The article contains an extensive overview of the history of early Czech music theory from its beginnings in the late Middle Ages to the First World War. The emphasis is on trends of development rather than on detailed study of individual treatises. More space is devoted to key founding figures such as Jan Blahoslav and Jakub Jan Ryba. The text summarizes a number of findings that are not easily accessible to the non-Czech reader.
这篇文章包含了从中世纪晚期开始到第一次世界大战的早期捷克音乐理论的历史的广泛概述。重点是发展趋势，而不是对个别论文的详细研究。更多的空间用于主要创始人，如Jan Blahoslav和Jakub Jan Ryba。本文总结了一些非捷克读者不容易了解的调查结果。
{"title":"Early Czech music theory : characterization, personalities and trends","authors":"V. Hruška","doi":"10.5817/mb2022-1-3","DOIUrl":"https://doi.org/10.5817/mb2022-1-3","url":null,"abstract":"The article contains an extensive overview of the history of early Czech music theory from its beginnings in the late Middle Ages to the First World War. The emphasis is on trends of development rather than on detailed study of individual treatises. More space is devoted to key founding figures such as Jan Blahoslav and Jakub Jan Ryba. The text summarizes a number of findings that are not easily accessible to the non-Czech reader.","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":"71350513","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}
Lyudmila Ivanovna Shestakova, the younger sister of composer Mikhail Ivanovich Glinka, is an almost forgotten figure of 19th century Russian musical culture. She was undoubtedly very important person in Glinka's life, and after his death she tied her name to the care of his legacy. Her fate was intertwined with that of many contemporary representatives of the St Petersburg cultural scene, including members of the so-called Mighty Handful. She wrote a memoir of her acquaintances under the title My Evenings (Moi Vechera), which provides quite an exceptional look at the Russian Five, especially from a personal perspective and her friendship with them. Some of these recollections may shed new light on research into the New Russian School.
{"title":"Moje večery : vzpomínky Ljudmily Ivanovny, tetičky ruské hudby","authors":"Zuzana Dupalová","doi":"10.5817/mb2022-2-4","DOIUrl":"https://doi.org/10.5817/mb2022-2-4","url":null,"abstract":"Lyudmila Ivanovna Shestakova, the younger sister of composer Mikhail Ivanovich Glinka, is an almost forgotten figure of 19th century Russian musical culture. She was undoubtedly very important person in Glinka's life, and after his death she tied her name to the care of his legacy. Her fate was intertwined with that of many contemporary representatives of the St Petersburg cultural scene, including members of the so-called Mighty Handful. She wrote a memoir of her acquaintances under the title My Evenings (Moi Vechera), which provides quite an exceptional look at the Russian Five, especially from a personal perspective and her friendship with them. Some of these recollections may shed new light on research into the New Russian School.","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":"71350738","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}
Karel Husa (1921–2016) is an internationally-acclaimed composer. The relationship of the Czech musical public to Husa was marked by his decision not to return to his homeland in 1948 for political reasons. He remained a persona non grata until 1989 Research into the performance and reception of Husa's work in the Czech Republic over the past thirty years has shown that Husa's orchestral, chamber and solo compositions were played by top artists and nearly all orchestral ensembles. In addition to the most popular Music for Prague 1968, the Czech concert audience have been introduced to a sample representing all the phases of the composer's career. Although Husa's work has been enjoying a growing popularity, it has yet to become a staple of concert programs.
{"title":"Karel Husa a recepce jeho díla v českých zemích po roce 1989","authors":"Eva Vičarová","doi":"10.5817/mb2022-2-8","DOIUrl":"https://doi.org/10.5817/mb2022-2-8","url":null,"abstract":"Karel Husa (1921–2016) is an internationally-acclaimed composer. The relationship of the Czech musical public to Husa was marked by his decision not to return to his homeland in 1948 for political reasons. He remained a persona non grata until 1989 Research into the performance and reception of Husa's work in the Czech Republic over the past thirty years has shown that Husa's orchestral, chamber and solo compositions were played by top artists and nearly all orchestral ensembles. In addition to the most popular Music for Prague 1968, the Czech concert audience have been introduced to a sample representing all the phases of the composer's career. Although Husa's work has been enjoying a growing popularity, it has yet to become a staple of concert programs.","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":"71350958","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 deals with four Italian operas created in the Baroque period on the theme of the legend of Libuše and Přemysl. The first of these was La Libussa (libretto by Flaminio Parisetti, music by Clemente Monari, Wolfenbüttel 1692), reprised in Prague c. 1702 in the musical setting of Bartolomeo Bernardi. The next was Primislao primo re di Boemia (libretto by Giulio Cesare Corradi, music by Tomaso Albinoni, Venice 1697). Last was the pasticcio Praga nascente da Libussa, e Primislao (libretto by Antonio Denzio), performed in Prague 1734. The study discusses the historical circumstances of the creation of these operas, selected issues of libretto analysis, and a hypothetical identification of their music. The appendices contain selected excerpts from both Prague librettos.
