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Ľubomír Chalupka: Generačné a štýlové konfrontácie. Sprievodca slovenskou hudbou 20. storočia II. (1951 – 2000). Bratislava : Univerzita Komenského v Bratislave, 2018, 879 s. ISBN 978-80-223-4585-9
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Slávka Kopčáková: Aktuálne otázky hudobnej estetiky 20. a 21. storočia. Edícia Opera Philosophica. Prešov : Filozofická fakulta Prešovskej univerzity v Prešove, 2020, 225 s. ISBN 978-80-555-2522-8
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Album Jana Ludevíta Procházky z let 1860 − 1888 / The Procházka Album (1860−1888). K vydání připravila Jana VOJTĚŠKOVÁ. Praha : KLP – Koniasch Latin Press a Národní muzeum, 2013. LXVI + 350 stran. ISBN 978-80-87773-00-0 (KLP), ISBN 978-80-7036-383-6 (NM)
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Fotoalbum Ludevíta Procházky z let 1862 − 1888 / The Procházka Photo Album (1862−1888). K vydání připravili Jana VOJTĚŠKOVÁ, Jiří K. KROUPA. Praha : Národní muzeum & KLP – Koniasch Latin Press, 2015. LXII + 186 stran. ISBN 978-80-7036-455-0 (NM), ISBN 978-80-87773-29-1 (KLP)
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Deníky Ludevíta a Marty Procházkových (1868–1888) / Die Tagebücher von Ludevít und Marta Procházka (1868−1888). K vydání připravili Jana VOJTĚŠKOVÁ, Jiří K. KROUPA. Praha : Národní muzeum & KLP – Koniasch Latin Press, 2018. LX + 186 stran. ISBN 978-80-7036-579-3 (NM), ISBN 978-80-87773-61-1 (KLP)
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The text presents new discoveries about three members of the Plotz family: Caspar Plotz (ca. 1580–1633), Johann Plotz (1608–1680), and Georg Plotz (1614–1661). All three were involved in music culture, worked as organists in Lutheran churches, and copied and owned music manuscripts. The parish registers from the Lutheran church in Brzeg/Brieg, hitherto not examined by musicologists, have provided new information on the Plotz family, and enabled identification of biographical details. The newly found source testimonies about Caspar Plotz’s life in Brzeg, and the baptism records of his sons, confirmed the relationships between Silesian music culture and that of Spiš and Šariš
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Review of: Eva Ferková: Hudobná analýza II. Stručné dejiny hudobnej analýzy. Bratislava : Vysoká škola múzických umení, Hudobná a tanečná fakulta, 2021, 180 s. ISBN 978-80-8195-077-3
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Review of: Robert Klugseder: Codices manuscripti & Impressi: Zeitschrift für Buchgeschichte. Supplement 10. Purkersdorf : Verlag Brüder Hollinek, 2014 [online]. ISSN: 0379-3621. Dostupné na: https://e book.fwf.ac.at/view/o:599
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The musicological work of Dobroslav Orel (1870–1942) covers a wide range of activities in thefield of musical historiography. He is closely linked to the establishment of the MusicologicalSeminar at the Philosophical Faculty of the Comenius University in Bratislava (1921); he alsoestablished a research center for heuristic research of musical sources preserved in Slovakia.The work of Professor Orel is described and reflected on by his disciples – Konštantín Hudec,Antonín Hořejš, Zdenka Bokesová-Hanáková, as well as by the later generation of Slovakianmusicologists – Jozef Kresánek, Ladislav Burlas, Richard Rybarič, Ladislav Mokrý andothers. The goal of this contribution is to provide an outline of his research into the ancienthistory of music as reflected in the works of Slovakian musicologists, as well as assessing hismethodological points of departure from the perspective of the present state of musicology.
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A concise characterisation of Slovak hymnological research, via Dobroslav Orel’s activity inBratislava. Dobroslav Orel’s experience from Czech hymnological research, his conceptionof the Czech hymn, and his editorial work on the “Czech hymnbook”. The contributions ofDobroslav Orel on hymn sources and on the work of the Franciscan musician Paulín Bajan;his suggestions for researching the Lutheran and Catholic hymn in the territory of the presentSlovakia. The influence of the pupils of Dobroslav Orel – Zdenka Bokesová and KonštantínHudec – on musicological research of the hymn in Slovakia.
