This study deals with the living conditions and certainties of the singers and musicians who served in the Vienna Cathedral of St. Stephen during the 18th century. The focus is on so-called adjunct positions, the occupation of vacant positions and events after the death of a musician. Furthermore, the supply and teaching of choral boys are explained. To the most important changes during the 18th century belonged the new order of worship. These prescriptions of Joseph II influenced the frequency of the figural music performances as well as the financing, which is illustrated by examples.
{"title":"Die Dommusik zu St. Stephan im 18. Jahrhundert in sozialgeschichtlicher Perspektive","authors":"Helena Kramářová","doi":"10.5817/mb2019-1-11","DOIUrl":"https://doi.org/10.5817/mb2019-1-11","url":null,"abstract":"This study deals with the living conditions and certainties of the singers and musicians who served in the Vienna Cathedral of St. Stephen during the 18th century. The focus is on so-called adjunct positions, the occupation of vacant positions and events after the death of a musician. Furthermore, the supply and teaching of choral boys are explained. To the most important changes during the 18th century belonged the new order of worship. These prescriptions of Joseph II influenced the frequency of the figural music performances as well as the financing, which is illustrated by examples.","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":"71349668","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 an article in 1986, Michael Beckerman debated the meaning of “Czechness” in music; since then, it has usually been construed as a myth that has more to do with the reception of the national repertoire than with objective qualities of the music. This article proposes that the idea of “Czechness” should be reconsidered, using not only ideas developed in historical musicology since the 1980s, but also more recent developments in music analysis, in order to redirect attention to “the music itself” and to reconstrue it in new and fruitful ways.
{"title":"Little Bo-Peep has lost her sheep, and doesn't know where to find them : or, in search yet again of Czechness and Czech music","authors":"Geoffrey F. Chew","doi":"10.5817/mb2019-1-2","DOIUrl":"https://doi.org/10.5817/mb2019-1-2","url":null,"abstract":"In an article in 1986, Michael Beckerman debated the meaning of “Czechness” in music; since then, it has usually been construed as a myth that has more to do with the reception of the national repertoire than with objective qualities of the music. This article proposes that the idea of “Czechness” should be reconsidered, using not only ideas developed in historical musicology since the 1980s, but also more recent developments in music analysis, in order to redirect attention to “the music itself” and to reconstrue it in new and fruitful ways.","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":"71350222","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":"Jazz na Slovensku v období fašizmu","authors":"Yvetta Kajanová","doi":"10.5817/mb2019-2-3","DOIUrl":"https://doi.org/10.5817/mb2019-2-3","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350085","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":"Financování multimediální výchovy v hudebním oboru na základních uměleckých školách","authors":"P. Martínková","doi":"10.5817/mb2019-2-6","DOIUrl":"https://doi.org/10.5817/mb2019-2-6","url":null,"abstract":"","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350143","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":"\"Umělec nesmí nikdy ztratit odvahu, ať se děje, co se děje\" : Jan Novák a Bohuslav Martinů ve světle vzájemné korespondence (1947–1959)","authors":"Martin Flášar, Pavel Žůrek","doi":"10.5817/mb2019-1-7","DOIUrl":"https://doi.org/10.5817/mb2019-1-7","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":"71350451","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 musico-dramatic works to be performed in front of the Holy Sepulcher during the Triduum Sacrum (sepolcri) were very popular in the 17th and 18th centuries. They have their origin at the Viennese court and are not least widespread in the countries of the Bohemian crown. It is a paraliturgical form of devotion with direct reference to the context of Holy Week. It therefore seems worthwhile to ask about the connection between the content of these works and the piety of the viewers. This can be well understood by looking at Eleonore II. (1630–1686), the widow of Emperor Ferdinand III. (†1657). From 1660 to 1686 in Eleonora's chapel sepolcri were performed, usually dedicated to individual elements of the Passion of Jesus Christ. An example of this is Le cinque piaghe di Christo by Nicolò Minato and Antonio Draghi (1677). In the forms of piety practiced by or at least recommended for the members of the Star Cross Order, which Eleonore II. founded in 1668, the mystical veneration of the five wounds of Christ also plays an important role. In this way it is possible to show to what extent what maybe seems rather strange today was a religious matter of course in the 17th century, and thereby deepen the understanding of the work of Minato and Draghi.
