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1
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Ke každodennosti dvorního hudebníka ve druhé polovině 18. století : (život a smrt Antonína Jünglinga, schwarzenberského hudebníka a úředníka)

100%
Voříšek M.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 3-4
265-298
EN
The article deals in detail with the life and career of Anton Johann Jüngling (1743, Protivín – 1798, Český Krumlov), who served as a violinist, music director, and highly placed official to the princely Schwarzenberg family during the last third of the eighteenth century, when that court saw its greatest flourishing of musical activities. Jüngling also seems to have had a relatively successful career in Vienna as a performer. The documentation connected with the settling of his estate provides unusually detailed insights into a number of the circumstances of his life, including his professional and personal relationships, his personal finances, the furnishing of his home, a fragmentary inventory of his music and books, and the medical treatment he received near the end of his life.
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Rukopisy děl Johanna Josepha Röslera v archivu Pražské konzervatoře

80%
Hönigová A.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 3-4
299-320
XX
The archives of the Prague Conservatoire hold a valuable collection of autographs, copies, and early prints of music by the composer Johann Joseph Rösler (1771-1812), active in Prague and Vienna and later in the service of Franz Joseph Lobkowitz. This study is devoted to the manuscripts contained in this collection. Together with their digitisation, the new editions and CD recordings of some pieces realised in 2018 should be an inducement for further research on and presentation of the music of this fine composer.
3
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Cecilská jednota a Antonín Dvořák

80%
Vídenová M.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 3-4
321-334
XX
Whilst studying at the Organ School, Antonín Dvořák was also playing viola for the Cecilia Society, an important musical organisation in Prague. So far, musicologists have paid relatively little attention to this area of the composer’s activity as a performer. The Cecilia Society played a part in the emergence of the newly developing phenomenon of public concerts, and it was one of the first societies in this country that was oriented towards the performance of larger-scale works for choir, choir and orchestra, and orchestra alone. Primarily on the basis of source material on the matter in question that has not yet been studied or, in some cases, that was previously unknown, the study provides an overview of the development, organisational structure, and membership base of the Cecilia Society with an emphasis on the period when Dvořák was active in the organisation.
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Karel Bendl and his friendship with Antonín Dvořák : an overview including presentation of an unknown letter

80%
Beveridge D.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 3-4
335-366
XX
The composer and conductor Karel Bendl (1838-1897) was a prominent figure in Czech musical life and a close friend of Antonín Dvořák, helping him greatly in his early days of struggle. Today Bendl is largely forgotten, and he has never been the topic of any substantial study. The impetus for the present article is discovery of a letter Dvořák wrote to Bendl which is here published complete for the first time within a survey of Bendl’s life and work, including much information that is not widely known and in several cases (not only the mentioned letter) has never been published.
5
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Premiéra Sukova Zrání a Nejedlého kritika Sukova díla a osobnosti

80%
Charypar J.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 3-4
367-389
XX
This study concerns the premiere of the symphonic poem Zrání (Ripening) by Josef Suk, Zdeněk Nejedlý’s opinions about Suk, and the so-called “Suk affair”, stirred up when Nejedlý accused Suk of having accepted an Austrian medal. The first chapter tells of the premiere of Zrání and the reactions to it including Nejedlý’s negative reviews. A separate chapter deals with Nejedlý’s opinions about Suk’s music and about the historical background of those opinions. There is also discussion of the personal relationship between Nejedlý and Suk. Special attention is devoted to how the so-called “Suk affair” has been viewed by scholars since Suk’s death up until the present.
6
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Do Narcissists Play Solo? Differences in Self-Efficacy and Narcissism Among Band and Solo Musicians

80%
Molińska W., Rajchert J., Bodecka-Zych M.
Roczniki Psychologiczne
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2024
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vol. 27
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issue 1
91-101
EN
The following study focuses on individual differences between musicians who play solo (performing individually or as leaders), and musicians performing as part of a chamber ensemble, band, choir, orchestra, etc. We predicted that soloists would be higher on grandiose narcissism and self-efficacy. The results showed that soloists (n = 59) not only were higher on narcissism, but also had higher self-efficacy scores than musicians who perform in ensembles (n = 65). However, soloist and band players are not different in narcissism and self-efficacy when the other trait is controlled, which indicates that common features of both traits differentiate solo and band musicians. Results raise further questions on what factors affect the development of a musician’s career path.
7
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Waiting for the Concert. Pre-Performance Emotions and the Performance Success of Teenage Music School Students