{"title":"Zpracování pověsti o Libuši v italské barokní opeře","authors":"Jana Spáčilová","doi":"10.5817/mb2022-1-6","DOIUrl":"https://doi.org/10.5817/mb2022-1-6","url":null,"abstract":"The study deals with four Italian operas created in the Baroque period on the theme of the legend of Libuše and Přemysl. The first of these was La Libussa (libretto by Flaminio Parisetti, music by Clemente Monari, Wolfenbüttel 1692), reprised in Prague c. 1702 in the musical setting of Bartolomeo Bernardi. The next was Primislao primo re di Boemia (libretto by Giulio Cesare Corradi, music by Tomaso Albinoni, Venice 1697). Last was the pasticcio Praga nascente da Libussa, e Primislao (libretto by Antonio Denzio), performed in Prague 1734. The study discusses the historical circumstances of the creation of these operas, selected issues of libretto analysis, and a hypothetical identification of their music. The appendices contain selected excerpts from both Prague librettos.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"36 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350564","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 music collections of the monasteries and convents in Central Europe contains many interesting sources. To date, they have been only partially accessed and catalogued. Furthermore, not only the music itself has to be considered, but also various other types of sources such as librettos, periochæ, inventories, invoices, requests, diaries, correspondence etc. These sources need to be described and evaluated in a detailed manner, and only on this basis may questions about the interweaving of repertoire or personnel between the different monasteries – both in the field of liturgical and secular music – arise. The aim of this paper is to take a closer look at a valuable source material, namely the libretti preserved in Klosterneuburg Abbey. The Klosterneuburg libretto collection currently contains a total of 77 exemplars in three different groups. The oldest prints date from the last decade of the 17th century to the most recent from 1765. The largest proportion is made up of the Lenten oratorios and those oratorios performed at the Holy Sepulchre during Holy Week (46 pieces). The second group represents a series of oratorios in honour of St. John of Nepomuk (14 pieces), and the last comprises various homage and occasional works (17 pieces). This paper follows on from the essay by Otto G. Schindler, who did the fundamental cataloguing of the libretti in the library of the Augustinian canons' monastery of Klosterneuburg in the second half of the 20th century. This text attempts to classify the librettos of the Abbey library according to the current state of research and to present some interesting examples.
中欧修道院和女修道院的音乐收藏包含许多有趣的来源。迄今为止，它们只被部分访问和编目。此外，不仅要考虑音乐本身，还要考虑各种其他类型的来源，如歌词、编曲、目录、发票、请求、日记、信件等。这些来源需要详细地描述和评估，只有在此基础上，才能产生关于不同修道院之间的曲目或人员交织的问题-在礼仪和世俗音乐领域都是如此。本文的目的是仔细研究一种有价值的原始材料，即保存在克罗斯特纽堡修道院的手稿。Klosterneuburg唱词集目前共包含三个不同组的77个范例。最古老的版画可以追溯到17世纪最后十年到最近的1765年。最大的比例是大斋期清唱剧和圣周期间在圣墓演出的清唱剧(46部)。第二组是纪念圣约翰的清唱剧系列(14首)，最后一组是各种致敬和偶然作品(17首)。本文以奥托·g·辛德勒(Otto G. Schindler)的论文为基础，辛德勒在20世纪下半叶对克罗斯特纽堡奥古斯丁修道院图书馆的手稿进行了基本编目。本文试图根据目前的研究状况对修道院图书馆的书目进行分类，并提出一些有趣的例子。
{"title":"Klosterneuburger Librettodrucke aus dem 18. Jahrhundert – neu bewertet","authors":"Jana Perutková","doi":"10.5817/mb2022-2-1","DOIUrl":"https://doi.org/10.5817/mb2022-2-1","url":null,"abstract":"The music collections of the monasteries and convents in Central Europe contains many interesting sources. To date, they have been only partially accessed and catalogued. Furthermore, not only the music itself has to be considered, but also various other types of sources such as librettos, periochæ, inventories, invoices, requests, diaries, correspondence etc. These sources need to be described and evaluated in a detailed manner, and only on this basis may questions about the interweaving of repertoire or personnel between the different monasteries – both in the field of liturgical and secular music – arise. The aim of this paper is to take a closer look at a valuable source material, namely the libretti preserved in Klosterneuburg Abbey. The Klosterneuburg libretto collection currently contains a total of 77 exemplars in three different groups. The oldest prints date from the last decade of the 17th century to the most recent from 1765. The largest proportion is made up of the Lenten oratorios and those oratorios performed at the Holy Sepulchre