Musicologica Olomucensia, 2014, vol. 19
Hudba v televizní reklamě: kvantitativní studie
Music in TV Advertising: a Quantitative Study
Radim Bačuvčík
Musicologica Olomucensia vol. 19, (2014):7-28 | DOI: 10.5507/mo.2014.001 
Music plays a considerable role in current television commercials. A quantitative analysis of 1,584 television commercials broadcast in the last few years by the Czech nationwide television stations showed that music occurs in 94.0 % of them, which is one of the largest numbers recorded among comparable studies in different countries. However, there are big differences in how music is used in the commercials. In the most of the spots the music is just used in the background. Sometimes commercial creators seem to think that music simply must be in their commercials, regardless of whether it has any relation to the other aspects of the commercial or...
K hudebnímu ztvárnění symbolu "letu" ve skladbách A. N. Skrjabina
Concerning the Musical Symbolisation of Flight within A. N. Scriabin's Compositions
Marek Keprt
Musicologica Olomucensia vol. 19, (2014):29-40 | DOI: 10.5507/mo.2014.002
The symbol of 'flight' is of key importance in the works of A. N. Scriabin. It appears both in his poems (Poème de l'Extase, Acte préalable) and his compositions with regard to melody, rhythm and texture. Such melody is typified by a spiral direction which ascends higher and higher. It usually contains a large leap melodic upwards (mostly minor sixth) followed by a countermovement. A dotted rhythm with take-off, like a pause for an "intake of breath" is frequently used, as well as a pause at the end of a triplet figure. Within the scope of rhythm and texture 'flightness' is shown by typical accompanying figures. Their main feature is how it...
Olomoucké působení Iši Krejčího (1945-1958)
Iša Krejčí's activities in Olomouc (1945-1958)
Markéta Koutná
Musicologica Olomucensia vol. 19, (2014):41-58 | DOI: 10.5507/mo.2014.003
The article describes all activities which conductor and composer Iša Krejčí undertook during his time in Olomouc (1945-1958). The paper tries to evaluate what importance this composer played in the cultural progress of Olomouc. The article also includes a brief study of the most important principles of his musical style. The study focuses on dramaturgy, composing, pedagogical and journalistic activities of Iša Krejčí.
Vliv moderních technologií 20. století na hudební dílo a jeho autorskoprávní ochranu
The influence of 20th century modern technologies on musical work and its copyright protection
Václav Kramář
Musicologica Olomucensia vol. 19, (2014):59-78 | DOI: 10.5507/mo.2014.004
The technologies of the 20th century represent an important milestone for the concept of musical work in history that concerns not only music composition itself but also its conservation and transmission.It might have been in the field of music composition that these tendencies have become apparent first - in the construction of first electronic musical instruments; the integration of civilization, primarily non-musical sounds into classical music compositions; and after World War II, also in the new composition methods that record media started employing (e.g. magnetic tapes used for sound collage or phase shifts); furthermore, in the algorithmic...
K osobnosti Konrada Schmitze na pozadí hudebního života v Krnově od počátku 20. století do konce 2. světové války
On the figure of Konrad Schmitz in the context of musical life in Krnov from the beginning of the 20th century until the end of World War II
Petr Lyko
Musicologica Olomucensia vol. 19, (2014):79-84 | DOI: 10.5507/mo.2014.005
The music culture in Krnov in the period from the beginning of the 20th century until the end of World War II was influenced by a specific multinational composition of residents that included a strong German majority. The conductor and organist Konrad Schmitz emerged as its most prominent representative, and raised the standard of Krnov's musical life in terms of both repertoire and its interpretation and management. Schmitz was the most influential in his performing of important vocal works of European sacred music.
Folklorní inspirace ve sborové tvorbě Zdeňka Šestáka
Folk inspirations in Zdeněk Šesták's choir music
Stanislav Pecháček
Musicologica Olomucensia vol. 19, (2014):85-102 | DOI: 10.5507/mo.2014.006
In his paper, the author deals with the choral pieces of Zdeněk Šesták (1925) which are inspired by folk songs and folk poetry. He makes a survey of both Šesták's choral arrangements of folk songs and his own compositions on folk verses. The detailed analysis of the 1st movement of cantata Vítej, slunko líbezné results in a generalized characteristics of Šesták's style and approach to folk inspiration. There are few features which connect his music with folk songs - the construction of melody in which the composer uses elements from instrumental melodies and also vocal melodies which are often similar to the melody of rhymes. On the other hand, there...
Teória hudobnej interpretácie ako most medzi teóriou a praxou
A Theory of Musical Interpretation as a Bridge between Theory and Practice
Markéta Štefková
Musicologica Olomucensia vol. 19, (2014):103-118 | DOI: 10.5507/mo.2014.007
In this study the author presents the method of so-called interpretative analysis of music which she applies within the process of teaching analytical and aesthetic subjects within the Music and Dance Faculty of an Academy of Performing Arts. Interpretative analysis differs from conventional scholastic analysis by considering music as a phenomenon ongoing in time. The starting point for interpretative analysis is not the score, but the sound and the sensory functioning of music. Interpretative analysis also differs from regular scholastic analysis by its original method of asking questions, or rather by the application of distinctive methodological...