PŘEDMLUVA

PREFACE

Jan Vičar

Musicologica Olomucensia vol. 3, (1997):9-14  

BIBLIOGRAPHIE DER AUSGEWÄHLTEN SCHRIFTEN VON JAROSLAV JIRÁNEK

Musicologica Olomucensia vol. 3, (1997):15-27  

ONE SMALL TASK AND THREE BIG THEORETICAL PROBLEMS

Marek G. Aranovskij

Musicologica Olomucensia vol. 3, (1997):31-45  

The article "One Small Task and Three Big Theoretical Problems" by M. Aranovsky shows how it is possible to derive, from a single element of a piece of music, such fundamental categories as musical language, musical speech and musical style. The author suggests that all levels of structural organization of a certain piece of music must be reflected in some way in its elements in the same way as the features of an organism are reflected in its cells. Dominant chord with an added sixth (D76) taken from one of the sketches for Tchaikovsky´s Fifth Symphony is used in the course of musicological analysis meant to prove the author´s idea. This musical expression...

MUSICAL SEMIOTICS AND MUSICAL HISTORIOGRAPHY

Miroslav K. Černý

Musicologica Olomucensia vol. 3, (1997):47-56  

The question of the relationship between musical historiography and semiotics is asked, in particular, in the most recent work of J. Jiránek. We are looking at a relationship which is significant and very close, mutually interchangeable to the point where it is easy to mistake one for the other; a relationship between primary and supporting disciplines. Even though semiotic analysis and even the practical semiosis of music is always valid only for a given moment, it is not completely arbitrary. Conditions for it are set not only by certain acoustic, physiological and even psychological givens (according to Jiránek "anthropological constants"), but,...

ABSOLUTE, AUTONOMOUS, FUNCTIONAL

Hans Heinrich Eggebrecht

Musicologica Olomucensia vol. 3, (1997):57-63  

After the year 1840 the term "absolute music" appears, which means pure music that is eliminated from everything extra-musical. While music for Hanslick is tonal art, that is, peculiar type of art which is created from tones and never from a text or programme, Wagner considers absolute music to be a result of a faulty post-antique division of music and other arts. The term absolute music has played a historically meaningful role from three points of view: it appropriately pointed out the tendency of Western European music towards instrumentation, demonstrated its opposition to emotionality or sentimentality, to incorporation of a topic or theme, and...

MUSIC THEORY AS A NORM AND REFLECTION OF MUSIC

Oskár Elschek

Musicologica Olomucensia vol. 3, (1997):65-77  

The history and development of music theory begins in the 19th century as a modern scientific discipline. Nevertheless, it is one of the oldest musicological branches with antic traditions, continuing as a prescriptive theory for music composition in the Middle Ages. In the 17th century acoustic aspects change the concept of music theory; later H. v. Helmholtz enlarges its scope by physiological and psychophysiological methology. The most important development is closed with the synthetic history of music theory edited by F. Zaminer (1984-1989). Music theory has different aims as a propaedeutic discipline, one reflecting in an analytical way the structure,...

TIME IN THE MUSIC

Horst-Peter Hesse

Musicologica Olomucensia vol. 3, (1997):79-91  

Composers from the Baroque Era to present times have emphasized the importance of shaping time in music, in particular of determining the "right" tempo in the performance of any composition. But in practice conductors and performers choose very different tempos. This article discusses the liberty and the limits of the tempo option in musical performance. The important point is the distinction between the composed work of music, the "opus", and the performance of music, the "execution": The execution is an object unfolding in absolute time, while the opus indeed comprises time structure, but - if not being performed - exists outside the absolute time...

DEBUSSYS SKIZZEN ZUR IBÉRIA

Nors S. Josephson

Musicologica Olomucensia vol. 3, (1997):93-102  

Die Skizzen zur Partitur der Ibéria von Debussy zeigen die Entwicklung des neuen musikalischen Stils dieses Komponisten, jenes Stils, der später einen so entscheidenden Einfluß auf Strawinsky, Berg und Bartók hatte. Seine einander durchdringenden Ganztonstrukturen und effektiven Juxtapositionen von naturalistischen und impressionistischen Tonwelten fanden sich wieder in solchen späteren Werken wie Petruschka und Wozzek.Das schöpferische Genie von Debussy bildet hier zyklische Multireferenzstrukturen, die über vorherige Modelle des neunzehnten Jahrhunderts hinausgehen. Gleichzeitig hat dieser französische Komponist allmählich das komplizierte System...

…IN THE MIST OF ANXIETY AND PAIN…

Lorenz Luyken

Musicologica Olomucensia vol. 3, (1997):103-117  

Bedřich Smetana´s String Quartet No. 2 (1882/83) is the dramatic finale of his autobiographical compositions. It starts where the String Quartet From my Life of 1876 ended and portrays the miserable condition of the composer suffering from deafness and progressive paralysis.Following Smetana´s statement that "the form of each compostion is derived from its subject", the author examines the first movement of the quartet in order to find out how the programmatic idea is expressed by the musical structures. This very unusual movement cannot be grasped by conventional models of interpretation. The several sections of the form, rich of contrast, can...