during Holy Week (46 pieces). The second group represents a series of oratorios in honour of St. John of Nepomuk (14 pieces), and the last comprises various homage and occasional works (17 pieces). This paper follows on from the essay by Otto G. Schindler, who did the fundamental cataloguing of the libretti in the library of the Augustinian canons' monastery of Klosterneuburg in the second half of the 20th century. This text attempts to classify the librettos of the Abbey library according to the current state of research and to present some interesting examples.","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":"71350682","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 author examines the different reasons behind the emigration of musicians from the territory of today's Slovak Republic during various eras. The migration of Slovak people from the Austro-Hungarian Empire around the end of the 19th century was largely motivated by economic factors. Ideological doctrines that constrained free artistic thinking propelled another wave of emigration during the former socialist Czechoslovakia (1948–1989). After the birth of the Slovak Republic (1993), migratory movements continued especially with Czech and Slovak jazzmen trying to establish themselves on the global scene. The examples of departing artists (John Dopyera, the inventor of the resophonic Dobro guitar; Diana Krall, jazz pianist and singer; Andreas Varady, a jazz guitarist of Romani origin; and Celeste Buckingham, a singer with multicultural ancestry) contribute to the debate on migration’s cultural and artistic significance. The author discusses the instrumentalist approach to the issue of ethnicity for those globally successful artists who pragmatically stress the appropriate element of their ethnic background relevant to the circumstances. Additionally, the article gives attention to the primordialist aspects and emotional issues relating to the ethnicity of those Slovak musicians whose success abroad was only localized.
{"title":"Migration of Central European musicians exemplified by John Dopyera, Diana Krall, Andreas Varady, and Celeste Buckingham","authors":"Y. Kajanová","doi":"10.5817/mb2022-1-4","DOIUrl":"https://doi.org/10.5817/mb2022-1-4","url":null,"abstract":"The author examines the different reasons behind the emigration of musicians from the territory of today's Slovak Republic during various eras. The migration of Slovak people from the Austro-Hungarian Empire around the end of the 19th century was largely motivated by economic factors. Ideological doctrines that constrained free artistic thinking propelled another wave of emigration during the former socialist Czechoslovakia (1948–1989). After the birth of the Slovak Republic (1993), migratory movements continued especially with Czech and Slovak jazzmen trying to establish themselves on the global scene. The examples of departing artists (John Dopyera, the inventor of the resophonic Dobro guitar; Diana Krall, jazz pianist and singer; Andreas Varady, a jazz guitarist of Romani origin; and Celeste Buckingham, a singer with multicultural ancestry) contribute to the debate on migration’s cultural and artistic significance. The author discusses the instrumentalist approach to the issue of ethnicity for those globally successful artists who pragmatically stress the appropriate element of their ethnic background relevant to the circumstances. Additionally, the article gives attention to the primordialist aspects and emotional issues relating to the ethnicity of those Slovak musicians whose success abroad was only localized.","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":"71350546","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 research of the Hans Bruckmüller's (1862–1940) estate in the Department of the History of Music of the Moravian Museum has enabled this study to elaborate and describe in more detail the life and work of this composer (pupil of Franz von Suppé and Anton Bruckner), zither player, pianist, choirmaster and organizer of German musical life in Jihlava, Litovel and Brno. Bruckmüller is also widely remembered as one of the Jihlava contemporaries of the young Gustav Mahler. In Bruckmüller's estate, a typescript of recollections of Gustav Mahler was newly discovered, which Bruckmüller read on the Brno Radio on 3 January 1931. It also reflects on Bruckmüller's and Mahler's joint music-making and Mahler's relationship towards women at that time.
