This article aims to explore the various possibilities for the operas arrangements for chamber ensembles preserved in selected monastic localities as a remarkable subgenre, which flourished from the end of the 18th century until the middle of the 19th century. Important music collections of monasteries in Moravia and Lower Austria were selected for the research, specifically: Nová Říše (formerly Neureisch, Premonstratensians), Klosterneuburg (Augustinian Canons), Göttweig (Benedictines) and Zwettl (Cistercians). By comparing the situation in different monasteries, it was possible to look at the issue in a broader geographic context, which reflects the customs and possibilities of neighbouring regions within the Habsburg Monarchy.
{"title":"The operas arrangements for chamber ensembles in the Moravian and Lower Austrian monasteries","authors":"Lukáš Pavlica","doi":"10.5817/mb2022-1-9","DOIUrl":"https://doi.org/10.5817/mb2022-1-9","url":null,"abstract":"This article aims to explore the various possibilities for the operas arrangements for chamber ensembles preserved in selected monastic localities as a remarkable subgenre, which flourished from the end of the 18th century until the middle of the 19th century. Important music collections of monasteries in Moravia and Lower Austria were selected for the research, specifically: Nová Říše (formerly Neureisch, Premonstratensians), Klosterneuburg (Augustinian Canons), Göttweig (Benedictines) and Zwettl (Cistercians). By comparing the situation in different monasteries, it was possible to look at the issue in a broader geographic context, which reflects the customs and possibilities of neighbouring regions within the Habsburg Monarchy.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš Janáček, which began during Janáček's studies at the Prague Organ School in 1874–1875. The paper discusses Janáček's detailed analyses of Antonín Dvořák's four symphonic poems based on the ballads by Karel Jaromír Erben, which demonstrate the creative parallels between the two composers, as well as Brno performances of the symphonic poems during Dvořák's lifetime and reflection in the contemporary press. The article also shows that Janáček, in analysing the symphonic poems, made use of his work on the theory of speech melody, and that he became the first theorist of Dvořák's work.
{"title":"\"Živý recitativ beze slov\" : symfonické básně Antonína Dvořáka v reflexi Leoše Janáčka","authors":"Veronika Vejvodová, Barbora Števanka Kadlíčková","doi":"10.5817/mb2022-2-6","DOIUrl":"https://doi.org/10.5817/mb2022-2-6","url":null,"abstract":"This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš Janáček, which began during Janáček's studies at the Prague Organ School in 1874–1875. The paper discusses Janáček's detailed analyses of Antonín Dvořák's four symphonic poems based on the ballads by Karel Jaromír Erben, which demonstrate the creative parallels between the two composers, as well as Brno performances of the symphonic poems during Dvořák's lifetime and reflection in the contemporary press. The article also shows that Janáček, in analysing the symphonic poems, made use of his work on the theory of speech melody, and that he became the first theorist of Dvořák's work.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music film is a genre that largely follows its own rules. These rules are determined mainly by the conception of musical content and also by the degree of interaction between music and image. The presented study summarizes the results of analyzes of music films by Vladimír Sís created on instrumental and vocal-instrumental compositions by Dvořák, Gershwin, and Martinů. The used method of two-phase analysis is based on the musical and film analysis of selected works and their mutual comparison with emphasis on functional changes of the originally autonomous musical pieces and their content-forming potential. It also seeks to capture a common analytical basis for different types of music films, creating a universal method for basic research. The results of the analysis point to both the typical features of the music and its specific use in Sís's films, including the director's intended popularization and didactic intentions.