CAN ART LIE?

Zdeněk Mathauser

Musicologica Olomucensia vol. 3, (1997):119-124  

The title of this essay follows from the question, whether an analysis of art with relation to truth and non-truth does not narrow down its sense to some other than artistic criterium: "reportage criterium" (art as a copy of reality), "psychological criterium" (art as the author´s self expression), "sociological criterium" (art as the satisfaction of the preferences of a particular period). And so on. That is why the essay briefly looks into the meanings of the terms "truth" and "lie". It deals with the expressions "the truth of art" and "truth in art", "artistic truth" (which in the past, rather only covered up some dogmas), and also with a formalistic...

KLUSÁK´S WORLD OF THEATRE AND FILM

Ivan Poledňák

Musicologica Olomucensia vol. 3, (1997):125-137  

The author of this treatise is presently preparing a literary monograph about the Czech composer Jan Klusák. This treatise is a direct continuation of two of his publications about Klusák: a study called "The Inventions of Jan Klusák", which was published in AUPO, Musicologica II (1995, pp. 85-109), and an interview published in the film quarterly Illuminace ("I like music which seems to play the role of another character in a movie…" a talk with composer Jan Klusák about (music for) theatre and film; 1996, No. 2, pp. 107-119). To start off with, the author observes the beginnings of Klusák´s interest in film and theatre and his years spent...

MUSICALLY TECTONIC STRUCTURES AND TRADITIONAL MUSICAL FORMS

Karel Risinger

Musicologica Olomucensia vol. 3, (1997):139-150  

1. Musical tectonics is concerned with the basic principles of the construction of musical compositions.2. Tectonic structures. By this term I understand a musical entity which is, at least in the area of a single musical element, hierarchically constituted on the foundation of basic tectonic principles; that is, its identity conforms with regular laws applying to musical periodicity (in some cases identifiable similarities) and contrast. Tectonic structures are temporally divided (horizontally). Their division simultaneously or concurrently is absolutely exceptional (vertical structures).2.1 I define the term "music" in the broadest sense...

HARMONIEFELD

Vladimír Tichý

Musicologica Olomucensia vol. 3, (1997):151-158  

Diese Studie hat zum Ziel, nach der Krise der klassisch-romantischen Harmonik um die Wende vom 19. Zum 20. Jahrhundert, einen Schlüssel zur harmonischen Analyse der Musiksprache zu finden, also zur Analyse der Musik, die auf anderen Prinzipien aufgebaut ist als auf den Prinzipien einer tonalen funktionellen Harmonik, die bis zu dieser Zeit gültig waren. Beim Versuch, das Phänomen der Tonalität zu definieren, stellen wir fest, daß im Verlaufe der letzten 160 Jahren eine erhebliche Entwicklung durchlaufen wurde. Der Begriff der Tonalität wurde ursprünglich im Grunde als Synonym der Tonart (F. Fétis) verstanden, später als Relation aller Tonarten zu einer...

"UNBEKANNTE" TSCHECHISCHE MUSIK NACH 1945

Jan Vičar

Musicologica Olomucensia vol. 3, (1997):159-165  

Das Schaffen tschechischer Komponisten besonders jener aus dem 19. Jahrhundert ist eine weltweit anerkannte Erscheinung, was auch daraus ersichtlich ist, daß The New Grove Dictionary of Music and Musicians (6. Ausgabe, 1980) der tschechischen Musik mehrere Hundert Schlagwörter gewidmet hat. Tschechische Komponisten, die nach 1945 gewirkt haben, bleiben aber für die ausländische musikalische Öffentlichkeit unbekannt, obwohl ihr Schaffen dem höchsten internationalen Standard entspricht. Miloslav Kabeláč ist zum Beispiel mit den bedeutendsten Komponisten der vergangenen Jahrzehnte vergleichbar. Der Autor der Studie befaßt sich mit politischen, kulturellen...

JIŘÍ FUKAČ - JAROSLAV JIRÁNEK - IVAN POLEDŇÁK - JAROSLAV VOLEK AND COLLECTIVE: BASIC OF MUSICAL SEMIOTICS I, II, III

Jan Vičar

Musicologica Olomucensia vol. 3, (1997):169-172  

SEZNAM DIPLOMOVÝCH A BAKALÁŘSKÝCH PRACÍ OBHÁJENÝCH NA KATEDŘE MUZIKOLOGIE FILOZOFICKÉ FAKULTY UNIVERZITY PALACKÉHO V LETECH 1996-1997

LIST OF BACHELOR AND MASTER THESES AT THE DEPARTMENT OF MUSICOLOGY OF PALACKÝ UNIVERSITY IN OLOMOUC IN THE YEARS 1996-1997

Musicologica Olomucensia vol. 3, (1997):175-176