Kulturně politické determinanty československého progresivního rocku na přelomu šedesátých a sedmdesátých let dvacátého století

Cultural and political determinants of Czechoslovak progressive rock at the turn of the 1960s and 1970s of the 20th century

Jan Blüml

Musicologica Olomucensia vol. 20, (2014):7-13 | DOI: 10.5507/mo.2014.008  

While in the European countries outside the Eastern Bloc popular music was usually primarily classified on the basis of style or genre identity, Czechoslovak popular music was primarily divided into the categories of official and unofficial (or illegal) music. In the paper, progressive rock and its social functions is reflected through this prism. With regard to the above-mentioned facts, the article discusses the major trends of Czechoslovak progressive rock in the '70s. It includes folklore-based progressive rock (the album Odyssea, recorded 1969), progressive rock inspired by the Czech tradition of big band music (Nová syntéza, 1971) or progressive...

Václav Jan Tomášek (1774-1850): Všestranný písňový skladatel? Komparativní analýza vybraných hudebních zpracování Goethových básní od Carla Friedricha Zeltera, Václava Jana Tomáška and Johanny Kinkelové

Václav Jan Tomášek (1774-1850): A Versatile Lieder Composer? A Comparative Analysis of Selected Goethe Settings by Carl Friedrich Zelter, Václav Jan Tomášek and Johanna Kinkel

Anja Bunzel, Barbora Kubečková

Musicologica Olomucensia vol. 20, (2014):15-36 | DOI: 10.5507/mo.2014.009  

Carl Friedrich Zelter (1758-1832), Václav Jan Tomášek (1774-1850) and Johanna Kinkel (1810-1858) share at least two commonalities: firstly, they produced a great deal of vocal music, particularly Lieder, so that their compositions influenced the development of the nineteenth-century Lied in one way or the other. Secondly, all three composers set to music Goethe's poems although their (personal) relationships to Goethe differed from each other. Zelter, a very close friend of Goethe's, paid extraordinary attention to the poet's work and its musical potential which is recognisable by means of both the great number of Goethe-Lieder produced by Zelter and...

Významovost jako společný cíl a propojení teoretické analýzy hudebního textu a konkrétního interpretačního ztvárnění

Semanticity as a Common Goal and the Link between Theoretical Analysis of Music and Its Particular Interpretive Rendition

Jiřina Dvořáková Marešová

Musicologica Olomucensia vol. 20, (2014):37-45 | DOI: 10.5507/mo.2014.010  

This article deals with musical analysis which describes as a result of theoretical-anlytical process as well as interpretative process. It shows the two main possibilities how to analyse a musical piece. The first one is the theoretical analysis, the second is the analysis of interpretation. It tries to compare these two different ways, describes their ways of meaning, differences, but also tries to find the similar topics and ideas for both of them. It tries to find the real key for understanding the musical analysis in both forms - the semanticity of the musical language.

K symbolu touhy a jeho hudebnímu ztvárnění v klavírních skladbách Alexandra Skrjabina

Concerning the Symbol of Desire and Its Musical Rendition within A. N. Scriabin's Piano Compositions

Marek Keprt

Musicologica Olomucensia vol. 20, (2014):47-60 | DOI: 10.5507/mo.2014.011  

The symbol of languor is a counterpart of the symbol of flight. It represents the erotic element which occurs in Scriabin's personality, philosophy and compositions very significantly. Melodically, the symbol of languor stands for the indirect melody ending with chromatic descent of three notes. The most frequently it is expressed by the "sigh" of twice or three times repeated two-tone figure in which the first note has a longer duration. If the motifs contain this "sigh figure", we can call them as "sigh" motifs which has the tendency to descend. Whereas the motifs lacking this figure we call as "floating" motifs which tend to rise. However, the sphere...

Princip citace z pohledu hudební praxe a autorského práva

The Principle of Quotation from the Perspective of Musical Practice and Copyright Law

Václav Kramář

Musicologica Olomucensia vol. 20, (2014):61-70 | DOI: 10.5507/mo.2014.012  

This article deals with the issue of music quotation seen from the copyright and musicological perspective. Music uses quotation since time immemorial, although more often it is linked with so called historicism since the end of the 19th century. The biggest blossom can be noticed in the second half of the 20th century, when the quotation became an individual compositional technique of postmodern 'multi-stylishness'. In musicological approach there were for instance Sofia Lissa or Krystyna Tarnawska summarising this term, in the scope of copyright law a quotation belongs to the category of legal limitations (in Czech republic known as a gratuitous...

Dopady inkluze na hudební výchovu dětí se speciálními vzdělávacími potřebami

Impacts of Inclusion on Music Education for Children with Special Educational Needs

Lu Yue, Peng Yuntong

Musicologica Olomucensia vol. 20, (2014):71-76 | DOI: 10.5507/mo.2014.013  

With the current worldwide trend of inclusive education, music education needs to face the challenge that more and more students with special needs have joint music classes. Through literature review, this article discusses the music education in inclusive classroom and music teacher education. Above all, although inclusive education practice was not easy to implement, it is exactly the reality and the future of education. Music education should be prepared to play an important role in inclusive education.

Peter Breiner a jeho hudobno-synkretická tvorba

Peter Breiner and His Syncretic Musical Output

František Turák

Musicologica Olomucensia vol. 20, (2014):77-83  

Peter Breiner is a unique composer. His compositional work is polystylistical, therefore ranks among the most original Slovak music stars of the 20th century. Neoclassical compositional style draws from multiple roots: of classical European music, from American jazz and modern popular music and the Slovak folklore. Its key creation till 1995 includes symphonic, respectively vocal-symphonic works, chamber music and also dance tracks to rock character.

Jiří Kopecký - Jaromír Synek - Vít Zouhar: Hudební hry jinak. Tvořivé hry a modelové projekty elementárního komponování, Brno: JAMU, 2014, 224 s.

Gabriela Coufalová

Musicologica Olomucensia vol. 20, (2014):87-88  

Živá hudba: časopis pro studium hudby a tance, Praha: HAMU, 2012 a 2013.

Aneta Vondráčková

Musicologica Olomucensia vol. 20, (2014):89-91  

Smolka, Jaroslav: Jak jsem je znal: vzpomínky na některé osobnosti hudební kultury, zejména české, Praha: Akademie múzických umění v Praze, 2014, 193 s.

Hana Špundová

Musicologica Olomucensia vol. 20, (2014):92-94