PŘEDMLUVA

PREFACE

Jan Vičar

Musicologica Olomucensia vol. 1, (1993):9-11  

THE PROBLEM OF POLYPHONY IN THE CLASSICAL ANTIQUITY

Miroslav K. Černý

Musicologica Olomucensia vol. 1, (1993):15-29  

The Author deals with a very discussed but till now unclear problem. He rejects not only the theory of H. Sanden, but also a concept of development of music "from monophony to polyphony" asserting that both practices developed as parallel trends from a spontaneous chaotic heterophony (Variantenheterophonie by Marius Schneider). But in Greek and Roman Antiquity there no traces of vocal Heterophony or Polyphony were till now found. Notwithstanding the ancient instruments by their construction not only admit, but demand some sorts of using chords or heterophony. The lyres of all kinds played by plektron "over all strings" - this technique is witnessed...

THE HUMANITY AND THE SPIRIT OF CAPITALISM. THE DRAMATURGY OF A FLORENTINE TRAGEDY BY ALEXANDER ZEMLINSKY

Mikuláš Bek

Musicologica Olomucensia vol. 1, (1993):31-40  

The paper deals with problems of dramaturgy of the fifth opera by Alexander Zemlinsky (1871-1942). The work was composed 1914-15 in Prague where Zemlinsky lived 1911-27. For his libretto Zemlinsky chose the play A Florentine Tragedy by Oscar Wilde. The non-classical dramaturgy of the Wilde´s drama appears to be a convenient opportunity basis for a rather traditional operatic dramaturgy based on the drama of affections. This aesthetical position was shared by Wagner as well by Zemlinsky and other early 20th century composers.

THE CZECH MANIFESTO OF NEO-CLASSICISM. MARGINALIA ON THE ESSAY OF IŠA KREJŠÍ "ON THE CONCEPTION OF MODERNITY IN TODAY´S MUSIC"

Vladimír Hudec

Musicologica Olomucensia vol. 1, (1993):41-47  

The essay of Iša Krejčí (1904-1968) "On the Conception of Modernity in Today´s Music" was for just reasons deemed the Czech manifesto of neo-classicism. In this essay, Iša Krejčí seems to voice the theses of petist and constructivist manifestos. The father of his ideas about solving the crisis of post-romantic music is, above all, Bohuslav Martinů. We cannot find Krejčí´s manifesto a juvenile messanistic gesture. First, it is the self-reflection of a 23-year-old composer, who senses instinctively, that he belongs to bearers of the specific Czech musical mentality, a mentality which originates in the tradition of Czech schoolmasters´ music and in what...

PAVEL BOŘKOVEC´S PIED PIPER OF HAMELIN

Alena Burešová

Musicologica Olomucensia vol. 1, (1993):49-64  

Pavel Bořkovic (1894-1972) was for four decades one of the most prominent representatives of Czech music. He belonged to the vanguard of neoclassicism orientation between the First and Second world war. Since the thirties Bořkovec is characterized by an individual solution of the form, the constant feature of which is a fundamental coherence of all composition components, which in the course of the evolutional development again an unexpected emotional impact and gradually deeper and deeper lyrical expression. The ballet Krysař [The Pied Piper of Hamelin] (1939) belongs among Bořkovec´s main works. Namely here Bořkovec had found his unique language...

FILMMUSIK VON VÁCLAV TROJAN

Jan Vičar

Musicologica Olomucensia vol. 1, (1993):65-77  

Der tschechische Komponist Václac Trojan (1907-1983) wurde als Musikautor zu mehreren abendfüllenden Pupentrickfilmen Jiří Trnkas (Špalíček, Des Kaisers Nachtigall, Prinz Bajaja, Alte böhmische Sagen, Die Abenteuer des braven Soldaten Schwejk, Sommernachtstraum, Die Hand u. a.) international berühmt, in denen es ihm gelang, mittels der Stil und Genrecharakteristik die gewählten Themen eindrucksvoll zum Ausdruck zu bringen. Ausserdem komponierte er die Kinderoper Das Karussell, das Ballet Sommernachtstraum, sowie mehrere Bühnen-, Orchester- und Kammerstücke. Stilmässig meldet sich Trojans Musik programmatisch zum europäischen Neoklassizismus und Neofolklorismus...

