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1

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

100%
Petőczová J.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
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).
2

HUDOBNÁ HISTORIOGRAFIA JOZEFA KRESÁNKA

88%
Ruščin P.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
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.
3

HUDOBNÁ MUZEOLÓGIA Z POHĽADU MUZIKOLOGICKÉHO DIELA JOZEFA KRESÁNKA

75%
Bárdiová M.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
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.
4

NOTATIO STRIGONIENSIS – OSTRIHOMSKÁ NOTÁCIA NA SLOVENSKU

63%
Veselovská E.
Musicologica Slovaca
|
2010
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vol. 1 (27)
|
issue 1
46-79
EN
Esztergom notation is an achievement of medieval Hungarian scriptoria. Two codices (Bratislava Missal I, Nitra Gradual) and several tens of fragments coming from 12th-18th centuries have been preserved proving the presence of the Esztergom notation on the whole territory of Slovakia. However, it is not a dominating notational system of the medieval materials. The preserved sources document much more margin use of this medieval notational system in Slovakia. The Estergom notation is originated as an independent product of the scriptorium of the main church centre of the medieval Hungary-Esztergom.
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