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PRAVDA COPIAUS A METÓDA COPEAUA

Author(s): Miloš Mistrík / Language(s): Slovak Issue: 01/2014

In 1924, Jacques Copeau together with his actors and students moved from Paris to Burgundy. First to Morteuil and a year later to Pernand - Vergelesses. After a few years of life dedicated to writing, directing and rehearsals, he was gradually losing interest in theatre. The young members of his troupe, performing since 1925 under the name Copiaus, were left to cope with the situation on their own. Relations with Copeau went to pieces. The troupe began to work more independently from 1927. They rehearsed two performances – The Dance of the City and the Fields (La Danse de la ville et des champs) in 1928 and Youth and Spider or the Apparent Tragedy (Les Jeunes Gens et l‘ araignée ou la Tragedy Imaginaire) in 1929. In both plays they developed the original idea introduced by Copeau – an attempt to create a modern version of the Italian commedia dell‘arte, which they called simply comédie nouvelle. For this purpose, the troupe created new masks - Mr. César (Jean Dasté), Oscar Knie (Michel Saint - Denis), Gilles (Jean Villard) and other. Based on archival documents, scripts, notes of the authors, newspaper criticisms and preserved iconography, the study aims to reconstruct the above mentioned plays.

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CAMERATA SLOVACA – POKUS O SYSTEMATICKÉ PESTOVANIE KOMORNÉHO ŽÁNRU V OPERE SLOVENSKÉHO NÁRODNÉHO DIVADLA

Author(s): Michaela Mojžišová / Language(s): Slovak Issue: 01/2014

The activities of Chamber Ensemble of Slovak National Theatre in the seventies of the last century were a unique step in the systematic cultivation of opera genre on the first national scene. The ensemble was formed around the members of a chamber orchestra Camerata Slovaca and its founder, artistic director and dramaturgist – the conductor Viktor Málek. The ensemble staged seven opera productions in SND. In terms of dramaturgy, we talk about the conceptual, style and genre-balanced program, in terms of musical and theatrical interpretation, the productions were in most cases quite a success. After the Chamber Ensemble of the SND Opera ceased their activities, the baton in the cultivation of chamber music was picked by Chamber Opera, founded in 1986 at the Slovak Philharmonic, while SND almost invariably resigned from staging chamber music pieces.

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CENSORSHIP IN SLOVAK OPERA

Author(s): Michaela Mojžišová / Language(s): English Issue: Special/2014

This study deals with the fate of Slovak opera compositions at the hands of communist censorship in the second half of the 20th century. The most striking case is Krútňava (The Whirlpool) by Eugen Suchoň (which premiered in Bratislava in 1949); this work was subject to gross ideological distortion with the elimination of its Christian and humanistic character as well as a distortion in its dramaturgical composition (i.e. the rejection of its symbolic framework). The Whirlpool was performed on dozens of European stages in its modified form, which did not correspond with Suchoň’s own convictions. The process of its rehabilitation was protracted, and its reconstructed original version was first heard in Banská Bystrica only in 2008 on the occasion of the 100th anniversary of Suchoň’s birth. Operas by Ján Cikker also had a complicated fate: Mister Scrooge, which premiered in Kassel in 1963, was composed on the theme of A Christmas Carol by Charles Dickens; Coriolanus, which premiered in Prague in 1974, was inspired by Shakespeare’s drama of the same name. Like The Whirlpool, Coriolanus had the Slovak premiere of its original form only on the occasion of the centenary of the author’s birth (in Banská Bystrica in 2011). Both composers were respected and supported by the official establishment. This fact takes their fight for the soul of their compositions and the implied compromises into the wider moral and ethical context of the period.

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ROSSINI OPERA FESTIVAL PESARO – OÁZA BELCANTA

Author(s): Michaela Mojžišová / Language(s): Slovak Issue: 03/2014

This article discusses the renowned Rossini Opera Festival, which has been performed annually since 1980 in the Italian city of Pesaro, the birthplace of Gioachino Rossini. The monothematic festival systematically focuses on the composer’s 39 operas. An exceptional aspect of the festival is the close interconnectedness between musicological research and its practical application in music and theatre. The greatest value of the festival is in the discovery of the maestro’s opera scores, the reconstruction of manuscripts based on sources from the period of Rossini’s life and in the performance of his operas, which have been cleansed of distortional additions to the interpretive tradition under the auspices of the Rossini Foundation. The ambition of the festival is to revive the operatic legacy of this composer. After its 35th year there only remains one work of Rossini’s to be performed at Pesaro, the operatic drama Edoardo e Cristina. Among other things, the performances of Rossini’s work at Pesaro can be summarized as correcting the simplified image of Rossini as a composer of comical operas. The Rossini Opera Festival is considered to be the greatest event in the calendar for bel canto vocal aesthetics, setting the trend and guarding the purity of this highly difficult vocal style. In addition to outlining the dramaturgical, interpretive and theatrical context of the festival, the article reflects upon the 35th staging of the festival, which took place from 10 to 24 August 2014.