JIŘÍ STIVÍN UND DIE ENTWICKLUNG DES TSCHECHISCHEN JAZZ

Ivan Poledňák

Musicologica Olomucensia vol. 1, (1993):79-88  

Der Autor ist bei der Bearbeitung des Aufsatzes aus seinem Buch über Jiří Stivín ausgegangen (Mně všechno dvakrát aneb o Jiřím Stivínovi, Praha 1989, Panton, 240 S.). Stivín (geb. 1942) ist ein hervorragender tschechischer Jazzmusiker (hauptsächlich Flötist und Saxofonist) und zugleich Interpret der Flötenliteratur aus dem Bereiche des Barocks, der Klassik und der zeitgenössischen Musik. In dem ersten Teil des Textes hat sich der Verfasser bemüht, Stivín in den Entwicklungskontext des tschechischen Jazz einzureihen und in diesem Zusammenhang befasst er sich mit der Charakteristik und Periodisierung des gegebenen Musikbereiches. Der einstige Periodisationsversuch...

ROBERT SMETANA´S METHODOLOGICAL STIMULATION OF MUSICAL HISTORIOGRAPHIC RESEARCH OF THE REGION

Vladimír Hudec

Musicologica Olomucensia vol. 1, (1993):91-99  

One of the research tasks of the renewed department of musicology will be continuing the research of musical culture in Olomouc as the musical centre of Central and North Moravia. The aim of this research will be the description of processes that prove the formation, mixing and interchanging of the historical models of musical culture and their influence on the Olomouc region. In the realization of such a project, we cannot omit the valuable methodological stimulations of the department´s founder Prof. Robert Smetana (1904-1988). He emphasized the research of extra-musical conditions, the connection between music and its audience, and means of overcoming...

VISITS OF MEMBERS OF THE VIENNESE HOFOPER IN OLOMOUC IN 1851 AND 1853

Jitka Balatková

Musicologica Olomucensia vol. 1, (1993):101-108  

In years 1851 and 1853, important talks took place in Olomouc between the Austrian emperor and the Russian tsar, and there were major military manoeuvres in the environs of Olomouc. The theatre in Olomouc was the scene of social activities accompanying these two events. The theatre was visited for guest performances by members of the Viennese Hofoper, for instance conductor Heinrich Proch, and solists Mathilda Wildauer, Terese Schwarz, Mathilda Marlow, Franz Steger, Josef Staudigl, Josef Erl, Karl Just. In 1851 the Viennese performers gave one opera performance (Don Pasquale by Donizetti) and two musical evenings. There were sung extracts from the...

JOURNAL BEETHOVEN FROM OLOMOUC

Alena Burešová

Musicologica Olomucensia vol. 1, (1993):109-114  

The journal Beethoven undertitled Blatter für Tonkunst und Dichtung was published in 1905. Its editor was Johann Theime and it was printed by an Olomouc publisher Laurenz Kullil. The contributors were in Praha… A consistent approach concentrates on symbolism and decadency in German poetry, interdisciplinary relations, problems of mutuality of different arts, symbolism of fairy tales and folklore. Although the journal was in existence for no more than six months it is a proof of the wide cultural spectrum in Olomouc, in this particular case reacting to the impulses of Vienna Sezession and German literary symbolism emanating form the region of...

PAVEL ČOTEK, COMPOSER AND TEACHER

Eva Ocisková

Musicologica Olomucensia vol. 1, (1993):115-126  

Distinguished music composer from the town of Olomouc, Pavel Čotek, born on 12th March 1922, in Fryšava in the Czech-Moravian Highland. He is a graduate of the Prague Conservatory (1941-47), pedagogical branch. He studied composition in private with his uncle O. Šín, and after his death with J. Řídký. He completed his study of composition at the Janáček Academy of Arts and Music (JAMU) in Brno (1961-65), class of C. Kohoutek. First (1948-57), he has devoted himself to the activity of a teacher and a choirmaster in Slaný and Polička, director of musical schools and organizer of musical life in Litomyšl and Choceň. The friendship of this place with the...

LIEDERFESTTAGE OLOMOUC

Jan Vičar

Musicologica Olomucensia vol. 1, (1993):127-133  

In einem der ältesten Kulturzentren der Tschechoslowakei, in dem heute mehr als hunderttausend Einwohner zählenden Olomouc (Olmütz), findet seit 1972 alljährlich auf der Neige des Sommers ein Festival der Kindergesangchöre mit der Bezeichnung Svátky písní Olomouc, d. h. Liederfesttage Olomouc, statt. In den vergangenen zwanzig Jahren des Bestehens dieses Festivals traten hier viele tschechoslowakische Spitzenchöre auf, wobei Hunderte von Kompositionen für Kinderchöre - häufig als Uraufführungen aufgeführt werden, die dann auch in Druck als Notensammelbände erschienen sind. Es wurden ebenfalls internationale Wettbewerbe "Iuventus Mundi Cantat" und Fachkonferenzen...

KATEDRA MUZIKOLOGIE ZAHAJUJE

THE DEPARTMENT OF MUSICOLOGY COMMENCES

Musicologica Olomucensia vol. 1, (1993):137-142