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Mestské divadlo v Prešporku na sklonku 19. storočia a jeho riaditelia Emanuel Raul a Ignácz Krecsányi

Mestské divadlo v Prešporku na sklonku 19. storočia a jeho riaditelia Emanuel Raul a Ignácz Krecsányi

Author(s): Jana Laslavíková / Language(s): Slovak Issue: 1/2016

The City Theatre in Pressburg began operation in 1886 in a newly-erected building (now the Historical Building of the Slovak National Theatre). The building belonged to the city, which rented it under a theatrical contract to the German and Hungarian theatre directors and their companies. The individuals in question were the German director Emanuel Raul (1843–1916) and the Hungarian director Ignácz Krecsányi (1844–1923), who were active in the City Theatre at the close of the 19th century. The city, as owner of the building, decided on the hiring of the theatre and influenced its everyday operation with stipulations. Selection of the repertoire was the responsibility of the director, who compiled a daily plan of performance based on requirements laid down in the contract, as well as the preferences of the regular audience. This was comprised of German-speaking inhabitants, a fact which is reflected clearly in the theatre’s attendance.

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Edita Bugalová: Hudobná Trnava a Mikuláš Schneider-Trnavský

Edita Bugalová: Hudobná Trnava a Mikuláš Schneider-Trnavský

Author(s): Jana Lengová / Language(s): Slovak Issue: 2/2016

Review of: Edita Bugalová: Hudobná Trnava a Mikuláš Schneider-TrnavskýTrnava : Spolok sv. Vojtecha; Vojtech, spol. s r.o., 2011, 320 s. a obr. príloha. ISBN 978-807162-891-0

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Soňa Burlasová: Kapitoly o slovenskej ľudovej piesni

Soňa Burlasová: Kapitoly o slovenskej ľudovej piesni

Author(s): Kristina Lomen / Language(s): Slovak Issue: 2/2016

Review of: Soňa Burlasová: Kapitoly o slovenskej ľudovej piesniEd. Hana Urbancová. Bratislava : Ústav hudobnej vedy Slovenskej akadémie vied, 2013, 296 s. ISBN 978-80-89135-30-1

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Klavírna kultúra v Bratislave v rokoch 1770 – 1830 (I)

Klavírna kultúra v Bratislave v rokoch 1770 – 1830 (I)

Author(s): Eva Szórádová / Language(s): Slovak Issue: 2/2015

The paper presents a picture of piano culture in Bratislava in the second half of the 18thcentury and especially after 1770, the period which saw the hammer piano make a remarkable advance and even win dominance in European musical culture. The research is based on sources primarily of Bratislava provenance, which document piano culture among various social layers (aristrocratic, bourgeois, church and school milieux) and resulting from the work of influential figures who contributed to its development (composers, teachers, organisers, patrons, musical dilettantes, instrument-builders). Given the broad scope of the question, a selected approach is taken in this study, focusing especially on the circumstances and conditions in which piano culture evolved in Bratislava: opportunities for the cultivation of piano playing, reports on keyboard instruments in the press, concerts and events, manufacture of instruments. Particular attention is devoted to Johann Nepomuk Erdődy and his role in piano culture. The findings and presentation of sources are confronted with the picture of Viennese piano culture, which, mediated by the activities of a variety of social layers, contributed in a specific manner to the profile of piano culture in Bratislava.

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Tanečný žáner a klavírna hudba na Slovensku v druhej polovici 19. storočia

Tanečný žáner a klavírna hudba na Slovensku v druhej polovici 19. storočia

Author(s): Jana Lengová / Language(s): Slovak Issue: 2/2015

The dance phenomenon was one of the sources of inspiration for piano composers active in the second half of the 19th century in Slovakia. Dance forms were composed with both a utilitarian and an aesthetic function, or there could be a fluent transition between those two poles. The dance genre was associated with salon music and with the employment of technical virtuosity. Among the favourite dances in society, the quadrille, mazurka, csardas, waltz and polka were particularly loved. A speciality was the so-called Slovak quadrilles composed especially in the 1850s – 1870s, using Slovak folk songs. The dance genre evoked a response from such composers as Jozef Rizner, Ján Egry, Emil Kovárcz, Leopold Dušinský, Maximilián Hudec, Ján Levoslav Bella, Štefan Fajnor, Ignác Boldiš, and many others. The paper examines the range of representation of individual dance forms and their musical style characterisation, as well as the relationship between functionality and autonomy in this work.

