Lubomír Tyllner: Pelhřimovsko v lidové písni
Lubomír Tyllner: Pelhřimovsko v lidové písniPelhřimov : Muzeum Vysočiny Pelhřimov, 2018, 188 s. ISBN 978-80-87228-19-7
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Lubomír Tyllner: Pelhřimovsko v lidové písniPelhřimov : Muzeum Vysočiny Pelhřimov, 2018, 188 s. ISBN 978-80-87228-19-7
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In the period from the 1830s to the early years of the 20th century there were four published editions of piano arrangements of Slovak folk songs by domestic (Slovak) composers (M. Sucháň 1830; V. Füredy 1837; M. Francisci 1892, 1893; A. Piťo – J. N. Polášek 1905, 1906). The aim here was to define typologically the song repertoire which composers’ worked on (models and their selection), to elucidate the editions of arrangements of Slovak folk songs for piano (publishers, authors, compositional processing), and to identify the sociocultural period associations of these editions, from the ethnomusicologist’s point of view. A hypothesis was tested, regarding to what extent the printed editions of piano arrangements of Slovak folk songs influenced the codification of a certain core repertoire in Slovakia and contributed thus towards forming the national identity of Slovaks.
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Ľubomír Chalupka: Cestami k tvorivej profesionalite. Sprievodca slovenskou hudbou 20. storočia I (1901 – 1950)Bratislava : Univerzita Komenského, Filozofická fakulta, 2015, 307 s., ISBN 978-80-8127-091-8
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The group of women singers from the Stara Pazova locality (Vojvodina, Serbia) has an important position in terms of disseminating and preserving Slovak folk songs in a Slovak enclave. Currently there is one folklore group in Stara Pazova, whose main aim is the preservation of the original form of song material. The author profiles this group of singers in her paper: its origin, development, current state and song repertoire. She points to specific features of the Slovak folk song in the locality, which the women preserve in their singing. The song repertoire and the mode of performance are illustrated with selected song extracts.
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The first phonograph recordings of Slovak folk songs were carried out by the ethnographer Karol Anton Medvecký (1875–1937) in 1901 in the village of Detva in Central Slovakia. After this first phonograph session, he recorded songs in the German enclave in Central Slovakia, in the village of Veľké Pole (Hochwies). Today, the technical reconstruction of these recordings is unrealistic due to their physical and biological degradation. Nevertheless, with the help of contemporaneous sources, we managed to reconstruct the time of origin of the recordings, their number, and contents. Medvecký carried out the sound recordings in Veľké Pole with a phonograph in 1902–1903. They consisted of 17 songs in German and Slovak, rendered by a German female inhabitant of this village. Although physical documents only survived in a form of two cylinders, the reconstruction of the song repertoire led to the presumption that there were more, minimum three to four cylinders. The musical analysis of the published transcriptions from 1904 revealed that the songs in German conserved the earlier styles of Slovak folk singing.
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Review of: Darina Múdra: Topografia hudby klasicizmu na Slovensku z pohľadu kanonických vizitácií. Topografia a špecifiká (1. diel), Pramenná databáza (2. diel), Registre (3. diel). Bratislava : VEDA, vydavateľstvo SAV, 2019, 1318 s. ISBN 978-80-224-1742-6
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Lubomír Tyllner – Zdeněk Vejvoda: Česká lidová píseň. Historie, analýza,typologie. Praha : Bärenreiter Praha, 2019, 309 s. ISBN 978-80-86385-39-6
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Medieval liturgical sources from various monastic communities are an important testimony to the monastic musical culture of the area. Musical prayer formed an essential part of the monk’s daily life. In addition to the Mass liturgy, which is also encountered in diocesan settings, the liturgy of the hours, which was celebrated essentially in the form of chant, determined the basic structure of the day for each member of the order. The aim of this study is to investigate the medieval liturgical chants of the Office for the Dead in Carthusian manuscripts from the territory of Moravia. Attention will be paid to selected chants of the Matins from these codices, primarily its responsories. These chants represent a specific, Carthusian liturgical tradition, which has been documented in its stable structure since the foundation of the Carthusian Order.
