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METAPHORS, FAD-WORDS AND TRAVELLING CONCEPTS IN MUSICOLOGICAL TERMINOLOGY

100%
Piotrowska A. G.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
156 – 165
EN
This paper deals with metaphors (fad-words and travelling concepts) as encountered in the field of musicology, highlighting how and when certain concepts and ideas were borrowed and/or appropriated from other disciplines. It is claimed that by creating its unique jargon (abounding with discipline-specific metaphors) musicology has proved the facilitating role of metaphors in the communication between musicologists, music lovers, music critics etc. It is also argued that while transgressing the borders of disciplines, metaphors have helped to establish and ossify typically musicological methodology and tools of analysis.
2
Content available remote

ADORNO V ČESKOSLOVENSKU: HUDBA, TEÓRIA, ESTETIKA

88%
Fulka V.
ESPES
|
2020
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vol. 9
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issue 2
3 – 22
EN
The aim of this paper is to examine how Adorno's aesthetic and musicological thinking was received in Czech and Slovak musicology in the decades between the 60s and the 80s. The focus is on the Czech and Slovak translation of some of Adorno’s musicological treatises and lectures – especially those concerning his views on the Second Vienna School and the musical poetics of its immediate successors – which were published in former Czechoslovakia. The study offers an interesting perspective on Adorno’s relatively unknown lecture Form der neuen Musik (1965) and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] (1966) as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible] (1967). The study also considers other scientific texts by Adorno in relation to the above-mentioned translations of his works. The analysis, reflection, and interpretation of Adorno’s works in former Czechoslovakia, as well as their contemporary reception, turn out to be sporadic in the examined period. The purpose of this research is to revive awareness of their significance and to give a new impulse to their reassessment within the current musicological and philosophical reflection.
3

MIGRÁCIA HUDOBNÝCH PRAMEŇOV AKO ZDROJ POZNANIA HUDOBNEJ MINULOSTI SPIŠA

88%
Petőczová J.
Musicologica Slovaca
|
2022
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vol. 13 (39)
|
issue 1
36 - 57
EN
The sociological term migration is used in historical musicology to express the notion of transfer of music, in connection with its social origins and functions, accompanying people through their lives and migrating with them. Music migration stems from the voluntary or forced relocation of musicians (exile) or the search for new job opportunities. Musicological research addresses the most common related issues linked to the dissemination of manuscripts and early prints from musical hubs to the periphery, including via a comparison of the respective musical repertoires. The aim of the study is to characterize those music sources preserved in the Spiš region which document music migration in the Central European context in the 16th and 17th centuries. The study also focuses on the migration of musicians to neighbouring regions (Šariš, Gemer, Malohont) and cross-border migration (Central Germany, Silesia, Transylvania) as well as the possibility of transmitting musical sources in the multi-ethnic environment of the Lutheran cantorates.
4

HUDOBNÁ HISTORIOGRAFIA JOZEFA KRESÁNKA

88%
Ruščin P.
Musicologica Slovaca
|
2013
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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.
5

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.
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