The study recapitulates the results of activities of the Centre for Music Lexicography under the patronage of Institute of Musicology, Faculty of Arts, Masaryk University, and especially its key project, the Czech Music Dictionary of Persons and Institutions. Initial works started in 2000 and next year is the 20th anniversary.
{"title":"On the project of Czech Music Dictionary of Persons and Institutions","authors":"P. Macek","doi":"10.5817/mb2019-2-5","DOIUrl":"https://doi.org/10.5817/mb2019-2-5","url":null,"abstract":"The study recapitulates the results of activities of the Centre for Music Lexicography under the patronage of Institute of Musicology, Faculty of Arts, Masaryk University, and especially its key project, the Czech Music Dictionary of Persons and Institutions. Initial works started in 2000 and next year is the 20th anniversary.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350130","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":"Hudebně-pedagogické oddělení Ukrajinského vysokého pedagogického ústavu Mychajla Drahomanova v Praze (1923–1933)","authors":"Petr Kalina","doi":"10.5817/mb2019-1-14","DOIUrl":"https://doi.org/10.5817/mb2019-1-14","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350205","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":"Hudební výchova na všeobecně vzdělávacích středních školách v Ostravě od 90. let 19. století do roku 1945","authors":"Jiří Kusák","doi":"10.5817/mb2019-1-9","DOIUrl":"https://doi.org/10.5817/mb2019-1-9","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350314","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":"Duchovní hudba a česká hudební kultura v devadesátých letech minulého století","authors":"Eva Vičarová, Kateřina Janíčková","doi":"10.5817/mb2019-2-4","DOIUrl":"https://doi.org/10.5817/mb2019-2-4","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350122","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":"Dějiny tvoří \"ti malí\" aneb Život a dílo Emanuela Ambrose","authors":"Milan Balódy","doi":"10.5817/mb2019-2-8","DOIUrl":"https://doi.org/10.5817/mb2019-2-8","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350181","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}
Following the First World War, radical cultural changes took place in central and eastern Europe. After more than 600 years, the Slovenes bid farewell to the Habsburg monarchy, and, together with the Croats and Serbs formed the new State of Slovenes, Croats and Serbs on 29 October 1918. The end of ties with the Habsburg Monarchy and the new geographical, political, economic, cultural and linguistic environment also had a significant effect on the organisation and operation of Slovene cultural and academic institutions. Two important processes took place in the musical sphere: the nationalisation of key Slovene musical institutions (in the sense of a transformation from provincial institutions to national ones) and the Slovenisation of formerly German cultural institutions. In the years immediately after the Great War, Ljubljana gained several long-awaited professional cultural and academic institutions of key national importance, including a university, a national theatre and a conservatory. Naturally, the importance of these institutions was not only in the cultural or academic aspects of their work. Equally important, or for some contemporaries, even more important, was the fact that the process of formation of these institutions represented a decisive step towards the national emancipation of Slovenes into the circle of culturally developed nations.
{"title":"Changes in the music scene in Slovenia after 1918","authors":"Jernej Weiss","doi":"10.5817/mb2019-1-4","DOIUrl":"https://doi.org/10.5817/mb2019-1-4","url":null,"abstract":"Following the First World War, radical cultural changes took place in central and eastern Europe. After more than 600 years, the Slovenes bid farewell to the Habsburg monarchy, and, together with the Croats and Serbs formed the new State of Slovenes, Croats and Serbs on 29 October 1918. The end of ties with the Habsburg Monarchy and the new geographical, political, economic, cultural and linguistic environment also had a significant effect on the organisation and operation of Slovene cultural and academic institutions. Two important processes took place in the musical sphere: the nationalisation of key Slovene musical institutions (in the sense of a transformation from provincial institutions to national ones) and the Slovenisation of formerly German cultural institutions. In the years immediately after the Great War, Ljubljana gained several long-awaited professional cultural and academic institutions of key national importance, including a university, a national theatre and a conservatory. Naturally, the importance of these institutions was not only in the cultural or academic aspects of their work. Equally important, or for some contemporaries, even more important, was the fact that the process of formation of these institutions represented a decisive step towards the national emancipation of Slovenes into the circle of culturally developed nations.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350272","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":"Nucený návrat domů : k proměně reflexe Josefa Bohuslava Foerstera v prvních letech Československé republiky","authors":"Lenka Křupková","doi":"10.5817/mb2019-1-5","DOIUrl":"https://doi.org/10.5817/mb2019-1-5","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350280","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}
Ceský skladatel Pavel Haas (1899-1944) prožil posledni cast sveho života v ghettu Theresienstadt. Sem byl poslan po okupaci Cech a Moravy na sklonku roku 1941. Haas se několik prvnich měsiců těžko vyrovnaval s internaci v ghettu. Dlouha necinnost byla ovsem vystřidana horecnou praci, ktera jej zařadila mezi nejaktivnějsi terezinske skladatele. Od druhe poloviny roku 1942 až do podzimu 1944 Haas zkomponoval sedm doložených skladeb. Z nich se pak do soucasnosti zachovaly tři. Nejen v Haasově připadě plati, že tema mista prostupuje tvorbou a urcuje charakter děl. Hektický zavod s casem urcoval nejen rozsah a obsazeni, ale svůj výraz nalezl take v expresivitě a fragmentarnosti ci nedokoncenosti skladeb. Hudebni dila komponovana v emocionalně vypjatých chvilich jsou prostoupena systemem znaků a citaci různe urovně, vyjevujicich touhu vypravět vlastni přiběh. Důležitým momentem hudebniho provozu je rovněž fakt, že osudy svých děl vice než kdy jindy skladatele spojovali s vybranými interprety. Ti byli větsinou objednavateli a v řadě připadů take těmi, jež autograf uchranili před znicenim.
{"title":"Tvorba Pavla Haase v terezínském ghettu (1941–1944)","authors":"Lubomír Spurný","doi":"10.5817/mb2019-2-2","DOIUrl":"https://doi.org/10.5817/mb2019-2-2","url":null,"abstract":"Ceský skladatel Pavel Haas (1899-1944) prožil posledni cast sveho života v ghettu Theresienstadt. Sem byl poslan po okupaci Cech a Moravy na sklonku roku 1941. Haas se několik prvnich měsiců těžko vyrovnaval s internaci v ghettu. Dlouha necinnost byla ovsem vystřidana horecnou praci, ktera jej zařadila mezi nejaktivnějsi terezinske skladatele. Od druhe poloviny roku 1942 až do podzimu 1944 Haas zkomponoval sedm doložených skladeb. Z nich se pak do soucasnosti zachovaly tři. Nejen v Haasově připadě plati, že tema mista prostupuje tvorbou a urcuje charakter děl. Hektický zavod s casem urcoval nejen rozsah a obsazeni, ale svůj výraz nalezl take v expresivitě a fragmentarnosti ci nedokoncenosti skladeb. Hudebni dila komponovana v emocionalně vypjatých chvilich jsou prostoupena systemem znaků a citaci různe urovně, vyjevujicich touhu vypravět vlastni přiběh. Důležitým momentem hudebniho provozu je rovněž fakt, že osudy svých děl vice než kdy jindy skladatele spojovali s vybranými interprety. Ti byli větsinou objednavateli a v řadě připadů take těmi, jež autograf uchranili před znicenim.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350379","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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