Musicologica Olomucensia, 2012, vol. 15
Vztah obyvatel České republiky k hudbě
The Relationship of the Population of the Czech Republic to Music
Radim Bačuvčík
Musicologica Olomucensia vol. 15, (2012):9-30 | DOI: 10.5507/mo.2012.001 
This study deals with the issue of what attitude each section of the population has to music and how this relationship is manifested in their purchase of music. The survey data suggest that people have quite an intense relationship to music but its intensity is not the same in the whole population. It confirmed that music is a major phenomenon for young people of up to 25 years of age but an even more important criterion than a person's age is whether they are students or if they are already in employment. While young students, in their own words, are fascinated by music and often cannot conceive of their life without it, young people in jobs tend...
Nástin vývoje olomoucké rockové a alternativní scény v letech 1960-2010
An Outline of the development of rock and alternative genres in Olomouc 1960-2010
Jan Blüml
Musicologica Olomucensia vol. 15, (2012):31-42 | DOI: 10.5507/mo.2012.002
Although popular music in Olomouc is most often remembered in connection with folk, country and tramp songs, it also entered history with its achievements in rock and in alternative genres. A major group in this sense are the Bluesmen, who with their original sense of rhythm and blues won recognition on the Czechoslovak rock scene in the second half of the 1960s. During the so-called normalization period, clubs such as S-Club or music festivals such as Vlnobytí [Surf] came to be widely recognized in the field of Czechoslovak rock. An important Czech group in the unofficial culture was Elektrická svině [Electric Swine]. Beside the metal genres active...
K Wagnerovým stylistickým imitacím
On Wagner´s Stylistic Imitations
Nors Sigurd Josephson
Musicologica Olomucensia vol. 15, (2012):43-78 | DOI: 10.5507/mo.2012.003
Wagner's adopted motifs, conceived in an interval-modal way, or quotations, may be seen as a fully modern stylistic feature because it is repeatedly found in the work of contemporary composers, such as Debussy, Stravinskij and Bartók. With the Bayreuth master we often feel as if pure inspiration was almost secondary because it seems to be subordinated to a particular interval material. Similarly, Wagner's increasing propensity for quoting himself, especially in works such as Die Meistersinger and Parsifal, can be understood as a pioneering act in relation to many modern composers, e.g. Gustav Mahler and Alban Berg, whose complex work formed an artistic...
Vztahy Richarda Batky s osobnostmi české hudební scény
Richard Batka's Relationship to Personalities of Czech Music
Markéta Koptová
Musicologica Olomucensia vol. 15, (2012):79-88 | DOI: 10.5507/mo.2012.004
At the turn of the 20th century, Czech and German cultures encountered each other in Prague, which often led to controversies and personal disputes. A music critic, librettist, theoretician and organizer, Richard Batka (1868-1922) was of German origin. He collaborated with the director of the New German Theatre, Angelo Neumann, supported cultural life in Prague, organized lecturing, concerts and exhibitions. It was at his instigation that Richard Strauss and Anton Bruckner visited Prague. As a spokesman of the German musical culture in Prague, Batka often found himself in conflict with the Czech cultural scene, for example when he criticized Karel...
Hudební redakce, vysílání, nahrávání a dramaturgie olomouckého studia Československého rozhlasu v letech 1949-1959
Olomouc Czech Radio Studio - Music editing, Broadcasting, Recording and Dramaturgy in 1949-1959
Alice Ondrejková
Musicologica Olomucensia vol. 15, (2012):89-109 | DOI: 10.5507/mo.2012.005
At the beginning of its existence, the Olomouc studio and its staff were directly managed by Brno. In the early 1950s, the broadcasting concentrated on the so-called agricultural current affairs and the predominant music style was folklore. The situation began to change gradually in 1951, when the studio staff was joined by the script editor, composer and conductor Miloš Konvalinka, who immediately began to change the musical profile and tried to introduce his own conception. This period may be regarded as the beginning of the easing out of programmes of Haná folklore and brass band music, promoted at that time. In their place, broadcasts from Olomouc...
Česká opera ve Vídni v kontextu doby - se zvláštním zřetelem k vídeňskému uvádění Blodkovy aktovky V studni
Czech Opera in Vienna in the Context of the Time - with Special Reference to the Performance of Blodek´s Opera In the Well in Vienna
Vlasta Reittererová, Hubert Reitterer, Viktor Velek
Musicologica Olomucensia vol. 15, (2012):111-163 | DOI: 10.5507/mo.2012.006
In the 19th century, opera in the Czech society was considered to be a representative genre through which the Czech-speaking culture could assume its national character. For this reason, works by Czech composers were staged in opera houses in Vienna. On the other hand, there was concern that they would not be well received and understood. The key events in the history of staging Czech operas and plays in Vienna include Dvořák's performance of The Cunning Peasant at the Court Opera House (1885), the guest performance of the Prague National Theatre at the International Musical and Theatrical Exhibition in Vienna (1892), the performance in Vienna of the...
Stanislav Vrbík a hudba v olomoucké katedrále v letech 1975-1985
Stanislav Vrbík and Music in Olomouc Cathedral in 1975-1985
Eva Vičarová
Musicologica Olomucensia vol. 15, (2012):165-179 | DOI: 10.5507/mo.2012.007
Pianist, organist, conductor, composer, poet and prose writer, Stanislav Vrbík (1907, Jablunkov - 1987, Olomouc) was linked with the choir of St Wenceslas Cathedral in Olomouc from 1928, when he accepted the post of organist and auxiliary choralist. When in 1975 he took over the conducting of the cathedral chlor from Gustav Pivoňka, this body had 17 members including four choralists. They performed about twenty times a year. It should be noted that due to the advanced age of the singers, the choir was already past its musical zenith. The cathedral choir was abolished in 1985. Its role was taken over by a parish schola, originally a girls' choir, led...