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Petr Daněk: Historické tisky vokální polyfonie, rané monodie, hudební teorie a instrumentální hudby v českých zemích do roku 1630. Se soupisem tisků z let 1488 –1628, uložených v Čechách

Petr Daněk: Historické tisky vokální polyfonie, rané monodie, hudební teorie a instrumentální hudby v českých zemích do roku 1630. Se soupisem tisků z let 1488 –1628, uložených v Čechách

Author(s): Ladislav Kačic / Language(s): Slovak Issue: 2/2015

Review of: Petr Daněk: Historické tisky vokální polyfonie, rané monodie, hudební teorie a instrumentální hudby v českých zemích do roku 1630. Se soupisem tisků z let 1488 – 1628 uložených v Čechách Praha : KLP – Koniasch Latin Press 2015, 223 s., ISBN 9788087773130

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Toncrová, Marta – Smutná, Silva (ed.): Lidové písně z Podhorácka I. Náměšťsko a Velkobítešsko

Toncrová, Marta – Smutná, Silva (ed.): Lidové písně z Podhorácka I. Náměšťsko a Velkobítešsko

Author(s): Miriam Timková / Language(s): Slovak Issue: 2/2015

Review of: Toncrová, Marta – Smutná, Silva (eds.): Lidové písně z Podhorácka I. Náměšťsko a VelkobítešskoTřebíč; Brno : Muzeum Vysočiny Třebíč; Etnologický ústav AV ČR, 2011, 510 s., ISBN 978-80-86894-18-8

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Stredoveké notované fragmenty zo Slovenského národného archívu

Stredoveké notované fragmenty zo Slovenského národného archívu

Author(s): Eva Veselovská / Language(s): Slovak Issue: 1/2014

The sources of medieval musical culture from the territory of Slovakia are the foundation stone in the musical history of our land. The most recent investigations of 62 medieval fragments from the Slovak National Archive in Bratislava have indicated a wealth of original and imported written culture from a time period from the late 12th to the early 16th century. Newly discovered fragments fill out the complex picture of the sources of medieval musical culture, which despite severe material losses (manuscripts lost, destroyed, or removed abroad) is rich and unique. In the latest research in the Slovak National Archive many fragments have been identified from manuscripts which are currently known and more or less complete.

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Evanjelické kantoráty a. v. na Spiši a ich význam pre rozvoj renesančnej a barokovej hudby

Evanjelické kantoráty a. v. na Spiši a ich význam pre rozvoj renesančnej a barokovej hudby

Author(s): Janka Petőczová / Language(s): Slovak Issue: 1/2014

The paper summarises the results of the most recent research on Lutheran Church cantorates in Spiš/Zips in the 16th and 17th centuries. Besides resolving questions of terminology, the author considers the genesis of the Lutheran cantorates (development of musical education, influence of Leonard Stöckel) and also analyses the activity of two urban cantorates (Levoča/Leutschau, Spišská Nová Ves/Neocomium, Iglo, Neudorff). Emphasis is placed on new findings connected with the existence of the religio-musical corporation Fraternitas Litteratorum in Spišská Nová Ves. Particular attention is devoted to transcriptions of the unique musical repertoire in the Spiš Lutheran cantorates and the Central European musico-cultural context.

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K otázke rodových štúdií: Ženy v opernej a operetnej prevádzke bratislavského Mestského divadla (1886 – 1920)

K otázke rodových štúdií: Ženy v opernej a operetnej prevádzke bratislavského Mestského divadla (1886 – 1920)

Author(s): Jana Lengová / Language(s): Slovak Issue: 1/2014

In the light of gender studies, this paper examines how female singers and composers exercised their professions, and their social and artistic status, in the Bratislava City Theatre during the years 1886 – 1920. The source base is a study of the daily newspapers Preßburger Zeitung and Westungarischer Grenzbote. From what theatre critics wrote, it is concluded that both men and women could exercise the profession of singer with comparable success, with decisive criterion for evaluation being the singer’s performance and his/her creation of the theatrical role. A more detailed description is given of the guest performances of the singers Lujza Blaha (1850 – 1926) and Irma de Spányi (1861 – 1932). There were long-lasting prejudices against women composers. The positive reception of the premiere of the now lost opera Tamaro, by the Bratislava composer Countess Alexandrine Esterházy-Rossi, in the Bratislava Theatre (1907), is presented in the wider context of female musical creativity and contemporary domestic opera production, and also as proof of the gradual transformation of older conservative views.