70%
Kaleńska-Rodzaj J.
Polish Psychological Bulletin
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2018
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vol. 49
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issue 3
8
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Hudba na českokrumlovském zámku v létě roku 1780 : (den v životě Antonína Jünglinga, schwarzenberského hudebníka a úředníka)

61%
Voříšek M.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 2
117-142
XX
The article is based on a lengthy report by Anton Johann Jüngling on his own activities on 12 August 1780; Jüngling was at the time the Schwarzenbergs’ music director and also a highly placed official. This unique historical source affords a very detailed look at Jüngling’s daily life as a person and a professional, and in combination with other sources, it also enables the creating of a quite detailed picture of the musical events at the Schwarzenberg court over a period of just under two weeks, when the Schwarzenbergs were staying in Český Krumlov with their guests. The musical activities included theatrical performances, a ball, a private concert with repertoire consisting of orchestral arrangements of music from singspiels currently being performed (Die schöne Schusterin and Die abgeredte Zauberey), and accompaniment for worship services. The study documents that the musicians at the princely court were able to secure the music for most of these occasions, and that they were supplemented or substituted for as needed by hired musicians from the town or the military.
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Attachment quality is associated with music performance anxiety in professional musicians: an exploratory narrative study

61%
Kenny D. T., Holmes J.
Polish Psychological Bulletin
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2018
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vol. 49
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issue 3
10
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Normy a konflikty. Předbělohorští hudebníci ve světle právních pramenů

61%
Matyášová J.
Folia historica Bohemica
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2013
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vol. 28
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issue 1
29-57
EN
The essay based on juridical sources is concerned with classification of musicians on the lowest and middle levels – it compares the municipal environment with musicians travelling through the Kingdom of Bohemia, who usually lacked the honour, i.e. the full rights. The pitch books captured a large number of offences committed by musicians with the right, thus enabling us a closer look at the share of these artists on the contemporary criminality. The criminal norms, however, were not the only norms that were violated – the standard music operation was clearly documented in instructions issued in the 16th and 17the century for municipal as well as private music ensembles.
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At the Crossroads od European Violin Heritage : The Migration of Prague Violinists throughout Europe from the beginning of the nineteenth century up to the 1880s

61%
Zupančič M.
Hudební věda (Musicology)
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2018
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vol. 55
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issue 1
5-40
EN
The phenomenon of extensive migrations of Bohemian musicians across Europe began at the end of the seventeenth century. With the establishment of the Prague Conservatory in 1811, a new and major wave of emigration of Prague violinists emerged. Thus, most of the talented and promising Prague violinists in the first half of the nineteenth century emigrated throughout Europe, mostly within the Habsburg monarchy. They became members of the Estates theater orchestras in Linz, Graz, and Budapest, the Theater on the Vienna River, Leopoldstadt and Josefstadt theaters in Vienna, the Königsstadt Theater in Berlin, and the prestigious Vienna Imperial Opera and Vienna Imperial Music Chapel. In the second half of the nineteenth century the Prague violinists’ roles and their migration routes changed. They still mostly emigrated to the cities within the Austro-Hungarian Monarchy and German Empire, but some of them also settled in the regions of Galicia and Bukovina and in the neighboring Russian Empire and Slovene lands. They were active as concertmasters, violin pedagogues, virtuosos, chamber music promotors and performers, and organizers of musical and cultural life in numerous European cities. They markedly influenced the violin in particular, as well as music development in general, in the second half of the nineteenth century.
CS
Studie Maruši Zupančič je věnována fenoménu pražské houslové školy v uvedeném časovém období. Autorka se zaměřuje houslisty, kteří působili v zahraničí. Vedle konkrétních osobností včetně sledování jejich životních osudů a působišť však věnuje pozornost rovněž vlivům, které vedly k odchodu těchto hráčů mimo české země do ostatních zemí. Stranou nezůstává ani dobová reflexe, díky které se dozvídáme o velkém věhlasu, jemuž se mnozí z českých houslistů těšili.
12

Recenzja: Ryszard Chrzanowski (Cranovsky), „Natchnieni”. Bohaterowie – Mistrzowie – Muzycy.