{"title":"Hans Bruckmüller: Mahlerův současník a osobnost německého hudebního života na Moravě","authors":"Ondřej Pivoda","doi":"10.5817/mb2022-2-2","DOIUrl":"https://doi.org/10.5817/mb2022-2-2","url":null,"abstract":"The research of the Hans Bruckmüller's (1862–1940) estate in the Department of the History of Music of the Moravian Museum has enabled this study to elaborate and describe in more detail the life and work of this composer (pupil of Franz von Suppé and Anton Bruckner), zither player, pianist, choirmaster and organizer of German musical life in Jihlava, Litovel and Brno. Bruckmüller is also widely remembered as one of the Jihlava contemporaries of the young Gustav Mahler. In Bruckmüller's estate, a typescript of recollections of Gustav Mahler was newly discovered, which Bruckmüller read on the Brno Radio on 3 January 1931. It also reflects on Bruckmüller's and Mahler's joint music-making and Mahler's relationship towards women at that time.","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":"71350689","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}
Two dominant lines can be recognized in the music-museological thought from the end of the 18th century to the present day. Each of these two lines relates to the musealization of one of the two fundamental types of "musical things", as well as to the respective types of music-museal institutions. The first line has reflected the musealization of musicalia as musical texts (i.e. textual records of music, texts about music, and texts otherwise connected with the existence of music). In this study, however, we deal with the second line of music-museological thought, the one that reflects musical instruments. The collecting and musealization of musical instruments are old and universal phenomena, which took on the specific form of musical instrument museums in the course of the 19th century. These institutions then became the centres of nascent organology. As an auxiliary science of organology, this intellectual line has been actively developing, and from a quantitative point of view, it represents the main area of music-museological thought.
{"title":"Muzealizace hudebních nástrojů a její teoretické reflexe od 19. století do současnosti","authors":"Miloslav Zapletal","doi":"10.5817/mb2022-2-5","DOIUrl":"https://doi.org/10.5817/mb2022-2-5","url":null,"abstract":"Two dominant lines can be recognized in the music-museological thought from the end of the 18th century to the present day. Each of these two lines relates to the musealization of one of the two fundamental types of \"musical things\", as well as to the respective types of music-museal institutions. The first line has reflected the musealization of musicalia as musical texts (i.e. textual records of music, texts about music, and texts otherwise connected with the existence of music). In this study, however, we deal with the second line of music-museological thought, the one that reflects musical instruments. The collecting and musealization of musical instruments are old and universal phenomena, which took on the specific form of musical instrument museums in the course of the 19th century. These institutions then became the centres of nascent organology. As an auxiliary science of organology, this intellectual line has been actively developing, and from a quantitative point of view, it represents the main area of music-museological thought.","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":"71350793","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}
{"title":"Porovnání vlastností hlasu klasických a popových zpěvaček","authors":"Marek Frič, Iva Podzimková, Jana Jelínková","doi":"10.5817/mb2021-2-6","DOIUrl":"https://doi.org/10.5817/mb2021-2-6","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350038","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}
Apart from traditional deep learning tasks such as pattern recognition, stock price prediction, and machine translation, this method also finds practical application within algorithmic composition. This paper explores the use of a generative model based on unsupervised learning of a musical style from a pre-selected corpus and the subsequent prediction of samples from the estimated distribution. The model uses a Long Short-Term Memory neural network whose training data contains genre-specific melodies in symbolic representation.
{"title":"Generování žánrově specifické hudební transkripce Antonína Dvořáka prostřednictvím variačního autoenkodéru","authors":"Daniel Kvak","doi":"10.5817/mb2021-2-5","DOIUrl":"https://doi.org/10.5817/mb2021-2-5","url":null,"abstract":"Apart from traditional deep learning tasks such as pattern recognition, stock price prediction, and machine translation, this method also finds practical application within algorithmic composition. This paper explores the use of a generative model based on unsupervised learning of a musical style from a pre-selected corpus and the subsequent prediction of samples from the estimated distribution. The model uses a Long Short-Term Memory neural network whose training data contains genre-specific melodies in symbolic representation.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350025","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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