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Review of: Inessa Bazayev – Christopher Segall (eds.): Analytical Approaches to 20th-Century Russian Music. Tonality, Modernity, Serialism, New York : Routledge, 2021, 270 s. ISBN 978-0-367-43032-0.
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Review of: Milina Sklabinská: Esteticko-hudobné práce Martina Kmeťa Báčsky Petrovec – Nový Sad : Slovenské vydavateľské centrum; Ústav pre kultúru vojvodinských Slovákov, 2019, 208 s. ISBN 978-86-7103-519-4.
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54. International Musicological Colloquium Brno: Urban music culture in Central Europe ca. 1450–1670, Brno (Czech Republic), November 4 – 6, 2019
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Jak vytvářet tematické katalogy děl skladatelů? Workshop. Praha (Česká republika), 31. mája 2019
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In researching the culture of sacred music (of the Roman Catholic Church, the major denomination) during the period of classicism on the territory of present-day Slovakia, we have reached a new stage of knowledge, enabling us by novel means to reassess the received image of how that culture was nurtured in our land. The new findings concern places where the musical art was cultivated (which can now be connected in the form of a musical network), musicians and musical families, the instrumentarium (organs and other instruments), and the repertoire. The creation of a musical network has been made possible by an exceptionally rich new factography with a powerful argumentative force, and also by a new typology based on criteria of a supremely musical nature (and secondarily, of a universal cultural nature). The decisive criterion was the character and level of performance practice, as applied in the given period.
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This article addresses the relationship of myth and music, taking the example of musical ballads by the Slovak composer Tadeáš Salva (1937 – 1995). The early 20th century saw the appearance of a new phenomenon in art: the renaissance of myth. The problem of myth became the foundation of works by many researchers in a variety of scholarly disciplines. Claude Lévi-Strauss was the first who addressed this question in relation to music. For him, the essential methodological point of departure in the examination of myth is binary oppositions. In essence these correlate with the dualism which, according to Tadeáš Salva, is the basic characteristic of the ballad. Analysis of the balladic principle in the work of this composer consists of a description of the contrasting elements in a number of musical parameters. On this basis, an attempt is made to show the renaissance of myth in Salva’s music via the musical ballads, which in varying instrumentation represent the core of his original music.
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This paper considers the musical abilities of children of pre-school age and the factors which influence the development of those abilities. It highlights the findings of research among pre-school children in Slovakia, which was conducted on the basis of the author’s concept of a non-standard test to ascertain the quality of those children’s musical abilities, in the form of a fairytale. The test, created to ascertain the quality of the musical abilities of children of pre-school age, offers an instrument for diagnosing the quality of their musical sense and prediction of their musical talent. Methodically and thematically, it may be of assistance to pre-school teachers and also teachers in elementary art schools.
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The village of Veľké Rovné (region of Považie), in north-western Slovakia, was originally one of those localities with a well-developed shepherd culture of the upland type. The first documents relating to a tinker craft in the village come from the 1820s. Later this village became a unique centre of the tinker trade, from which inhabitants went forth to practise their skills not only all over Slovakia but also in many other regions of Europe and overseas. Linked with the tinkers’ profession was a distinctive tinkers’ subculture, one component of which was traditional singing. The specific song repertoire associated with tinker craft is represented by a group of seven songs, which have been preserved in local memory in the village to the present day. This song group was taken as an object of analysis concerning the genesis of individual song types, style features as well as occasions for singing. In the all-Slovakian context this song group (as a whole) was not recorded in the older published sources, nor do the systematic studies of Slovak folk songs take account of it. The tinker songs belong to the category of occupational songs associated with traditional crafts.
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Review of: Eva Veselovská: Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini. Catalogus fragmentorum cum notis musicis medii aevi in Slovacia, Tomus V. Bratislava : Institut für Musikwissenschaft der Slowakischen Akademie der Wissenschaften, 2019, 132 s. ISBN 978-80-89135-43-1
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Tomasz Jeż: Danielis Sartorii Musicalia Wratislaviensia (= Fontes musicæ in Polonia, A/I). Warszawa : Wydawnictwo Naukowe Sub Lupa, 2017. ISBN: 978-83-65886-11-8
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The employment of ornaments in the traditional singing of Slovaks in the Stará Pazova locality (Vojvodina, Serbia) is a rare phenomenon, and not only in terms of traditional song culture from the territory of Slovakia. It is unusual also in comparison with other Slovak localities in Vojvodina, where it scarcely ever occurs at the present time. This article offers a survey of the history of documentation of embellished singing in Stará Pazova, as well as the representation and occurrence of ornaments in the particular musical style layers in this locality’s song repertoire. A basic typology of ornaments is proposed, and three styles of embellished singing are characterised, while attention is also drawn to the importance of the performance aspect. In conclusion, there is a summary account of the hypotheses offered hitherto on the origin of embellished singing in this locality, to which the author adds another based on her current research.
