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1

REKONŠTRUKCIA PIESŇOVÉHO REPERTOÁRU EVY STUDENIČOVEJ ZO ZÁPISOV KAROLA PLICKU

100%
Timková M.
Musicologica Slovaca
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2016
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vol. 7 (33)
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issue 2
249 – 283
EN
During field research in the Záhorie region the collector Karol Plicka (1894 – 1987) was impressed by the singer Eva Studeničová from the village of Moravský Svätý Ján. Although he published only a small fragment of the songs (43 records), the song collection Eva Studeničová Sings (1928) is the first song monograph in Slovakia on an important bearer of the song tradition. The reconstruction of the complete song repertoire which the collector recorded from this singer relied on both manuscript and published records. The result was a repertoire amounting to 209 songs gathered from this singer. Apart from that, 88 song records which Plicka recorded from other singers in the village have been identified. Together with the songs from Eva Studeničová’s repertoire, this makes a corpus totalling 297 songs, which Plicka documented in this locality.
2
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REPERTOIRES OF SLOVAK AND SLOVENIAN THEATRE HOUSES AND THEIR PRODUCTIONS OF THE WESTERN EUROPEAN AND AMERICAN AUTHORS (1945 – 1970)

100%
Andres R.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 3
283 – 301
EN
This article is a comparative review of performances of Western European and American authors in Slovak and Slovenian theatres in the two decades after World War II. First, we present a short historical context, comparing the political systems and cultural policies of both states. We define the importance of the selection of works for the repertoire(s) and then parallel them to the main characteristics, authors, and dramatic texts prevalent in that period. Second, we highlight the particularities of staging of the Western European and American authors in both cultural spaces, evaluate their importance, and explicitly determine the fundamental differences between the two theatre spaces and performing arts in the socialist system in general. Third, we expose the similarities and differences in the quantity and diversity of authors. This is done on the basis of the performances by institutional theatres, recorded in the repertoire databases of the respective countries. Everything deviating from the norm is located in a separate chapter, as a phenomenon, where we are looking for the reasons for (not) performing certain authors or poetics. The article functions as a review of the period, and seeks to shed light on theatre production in the Central European cultural area during the undemocratic socialist regime, regardless of basic differences between the two political systems.
3

Imiona Zydow w poznanskich dokumentach z XVI-XVIII wieku. Wstepne rozpoznania

86%
Sarnowska-Giefing I.
Poznańskie Spotkania Językoznawcze
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2011
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vol. 22
87-102
EN
The article presents the names of Jews from Poznan, excerpted from the published in print six municipal documents from the 16th-18th centuries. The author makes an attempt to outline a specific character of the names of the Jewish residents of Poznan against the background of the already recognised nomenclature of this ethnic group living in the eastern borderlands. The repertoire of the names of Poznan Jews presented in the documents may contribute to further studies and comparative research. The set of 87 names, reconstructed during the analysis, constitutes nearly 24% of the repertoire of male names used by Polish Jews which were included in Rothwand's register from 1866 and nearly 15% of all Jewish names ('correct and flawed') contained in the list from 1928. The varieties of names found in Poznan sources (more than 150 items) give - as the author emphasizes - only a fragmentary image of the abundance of forms which were then used. The description and onomastic analysis are preceded by remarks referring to the origin of this particular ethnic group in Poznan and its traditions connected with names.
4

IRMOLOGION JÁNA JUHASEVIČA SKLIARSKEHO (POZNÁMKY K RUKOPISU Z ROKOV 1784-1785)

86%
Prokipčáková M.
Slavica Slovaca
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2016
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vol. 51
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issue 2
165 - 170
EN
The paper focuses on the specific aspects of the manuscript irmologion of Ján Juhasevič Skliarskij. The unique details are shown not only by precise book presentations but also by the language and music records and a rare repertoire system. Presented irmologion redounds to the understanding of scribes, music and liturgical practice in the region of Byzantine-Slavonic tradition in Slovakia and the Sub‘Carpathian area.
5

BRATISLAVSKÝ SPEVÁCKY SPOLOK A JEHO PRVÝ ZBORMAJSTER ANTON STREHLEN

86%
Lengová J.
Musicologica Slovaca
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2020
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vol. 11 (37)
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issue 1
34 - 61
EN
Bratislava Choral Society, founded in 1879, focused on the cultivation of mixed choral singing. Under the leadership of its first choirmaster Anton Strehlen (1879 – 1906), its concerts were already of a high artistic level. The programmes of concerts and soirées consisted of cantatas, choirs, hymns, vocal ensembles (especially vocal quartets), extracts from operas, and also instrumental music. This article is concerned with the Society’s concert repertoire in the era of A. Strehlen, particularly the presentation of cantata works (by R. Mader, N. W. Gade, R. Schumann, M. Bruch, H. Hofmann, G. Zichy, among others) and their reception. New findings are presented on the biography of A. Strehlen and other singers and instrumentalists participating in the Society’s activity.
6

K ŠPECIFIKÁM HUDBY FRANTIŠKÁNOV NA MORAVE V 17. A 18. STOROČÍ: POZNÁMKY K DEJINÁM HUDBY V PROVINCII BOHEMIAE SANCTI WENCESLAI

86%
Kačic L.
Musicologica Slovaca
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2011
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vol. 2 (28)
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issue 2
207 - 229
EN
The study consists of the notes on the topic of Franciscan music in the 17th and 18th century in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specific features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the so called measured chant – much greater space afforded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. The Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplified type of Franciscan poly-choral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. In the terms of practical performance it is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.
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