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Rukopisný irmologion Jána Juhaseviča Skľarského z rokov 1800-1801

Author(s): Mária Prokipčáková / Language(s): Slovak Issue: 02/2015

Presented paper brings new information about hitherto unexplored manuscript of significant scribe and cantor Ján Juhasevič Skľarskyj (1741-1814). The fifth known irmologion of Juhasevič was written (copied) in the village called Nevické in the years 1800-1801. The paper focuses on the description of its form and repertoire. In the addition to the basic musical and textual comparison the article puts emphasis on the system of writing tradition and liturgical musical praxis in the Carpathian region.

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Ontologie hudebního díla: platonismus vs. „platonismus“

Author(s): Jiří Raclavský / Language(s): Czech Issue: 2/2007

Text Šedík (2007) Michala Šedíka vyhodnocuje moji stať Raclavský (2004) jako chybnou interpretaci Popperovy teorie tří světů, dále předkládá aplikaci Popperovy teorie na problém ontologie hudebního díla. Co se týče prvého, obhajobu mého přístupu jsem nakonec vypustil;1 jen shrnu, že a) z mnoha indicií mého textu je zjevné, že mi vůbec nešlo o skutečnou interpretaci Popperovy teorie tří světů a proto je neadekvátní ji jako interpretaci číst, b) že je třeba rozlišit intepretaci1, tj. nanejvýše adekvátní interpretaci Popperovy litery, dále interpretaci2, tj. reinterpretaci Popperovy teorie do určitého pojmového rámce (třeba do pojmosloví současné analytické filosofie v čs. kontextu), a dále, vzhledem k vágním Popperovým formulacím, které si někdy protiřečí,2 či dokonce vzhledem k tomu, že do světa 3 klade lidské nástroje (jak vysvětlit vliv kladiva, objektu ze světa 3, na hlavu či psychiku nějakého člověka jde pak jistě bez jakýchkoli obtíží), neboli, že vzhledem k nešťastnému způsobu, jak Popper svět 3 zadefinoval, je potřeba (pokud Popperova teorie má být vůbec diskutována) vybrat si to lepší, to neproblematické – nu a Popper jako návod pro takovou interpretaci3 opakovaně nabízel srovnání s Fregeho teorií tří říší, kterémužto výkladu odpovídají mnohé a mnohé Popperovy příklady obyvatel světa 3; právě nad touto interpretací jsem se tehdy, jak je patrné z mého textu, zamýšlel.

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Why Fanzines? Perspectives, Topics and Limits in Research on Central Eastern Europe

Author(s): Karel Šima,Miroslav Michela / Language(s): English Issue: 1/2020

While we strive to develop existing research on fanzines in Central and Eastern Europe (CEE), this article provides an introduction to the discussion about of fanzines and the specific historical contexts of CEE. This thematic issue aims to open a debate about CEE subcultures and alternative-press practices in the context of the relationship between the local and the global in contemporary history. With the cross-disciplinary view in this issue and the comparative view in the forthcoming issue we want to open up questions that go beyond the mainstream discourses in history and cultural heritage studies in CEE. The forming of a critical public, which often took place on the pages of fanzines, is reflected in the alternative narratives that undermine well-established stories of late socialism and post-socialism in CEE. Alternative scenes played a significant role in the transformation of CEE societies in recent decades, and their impact can be traced in the political and cultural debates of societies at large. Thus, research on fanzines can offer new insights from a “history from below” perspective. This article provides an overview of fanzine research and highlights three important contexts of fanzine analysis: the first is based on the interaction between creators, recipients, and their networks; the second highlights the special economic considerations of fanzine production and distribution; and the third focuses on the specific nature of the visuality and content of fanzines. We also discuss cultural transfer both between East and West and within the CEE.