{"title":"Dvořák, Martinů and Gershwin as a source of inspiration for Vladimír Sís's music films","authors":"Ondřej Musil","doi":"10.5817/mb2022-2-7","DOIUrl":"https://doi.org/10.5817/mb2022-2-7","url":null,"abstract":"Music film is a genre that largely follows its own rules. These rules are determined mainly by the conception of musical content and also by the degree of interaction between music and image. The presented study summarizes the results of analyzes of music films by Vladimír Sís created on instrumental and vocal-instrumental compositions by Dvořák, Gershwin, and Martinů. The used method of two-phase analysis is based on the musical and film analysis of selected works and their mutual comparison with emphasis on functional changes of the originally autonomous musical pieces and their content-forming potential. It also seeks to capture a common analytical basis for different types of music films, creating a universal method for basic research. The results of the analysis point to both the typical features of the music and its specific use in Sís's films, including the director's intended popularization and didactic intentions.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study explains how research on Janáček was enriched by Miloš Štědroň, an important musicologist and composer and one of the most important music scientists of today, dealing with the work of Leoš Janáček. Other Štědroň's activities in the field of scientific and artistic work which have lasted for almost sixty years, are recalled as well.
{"title":"Miloš Štědroň: Můj Janáček : k osmdesátinám muzikologa a skladatele","authors":"Karel Steinmetz","doi":"10.5817/mb2022-1-1","DOIUrl":"https://doi.org/10.5817/mb2022-1-1","url":null,"abstract":"The study explains how research on Janáček was enriched by Miloš Štědroň, an important musicologist and composer and one of the most important music scientists of today, dealing with the work of Leoš Janáček. Other Štědroň's activities in the field of scientific and artistic work which have lasted for almost sixty years, are recalled as well.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.
{"title":"MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači","authors":"Martin Flášar","doi":"10.5817/mb2022-2-9","DOIUrl":"https://doi.org/10.5817/mb2022-2-9","url":null,"abstract":"The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this study, we examine contemporary eclectic approaches to jazz and consider to what extent they allow for originality (notwithstanding the opposition between the terms "eclectic" and "original"). The music of the Slovak jazz combo AMC Trio is often seen as typically "Slovak", and the presence of Slovak folk music in their compositions is discussed in detail. Because AMC Trio is one of the most exported Slovak jazz groups, this study analyses their music to see what makes it exceptional in the Slovak context and for the introduction of European impulses to jazz. We point out the fact that the trio's compositions do not draw directly on Slovak folk music, but, nevertheless, they contain interesting parallels and indirect inspirations. These are what give a Slovak character and melodic originality to their music, which impresses even foreign artists who collaborate with them. It remains a question, therefore, whether eclecticism ultimately leads to new concepts in jazz or whether it in fact moves jazz further away from its Afro-American roots.
{"title":"The AMC Trio jazz combo and their inspirations drawn from Slovak folk music","authors":"Peter Dobšinský","doi":"10.5817/mb2022-1-5","DOIUrl":"https://doi.org/10.5817/mb2022-1-5","url":null,"abstract":"In this study, we examine contemporary eclectic approaches to jazz and consider to what extent they allow for originality (notwithstanding the opposition between the terms \"eclectic\" and \"original\"). The music of the Slovak jazz combo AMC Trio is often seen as typically \"Slovak\", and the presence of Slovak folk music in their compositions is discussed in detail. Because AMC Trio is one of the most exported Slovak jazz groups, this study analyses their music to see what makes it exceptional in the Slovak context and for the introduction of European impulses to jazz. We point out the fact that the trio's compositions do not draw directly on Slovak folk music, but, nevertheless, they contain interesting parallels and indirect inspirations. These are what give a Slovak character and melodic originality to their music, which impresses even foreign artists who collaborate with them. It remains a question, therefore, whether eclecticism ultimately leads to new concepts in jazz or whether it in fact moves jazz further away from its Afro-American roots.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
So far unreflected Franz Xaver Richter's system of temperament is presented through analysis and detailed characteristics. It shows first hand connection with musical praxis in Mannheim. In spite of the fact that Richter's original source was last system of tuning by Andreas Werckmeister from the beginning of 18th century, Richter's undertaken system was widely popular and still cited in 1780s. Detailed manual offers conservative model of circular ("good") temperament with prominent key characteristics. Among advantages of this system are relatively clear thirds of central keys which are acquired by sophisticated and sensible temperament of fifths in the whole intonation scale. Additionally, this system of tuning allows functional and effective usage of peripheral keys.
