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1

Ukolébavka v prostoru – prostor v ukolébavce. Miloslava Kabeláče Šest ukolébavek (1956)

100%
Kordík P.
Hudební věda (Musicology)
|
2009
|
vol. 46
|
issue 4
393-417
EN
The study 'A Lullaby in a Space - the Space in the Lullaby. Miloslav Kabelac's Six Lullabies (1956)' is a follow-up to an earlier one (published in the previous issue). The author focuses in particular on the accompaniment structure (flute, bass clarinet, strings and small female choir), which is completely extracted from material in the solo vocal line. There is a wide range of variation, from the use of only one tone to the expansion of melodic cells from the original vocal line. The composer creates different sound textures ranging from a rhythmic pedal on a single tone to different polyphonic combinations. Sound textures trace two principal planes: one of reciprocal stratification of the sounds layers which are more or less independent and the other, where all layers are in a harmony. They exist, not in isolation from each other, but grow organically from one another.
2

PIESNE LETNÉHO SLNOVRATU NA SLOVENSKU AKO SÚČASŤ SLOVANSKEJ KULTÚRNEJ TRADÍCIE

80%
Urbancová H.
Musicologica Slovaca
|
2013
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vol. 4 (30)
|
issue 1
137 - 150
EN
The territory of Slovakia belongs to one of those regions of Europe where is an extant repertoire of ritual songs which are associated with the celebration of Midsummer and St. John’s Day. Analysis of the textual and musical components of the Midsummer songs has enabled a reconstruction of the ritual context. It has confirmed assumption that songs with a ritual function conserve many contextual associations of singing, which retrospectively illuminate the vanished forms of ritual. A comparative sounding of the song repertoire of selected Slavonic ethnic groups (Czech/Moravian, Polish, Croatian, Ruthenian, White Russian) has contributed to the study of common elements and semantic analogies in Midsummer rituals. It helps to verify data on the relationship of the “text” (song) and “context” (ritual), acquired by analysis of song material which is territorially/ethnically delimited, as well as to study Slavonic tradition of the celebration of summer solstice.
3
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THE CATEGORY OF MELANCHOLY IN THE SONGS OF JOHN DOWLAND

80%
Nahajowski M.
Muzyka
|
2007
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vol. 52
|
issue 2(205)
37-60
EN
The concept of melancholy is inextricably linked to questions about the nature of the human psyche: emotions and feelings. In spite of different views as to the origins of melancholy, descriptions of this condition throughout history are generally similar, and differ merely in details. It is a frequently employed, highly suggestive term, aptly describing a certain kind of reality. It has come into such use because of its wide conceptual range and strong emotional charge. Describing emotions contained in music is a difficult enterprise. While it is not difficult to establish the general character of a musical composition (sad - cheerful), when one attempts to describe more complex emotional qualities a number of uncertainties arise. Is it legitimate to speak of the presence of melancholy in a musical composition, and if so, how does it manifests itself and how can it be studied? Melancholy is a term which appears very frequently in the context of discussions of Dowland's work. This aspect of his compositions, gloomy and full of pain, has drawn the attention of the majority of scholars and performers of his music. The aim of the interpretation undertaken in the article was to discover the extent to which the conviction that melancholy is present in Dowland's music can be demonstrated through analytical method. There are good reasons why the vocal music of this composer constitutes apropriate material for study, as the verbal text suggests precisely a subject area and meaning references which go beyond music. Following from the premises adopted here, the text of the article has been divided into three parts. The first one presents the issues relating to our understanding of the concept of melancholy, based on statements of various authors, from antiquity through to the twentieth century. The second part, devoted to the search for a method which would allow one to interpret Dowland's vocal music, brings in a number of deliberations from theory of music, both in relation to the problems of musical analysis, and to the possible interdependence between melancholy and music. On the other hand, the third part provides an example of the interpretation of a musical work, the song In darkness let me dwell, in the context of the analytical premises presented in the earlier part.
4
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»Válka je holka moje«. Żołnierz w pieśniach Karela Kryla

80%
Dźwinel K.
Bohemistyka
|
2016
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vol. 16
|
issue 1
65 - 80
EN
The article presents a thread related to the artist’s frequent use of the subjective point of view of a wandering through the world soldier – recurrent in the songs by Karel Kryl – a Moravian bard, “troubadour of the Prague Spring”. Life on an exile, constant separation, longing and also uncertainty of what was left behind and what is yet to come – are in Kryl’s way a framework of existential issues shaping his songs. The article’s aim is also to point other theme dominants of songwriter’s creation, which allow him to articulate a full range of feelings – in its complicated multidimensionality, still with a clear presence of emptiness, loneliness, homelessness.
5

PIESNE Z OBCE LAZY POD MAKYTOU V ZÁPISOCH KAROLA PLICKU

80%
Timková M.
Musicologica Slovaca
|
2013
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vol. 4 (30)
|
issue 1
104 - 135
EN
The manuscript collection of Karol Plicka (1894 – 1987) is one of the most important historical sources of the Slovak folk songs from the first half of the 19th century. Based on the manuscript records from the village Lazy pod Makytou (in Trenčín region) Plicka’s method of field work and mode of recording songs (melodic and textual rough copy, melodic fair copy) are analysed. Source criticism of his records not only became the starting point for reconstruction of the song repertoire collected in this village but also laid the basis for editing Plicka’s records of the musical component of the songs.
6

