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1

ZBIERKA KAROLA PLICKU AKO JEDEN Z PRAMEŇOV KRESÁNKOVEJ PRÁCE O SLOVENSKEJ ĽUDOVEJ PIESNI

100%
Timková M.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
235 - 245
EN
During the period 1940 – 1943 Jozef Kresánek worked as an official of the Musical Section of Matica slovenská in Martin. Here he had the opportunity to make acquaintance, among other sources, with the extensive manuscript collection of Slovak folk songs by Karol Plicka. Kresánek, when processing this collection for the first time, gained knowledge which he afterwards put to use in his synthetic work Slovenská ľudová pieseň zo stanoviska hudobného (Slovak folk song from the musical standpoint) (1951, 21997). Here he used Plicka’s manuscript records of Slovak folk songs to illustrate individual styles in Slovak folk singing. Apart from adopting selected extracts, Kresánek relies in this work on the various studies by Plicka, establishing continuity and simultaneously revaluating them in the light of his own knowledge.
2

KRITICKÉ EDÍCIE HUDOBNÝCH PRAMEŇOV (REFLEXIA PROBLEMATIKY V DIELE JOZEFA KRESÁNKA)

100%
Petőczová J.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
209 – 215
EN
The paper is devoted to Professor Kresánek’s scholarly work with one unique source, the manuscript Collection of Dances and Songs by Anna Szirmay-Keczer. He studied this source throughout his entire life, beginning with theoretical studies of the melodies in the collection’s dance and folklore material, continuing with ethno-musicological comparative analyses and fundamental music-historical research, and finally publishing a critical edition of the source, Melodiarium Annae Szirmay-Keczer (21983), which is a complex scholarly monograph, evaluating one music-historical source. Kresánek’s work placed the critical editions of the musical sources on a new, scholarly level. His researches were interdisciplinary and used the entire spectrum of music-historiographical methods (analysis, comparison, evaluation, source interpretation, aesthetic judgment). He generalised the experience gained in his work in his published guidelines Hudobná historiografia (Music historiography) (1981).
3

KRESÁNKOVA KONCEPCIA „HUDOBNÉHO MYSLENIA“ A MOŽNOSTI JEJ VYUŽITIA PRI REFLEXII HUDBY 20. STOROČIA

100%
Štefková M.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
246 – 264
EN
Kresánek’s trilogy Fundamentals of Musical Thinking (1977), Tonality (1982) and Tectonics (1994) is based on an original conception of musical thinking. He understands the basis and development of musical thinking as a cooperation of three components: sonoristics, dynamism and thematics. For clarification of Kresánek’s ideas, the author points to parallel ideas in the concept of musical thinking of Hans Heinrich Eggebrecht. Taking as her foundation Kresánek’s theory of an analogy between the phylogenetic development of the musical thinking of mankind and the ontogenetic development of musical thinking in the individual, the author presents a conception of the cycle Musica ricercata (1951 – 1953) by György Ligeti. Based on an extreme reduction of the material, Ligeti’s work represents a noteworthy compositional concept, whose poetics “copies” the evolution of musical thinking.
4

OD HUDOBNEJ HISTÓRIE K HUDOBNEJ TEÓRII

88%
Lengová J.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
197 – 208
EN
The most important works by Jozef Kresánek (1913 – 1986) include the scholarly trilogy Základy hudobného myslenia (Fundamentals of musical thinking) (1977), Tonalita (Tonality) (1982) and Tektonika (Tectonics) (1994). This sequence gives proof of the lifelong effort he devoted to music theory as a musicological discipline, which enabled him to explore, within the category of musical thinking, the developmental laws of European art music in all their complexity. Jozef Kresánek began as a music historian, and in his scholarly studies, monographs, surveys and musical editions he devoted himself especially to the problems of the modern history of Slovak music from the 18th to the 20th century. In terms of methodology, he applied a synthesis of the music-historical and music-theoretical approaches. This paper makes a close analysis of the lasting contribution, as well as the period residues, in the conception of two of his works: Dejiny hudby (History of music) (1942) and Vznik národnej hudby v 19. storočí (Birth of the national music in the 19th century).
5