{"title":"Systém temperování klávesových nástrojů v Mannheimu podle Franze Xavera Richtera (1767) na základě posledního návodu Andrease Werckmeistera (cca 1700)","authors":"Marko Čermák","doi":"10.5817/mb2022-1-2","DOIUrl":"https://doi.org/10.5817/mb2022-1-2","url":null,"abstract":"So far unreflected Franz Xaver Richter's system of temperament is presented through analysis and detailed characteristics. It shows first hand connection with musical praxis in Mannheim. In spite of the fact that Richter's original source was last system of tuning by Andreas Werckmeister from the beginning of 18th century, Richter's undertaken system was widely popular and still cited in 1780s. Detailed manual offers conservative model of circular (\"good\") temperament with prominent key characteristics. Among advantages of this system are relatively clear thirds of central keys which are acquired by sophisticated and sensible temperament of fifths in the whole intonation scale. Additionally, this system of tuning allows functional and effective usage of peripheral keys.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lenka Dohnalová, Lucie Pešl Šilerová, Ingeborg Radok Žádná
The study revisits and interprets the basic available information concerning the relationship between art education and the labour market in classical music in the Czech Republic in the context of the European Union (EU). It adds the results of a survey of conservatory graduates and their most frequent employers of orchestras and elementary art schools within the research plan of the Arts Institute. Graduates were asked about further professional orientation in two rounds in 2019 and 2021. The survey of the most frequent employers in 2019 covered the period of three last years. A questionnaire asked about the number of hired employees in three categories 1) up to 25 years of conservatory graduates, 2) up to 30 years of university graduates, 3) over 30 years, the state of supply and demand, scale and verbalized evaluation of the level of readiness of adepts in the theoretical, practical-artistic, socio-psychological and organizational. The questionnaire also included an evaluation of the types of motivation of adepts to choose an employer (permanent position, interesting work, salary, team work). The survey proved the high importance of the Basic Art School's network for employment (the basis of social security) of artists in the Czech Republic and the relative decline in graduates' interest in places in orchestras. At the end of the study, the trend of the labour market is recapitulated with the expected demands on future artists and employers as well as the relatively low readiness of graduates for independent artistic work.
{"title":"Uplatnitelnost na trhu práce v oblasti klasické hudby : Koresponduje vzdělávání v ČR v oboru s pracovním trhem?","authors":"Lenka Dohnalová, Lucie Pešl Šilerová, Ingeborg Radok Žádná","doi":"10.5817/mb2022-1-7","DOIUrl":"https://doi.org/10.5817/mb2022-1-7","url":null,"abstract":"The study revisits and interprets the basic available information concerning the relationship between art education and the labour market in classical music in the Czech Republic in the context of the European Union (EU). It adds the results of a survey of conservatory graduates and their most frequent employers of orchestras and elementary art schools within the research plan of the Arts Institute. Graduates were asked about further professional orientation in two rounds in 2019 and 2021. The survey of the most frequent employers in 2019 covered the period of three last years. A questionnaire asked about the number of hired employees in three categories 1) up to 25 years of conservatory graduates, 2) up to 30 years of university graduates, 3) over 30 years, the state of supply and demand, scale and verbalized evaluation of the level of readiness of adepts in the theoretical, practical-artistic, socio-psychological and organizational. The questionnaire also included an evaluation of the types of motivation of adepts to choose an employer (permanent position, interesting work, salary, team work). The survey proved the high importance of the Basic Art School's network for employment (the basis of social security) of artists in the Czech Republic and the relative decline in graduates' interest in places in orchestras. At the end of the study, the trend of the labour market is recapitulated with the expected demands on future artists and employers as well as the relatively low readiness of graduates for independent artistic work.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jednota umělců hudebních ku podpoře vdov a sirotků [Prague's Society of Musicians] (1803–1903) played a key role in establishing the concert life of Prague of the nineteenth century. Jednota drew the interest of researchers with its extensive presentations of George Friedrich Händel's oratorio works. It was founded on the model of the Tonkünstler-Sozietät (1771), which regularly performed oratorios and is considered to be one of the earliest public concert institutions in Vienna. Both societies were established with the same goal: the proceeds of the benefit concerts went into a fund, which was used to secure disabled musicians or surviving widows and orphans. The aim of the study is to outline the development of the Prague Society in connection with similar philanthropic organizations, especially the Vienna Tonküstler-Sozietät, and to reveal to what extent they may have influenced each other.