在圣祭节(Triduum Sacrum)期间，在圣墓前表演的音乐戏剧作品在17世纪和18世纪非常流行。它们起源于维也纳宫廷，在波西米亚王室的国家中也很普遍。这是一种与圣周直接相关的祈祷形式。因此，这些作品的内容与观众的虔诚之间的联系似乎值得探讨。这一点可以通过《Eleonore II》得到很好的理解。(1630-1686)，费迪南三世皇帝的遗孀。(__ 1657)。从1660年到1686年，在埃莉奥诺拉的小教堂里进行了sepolcri，通常是献给耶稣基督受难的个别元素。这方面的一个例子是Nicolò米纳托和安东尼奥·德拉吉(Antonio Draghi)于1677年创作的《克里斯托之歌》(Le cinque piaghe di Christo)。以虔诚的形式实践或至少推荐给星十字勋章的成员，Eleonore II。建于1668年，对基督五伤的神秘崇拜也起着重要作用。通过这种方式，有可能在多大程度上显示今天看起来相当奇怪的事情在17世纪当然是一个宗教问题，从而加深对米纳托和德拉吉工作的理解。
{"title":"Le cinque piaghe di Christo von Nicolò Minato und Antonio Draghi (1677) und die Verehrung der fünf Wunden Christi durch den Sternkreuzorden","authors":"M. Pernerstorfer","doi":"10.5817/mb2022-1-10","DOIUrl":"https://doi.org/10.5817/mb2022-1-10","url":null,"abstract":"The musico-dramatic works to be performed in front of the Holy Sepulcher during the Triduum Sacrum (sepolcri) were very popular in the 17th and 18th centuries. They have their origin at the Viennese court and are not least widespread in the countries of the Bohemian crown. It is a paraliturgical form of devotion with direct reference to the context of Holy Week. It therefore seems worthwhile to ask about the connection between the content of these works and the piety of the viewers. This can be well understood by looking at Eleonore II. (1630–1686), the widow of Emperor Ferdinand III. (†1657). From 1660 to 1686 in Eleonora's chapel sepolcri were performed, usually dedicated to individual elements of the Passion of Jesus Christ. An example of this is Le cinque piaghe di Christo by Nicolò Minato and Antonio Draghi (1677). In the forms of piety practiced by or at least recommended for the members of the Star Cross Order, which Eleonore II. founded in 1668, the mystical veneration of the five wounds of Christ also plays an important role. In this way it is possible to show to what extent what maybe seems rather strange today was a religious matter of course in the 17th century, and thereby deepen the understanding of the work of Minato and Draghi.","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350113","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 present article examines the fundamentals of musical polemics such as the Czech post-romantic composer Vítězslav Novák conducted against Richard Strauss. Based on the foundations of modern theories of intermediality (Zemanek 2012, Wirth 2004) and (post) romantic intermedial aesthetics (Schmidt 2005), a comparative formalistic and structural analysis of the musical version of Otto Julius Bierbaum’s poem Traum durch die Dämmerung by Strauss and Novák is carried out. Using this song as an example, it is examined on which structural levels the musical polemics in Nováks composition are realized, to what extent they represent a specific composition technique and whether and how they call into question the omnipresent idea of romantic “absolute music” (Dahlhaus 1978).
本文考察了音乐论战的基本原理，如捷克后浪漫主义作曲家Vítězslav Novák对理查德·施特劳斯的反对。基于现代中间性理论(Zemanek 2012, Wirth 2004)和(后)浪漫主义中间性美学(Schmidt 2005)的基础，对奥托·尤利乌斯·贝尔鲍姆(Otto Julius Bierbaum)的音乐版施特劳斯和Novák的诗歌《Traum durch die Dämmerung》进行了比较形式主义和结构分析。以这首歌为例，研究了Nováks作曲中的音乐论战是在哪些结构层面上实现的，它们在多大程度上代表了一种特定的作曲技术，以及它们是否以及如何质疑无处不在的浪漫主义“绝对音乐”(Dahlhaus 1978)。
{"title":"Die intermediale Differenz-Form-des-Dazwischen im (spät)romantischen Lied am Beispiel von Traum durch die Dämmerung – Vítězslav Nováks \"musikalische Polemik\"","authors":"Petr Pytlík","doi":"10.5817/mb2021-1-6","DOIUrl":"https://doi.org/10.5817/mb2021-1-6","url":null,"abstract":"The present article examines the fundamentals of musical polemics such as the Czech post-romantic composer Vítězslav Novák conducted against Richard Strauss. Based on the foundations of modern theories of intermediality (Zemanek 2012, Wirth 2004) and (post) romantic intermedial aesthetics (Schmidt 2005), a comparative formalistic and structural analysis of the musical version of Otto Julius Bierbaum’s poem Traum durch die Dämmerung by Strauss and Novák is carried out. Using this song as an example, it is examined on which structural levels the musical polemics in Nováks composition are realized, to what extent they represent a specific composition technique and whether and how they call into question the omnipresent idea of romantic “absolute music” (Dahlhaus 1978).","PeriodicalId":53757,"journal":{"name":"Musicologica Brunensia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71350360","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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