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One of the most outstanding, most representative liturgical codices of the Hungarian Middle Ages is the Missale Notatum Strigoniense, copied before 1341. The summary of the material of the Mass rite of Esztergom and the general formulation of the rubrics give the impression that the manuscript was intended as a normative book, expected to be copied. Shortly after its completion, probably yet in the 14th century, the manuscript was relocated from Esztergom to Bratislava. Therefore, it seems obvious that we are looking for its copies among the so-called Missals of Bratislava kept in Budapest since the beginning of the 19th century. The relationship between the Missale Notatum Strigoniense and the Bratislava Missals could be best illustrated by concentric circles. To the closest to the Missale Notatum is the “H” Missal, which can be considered its direct duplication. In the innermost circle, but somewhat further away from it is the “A” Missal, which used the Missale Notatum probably as a model, significantly reducing, but not modifying its content. Codex “C” was copied probably from one of the two duplications. Manuscripts “B” and “D” are farther from the center, in the second circle. These associate the Temporale of Esztergom with a mixed Sanctorale. The Missals belonging to the outermost circle – “E”, “F”, “G” – follow the central tradition less, by preserving its most important elements only.
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Martin Flašar – Pavel Žůrek: Umělec nesmí nikdy ztratit odvahu. Jan Novák a Bohuslav Martinů ve světle korespondence (1947 – 1959). Brno : Masarykova univerzita, 2022, 423 s. ISBN 978-80-210-9890-9.
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It is usually the quantity of extant sources that determines how detailed information wecan gain about the musical culture of a Renaissance town. With respect to the free royalmining town of Kremnica, almost no musical sources have survived from the Renaissanceperiod. Nevertheless, archival materials in the form of ledgers, minutes of the meetings of themunicipal council, wills, letters, and various other documents impart pieces of knowledgeabout music events in this town. These sources provide information about prominent figuresin music, i.e. the cantor, singers, the organist, and trumpeters, and even about the repertoirethey performed and the events in the town during which they sang and played.Detailed research of the sources from Kremnica was carried out more than forty yearsago by the prominent Slovak musicologist Ernest Zavarský. The polyphonic fragmentsrecently discovered in Kremnica enable us to supplement the information about therepertoire performed in the town and update the research results at least partially. Moreover,the identification of the fragments reveals that such research is of importance not only for themusical history of the town and its region but also for entire Central Europe.
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This study deals with a fragment of Gradual 860 from the early thirteenth century, recentlydiscovered in the Library of the Evangelical Church of the Augsburg Confession in Kremnica.It is one of the oldest medieval sources of music from Kremnica, brought to Slovakia in itssecondary function as the cover of Nicodemus Frischlin’s Nomeclatur tri linguis Graeco-Latino-Germanicus printed in Frankfurt in 1614. The fragment contains some chants of the liturgyof the Holy Mass in the wintertime, specifically for the feasts of Saints Nicholas, Odile, Lucy,Stephen, and John the Evangelist and a sequence for the Feast of the Nativity of the Lord, (Sq.Eia recolamus, Natus ante saecula). Especially the Almae Odiliae interventu Alleluia verse forthe Feast of Saint Odile is a rare repertoire element of this fragment.
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Much scholarly effort was devoted to the historical development of language in the nineteenthand the early twentieth centuries, and this was one of the fundamental research topics inlinguistics. For several reasons, a similar phenomenon in music was not given much scope.One reason was the barrier of neumatic notation, which has been posing many challengesto this day. This paper is a probe into the development of the Byzantine liturgical musicaltradition, which has been similar to that of language in many ways. As the object of ourresearch, we chose a unique sticheron-automelon, O House of Ephratha/Οἴκος τού Ἐφραθά,whose development can be traced back to the eleventh century and reaches up to its current,living tradition. The aim of this paper is to introduce Byzantine hymnography and liturgyto the reader and lead him through the development of hymns with examples of selectedmusical sources. The analysis includes reconstructions of its earlier phases recorded inadiastematic neumatic notations.