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Hana Urbancová: Jánske piesne na Slovensku. Štruktúra, funkcia, kontext

Hana Urbancová: Jánske piesne na Slovensku. Štruktúra, funkcia, kontext

Author(s): Jadranka Važanová / Language(s): Slovak Issue: 1/2014

Review of: Hana Urbancová: Jánske piesne na Slovensku. Štruktúra, funkcia, kontext. Bratislava : Academic Electronic Press, 2010, 220 s. ISBN 978-80-88880-90-5. Audio CD, bibliografia, mapy, tabuľky, notové zápisy. Anglické resumé.

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Jitka Bajgarová: Hudební spolky v Brně a jejich role při utváření „hudebního obrazu“ města 1860 – 1918

Jitka Bajgarová: Hudební spolky v Brně a jejich role při utváření „hudebního obrazu“ města 1860 – 1918

Author(s): Jana Lengová / Language(s): Slovak Issue: 2/2014

Review of: Jitka Bajgarová: Hudební spolky v Brně a jejich role při utváření „hudebního obrazu“ města 1860 – 1918. Brno : Centrum pro studium demokracie a kultury, 2005, 171 s., ISBN 80-7325-070-5.

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Piesne letného slnovratu na Slovensku ako súčasť slovanskej kultúrnej tradície

Piesne letného slnovratu na Slovensku ako súčasť slovanskej kultúrnej tradície

Author(s): Hana Urbancová / Language(s): Slovak Issue: 1/2013

The territory of Slovakia belongs to one of those regions of Europe where there is an extant repertoire of ritual songs which are associated with the celebration of Midsummer and St. John’s Day. Analysis of the textual and musical components of the Midsummer songs jánske piesne has enabled a reconstruction of the ritual context. It has confirmed the assumption that songs with a ritual function conserve many contextual associations of singing, which retrospectively illuminate the vanished forms of ritual. A comparative sounding of the song repertoire of selected Slavonic ethnic groups (Czech/Moravian, Polish, Croatian, Ruthenian, White Russian) has contributed to the study of common elements and semantic analogies in Midsummer rituals. It helps to verify data on the relationship of the “text” (song) and “context” (ritual), acquired by analysis of song material which is territorially/ethnically delimited, as well as to study Slavonic tradition of the celebration of summer solstice.

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Hudobná historiografia Jozefa Kresánka

Hudobná historiografia Jozefa Kresánka

Author(s): Peter Ruščin / Language(s): Slovak Issue: 2/2013

The pedagogic synthesis Hudobná historiografia [Music Historiography] (Bratislava 1981; 21992) in the context of Jozef Kresánek’s propaedeutic literature. The specifics of Kresánek’s conception – the dual model (systematic procedures; the journey from musical source to synthesis). Comparison with Czech and Slovak propaedeutic literature of the 1980s and 1990s. The academic conception in the three-volume Czech publication Hudební věda [Musicology](Prague 1988), the combined approach (structure of the scholarly discipline and method of work with the musical source) of Richard Rybarič in his Hudobná historiografia [Music Historiography] (Prešov 1994). Correspondence and divergences in Kresánek’s and Rybarič’s conceptions – the line of Slovak music historiography in the founding and older generation of music historians.

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Pastorácia Rómov a jej vplyv na piesňový repertoár

Pastorácia Rómov a jej vplyv na piesňový repertoár

Author(s): Jana Belišová / Language(s): Slovak Issue: 2/2013

The spiritual and religious life of the Roma is, for the majority, little known. In the past the Roma ordinarily tended to affiliate to whatever church denomination was dominant in their surroundings. The situation in the religious field has been changing since 1990 and various church societies have begun to conduct missionary activity among the Roma. Missionary activity has an influence also on the song repertoire, where religious song has found a place. Many of these songs are composed by Roma themselves, with a part taken from the repertoire of church hymns or from the repertoire of so-called praises and adapting either the music or the lyrics of the work. They call these songs praises or gospels. They understand them as prayer, a celebration of God. The singing is accompanied by a strong emotional expresion, with gestures of the hands and movements of the body. The songs are sung at common church ceremonies, at home prayers within the family, and at festivals of religious song, but they also penetrate the repertoire of everyday life.