Příležitostné písně Šimona Lomnického z Budče

80%
Rudovsky M.
Hudební věda (Musicology)
|
2009
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vol. 46
|
issue 4
355-374
EN
Simon Lomnicky z Budce, an important figure in the Czech Renaissance, authored many works in various genres. A special position among them is held by his occasional songs, which have been unjustly neglected by researchers not only in the field of musicology. These songs represent an important preliminary stage leading to the later genre of cantastoria songs, but with the fundamental difference that Lomnicky, as a compiler of cantionals, worked much more inventively with 'referenced songs' (songs whose tune is borrowed, with the instruction 'to be sung like'); for instance there may be a special relationship between an occasional song and the context of the referenced song. In seeking out and analyzing referenced songs we learn much about period practice, and with a little luck we can also identify tunes of songs that were once widely known but are not preserved in any other source.
7

Prostá píseň – umění kompozice Miloslava Kabeláče Šest ukolébavek (1956)

70%
Kordík P.
Hudební věda (Musicology)
|
2009
|
vol. 46
|
issue 3
277-308
EN
The study A Simple Song - The Art of Composition. Miloslav Kabelac's Six Lullabies (1956) focuses in particular on the solo vocal part of this composition which is based on folk poetry and scored for alto solo, small female choir and instrumental ensemble. The author begins by explaining the two principal reasons behind the composer's choice of text - its meaning and its structure. The study offers detailed analysis of the musical form, the use of rhythmic structure and the melodic attributes of the vocal line. Step by step, the author reveals the cyclic plan of the six songs; the extension of the multi-directional composition into a unique space: the six autonomous lyric moments, the interior continuous undulating, the arch-like span, and the open-ended cycle line of flight. The writer's interest in French phenomenology is present here.
8

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

61%
Ferková E.
Musicologica Slovaca
|
2017
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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.
9

PIESŇOVÝ REPERTOÁR OBCE JABLONICA NA ZÁHORÍ A „ZDOBENÝ SPEV“ V ZÁPISOCH KAROLA PLICKU

61%
Timková M.
Musicologica Slovaca
|
2021
|
vol. 12 (38)
|
issue 2
274 – 290
EN
In his collecting activity in Slovakia Karol Plicka (1894 – 1987) gave particular attention to the Záhorie region. Taking the example of the village of Jablonica in the eastern part of this region, we demonstrate the collector’s interest in the local song repertoire, individual singers, and the specific vocal style of ornamentation in Záhorie. Using source criticism, a repertoire was identified to the extent of 187 songs, recorded from 26 singers in this locality. Particularly useful are the written records of songs by the singers Pavol Pinkava and Agneša Pinkavová. Their song repertoire contains principally ballads, wedding, and dance and love songs. In his studies the collector also gave particular attention to Pavol Pinkava as an individual singer: the records of embellished singing as rendered by this singer are comparable to the records of the singing of Eva Studeničová, an outstanding singer from the village of Moravský sv. Ján in the western part of Záhorie. The records of songs performed by other singers are instructive as regards observation of song variants, and they highlight the contemporary condition and preservation of folk singing in local tradition.
10

BÁSNE ZO ZBIERKY NOX ET SOLITUDO IVANA KRASKA V PIESŇOVEJ LYRIKE TROCH SLOVENSKÝCH HUDOBNÝCH TVORCOV

61%
Ščepán M.
Musicologica Slovaca
|
2015
|
vol. 6 (32)
|
issue 2
307 – 320
EN
Ivan Krasko (1876 – 1958), own name Ján Botto, is regarded as the leading figure of literary modernism in Slovakia. His poems have been set to music by several Slovak composers, with most of these adapted poems being taken from Krasko’s best-known collection, Nox et solitudo (1909). Tis work was drawn upon by composers from different 20th century generations, ranging from the older generation of composers, through the adherents of musical modernism, to the representatives of New Music. The aim of the paper is to present Krasko’s poetry in works for vocals and piano by Mikuláš Schneider-Trnavský (1881 – 1958), Eugen Suchoň (1908 – 1993) and Tadeáš Salva (1937 – 1995), highlighting the genesis of the works studied, their status in the context of these composers’ work, and their artistic significance, using semantic-structural analysis.
11
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PRVÝ A JEDINÝ DRAMATICKÝ TEXT ALBÍNY PODHRADSKEJ

61%
Savković N.
World Literature Studies
|
2014
|
vol. 6 (23)
|
issue 4
46 – 57
EN
Albína Podhradská (1858-1880), of Slovak origin, is the author of the first preserved theatrical play in the Serbian language by a woman – ‘Poor Mileva from Bosnia in Our Civilization in 1878’. The play with singing parts was published in 1880, soon after the author’s death; both the play and its author are completely unknown and forgotten nowadays. The subject of the play is a then current topic, the destiny of refugees from Bosnia, a mother and a daughter who come to Vojvodina because of the war, that is, the Bosnian-Herzegovinian uprising (1875-78). The plot is completely subordinated to the author’s thesis about the victimization of an innocent individual; she was also an advocate of the union of the Slavonic nations, especially because she believed that their position in Europe was marginalized. Probably because of the explicit Pan-Slav political views, which were unacceptable for the Austro-Hungarian authorities and because of her criticism of Vojvodina’s milieu, which she softened to a certain degree, the play has never been staged.
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