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This article examines the contribution of the university professor Dr. Dobroslav Orel,working in the 1920s and ’30s in Bratislava, to the knowledge of musical romanticism inSlovakia. The focus is on Orel’s activity as a music historian, conductor, populariser of music,and organiser. Analysis is made of his three pivotal monographs: on J. L. Bella, Š. Fajnor,and F. Liszt and his relationship to Bratislava. In the forefront stands the figure of J. L. Bella.Orel regarded him as the foremost composer, with a moral charisma on which a tradition ofSlovak art music might be built. With regard to J. L. Bella’s personality, Orel’s lectures for thepublic, his support for the performance of the composer’s works (especially choirs, the operaWieland the Smith and the cantata Jánošík’s Wedding), publishing activities and a posthumousexhibition presenting valuable exhibits from Bella’s estate are further examined.
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Czech musicologist Dobroslav Orel (1870–1942) incorporated Slovak musical folklore intothe domain of his scholarly interests after his move to Bratislava in 1919. His article Teorieo lidové písni slovenské [Theory of the Slovak Folk Song] (1928) brought an idea of thehistorical church music influences on Slovak folk singing and became part of the evolutionof opinions on the fundamentals of Slovak musical folklore, its genesis, musical stylefeatures, inter-ethnic and inter-cultural connections. Orel regarded Slovak musical folklorein the form of live tradition as an independent field of musicological research. The historicalsources of Slovak folk song and music were, in his view, part of the history of music anda research object for historical musicology.
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In the academic year 2021/2022, we commemorate the hundredth anniversary of thefoundation of the Faculty of Arts of Comenius University in Bratislava, where the Seminar for Musicology was also established. The latter created a professional base forthe development of Slovak music-historical research, especially for heuristics and forthe preservation of extant music-historical sources from several places of present-daySlovakia. The founder of this Seminar for Musicology, Dobroslav Orel, a Czech theologianand musicologist, also built a music-documentation station at the Faculty of Arts ofComenius University in Bratislava in Slovakia after the model of Czech and Moravianinstitutions. By time, however, the competencies changed and the task to amass, store,catalogue, and scientifically process the extant music-historical sources went in the 1950sto the Institute of Musicology of the Slovak Academy of Sciences and then, in 1965, tothe Music Department of the Institute of History (today Music Museum) of the SlovakNational Museum. The ongoing interdisciplinary and international collaboration improvesthe quality of the scientific activities of music-documentation institutes in Slovakia, whichis facilitated also by their ongoing collaboration with other public institutions.
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Heuristic research thus far conducted on the manuscript collection of Karol Plicka(1894–1987) has focused on the region of Central Považie in the north-west of Slovakia.Reconstruction of the song repertoire has shown that this collector documented almost 950 songs in total, in 24 localities of this region. The article completes the identification of theregional song corpus with a treatment of the manuscript and published records from thelocality of Vieska-Bezdedov (today part of the town of Púchov). Plicka conducted field workin this locality at the inception of his activity in Slovakia. From Plicka’s written records fromthis locality, we have been able to identify 79 songs and 17 singers, from all generationalstrata. Almost half of the song records contain multipart singing in group performance(solo – tutti), as one of the style features of regional musical culture. Analysis of this songrepertoire has confirmed that Plicka documented traditional folk singing across the entirespan of the song genres.
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Kristina Lomen: Tradičná piesňová kultúra Slovákov v Starej Pazove v Srbsku. Bratislava : Ústav hudobnej vedy SAV, 2021, 511 s. Príloha: CD. ISBN 978-80-89135-52-3
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Since its discovery in 1770, the manuscript known as the Pray Codex has been a subject of particular interest in Hungarian cultural history. The codex was written in the 1190s and has been examined by scholars from many fields, who have approached it from many different points of view. Music history research has been primarily focussed on the Sacramentary, which makes up the corpus of the manuscript. The service book, containing the series of Mass prayers performed by a priest – oratio, secreta and postcommunio, is not one of the liturgical books of a musical genre. However, the Pray Codex is an extended sacramentary, with numerous texts and chants besides the prayers, and its content is closer to the genre of the gradual, processional and missale plenum. Written above the manuscript’s texts and on the margins are chants with neumatic and staff notations from the end of the 12th and the beginning of the 13th century, providing a unique glimpse into the birth and early development of the Esztergom notation (“Graner Choralnotation”). The following essay discusses the musical content of the Pray Codex within the history of plainchant in medieval Hungary and in Central Europe. Special attention is given to influences that affected the liturgy and chant in Hungary in its early formation period and to phenomena which became significant for the later evolution of the repertory.