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The Role of Fanzines in the (Re)production of Subcultural Capital. The Authenticity, Taste and Performance of “Coolness” in the Zines of the Subculture of Czech White Power Skinheads in the 1990s

Author(s): Vendula Prokůpková / Language(s): English Issue: 1/2020

Taking a specific case of the subculture of the Czech “White Power skinheads” in the 1990s, this paper engages with the role of zines, zine-makers and other contributors (such as readers whose letters to the editors were published, or interviewees) in the (re)production of subcultural capital and the formation and reproduction of alternative hierarchies in the subcultural field. The author approaches zine-making as one of the fields of subcultural action within which inner hierarchies, as well as frontiers between “us” (the “true” skinheads) and “them”, were established as a result of articulatory practices. Based on the sample analysis of 80 Czech-language skinhead zines from the period 1992 – 1999, the author presents three alternative angles for approaching the concept of subcultural capital in zine analysis. The first approach presented focuses on claims on authenticity and the articulation of subcultural belonging. The author explores how the skinhead identity was articulated in fanzines in opposition to the antagonistic “other” substantiated by “inauthentic” skinheads, enemy subcultures and other “despicable” groups. The second example engages with the role of fanzine-makers and other contributors to zine content in moulding the shared knowledge of likes and dislikes. The author focuses on the White Power music scene that White Power skinheads were involved in and engages with the practices of shaping what was considered as “good” style and “good taste” in music. The third approach presented deals with zine-making as a valued set of skills and practices and the utilisation of the zine-platform for boosting the inner status of the individuals involved. The author explores how subculturists performed their “coolness” and “hipness” by exposing their photos, skills and stories to the broad skinhead-zine readerships.

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Echoes of Central and Eastern Europe Underground Scenes in French Fanzines Before and After the Fall of the Berlin Wall

Author(s): Samuel Etienne / Language(s): English Issue: 1/2020

This paper scrutinises how alternative cultural scenes from Central and Eastern European countries have been represented in fanzines published in France since 1977. The study focusses principally on the geographical and temporal rather than the qualitative or cultural aspects of the question. Four countries clearly stand out, representing 57 % of the analysed corpus: Poland, Czechoslovakia, Yugoslavia and Hungary. These special interests may be explained by macrosocial factors (for example, the search for alternative information to counterbalance those diffused by French mainstream media) or microsocial factors (i.e. personal interest/linkage of a zinester (zine publisher) to a country of Central and Eastern Europe). Fanzine analyses underline the importance of individuals in the cross-border diffusion of alternative scenes’ echoes, rather than established professional networks.

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Studime etnografike mbi Skënderbeun: 1940-1990

Author(s): Ermela Broci / Language(s): Albanian Issue: 1/2019

This article represents a part of the project “The ethnographic bibliography on Scanderbeg”. By presenting a thematic bibliography this project intends to mark a new phase in the ethnographic approach. This bibliography sorts the most important contributions of Scanderbeg from the ethnographic reviews such as Etnografia Shqiptare and Kultura Popullore including other important ethnographic sources published during 1940- 1990. The aim of the bibliography is to investigate how scholars reckoned Scanderbeg during this period considered as the most important years for the creation of the ethnographic science in Albania. This bibliography includes studies not only from ethnographers but scholars from other disciplines as well, whose contributions are to be considered important for the field of ethnology.

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Muzika shqiptare në rrugët e ndërtimit socialist: institucione dhe institucionalizim

Author(s): Mikaela Minga / Language(s): Albanian Issue: 1/2018

This article takes into consideration a specific period in the history of music in Albania: the one that runs from the mid 1940s until the 1960s. The focus is on the process of musical institutionalization during the dictatorial regime. I am not referring just to a history of musical instititions but to that complex and thorough process of institutionalization that took place during that period. The research method combines the institutional memory traced from archival data sources and the discourse about music. It is an ethnomusicological approach in the study of the history of albanian music.

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Poezie şi muzică

Author(s): Elena Ţurcan / Language(s): Romanian Issue: 1-2/2023

This article is about the artistic-didactic seminar "Music, poetry, human voice-multitude of poses", dedicated to the young poet and performer Laura Mogorean, a student at the, " George Enescu" National University of Arts in Iași.

