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1

DOBROSLAV OREL A SLOVENSKÝ HYMNOLOGICKÝ VÝSKUM

100%
Ruščin P.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
194-207
EN
Dobroslav Orel, in the context of his work as a teacher in Bratislava in the years 1919–1938, focused attention on questions of the history of musical culture in Slovakia. Issues on which he directed attention included the hymn. His central concern was the gathering and cataloguing of Slovak music sources, including both Catholic and Lutheran hymnbooks and collections. His research, however, contributed principally to Czech hymnology. In his approach to the history of the Czech hymn, he took his departure from the wider concept of “folk spiritual song”, which supposedly had continuity with the pre-Reformation period, and which encompassed not only hymns but also paraphrases in the Czech language of the Latin singing of Gregorian chant, medieval cantos, and even humanist odes. Orel extolled principally the older, pre-baroque sources of the hymn. He attempted to apply a similar approach to the Slovak tradition also, which he thought of as a Czech offshoot; here, however, the period before the 17th century was accounted for only by a very narrow circle of sources.
2

DOBROSLAV OREL A POČIATKY VÝSKUMU STREDOVEKEJ HUDBY NA SLOVENSKU

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Veselovská E.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
181-193
EN
The essential aim of this paper is to conduct a brief exploration of Dobroslav Orel’s system of musicological work, in connection with researching medieval musical culture from the territory of Slovakia. Slovak musicology, its foundations, goals, and methods of treatment of sources, are closely connected with this outstanding figure in Czechoslovak musical culture. The consideration of Orel’s activity in Slovakia includes an analysis of research, treatment and publication of our oldest music sources.
3

DOBROSLAV OREL A SLOVENSKÁ HUDOBNÁ HISTORIOGRAFIA (ČESKO-SLOVENSKÝ KONTEXT)

100%
Petőczová J.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
167-180
EN
The musicological work of Dobroslav Orel (1870–1942) covers a wide range of activities in the field of musical historiography. He is closely linked to the establishment of the Musicological Seminar at the Philosophical Faculty of the Comenius University in Bratislava (1921); he also established a research centre 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 Slovakian musicologists – Jozef Kresánek, Ladislav Burlas, Richard Rybarič, Ladislav Mokrý and others. The goal of this contribution is to provide an outline of his research into the ancient history of music as reflected in the works of Slovakian musicologists, as well as assessing his methodological points of departure from the perspective of the present state of musicology.
4

SLOVENSKÁ ĽUDOVÁ PIESEŇ V POHĽADE HUDOBNÉHO HISTORIKA DOBROSLAVA ORLA

100%
Urbancová H.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
233-252
EN
Czech musicologist Dobroslav Orel (1870–1942) incorporated Slovak musical folklore into the domain of his scholarly interests after his move to Bratislava in 1919. His article Teorie o lidové písni slovenské [Theory of the Slovak Folk Song] (1928) brought an idea of the historical church music influences on Slovak folk singing and became part of the evolution of opinions on the fundamentals of Slovak musical folklore, its genesis, musical style features, inter-ethnic and inter-cultural connections. Orel regarded Slovak musical folklore in the form of live tradition as an independent field of musicological research. The historical sources of Slovak folk song and music were, in his view, part of the history of music and a research object for historical musicology.
5

CONTRIBUTION OF DOBROSLAV OREL (1870 – 1942) AND OF THREE STATE INSTITUTIONS IN BRATISLAVA TO RESEARCH ON THE EARLY HISTORY OF MUSIC

100%
Hulková M.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
253-272
EN
In the academic year 2021/2022, we commemorate the hundredth anniversary of the foundation of the Faculty of Arts of Comenius University in Bratislava, where the Seminar for Musicology was also established. The latter created a professional base for the development of Slovak music-historical research, especially for heuristics and for the preservation of extant music-historical sources from several places of present-day Slovakia. The founder of this Seminar for Musicology, Dobroslav Orel, a Czech theologian and musicologist, also built a music-documentation station at the Faculty of Arts of Comenius University in Bratislava in Slovakia after the model of Czech and Moravian institutions. By time, however, the competencies changed and the task to amass, store, catalogue, and scientifically process the extant music-historical sources went in the 1950s to the Institute of Musicology of the Slovak Academy of Sciences and then, in 1965, to the Music Department of the Institute of History (today Music Museum) of the Slovak National Museum. The ongoing interdisciplinary and international collaboration improves the quality of the scientific activities of music-documentation institutes in Slovakia, which is facilitated also by their ongoing collaboration with other public institutions.
6

CONSTRUCTING THE PAST AND THE FUTURE OF SLOVAK MUSIC. DOBROSLAV OREL IN INTERWAR BRATISLAVA

88%
Zvara V.
Historický časopis (Historical Journal)
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2021
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vol. 69
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issue 5
921 – 939
EN
During his residency in Bratislava in the 1919–1938 the Czech Catholic priest and musicologist Dobroslav Orel was not only an active scholar and teacher but was also an influential figure in musical life, and even in cultural politics, in the Slovak part of the new republic. Then dominating Czechoslovak idea and his identity as a Catholic priest played an important role in shaping his views. The paper deals with Orel’s reconstruction and interpretation of the music history of the territory of present-day Slovakia and with relations between Orel’s scholarly output and the then-current issues of Slovak music, its definition, its function in the society, and its “right course”.
7

DOBROSLAV OREL A SLOVENSKÝ HUDOBNÝ ROMANTIZMUS

75%
Lengová J.
Musicologica Slovaca
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2022
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vol. 13 (39)
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issue 2
208-232
EN
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 in Slovakia. The focus is on Orel’s activity as a music historian, conductor, populariser of music, and organiser. The 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 of Slovak art music might be built. With regard to J. L. Bella’s personality, Orel’s lectures for the public, his support for the performance of the composer’s works (especially choirs, the opera Wieland the Smith and the cantata Jánošík’s Wedding), publishing activities and a posthumous exhibition presenting valuable exhibits from Bella’s estate are further examined.
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