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The paper examines the music scripts of the Pray Codex (Budapest, National Széchényi Library, Mny 1), one of the most important manuscripts of 12th-century Central European cultural history. This is not the first time that a systematic music paleographic review has been carried out: decades ago, the noted plainchant scholar, Janka Szendrei, subjected the notations of the codex to a detailed analysis, some of which she considered to be the earliest surviving examples of Esztergom staff notation. However, more recent studies have shown that the neume compositions of the 12th-century examples of the Pray Codex are rather undeveloped compared to the 13th–14th century Esztergom notation. There are no definitive neume forms, but there is a very rich range of variants belonging to a single neume type. Can this set of signs be considered Esztergom notation? In order to answer this question, contemporary comparative sources – the Krakow and Šibenik codex fragments – were also studied, and our examination made use of the most advanced digital techniques. We also tried to go further than Janka Szendrei as regards isolating and characterizing the notations of the Pray Codex, while also exploring the genesis of the Esztergom notation and, above all, by examining the role the French university peregrinations of Hungarian archpriests may have played in the formation of the musical literacy of the 12th-century Kingdom of Hungary.
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A selection of the correspondence between composers Alban Berg and Erwin Schulhoff is translated and analysed for the first time in English in this study. The aim is to demonstrate the opposing views these two contemporaries held regarding modern composition and music’s role in the tumultuous landscape of post-WWI Weimar society. The ideological divergence that ensued is a fascinating dichotomy of values between the radicalism of Schulhoff and the traditionalism of Berg. As a counterpoint to this polarity, a comparative analysis of philosophical symbolism is presented between Berg’s opera Wozzeck and Schulhoff’s opera Flammen to emphasize how both composers shared a penchant for expressionistic dramaturgy predicated on an explicit display of metaphysical temporality.This phenomenon is expressed in the overlapping treatment of how reality and illusion is juxtaposed in both works, which the composers’ prose works reflect as palpable aspirations of theatricality. What emerges is a mutual connection of discord and harmony that provides a greater understanding of both idealistic composers.A selection of the correspondence between composers Alban Berg and Erwin Schulhoff is translated and analysed for the first time in English in this study. The aim is to demonstrate the opposing views these two contemporaries held regarding modern composition and music’s role in the tumultuous landscape of post-WWI Weimar society. The ideological divergence that ensued is a fascinating dichotomy of values between the radicalism of Schulhoff and the traditionalism of Berg. As a counterpoint to this polarity, a comparative analysis of philosophical symbolism is presented between Berg’s opera Wozzeck and Schulhoff ’s opera Flammen to emphasize how both composers shared a penchant for expressionistic dramaturgy predicated on an explicit display of metaphysical temporality. This phenomenon is expressed in the overlapping treatment of how reality and illusion is juxtaposed in both works, which the composers’ prose works reflect as palpable aspirations of theatricality. What emerges is a mutual connection of discord and harmony that provides a greater understanding of both idealistic composers.
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The set of miniatures Piano Impressions by Tadeáš Salva (1937 – 1995) was composed during a short period of the composer’s inspiration by Schönberg’s atonality. The presented paper examines the harmonic frame of the work based on set analysis. The analysis demonstrated the use of specific pitch-class sets, which the composer developed and applied in a variety of vertical and horizontal forms. Pc-sets 3-5, 3-8 and 3-9 are used in the work both as constituents of higher supersets and also as separate harmonic units, in their own way substituting traditional consonant triads. Together with the set 2-1 (semitone interval) and 3-11 (major/minor triad) they form the harmonic basis of the work. The study deals with the application of their specific forms (transposition and inversion) and examines the validity of the hypothesis about their unifying function of the composition as a cycle.
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Doc. PhDr. František Matúš, CSc. (1936 – 2023) worked as a senior lecturer in the field of music education at the University of Prešov. He specialized in musica historiography and ethnomusicology and, at the same time, he was actively engaged in the regional musical life of Prešov as a publicist and publisher of sheet music and musical editions. In his regional musicological research focusing on the historical regions of Spiš and Šariš he dealt with 1) outstanding personalities linked to the region (Béla Kéler, Samuel Marckfelner, Zachariáš Zarevúcky, Leonard Stöckel, Anton Cíger, Mikuláš Moyzes), 2) folk musical instruments (gajdica) and 3) the repertoire of unique regional performers of folk songs (Monika Kandráčová). František Matúš is the author of several monographs (S hudbou v srdci Tatier [Musical Inspirations in the Heart of the High Tatras], 1996), dozens of scientific studies and articles; he is also the recipient of several awards (Pavel Tonkovič Award, 1993; Prešov City Award, 1996; Memorial Medal of the Rector of the Prešov University in Prešov, 2017).
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