耶德诺塔·乌姆涅尔克特·hudebních ku podpoře[布拉格音乐家协会](1803-1903)在建立19世纪布拉格的音乐会生活方面发挥了关键作用。耶德诺塔以其对乔治·弗里德里希Händel清剧作品的广泛介绍吸引了研究人员的兴趣。它是在Tonkünstler-Sozietät(1771)的模式下建立的，该机构定期演出清唱剧，被认为是维也纳最早的公共音乐会机构之一。这两个社团的成立目标是一致的:义卖音乐会的收益将投入一项基金，用于保护残疾音乐家或幸存的寡妇和孤儿。这项研究的目的是概述布拉格协会与类似慈善组织，特别是维也纳Tonküstler-Sozietät的发展，并揭示它们可能在多大程度上相互影响。
{"title":"Počátky Jednoty umělců hudebních ku podpoře vdov a sirotků v kontextu vídeňské Tonkünstler-Sozietät","authors":"Magdalena Šmídová Turchichová","doi":"10.5817/mb2022-1-8","DOIUrl":"https://doi.org/10.5817/mb2022-1-8","url":null,"abstract":"Jednota umělců hudebních ku podpoře vdov a sirotků [Prague's Society of Musicians] (1803–1903) played a key role in establishing the concert life of Prague of the nineteenth century. Jednota drew the interest of researchers with its extensive presentations of George Friedrich Händel's oratorio works. It was founded on the model of the Tonkünstler-Sozietät (1771), which regularly performed oratorios and is considered to be one of the earliest public concert institutions in Vienna. Both societies were established with the same goal: the proceeds of the benefit concerts went into a fund, which was used to secure disabled musicians or surviving widows and orphans. The aim of the study is to outline the development of the Prague Society in connection with similar philanthropic organizations, especially the Vienna Tonküstler-Sozietät, and to reveal to what extent they may have influenced each other.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The contents and the surviving part of medieval manuscripts in Europe were influenced by the Christianization process. Monophonic liturgical chant, the cantus planus, or plainchant, which accompanied the liturgical celebrations, was a dominant representative of musical culture. Migrations of cultural, religious, and artistic stimuli, which influenced the religious centres, institutions, towns, and individuals, were a frequent phenomenon in medieval society. The transfer of stimuli, inspirations, and artistic models led to liturgical music and its components (musical content, liturgy, notation) becoming firmly established. As part of the stratification of local elements and transregional connections, in the research process on the components of chant, we identified a specific repertoire of the medieval Office of the Dead in manuscripts from the territory of Slovakia. Based on the analysis of the chants of the responsories of the Matins, we traced the provenance and musical characteristics of selected manuscripts from the territory of Slovakia.
{"title":"The Latin Office of the Dead in mediaeval manuscripts from the territory of Slovakia","authors":"Eva Veselovská","doi":"10.5817/mb2022-2-3","DOIUrl":"https://doi.org/10.5817/mb2022-2-3","url":null,"abstract":"The contents and the surviving part of medieval manuscripts in Europe were influenced by the Christianization process. Monophonic liturgical chant, the cantus planus, or plainchant, which accompanied the liturgical celebrations, was a dominant representative of musical culture. Migrations of cultural, religious, and artistic stimuli, which influenced the religious centres, institutions, towns, and individuals, were a frequent phenomenon in medieval society. The transfer of stimuli, inspirations, and artistic models led to liturgical music and its components (musical content, liturgy, notation) becoming firmly established. As part of the stratification of local elements and transregional connections, in the research process on the components of chant, we identified a specific repertoire of the medieval Office of the Dead in manuscripts from the territory of Slovakia. Based on the analysis of the chants of the responsories of the Matins, we traced the provenance and musical characteristics of selected manuscripts from the territory of Slovakia.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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