zagreb and shows to what extent and with what purpose harmony was taught in the 19th century. As the author based almost all musical examples and some harmonic exercises on church and secular folk songs, the textbook bears witness to the national and cultural symbolism of the two songbooks: one is Cithara octochorda for church songs, and the other is Južnoslovjenske narodne popievke [South Slavic Folk Songs] by Franjo Kuhač for secular songs. Three textbooks are dedicated to singing lessons: Vjenceslav Novak's Pjevačka obuka u pučkoj školi [Singing Training in the Public School] (1892), Vilko Novak's Teoretska i praktička obuka zbornog pjevanja u srednjim školama [Theoretical and Practical Training in Choir Singing in Secondary Schools] (1900) and Janko Slogar's Elementarna teorija glazbe i pjevanja za pripravnu školu Hrv. zemalj. glazbenog zavoda u Zagrebu i za niže razrede srednjih učilišta [Elementary Theory of Music and Singing for the Preparatory School of the Croatian Music Institute Music School in Zagreb and for the Lower Classes of Secondary Schools] (1909). All these works deal with choir singing which was based on practicing intonation and the exact performance of intervals, containing elements that are now an integral part of Solfeggio teaching. The first textbook which included auditory recognition (and not just performing) of music elements was Slogar's textbook, so we can consider Slogar the founder of modern Solfeggio. Vjenceslav Novak's textbook is the first work in which the methodology of teaching of singing in the public school was theoretically and practically elaborated, and the author clearly referred to the most influential European and Croatian pedagogical authorities. Among them are Johann Heinrich Pestalozzi, Johann Friedrich Herbart, Jan Ámos Komenský, Stjepan Basariček, Milan Kobali and Ljudevit Modec. Novak based his teaching on the analytical-synthetic method, according to which the students analysed songs they already knew (from personal experience), synthesized abstract musical terms and laws from them and comprehended the musical system. With this textbook, he laid the foundations of modern music pedagogy in the general education system. Ćiril Junek's Glazbeno nazivlje [Musical Terms] (1909) is the only work of a lexicographic nature intended for teaching. It contributed to the research of the issue of musical terminology from the perspective of the beginning of the 20th century, when Hrvatski glazbeni zavod music school was reformed and raised to a very high level and when a large fund of textbook literature in the Croatian language has already existed. Vjenceslav Novak's Povijest glazbe [History of Music] is the first and only textbook dedicated to the teaching of history of music. It was published in 1994, about a hundred years after its manuscript was made, and it is the only analyzed work that was not published at the time it was written. It is included in the dissertation because with this work Vjenceslav Novak founded the teaching of history of music and made a great influence on his descendants that taught history of music at the Hrvatski glazbeni zavod music school for the next 20 years. The work is also the first historical synthesis written in the Croatian language, so it connects historiographical and pedagogical principles. The starting point of Novak's historiographical methodology is the writing of the music heroes’ history, and the primary historical fact for him is a musical work. He presented history as a compositional progress. Within the synthesis of European art music, he presented a synthesis of the history of Croatian music, which, according to him, began at the beginning of the 19th century. In the area of teaching instruments, four textbooks/manuals were analyzed: Franjo Kuhač's Prva hrvatska uputa u glasoviranje za djecu i za odrasle samouke [The First Croatian Instruction in Piano Playing for Children and Self-taught Adults] (1896-1897), Vjenceslav Novak's Uputa u orguljanje i zbirka preludija [Instruction in Organ Playing and Collection of Preludes] (1893), Vitĕzslav Roman Moser's Teoretičko-praktična škola za gusle [TheoreticalPractical Violin School] (1896) and Tehničke vježbe za gusle. Za porabu učenicama i učenicima Narodnoga zemaljskoga glazbenoga zavoda [Technical Exercises for Violin. For the students of the Croatian Music Institute Music School] (1894). Those textbooks were written for the instruments that were taught the most in the 19th century. In addition to the didactic-methodical principles, the authors’ aesthetic principles were also analyzed. The presentation and the analysis of nine songbooks form a separate part of the dissertation. Four church and five secular songbooks by Gjuro Eisenhuth, Franjo Kuhač, Ivan Zajc and Vilko Novak were analyzed in the context of the development of secular and church songbooks during the 19th century. While the church songbooks contain chants of the Mass Ordinary and songs related to holidays and periods within the church year, the secular ones deal with topics from a child's everyday life (nature motifs, health habits, virtues such as diligence, humility, gratitude, philanthropy and patriotism). By teaching general moral and socially acceptable forms of behavior, songbooks fulfilled their pedagogical function. Also, they regularly reflected the romantic idealization of folk art, so folk songs were a significant part of their content. The analysis of songbooks was focused on the analysis of the children's repertoire, the musical structure of the songs, the lyrics, methodical-didactic principles, and the analysis of the socio-cultural perception of the child. The church songs were analyzed in the context of the secularization of education and the Cecilian movement. All songbooks bear witness to the tradition of children's songs and their importance in the civic culture of Zagreb in the 19th century and also reveal the significance of professional musicians/composers in the world of children's songs – they successfully adapted their artistic impulse to the age of the children and to the function of the songs and they created the history of Croatian children's songs. One of the fundamental features of music textbooks and manuals in the 19th century in Zagreb was that their authors collected and formed musical knowledge in the Croatian language. It was the result of a half-century long process of institutionalization of music education and professionalization of local musicians who, from the 1870s, were able to shape their educational principles in pedagogical literature. While textbooks for teaching instruments mainly focused on the technical-practical side of the performance, music theory textbooks dealt with a complex and comprehensive area needed by all musicians, so they had the most farreaching influence. The common point of view of all authors was that theoretical knowledge is a prerequisite for the interpretation of a musical piece – having that knowledge makes musical performance not just a technical reproduction of the piece, but a creative interpretation of the score. These ideas encouraged the development of theoretical disciplines that gradually became an indispensable part of a complete and high-quality musicians’ education, which included acoustics, elementary music theory, harmony, counterpoint, music forms, composition, music aesthetics and music history. The educational system supported the development of music theory, so the first music theorists were actually teachers. The first teacher/theoretician dedicated exclusively to music theory was Vjenceslav Novak, and along with Antun Stöckl and later Vilko Novak, he had an extremely important and pioneering place in that field. The specific political position of Croatia in Austro-Hungarian Monarchy generated a persistent struggle for national and cultural affirmation. This was manifested in the educational system mainly through the definition of folk music as the canon of Croatian artistic music. Folk music was understood as a determinant of the authentic and primordial beauty that is inscribed in every member of the nation, so it was considered that children were able to adopt it easily and immediately. It combined the patriotic spirit that education had to encourage and nurture with the demand for aesthetics. In the educational process, the aesthetic experience of music was particularly emphasized. It was based on an idealistic understanding of music: music was understood as a medium through which an individual realizes the deepest knowledge of beauty given directly by God. According to that, a strong educational effect was attributed to it, manifesting itself in stimulating sensibility and artistic taste, forming a sense of order and harmony, and developing the intellect. The results of the research also contribute to an insight into previously unknown or lesser-known aspects of the activity and artistic-pedagogical principles of its authors, who had the great influence on the spirit and ideas of the time and place in which they worked.