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The two-volume manuscript Graduale Cassoviense sign. Clmae 172a et 172b, from the early 16th century, is a diocesan missal manuscript which at its time of origin was designed for the everyday Mass liturgy. The liturgico-musical tradition concealed behind the choice of chants, modal digressions, and textual and melodic variants, has its roots in the Central European milieu. A common Central European tradition forms an essential part of the significant elements. To an extent they were familiar also in the Estergom tradition, but investigation of the present sources reveals many which do not occur in Estergom sources. The Košice Gradual contains several melodic variants hitherto not known from other sources. This is manifested particularly in late medieval chants, such as chants from the Ordinary of the Mass. From this standpoint, the gradual examined here is an important example of unique late-medieval chants.
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In his collecting activity in Slovakia Karol Plicka (1894 – 1987) gave particular attention to the Záhorie region. Taking the example of the village of Jablonica in the eastern part of this region, we demonstrate the collector’s interest in the local song repertoire, individual singers, and the specific vocal style of ornamentation in Záhorie. Using source criticism, a repertoire was identified to the extent of 187 songs, recorded from 26 singers in this locality. Particularly useful are the written records of songs by the singers Pavol Pinkava and Agneša Pinkavová. Their song repertoire contains principally ballads, wedding, dance and love songs. In his studies the collector also gave particular attention to Pavol Pinkava as an individual singer: the records of embellished singing as rendered by this singer are comparable to the records of the singing of Eva Studeničová, an outstanding singer from the village of Moravský sv. Ján in the western part of Záhorie. The records of songs performed by other singers are instructive as regards observation of song variants, and they highlight the contemporary condition and preservation of folk singing in local tradition.
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Review of: Paweł Gancarczyk: Petrus Wilhelmi de Grudencz i muzyka Europy Środkowej XV wieku. Warszawa : Instytut Sztuki Polskiej Akademii Nauk, 2021, 327 s. ISBN 978-83-66519-23-7
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Review of: Janko Blaho: Záhorácké pjesňičky. Súborné vydanie. Ed. Peter Michalovič. Bratislava : Hudobné centrum v spolupráci so Záhorským múzeom v Skalici, 2018, 816 s. ISBN 978-80-89427-33-8
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The sociological term migration is used in historical musicology to express the notion of transfer of music, in connection with its social origins and functions, accompanying people through their lives and migrating with them. Music migration stems from the voluntary or forced relocation of musicians (exile) or the search for new job opportunities. Musicological research addresses the most common related issues linked to the dissemination of manuscripts and early prints from musical hubs to the periphery, including via a comparison of the respective musical repertoires. The aim of the study is to characterize those music sources preserved in the Spiš/Zips region which document music migration in the Central European context in the 16th and 17th centuries. The study also focuses on the migration of musicians to neighbouring regions (Šariš, Gemer, Malohont) and cross-border migration (Central Germany, Silesia, Transylvania) as well as the possibility of transmitting musical sources in the multi-ethnic environment of the Lutheran cantorates.
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Lute music made a remarkable impact on the development of European music culture. Gradually it extended to the whole of Europe and became part of everyday life in the urban world, as well as in circles of the higher and lower nobility. We encounter its monuments on our own territory in the 16th to the 18th centuries, especially in the Spiš provenance (Levoča, Bardejov), in the central Slovakian region in Banská Bystrica and in the west Slovakia in Bratislava. In the Levoča Collection of Music from the 16th and 17th centuries we find the important lute publication Thesaurus Harmonicus (Köln, 1603), compiled by the lutist Jean-Baptiste Besard (1567 – 1617). Among other things, this comprises works by Luca Marenzio (1553/1554 – 1599), a foremost Italian madrigalist, who stands at the summit of madrigal creation at the end of the 16th century. In the article we offer analysis and comparison of Besard’s method of intabulation of the ten villanelles by Marenzio which are found in the above-mentioned monument.
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During source research in 2021, a medieval notated fragment was discovered, which currently forms the upper cover of a book of accounts, Regestum pecuniarum ecclesiae xendochii et orphanorum, of 1607. The State Archive in Trenčín holds a relatively large number of extant medieval notated manuscripts. In total, the archive has preserved twenty-two, along with the newly discovered fragment twenty-three, notated manuscript fragments, seventeen of which contain Bohemian notation. Among the fragments notated with Bohemian notation, six fragments were identified as having originated from a single, today unfortunately incomplete, liturgical codex. The newly discovered fragment also belongs to this group. The aim of this study is the musical-liturgical and music-palaeographic analysis of this newly discovered fragment.
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