Neznámé kompozice Johanna Aloise Lamba v Lubiąż. Příspěvek k skladatelově biografii

Unknown Compositions by Johann Alois Lamb in Lubiąż. A Contribution to the Composer's Biography

Ewa Hauptman-Fischer

Musicologica Olomucensia vol. 21, (2015):7-22 | DOI: 10.5507/mo.2015.001  

The music manuscript collection of the Cistercians from Lubiąż, now held at the Music Department at the University of Warsaw Library, includes autographs of two heretofore unknown Masses by Johann Alois Lamb, a Czech composer active in the second half of the 18th century in Vrchlabí. These are also his earliest-dated compositions. The article presents hypotheses about the composer's early life. Based on an analysis of the manuscripts from Lubiąż signed with Lamb's name and sources referring to his life (described in a monograph by Jakub Michl), we can surmise that he spent his youth in the Cistercian monastery in Lubiąż, where he received his musical...

Experimentální stavba hudebních nástrojů jako metoda organologie

Experimental Musical Instrument Making as a Method of Organology

Jiří Höhn

Musicologica Olomucensia vol. 21, (2015):23-36 | DOI: 10.5507/mo.2015.002  

Experimental musical instrument making with the use of period tools and techniques seems to be one of many possible methods for researching the development of musical instruments. This is especially important for the study of those instruments where the customary use and transfer of techniques in traditional forms, i.e. from the maker - teacher to the learner, were interrupted. This is not only useful when researchng folk music instruments, but also when documenting musical instruments in extinct cultures or musical instruments vanished in previous eras. The output resulting from experimental making extends our knowledge of the development of particular...

Samsone, probuď se! Hudební Praha a naše vzpomínání

Samson, wake up! Musical Prague and our recollections

Zuzana Jurková

Musicologica Olomucensia vol. 21, (2015):37-52 | DOI: 10.5507/mo.2015.003  

The article, based on the long-term research of music events in contemporary Prague, aims to find the ways whereby various Prague communities remember their pasts through music. The theoretical background comes from Jan Assmann (2011), according to whom communities are bound together by the co-called connective structure; its time dimension can be understood as a way of remembrance. In the first part of the article, the author aims to elaborate an analytical approach providing a categorization of types - "modalities" - of recollection. In the second part, three such modalities created by different communities are presented: an official modality of...

Hoquetus-Revival: od středověkých klausulí k soudobé hudbě

Hoqeutus-Revival: from the Medieaval Clausula to Contemporary Music

Helena Kramářová

Musicologica Olomucensia vol. 21, (2015):53-74 | DOI: 10.5507/mo.2015.004  

The trend of rediscovery and usage of the earlier music traditions has been repeated several times in the history of music. Composers of the 20th century return to the music traditions of medieval and renaissance music at various levels. On the one hand, they do so practically by organizing performances, where renaissance music pieces are performed using new music. On the other hand, they do it theoretically by studying the old music and compositional concepts or by attempting to integrate their own music into music history. One of the reused old techniques is hocket, which we can find in works written by contemporary composers such as Louis Andriessen...

Mužský pěvecký spolek a Ženský sbor v Krnově a jejich vliv na formování hudební kultury města

Male Choir Association and Female Choir in Krnov and their influence on shaping the music culture of the town

Petr Lyko

Musicologica Olomucensia vol. 21, (2015):75-86 | DOI: 10.5507/mo.2015.005  

The Male Choir Association in Krnov was established in 1858 by tranforming an original Liedertafel. In the beginning of the 20th century it grew into one of the biggest and most significant music ensembles in Krnov. Its repertoire frequently included the major works of European music creations as well as short figurations connected with folk songs or Liedertafel. Among the most significant choirmasters we can find Konrad Schmitz, a conductor, music teacher and instrumentalist from Krnov. Besides the male choir there was also, from 1877, the Female Choir, which was later merged with the Male Choir Association.

Planetears: klima, otřesy dnešní doby, hrozby budoucnosti

Planetears: Climate, Problems of Our Time, Future Threats

Egli Prifti

Musicologica Olomucensia vol. 21, (2015):87-111 | DOI: 10.5507/mo.2015.006  

Aleksandër Peçi (born 1951) is at the moment one of the most active and successful Albanian composers living in Albania. His music language is very specific and well appreciated in the international music scene. Lately Peçi developed a compositional logo named Polygravité CC2. Planetears is a composition where he uses for the first time his compositional logo, along with other music elements such as an Oi-interval originating in the Albanian folklore, or the Double Lacrimosa which is a combination of the cadence of Mozart's Lacrimosa and the seventh interval from the Albanian lament. The name Planetears is made of two words planet and tears. The inspiration...

Poslech a vnímání jako východisko pro tvořivé aktivity v hudební výchově. Zkušenosti z programu Slyšet jinak

Listening and perception as a starting point for creative activities in music education. Experience from the Different Hearing programme

Gabriela Všetičková

Musicologica Olomucensia vol. 21, (2015):113-128 | DOI: 10.5507/mo.2015.007  

Although composers and music pedagogues in Western Europe and the United States have been dealing with the topic of creativity and classroom composing within music education for almost half a century, the Different Hearing programme is the first to strive to include and develop these principles within the Czech education system (or indeed the former Czechoslovakian one). The Different Hearing programme originates from the cooperation of teachers and artists of two universities (Palacký University in Olomouc and Janáček Academy of Music and Performing Arts in Brno), and since 2001 it is the first project in the Czech Republic focused on making contemporary...

Vladimír Tichý, Tomáš Kuhn, Vlastislav Matoušek: Musical Kinetics, Praha: NAMU, 2014, 352 s.

Tomáš Koutný

Musicologica Olomucensia vol. 21, (2015):131-133  

Václav Syrový: Hudební zvuk, Praha: NAMU, 2014, 317 s.

Pavel Kunčar

Musicologica Olomucensia vol. 21, (2015):134-136