61%
Gaertner H.
Acta Medicorum Polonorum
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2016
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vol. 6
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issue 2
142-143
XX
Recenzja
13
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The relationship between study addiction and examination stress among students of music academies

61%
Atroszko P. A., Wróbel W. K., Bereznowski P., Lawendowski R.
Roczniki Psychologiczne
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2019
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vol. 22
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issue 2
177-192
EN
Previous studies have shown that study addiction is related to worse academic performance among music academy students as well as in the general population of students, suggesting that excessive examination stress may impair their performance on exams. The aim of this study was to investigate the relationship between the newly developed concept of “study addiction” and examination stress among students of music academies. Study addiction has been defined within the framework of theory and research on work addiction as a potential behavioral addiction. A cross-sectional correlational study was conducted, with a sample of 132 students of music academies in Poland. The Bergen Study Addiction Scale, assessing seven core addiction symptoms related to studying, was administered together with a commonly used measure of personality and single-item measures of examination stress and learning engagement. Multiple hierarchical regression analysis showed that study addiction was related to higher examination stress above and beyond personality traits. What is more, while study addiction showed a positive relationship with examination stress, learning engagement showed a negative association with examination stress. The results suggest that, among music academies students, study addiction is related to higher stress during exams and that study addiction and learning engagement are different constructs. Taking into account the relationship of study addiction with higher stress in situations of being evaluated, future studies are warranted that would link study addiction to music performance anxiety, which is one of the most widely studied phenomena in the psychology of music.
14
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Nové poznatky o životě varhaníka Rytířského řádu Křižovníků s červenou hvězdou Františka Josefa Dollhopfa (1695-1743)

51%
Veverka K.
Hudební věda (Musicology)
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2015
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vol. 52
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issue 2
158-162
XX
Studie Karla Veverky se zabývá osobností varhaníka Franitška Josefa Dollhopfa, který působil na významném hudebním kůru kostela sv. Františka u pražských křižovníků na Starém Městě, a podstatně doplňuje novými informacemi pohled na jeho životní osudy.
15

Conscious Inclusion of Women Musicians

51%
Cartwright J.
Gender Studies
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2012
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vol. 11
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issue Supplement
235-242
EN
This paper discusses the vast divide between performance opportunities and income earned by male and female musicians. Although female singers are quite visible on the world’s stages, few female instrumentalists are employed on a regular basis and even fewer women composers have their music commissioned for programs or films funded by private and public monies. Several proficient female jazz musicians are identified, and how and why women are omitted from performance is discussed. The need for everyone-producers, promoters, funders, and bandleaders-to consciously choose to include women musicians in programming, especially where public funding is involved, is emphasized.
16
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Exposure to excessive sounds during orchestra rehearsals and temporary hearing changes in hearing among musicians

