Lubomír Tyllner: Pelhřimovsko v lidové písni
Lubomír Tyllner: Pelhřimovsko v lidové písniPelhřimov : Muzeum Vysočiny Pelhřimov, 2018, 188 s. ISBN 978-80-87228-19-7
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Lubomír Tyllner: Pelhřimovsko v lidové písniPelhřimov : Muzeum Vysočiny Pelhřimov, 2018, 188 s. ISBN 978-80-87228-19-7
More...
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.
More...
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
More...
Hana Urbancová: Vybrané kapitoly z dejín slovenskej etnomuzikológieBratislava : Ústav hudobnej vedy Slovenskej akadémie vied, 2016, 170 s., ISBN 978-80-89135-37-0
More...
The paper summarises the repertoire of hymns for the Feast of the Epiphany in selected printed and manuscript Slovak hymnbooks of the 17th to the 19th centuries. Altogether 27 hymns on the Three Kings from these sources reflect the various developmental phases of the Christmas hymn in Slovakia: paraphrases of Latin hymns in the language of the people; contrafacts on traditional tunes from Czech and Slovak, mainly anonymous, authors of the Renaissance and Baroque; hymns in pastoral style from the late 18th and early 19th centuries; original Church hymns from 19th century hymnbooks.
More...
This paper addresses the issues of music education in Bratislava (Pressburg, Prešporok), with reference to piano playing, in the final quarter of the 18th century. The period studied is more narrowly limited to the years 1777 – 1796, when the Normal School in Bratislava had among its staff the musician, pianist, singer, composer, theoretician and teacher Franz Paul Rigler (1747 or 1748 – 1796), an individual of all-round capability, with a reputation going beyond his local sphere. Analysing the personal, cultural, institutional and creative contexts of his life, the paper seeks answers to questions regarding Rigler’s origin, education and personal connections, and clarifies the contribution he made to shaping the profile of musical culture. The research results presented are derived from processing part of the extensive source material in the Departamentum scholarum nationalium fund deposited in the Hungarian State Archive (Magyar Országos Levéltár) in Budapest. The primary aim of this study is to clarify the issues of piano education in Bratislava in the given period, its cultural, social, institutional and creative background, and the circumstances of how the music class in the Normal School functioned.
More...
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.
More...
Review of: Edita Bugalová: Hudobná Trnava a Mikuláš Schneider-TrnavskýTrnava : Spolok sv. Vojtecha; Vojtech, spol. s r.o., 2011, 320 s. a obr. príloha. ISBN 978-807162-891-0
More...
Jana Kalinayová-Bartová a kol.: Hudobné dejiny Bratislavy : Od stredoveku po rok 1918. Bratislava : Ars Musica, 2020, 520 s. ISBN 978-80-971672-5-7.
More...
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.
More...
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.
More...
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.
More...
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.
More...
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
More...
The synagogue in Trenčín is one of the most important examples of synagogue or sacral architecture of the early 20th century in Slovakia, but also of the architecture of this period in the wider Central European region. As a result, it is mentioned in many texts, though its published information differs in many ways. In turn, there are also still many questions posed by the building itself. In the context of its ongoing comprehensive renovation and restoration, what suddenly emerges is a changed image of an architecture hitherto generally perceived in terms of a purist-modernist white austerity. The discovery of ornamental coloured layers covering highly innovative steel-concrete load-bearing elements reveals that these structural aspects are suddenly just the carrier of another layer of meaning – a veneer of decoration referring to sources of oriental traditions in the modernist version. The aim of the present study is to develop a more complexly nuanced interpretation of the work through archival research methods, analysis of its art-historical context, as well as research into the specific historical circumstances and motivations leading to its creation. Major gaps and contradictions are no less present in our knowledge of the life stories and work of its creators (even to the extent that individual surnames or first names are known only as initials); therefore, the study also includes brief biographical profiles of these persons.
More...
After liberation from the Ottoman Empire in 1877, Nikšić became part of Montenegro, a sovereign and internationally recognized state after the Berlin Congress in 1878 became. With the permission of the Austro-Hungarian authorities, Croatian architect Josip Šilović Slade (1828–1911) was invited by Prince Nikola Petrović (1841–1924) to Montenegro, where he designed a series of significant buildings and infrastructure facilities. One of his most important achievements is the First Regulatory Plan of the City of Nikšić, created in 1883, which draws its roots from the large-scale reconstruction of European cities in the late 19th century. The first regulatory plan of Nikšić was modeled after ideal Renaissance cities, with a clear geometric layout consisting of five squares and an interconnected system of streets. From the central city square, seven primary streets extend in all directions. These primary streets are connected by secondary streets, forming a radial urban matrix that allowed for the city’s development in concentric urban rings. The main focus of this paper is the urban matrix of Nikšić, a rare typological example of radial city organization. From the end of the 19th century until the mid-20th century, Nikšić’s growth was slow. After World War II, when Montenegro became part of the Socialist Federal Republic of Yugoslavia, Nikšić experienced rapid urbanization, becoming one of the most rapidly expanding cities in the region. This period of industrialization led to the development of new urban plans which, thanks to the existing urban matrix, were able in turn to define additional urban rings. Today, Nikšić’s urban composition consists of several rings: the city core, public buildings, multi-apartment housing, and individual housing. The primary aim of this paper is to explore the urban transformation of Nikšić, focusing on the formation of distinct urban rings that have contributed to the unique urban and architectural identity of the city.
More...
The Chronicle by Joseph Langer (1865–1918), a painter, noted conservator, and collector from Ziębice in Lower Silesia, was officially made available to the local authorities of this city in the form of photographic documentation in 2019. When I was writing my doctoral dissertation on Langer, which was reviewed by Professor Marek Zgórniak, the existence of the Chronicle was known, but efforts to locate the document were unsuccessful at that time. Today, the Chronicle not only provides insight into Langer’s “life and work” but reveals his personality as well. Written by the artist from 1895 until his death, it also covers earlier years. This report announces the existence of this valuable document and analyses the stylistic form of the text in the context of other similar written accounts. The Chronicle allows us to discover previously unknown sites of Langer’s works. It provides information on the terms of contracts between him and his clients, painting techniques and stages of his work, and the relationships within the Silesian artistic community, including the Royal School of Arts and Crafts in Wrocław. From reading the Chronicle, a picture emerges of a hardworking man suffering from depression, who had to cope with the behavioural norms prevalent in Wilhelmine society.
More...
In the article titled Hypertextual Relations in the First Phase of Rodolf Sirera’s Career (1969–1977), our object of study will be the plays composed by Rodolf Sirera (born Valencia, 1948) during the first phase of his career, between 1969 and 1977. Sirera is one of the most notable dramatists writing in Catalan, beginning his career with an involvement in what was then called ‘independent theatre’ as a member of groups like the Centre Experimental de Teatre and El Rogle. We will begin by reviewing the prominent role played by transformative hypertextual relationships during this early period in the composition of his dramatic texts, which were mainly based on hypotexts of Valencian origin. Secondly, we will discuss the relationship of Sirera’s writing with epic theatre, one of the dramatic genres that had the most significant impact on dramaturgy in Spain in the second half of the 1960s and early part of the 1970s. Finally, analysis of these two types of hypertextual relationship will allow us to distinguish two distinct points in the development of this first period, since from 1974 onwards we can observe a gradual abandonment of hypertextual practices in favour of original fiction with a lesser presence of Brechtian devices.
More...