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Hana Studeničová: Kantoři, varhaníci a trubači. Hudební kultura moravských královských měst v letech 1500 – 1620. Statutární město Brno, Archiv města Brna, 2023, 398 p. ISBN 978-80-86736-73-0
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The wealth of information contained in the documents of the Ohrid Archdiocese collected in the collection Ponemata diaphora (“Miscellaneous Works”) makes them a valuable source for the medieval history of the Balkan-Asia Minor region in the last centuries of the Middle Ages. A large part of them reveal different aspects of the relationship between the Archdiocese and its mostly ethnically Bulgarian congregation. For this reason, these documents will be published, translated and commented in volume XIII of the series Greek sources for Bulgarian history, which is being prepared for printing. The texts included in the Ponemata diaphora can be grouped according to their content into four distinct categories: a) decisions on ecclesiastical cases, b) decisions on property and inheritance disputes, c) decisions on cases related to marriage law and d) decisions on manslaughter cases. We will present them in this order here as well, keeping the numbering of the documents introduced by the publisher of Ponemata diaphora, Prof. Günther Prinzing. The brief content of the described legal cases represents an unadulterated picture of the everyday life of Bulgarians from the 13th century.
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After the German occupation of the Kingdom of Yugoslavia and its dismemberment, the territory of Bosnia and Herzegovina became part of the Independent State of Croatia. Immediately after taking power, the Ustasha regime began the systematic persecution and physical extermination of Serbs and Jews in particular, but also of anyone who opposed it. Initially, the more respected members of these peoples, mostly men, were killed, and in the second half of 1941 a genocidal policy was initiated that led to the almost complete extermination of Sarajevo’s Jewish population in Jasenovac and other camps by August 1942 (Holocaust).However, the crimes against Muslims were most intense in this area, especially in late 1941 and early 1943, when the Chetnik units committed most of the crimes against the Muslim population, which at certain moments took on a genocidal character. Crimes were committed until the very end of the war. From February to April 1945, the Ustasha policy did not stop, so that these days in Sarajevo are remembered as the “bloody tyranny” of Vjekoslav Maks Luburić. Although several attempts had already been made, the systematic census of the victims of the Second World War on the territory of Yugoslavia was only started after the decision of the Federal Executive Council of 11 May 1964. The census initially had an ideological component, which later turned but to be its biggest flaw, as it was decided not to include people who “died in quisling organisations”. As the number of people recorded was far from the reported war victims (1,706,000) and the census therefore did not fulfil its original purpose of collecting war reparations, its use was banned. This ban lasted until 1992, i.e. until the collapse of the Yugoslav state. In 1995, the Genocide Victims’ Museum began to systematically analyse the results of this census. With this work, the total number of registered war victims increased by about 60,000, of which more than half of the newly registered victims came from the territory of Bosnia and Herzegovina. The census was conducted according to the territorial organisation of Bosnia and Herzegovina at the time of the census, according to which the Republic was divided into six large counties. One of them was the Sarajevo County, which included 30 municipalities. Since the ideological component in conducting the census of war victims had the least methodological impact on the counting of the civilian population, which is why the civilian population was counted most thoroughly, we have analysed the civilian war victims from this area in more detail in this article. A total of 171,224 civilian casualties were counted in the territory of Bosnia and Herzegovina, and 38,110 civilian casualties were counted in the area that later became the Sarajevo County. Most of these victims were Muslims (41.35%), followed by Serbs (28.65%), Jews (24.18%) and Croats (2.90%). All other nationalities were represented by 2.92%. If the civilian victims are analysed according to gender structure, it is noticeable that almost two thirds of the victims were male. Men were killed most frequently in 1941 and 1942, women in 1942 and 1943. When analysing the age structure, it is easy to see that most of the majority of victims were between the ages of 15 and 64.
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Novica Simić, Operation "Corridor-92", Veterans' Organization of the Republic of Srpska, Banja Luka, 2011, 479 pp.
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