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European and Czech Salon Piano Music in the Second Half of the 19th Century

Author(s): Jana Gajdošíková / Language(s): English Issue: 1/2010

Die Studie befasst sich mit dem Phänomen der massenhaft produzierten und herausgegebenen Gattung der Salonklaviermusik im europäischen und tschechischen Kontext. Im Bezug auf das erforschte Phänomen konzentriert sich die Studie auf die Aktivitäten des tschechischen Herausgebers František A. Urbánek, der eine Führungsposition im Gebiet der Herausgabe und der Propagierung der Salonmusik in Tschechischen Ländern besitzt.

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Tschechisches und deutsches musikalisches Prag vor dem 1. Weltkrieg. Persönlichkeit des Musikkritikers und -schriftstellers Richard Batkas

Author(s): Markéta Koptová / Language(s): German Issue: 1/2010

Richard Batka (1868-1922) was one of the most important Prague music critics, historiographers and organizers of cultural life. He worked as a translator and wrote librettos and theoretical pieces. He was also a supervisor of several cultural editorial roles and contributed to periodicals such as Bohemia, Prager Tagblatt, Der Merker, Kunstwart etc., but he belonged to the German-speaking burghers of Prague, which had to mean sharp criticism from the Czech intelligence. Later, on ethnic grounds, he even finally left the Czech country. This paper summarizes biographical data and merits of Richard Batka and focuses on his historic publication, Die Musik in Böhmen. It seeks to evaluate this work and it adverts to the discrepancy between the work of Batka and contemporary publications by Czech writers, especially Zdeněk Nejedlý. A part of the paper consists of critical judgments about Batka's work and its evaluation.

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Vor 220 Jahren wurde Nikolaus Lenau (1802-1850) geboren

Author(s): Hans Dama / Language(s): German Issue: 19/2022

The aim of this work is to remind the readers of the life and work of the most important Austrian poet of the 19th century. On the basis of a biographical account of the poet's career, we immerse ourselves as it were in the genesis of his works and attempt to shed light on the motivations that enabled the poet to create immortal works. His deep emotional world, his "sensory" perceptions are being brought to the reader as poetic mirror images and expressive verses. According to J.W. Goethe it could be proven that Nikolaus Lenau possessed the richest vocabulary of any German-speaking poet. Over 300 settings to music by well-known composers such as Franz Liszt, Felix Mendelssohn-Bartholdy, Robert Schumann, Richard Strauss, Arnold Schönberg, Hugo Wolf, Max Reger, Carl Orff et al.; only the Schilflieder (Reed Songs) were set to music over 150 times. No German poem could claim to enjoy this musical favor.

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RUDOLFINUM – The “Temple of Beauty” in the Heart of Prague: Architecture of the Rudolfinum Music Hall in the Context of Prague Musical Life Toward the End of the 19th Century

Author(s): Lucie Kaucká / Language(s): English Issue: 1/2005

Als Ausgangspunkt der Studie dient die Diplomarbeit der Autorin mit dem Titel Rudolfinum. Zur Architektur und Akustik des Gebäudes im Kontext des Prager Musikbetriebes an der Wende des 19. und 20. Jahrhunderts (Olomouc 2003). In einigen Abschnitten behandelt sie - mit Berücksichtigung der zeitlich-gesellschaftlichen Realien - die Geschichte und den Bauverlauf des Rudolfinums. Sie versucht die Einzigartigkeit der Architektur des ganzen Gebäudes festzuhalten, und wenigstens teilweise das Musikgeschehen im Dvořák-saal bis zum Jahre 1900 und die damit verbundenen Anfänge eines führenden europäischen Orchesters - der Tschechischen Philharmonie darzustellen.

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Drama einer Heldin

Author(s): Lenka Křupková / Language(s): German Issue: 1/2005

In his opera The Makropulos Case, Leoš Janáček simplified Čapek's philosophical drama and significantly cut long dialogues. In the third act, he omitted a whole block of text and changed Čapek's formal structure. Janáček's addition is Emilie Marty's death. He changed the motivic structure of the dramatic text so that the action would lead teleologically to the end. For these reasons he had to omit everything superfluous, everything that would slow the dramatic tempo. Death as redemption is a traditional operatic conceit, as are the choral scenes at the end. In opposition to Čapek's literary model, Janáček in his dramaturgical conception strengthened the structure of the dramatic character of the heroine. His living connection with her is transformed into is own strong attitudes. His concentration on the detailed construction of the character of the heroine as the center of action highlighted the contours of the traits of the secondary characters. Janáček emphasized the compositional assumption of the dramaturgical accents. By restructuring and clarifying individual lines of dramatic action, he emphasized the pulsating rhythms of dramatic situations, so that the libretto carries elements of montage. Janáček changed the text in many places so that the music could become an independent actor in the drama.

