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  1. 3 Musicologica Slovaca

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  1. 3 Ferková E.

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  1. 1 2023

  2. 1 2019

  3. 1 2017

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1

HARMONICKÉ PREFERENCIE AKO ŠTÝLOVÝ ZNAK SKLADATEĽSKEJ POETIKY. PRÍSPEVOK K CHARAKTERISTIKE ÚPRAV ĽUDOVÝCH PIESNÍ PRE KLAVÍR MILOSLAVA FRANCISCIHO

100%
Ferková E.
Musicologica Slovaca
|
2017
|
vol. 8 (34)
|
issue 2
169 – 187
EN
This article presents an application of software instruments for detection and quantification of the incidence of eleven chords of classical harmony in three groups of songs. The first two groups consist of selections from piano adaptations of Slovak folk songs by Miloslav Francisci entitled Trávnice I (Haymaking Songs I: a selection of 78 compositions from 100) and Trávnice II (Haymaking Songs II: a selection of 13 compositions from 100). The third is a group of 38 original songs by Ján Levoslav Bella, which we acquired already in digital form in MIDI format. The software instruments are described in the article, and in the tables of results of computer analysis of the three groups we present findings on the percentage incidence of the individual chords in each song individually. This result may be regarded as new information about the harmonic preferences of the composers, in terms of the selection of chords for harmonisation and musical creation. Between Francisci and Bella there is an obvious difference in preference: Bella worked with a greater variety of types of chords, and in this regard his compositional style is more complex and expressively more multiform.
2

K HARMONIZÁCII SLOVENSKÝCH ĽUDOVÝCH PIESNÍ V PRVÝCH EDÍCIÁCH KLAVÍRNYCH ÚPRAV Z 30. ROKOV 19. STOROČIA

100%
Ferková E.
Musicologica Slovaca
|
2019
|
vol. 10 (36)
|
issue 1
131 – 147
EN
This paper elucidates the findings of an analytical probe into the basic harmonic thinking and technique evidenced in the musical reworking of Slovak folk songs in the first published editions of piano adaptations. The authors of these adaptations were musically educated members of the Slovak intelligentsia and collectors. Martin Sucháň (1792–1841) and Vladislav Füredy (1794– 1850) did creditable work in the 1830s for the promotion of Slovak folk songs by compositional arrangements. Piano arrangements were intended to make the songs accessible to a wide musical and non-musical public, mainly through domestic music-making. The arrangements carry signs of the composers’ musical inventiveness, but they are marked also by a certain measure of amateurism. While they document several procedures typical of the composer, there are also some instances of defective knowledge of the conventional procedures for working on chords and their changes and harmonic functions, the construction and use of cadences, and other established structures and relationships in contemporary art music (composed music). In the published editions one can also find some errors in the notation; these, however, might originally have stemmed from the publisher’s negligence rather than the composer’s ignorance.
3

SLOVENSKÉ ĽUDOVÉ PIESNE V KLAVÍRNYCH ÚPRAVÁCH VLADIMIRA REBIKOVA

100%
Ferková E.
Musicologica Slovaca
|
2023
|
vol. 14 (40)
|
issue 1
93-113
EN
This article is devoted to researching and characterising the arrangements (especially in the area of harmony) of the Slovak folk songs which were selected and compositionally processed for vocal and piano by the Russian composer Vladimir Rebikov (1866 – 1920) at the turn of the 20th century. The set of 25 song arrangements confirms that the composer accomplished his creative processing on the lines of his own artistic principles. What this involved was an extension and embellishment of the harmonic course, which despite its modernity remained within the bounds of the tonal or modal thinking typical for extended tonality and for a modality tending towards musical impressionism. The usual connection of the content of songs to the major key in positively attuned songs, with minor solutions where the contents have a negative or sorrowful sound, is purposefully used in Rebikov’s arrangements. Also typical of the harmonic plan is a cadence progression, with a predominance of sevenths, or modal and unfinished harmonic solutions where they reinforce the significance of the text of the songs.
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