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Bassani – Brentner – Villicus: hudební repertoár dvou rukopisných sborníků z piaristického kláštera v Podolínci

Bassani – Brentner – Villicus: hudební repertoár dvou rukopisných sborníků z piaristického kláštera v Podolínci

Author(s): Václav Kapsa / Language(s): Czech Issue: 2/2012

The article is concerned with two manuscripts containing anonymous solo motets and sacred arias preserved in the musical collection of the Piarist monastery in Podolínec under the shelfmarks H-669 and H-1001. In both instances only some partbooks are extant and the composers were identified only exceptionally. On the basis of his preceding research and new comparison, the present author makes the attribution of works more precise: the first collection is compiled mainly from works by J. J. I. Brentner and includes, among other things, a transcription of the printed collection Hymnodia divina op. 3 (Prag 1718/19). Three style layers included in the second collection and represented by solo motets of Italian origin (G. B. Bassani, F. A. Bonporti, Anonym), a transcription of a collection of arias by B. Villicus, and an aria (with new Latin text) by N. Piccini, provide material for reflection on the possible directions of further research into style evolution in the solo motet in central Europe in the first third of the 18th century.

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Význam klavírnej školy Johanna Nepomuka Hummela pre vývin estetických ideálov klavírnej interpretácie v 19. storočí

Význam klavírnej školy Johanna Nepomuka Hummela pre vývin estetických ideálov klavírnej interpretácie v 19. storočí

Author(s): Markéta Štefková / Language(s): Slovak Issue: 2/2012

The author focuses attention on the importance of the piano textbook Anweisung zum PianoForte-Spiel by Johann Nepomuk Hummel (1828). Associating himself with the bel canto technique and Mozart’s poetics, Hummel enriched the repertoire with pianistic figures and created a specific lyric-cantabile idiomatics, which had a marked influence on the generation of early romantics. The author defines the status of the Hummel textbook in the field of 18th and 19th century performance tractates. Particular attention is devoted to comparison with Franz Paul Rigler, from whom Hummel borrowed a number of examples, and also to comparing the performance ideals of Hummel and Beethoven, which became the basis for the paradigm of a new aesthetic ideal of piano playing, represented by Fryderyk Chopin and Franz Liszt. While Hummel gave essential stimuli to Chopin, Liszt took his inspiration rather from the poetics of Beethoven.

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K špecifi kám hudby františkánov na Morave v 17. a 18. storočí: Poznámky k dejinám hudby v Provincii Bohemiae Sancti Wenceslai

K špecifi kám hudby františkánov na Morave v 17. a 18. storočí: Poznámky k dejinám hudby v Provincii Bohemiae Sancti Wenceslai

Author(s): Ladislav Kačic / Language(s): Slovak Issue: 2/2011

Th e study consists of notes on the topic of Franciscan music in the 17th and 18th centuries in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specifi c features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the socalled measured chant – much greater space aff orded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. Th e Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplifi ed type of Franciscan polychoral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. Interesting in terms of practical performance is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.

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Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru

Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru

Author(s): Jadranka Važanová / Language(s): Slovak Issue: 1/2010

Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru. Bratislava : Academic Electronic Press, 2005, 324 s. ISBN 80-88880-67-X

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Meanings and Uses of Material Cultural Heritage in the Town of Hvar

Meanings and Uses of Material Cultural Heritage in the Town of Hvar

Author(s): Jasna Čapo / Language(s): English Issue: 3/2024

The article takes issue with the distinction between tangible and intangible heritage and the duality between the symbolic and instrumental (profit-generating) value of heritage. Based on ethnographic research in a tourist destination on the Croatian coast, the article interrogates what happens when built culture and urban public spaces are still part of living culture in a locality. It demonstrates dissonant meanings and uses of heritage that arise from the intangible and socially constructed nature of material heritage for local users. Beyond the symbolic and instrumental meanings and uses of heritage, its societal, experiential meaning is underlined as it is a part of living societal culture that is consumed on a daily basis. In the end, the article reflects on the limits of local community engagement in heritage processes.

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