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Varšava – Darmstadt východu k reflexi Varšavského podzimu v České hudební publicistice 50. A 60. Let 20. Století

Author(s): Lenka Křupková / Language(s): Czech Issue: 1/2007

Seit dem Jahre 1956 entwickelte sich in Polen eine außerordentliche Situation, während der sich im Rahmen der zentral gesteuerten Kulturpolitik der kommunistischen Länder auf der Plattform des Festivals "Warschauer Herbst" ein Forum der modernen Musik bildete. Das Forum war gegenüber der westlichen Neuen Musik gezielt positiv geöffnet. In diesem Milieu etablierte sich die polnische kompositorische Schule, derer Repräsentanten bald von außen mit Respekt wahrgenommen wurden. In der damaligen Tschechoslowakei wurde die polnische Musik ziemlich deutlich reflektiert - als Nachweise können Artikel in zeitgenössischen Musikperiodiken dienen. Der Verband tschechoslowakischer Komponisten (Svaz Československých skladatelů) sponserte jedes Jahr eine zahlreiche Gruppe unserer "Beobachter", also Komponisten, ausübender Künstler, Musikwissenschaftler, die den "Warschauer Herbst" besuchten, der auf diese Art und Weise zum Darmstadt für volksdemokratische Länder wurde. Zahlreiche Referate, die nach jedem Besuch des Festivals folgten und die vor allem in der Zeitschrift "Musikalische Rundschau" (Hudební rozhledy) erschienen, repräsentieren nur zum Teil ein individuelles Meinungsfeld deren Autoren. Aus der heutigen Sicht sind diejenigen Texte am interessantesten, die in den ersten Jahrzehnten der Existenz des Festivals entstanden, weil daraus ersichtlich ist, dass diese zum bedeutenden Teil auch offizielle, seitens des Verbandes überprüfte Stellungnahmen zu der Neuen Musik repräsentierten und gleichzeitig man auch Probleme der zeitgenössischen eigentlichen tschechischen oder slowakischen musikalischen Produktion löst. Auf Grund dieser reflektierenden Aufsätze von dem Ende der fünfziger und aus den sechziger Jahren versuche diese Studie zu zeigen, wie die Grundzüge und Spezifika der tschechischen Diskussion über die polnische "Neue Musik" sowie über die musikalische Avantgarde allgemein waren und in welchem Maße daran in der damaligen Tschechoslowakei die gültige Ideologie des sozialistischen Realismus teilnahm.

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Róża jerychońska

Author(s): Mariia Varlygina / Language(s): Polish Issue: 4/2024

A study dealing with time, space, and corporeal experiences in conditions of instability. The author applies the reflective analysis method, combining personal observations with the most recent conceptions launched by Ukrainian researchers and men of letters as well as cultural and ideological conceptions introduced by Zygmunt Bauman, Walter Benjamin, and Jean-Paul Sartre. Attention is focused on the phenomena of “living on the edge”, enhanced temporality, and art envisaged as testimony. Prime material consists of works by contemporary Ukrainian artists and their experiences involving the redefinition of contacts, losses, and new aesthetics in wartime conditions.

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Who Got the Short End of the Stick? The Collaboration Between Radio and Zagreb-based Record Companies During the Shellac Records Era

Author(s): Dora Dunatov / Language(s): English Issue: 2/2024

The article is based on a Croatian ethnomusicological collaborative research project representing the first systematic scholarly approach to the earliest Zagreb-based record companies. It examines the topic within the framework of cultural and creative industry theories, emphasizing its role in producing (musical) culture and reflecting society. The observed period (1926–1959) encompasses the production of 78 RPM shellac records by Edison Bell Penkala, Elektroton, and Jugoton. The text focuses on a crucial aspect of the record industry’s development: the role of radio. Through three focal points, the article identifies different roles that radio played in relation to the record industry, highlighting the essential market aspect of the latter. Drawing inspiration from the business world and experimenting with its concepts, this analysis contributes to the growing literature within the discipline’s new branch: economic ethnomusicology. It presents radio’s supervisory role as Jugoton’s Administrative and Operational Management (AOR) and examines its roles akin to human resources (HR) and public relations (PR) departments. The final section considers the benefits that radio might have reaped from the first domestic record companies.

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