KRESÁNKOV POHĽAD NA HUDOBNÝ TVAR A JEHO ZOBRAZOVACIE SCHOPNOSTI NA PRÍKLADE MAHLEROVEJ PIESNE DAS IRDISCHE LEBEN

88%
Lindtnerová J.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
265 - 275
EN
Musical thinking and its three spheres – the sonoristic, dynamic and thematic spheres – were among the most fundamental phenomena which Jozef Kresánek explored in his musicological research. Musical thinking is a fundamental phenomenon not only in composition but also in performance, listening, reception and reflection. Hence, musical thinking is thus a common factor in all musical activities, as well as in musicology itself and its disciplines. The paper is devoted particularly to thematic musical thinking, whose basis is musical forms. The author considers Kresánek’s definition of musical forms, their division into three main groups, and the fundamental characteristics of musical forms, as well as the depictive capacities of music. Following on from these theoretical premises in the second part of the paper there is an analysis of structure and significance in Mahler’s song Das irdische Leben.
6

HUDOBNÁ HISTORIOGRAFIA JOZEFA KRESÁNKA

88%
Ruščin P.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
216 – 223
EN
The paper deals with the pedagogic synthesis Hudobná historiografia (Music historiography) (Bratislava 1981; 21992) in the context of Jozef Kresánek’s propaedeutic literature. We can see the specifics of Kresánek’s conception – the dual model (systematic procedures; the way from musical source to synthesis) and a comparison with Czech and Slovak propaedeutic literature of the 1980s and 1990s. The academic conception in the three-volume Czech publication Hudební věda (Musicology) (Prague 1988), the combined approach (structure of the scholarly discipline and method of work with the musical source) of Richard Rybarič in his Hudobná historiografia (Music historiography) (Prešov 1994). Correspondence and divergences in Kresánek’s and Rybarič’s conceptions lined the Slovak music historiography in the founding and older generation of music historians.
7

INTERDISCIPLINÁRNE KONTEXTY KRESÁNKOVEJ TEÓRIE O SLOVENSKEJ ĽUDOVEJ PIESNI

75%
Urbancová H.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
187 – 196
EN
Jozef Kresánek’s monograph (1951) Slovenská ľudová pieseň zo stanoviska hudobného (Slovak folk song from the musical standpoint) is fundamental significance for Slovak musicology. Here the author summarised the currently existing findings on Slovak folk song and music and revaluated them on a modern methodological basis, forming a systematically compact genetic-historical theory. Its foundation is the concept of “folk musical thinking” and its development on the territory of Slovakia. He synthesises insights from a number of scholarly disciplines: musical folkloristics and comparative musicology of the first half of the 20th century, music theory, music historiography, musical sociology, and partly also musical aesthetics and musical psychology. The interdisciplinary context of his research has already incorporated all the attributes of an integrated model of musicology. Jozef Kresánek afterwards applied this model in the entirety of his scholarly work and thus influenced the further evolution of Slovak musicology.
8

HUDOBNÁ MUZEOLÓGIA Z POHĽADU MUZIKOLOGICKÉHO DIELA JOZEFA KRESÁNKA

75%
Bárdiová M.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 2
224 - 234
EN
Musical museum-keeping plays have an indispensable role in preserving the musical cultural heritage, which is a part of the spiritual potential of society. This notwithstanding, its theoretical generalisation – musical museology – is seeking out still currently only its place in the systematics of museology and musicology. Valuable suggestions towards the formation of the musical museology may be found in the musicological work by Jozef Kresánek. Particularly, he signals the importance of the existence and activity of music-historical institutes and the monuments which they preserve, treat and present in Hudobná historiografia (Music historiography) (1981) and Úvod do systematiky hudobnej vedy (Introduction to systematic musicology) (1980). He also mentioned the need for a formulation of the methodology and theory of this work and indicated circles of issues concerning the basic functions of museums – selection, storage of treasures, presentation and communication.
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