51%
Dudarewicz A., Pawlaczyk-Łuszczyńska M., Zamojska-Daniszewska M., Zaborowski K.
Medycyna Pracy
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2015
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vol. 66
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issue 4
479-486
PL
Wstęp Wykazano, że muzycy narażeni są na ryzyko utraty słuchu wywołanej hałasem. Celem pracy była ocena czasowych zmian słuchu u muzyków orkiestrowych po udziale w próbach zespołowych. Materiał i metody Badana grupa składała się z 18 muzyków orkiestrowych w wieku 20–58 lat (średnia: 40 lat) o stażu zawodowym 12–40 lat (średnia: 22 lata). Czasowe zmiany słuchu po próbach zespołowych wyznaczono na podstawie wyników badań emisji otoakustycznych przejściowych (transient-evoked otoacoustic emissions – TEOAE). Oceniono również poziom ekspozycji na hałas podczas prób zespołowych. Wyniki Próg słuchu muzyków był wyższy (gorszy) niż oczekiwany w równoważnej populacji nienarażonej na hałas. Ponadto w audiogramach części muzyków zaobserwowano „załamki” typowe dla działania hałasu wysokoczęstotliwościowe. Po próbach zespołowych, podczas których muzycy byli narażeni na hałas orkiestrowy o poziomie ekspozycji na hałas odniesiony do 8-godzinnego dnia pracy (skorygowany charakterystyką częstotliwościową A) o wartościach 75,6–83,1 dB (średnia: 79,4 dB), zaobserwowano statystycznie istotne obniżenie amplitudy TEOAE (ok. 0,7 dB), zarówno w przypadku zbiorczej odpowiedzi, jak i w pasmach 2000 i 3000 Hz. Nie stwierdzono jednak istotnych różnic między wynikami powtarzalności TEOAE przed ekspozycją i po ekspozycji. Wnioski Uzyskane wyniki potwierdzają, że praca muzyków orkiestrowych wiąże się z ryzykiem uszkodzenia słuchu, nawet przy ekspozycji na hałas orkiestrowy nieprzekraczającej wartości dopuszczalnych dla hałasu w miejscu pracy. Med. Pr. 2015;66(4):479–486
EN
Background It has been shown that musicians are at risk of noise-induced hearing loss. The aim of the study has been to evaluate the temporary changes of hearing in the case of orchestral musicians after group rehearsals. Material and Methods The study group comprised 18 orchestral musicians, aged 30–58 years old (mean: 40 years old) having 12–40 years (mean: 22 years) of professional experience. The temporary changes in hearing after group rehearsals were determined using transient-evoked otoacoustic emissions (TEOAEs). Noise exposures during group rehearsals were also evaluated. Results Musicians’ hearing threshold levels were higher (worse) than expected for the equivalent non-noise-exposed population. Moreover, the high frequency notched audiograms were observed in some of them. After rehearsals, during which musicians were exposed to orchestral noise at A-weighted equivalent-continuous sound pressure level (normalized to 8-h working day) varied from 75.6–83.1 dB (mean: 79.4 dB). The significant post-exposure reductions of TEOAE amplitudes (approx. 0.7 dB) both for the total response and frequency bands of 2000 and 3000 Hz were noted. However, there were no significant differences between pre- and postexposure reproducibility of TEOAE. Conclusions Obtained results have confirmed that orchestral musicians are at risk of hearing loss due to their professional activities, even at exposures to orchestral noise less than the limit values for occupational noise. Med Pr 2015;66(4):479–486
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The Organists of Leipzig's Royal Catholic Chapel: 1719-1756

51%
Stockigt J. B.
Hudební věda (Musicology)
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2016
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vol. 53
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issue 2-3
161-176
XX
Studie Janice B Stockigt se zabývá hudebníky, kteří působili na postu varhaníků v královské kapli v Lipsku během uvedeného časového období. Na jejich příkladu dokumentuje, že takové působiště bylo jednou z cest k vzestupu v hierarchii drážďanské dvorní hudby i pro hudebníky, přicházející z Čech.
18
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Leksyka muzyczna w Traktacie o łuskaniu fasoli Wiesława Myśliwskiego

