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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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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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This paper elucidates the findings of an analytical probe into the basic harmonic thinking and technique evidenced in the musical reworking of Slovak folk songs in the first published editions of piano adaptations. The authors of these adaptations were musically educated members of the Slovak intelligentsia and collectors. Martin Sucháň (1792–1841) and Vladislav Füredy (1794–1850) did creditable work in the 1830s for the promotion of Slovak folk songs by compositional arrangements. Piano arrangements were intended to make the songs accessible to a wide musical and non-musical public, mainly through domestic music-making. The arrangements carry signs of the composers’ musical inventiveness, but they are marked also by a certain measure of amateurism. While they document several procedures typical of the composer, there are also some instances of defective knowledge of the conventional procedures for working on chords and their changes and harmonic functions, the construction and use of cadences, and other established structures and relationships in contemporary art music (composed music). In the published editions one can also find some errors in the notation; these, however, might originally have stemmed from the publisher’s negligence rather than the composer’s ignorance.
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Jan Kouba: Slovník staročeských hymnografů (13. – 18. století) Praha : Kabinet hudební historie Etnologického ústavu AV ČR, v.v.i., 2017, 518 s. ISBN 978-80-88081-13-5
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Lengová, Jana (ed.): Hudba – výskum – kontexty. Zborník príspevkov z regionálnej muzikologickej konferencie venovanej 100. výročiu narodenia Františka ZagibuBratislava : Ústav hudobnej vedy SAV; Quirinus, 2015, 164 s. ISBN 978-80-89135-33-2
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The aim of this study is to demarcate the musical topography of the Spiš/Zips region focusing on individual local settlements (towns, villages, monasteries, aristocratic residences). Creating a topographic network of Spiš in the Early Modern Period requires music-historical research at least from five angles of view: research on musical sources, on historical musical instruments, on chronicles and contemporaneous prints, on archival sources and research on historical maps. However, towns (civitas, oppidum) certainly form the basic topographic unit of research. The primary musical hubs in Spiš included the cities that joined Luther’s Reformation movement and had an ethnically mixed, prevailingly Slovak-German population. The specification of the music-topographic network of Spiš enables us to identify the locally and denominationally differentiated musical life of the towns of this region.
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The presence of the Jesuits in the artistic culture of the early modern era has been defined as a mission and an accommodation to the “people, times, and places”. Music, considered as a spatial phenomenon, had an important function in this mission, mostly due to its rhetorical qualities. Based on the example of Nysa/Neisse, the paper’s author shows how music influenced the social space of the local community and affected their sense of security and identity describing the way space was conquered by music reshaping the town’s microcosm and its neighbourhoods.
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Hundreds of fragmentary notated manuscripts have survived in the territory of Slovakia. Medieval fragments from the eleventh to the fifteenth centuries are deposited in several Slovak archives, libraries, and museums. One of the archives that houses a large number of notated fragments is the State Archives in Trenčín. During our music historical field research in this archive, we processed twenty-two notated medieval manuscripts in total. We analysed eleven fragments of antiphonaries, eight graduals, one missal, one breviary, and one fragment whose contents we did not manage to identify because it was severely damaged. Sixteen fragments are notated in Bohemian notation, which makes the State Archives in Trenčín the archive with the largest number of medieval fragments with this system of notation. This study aims for an indepth musical and liturgical analysis of the medieval office repertoire recorded in the fragments, identified in an interdisciplinary codicological palaeographic and music-palaeographic research to have belonged to a single liturgical codex which has unfortunately not survived in its entirety.
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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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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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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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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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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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