51%
Kuska W.
Język. Religia. Tożsamość
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2022
|
issue 2 A (26)
39-53
PL
Wieloaspektowe zjawisko muzyki jest konstytutywnym elementem wszystkich powieści Wiesława Myśliwskiego. W niniejszym opracowaniu skupiono się na podstawowej leksyce muzycznej w Traktacie o łuskaniu fasoli, która została sklasyfikowana podług trzech następujących kolekcji: 1) proces tworzenia muzyki, 2) instrumenty muzyczne oraz 3) muzyka jako sztuka. W obrębie każdej z nich wyekscerpowano leksykę odpowiadającą wskazanemu zbiorowi, co pozwoliło na bardziej precyzyjne pogrupowanie zebranego słownictwa, zaś każda z zaprezentowanych grup została poparta przykładami analizowanej powieści. Na przykład w klasyfikacji nazw instrumentów muzycznych przyjęto ich naukowy podział, polegający na przypisaniu do grupy wedle źródła dźwięku, a nazwy wykonawców muzyki przedstawiono w dwóch podstawowych zbiorach: 1) jako gremium wykonawcze, 2) indywidualni muzycy. Zwrócono również uwagę na istotną funkcję stylistyczną, nadaną zwłaszcza instrumentom zniszczonym wojenną pożogą – stanowią one metaforyczne odwołanie do ludzkiego losu.
EN
The multifaceted phenomenon of music is a constitutive element of all novels by Wiesław Myśliwski. This study focuses on the basic musical vocabulary of the Treatise on Shelling Beans, which has been classified into the following three collections: 1) the process of creating music, 2) musical instruments, and 3) music as art. Within each of them, the vocabulary corresponding to the indicated set was excerpted, which allowed for a more precise grouping of the collected vocabulary, and each of the presented groups was supported by examples of the analyzed novel. For example, in the classification of the names of musical instruments, a scientific division has been adopted, consisting in assigning to a group according to the source of sound, and the names of music performers are presented in two basic collections: 1) as an executive body 2) individual musicians. Attention was also paid to an important stylistic function, especially given to instruments destroyed by the fire of war – they constitute a metaphorical reference to human fate.
19
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Wpływ muzyki na zapamiętywanie u osób z doświadczeniem muzycznym

51%
Pius K., Miętus N., Olchowik A., Parkitna I.
Ogrody Nauk i Sztuk
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2015
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issue 5
338-344
PL
Artykuł zawiera przedstawienie, a także analizę przeprowadzonego badania, które dotyczyło zapamiętywania oraz odtwarzania materiału neutralnego podczas słuchania muzyki. Przebadano 87 studentów Uniwersytetu Muzycznego im. Fryderyka Chopina w Warszawie. Uzyskane wyniki wskazują, że badani, słuchający muzyki na etapie zapamiętywania informacji zapamiętują średnio o jedną figurę więcej niż badani, którzy na tym etapie słuchali neutralnego szumu. Nie wykryto istotnych różnic pomiędzy grupami, jeśli chodzi o czas i ilość figur odtworzonych w prawidłowej kolejności. Na badaną efektywność nauki nie miały również istotnego wpływu takie zmienne jak: doświadczenie i preferencje muzyczne oraz styl nauki.
EN
This article presents and analyzes research concerning the memorizing and recalling of neutral material while listening to music. 87 students of The Fryderyk Chopin University of Music in Warsaw were questioned. The results obtained indicate that subjects who listen to music while memorizing information on average memorize one item more than subjects who listen to a neutral noise at the same stage. No significant differences were observed between both groups concerning the time of performance and correctness of the order of recalled items. Neither was efficiency of learning was influenced by such variables as musical experience and preferences, or style of learning.
20
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Projekt "Melodie Miasta Łodzi". Czyli o próbie praktykowania paraetnomuzykologii praktycznej w przestrzeni wielkomiejskiej

41%
Puliński B.
Łódzkie Studia Etnograficzne
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2018
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vol. 57
EN
The author presents in the article his own project Lodz City Melodies. The project concerns musicians and music connected, above all, with the disappearing traditional folklore that can be found in the city of Lodz. The priority of the project is to find Lodz musicians (related to any disappearing musical traditions) and to promote their playing. In the article, the author discusses theoretical assumptions and the method of work, stages of project implementation and the effects (acceptance of the project by traditional music community).
PL
Autor przedstawia w artykule własny projekt Melodie Miasta Łodzi. Projekt dotyczy muzykantów i muzyki, związanych przede wszystkim z zanikającym folklorem różnych tradycji, który można znaleźć w mieście Łodzi. Priorytetem dla przedsięwzięcia jest odnalezienie łódzkich muzykantów (związanych z dowolnymi zanikającymi tradycjami muzycznymi) oraz promocja ich gry. W artykule autor omawia założenia teoretyczne i metodę pracy, etapy realizacji projektu i jego efekty (akceptacja przez środowisko muzyki tradycyjnej).
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