Hledání stylového idiomu - hudba ve středoevropských kreslených seriálech Krtek a Reksio

In Search of Stylistic Idiom - Music to the Central-European Cartoons Krtek and Reksio

Katarzyna Babulewicz

Musicologica Olomucensia vol. 23, (2016):7-28 | DOI: 10.5507/mo.2016.001  

This paper concerns the issue of music in two well-known twentieth-century series - Czechoslovakian Krtek (aired between 1957 and 2002) and Polish Reksio (1967-1990). My aim was to present the wealth of composer's ideas - how they provided the films not only with illustrative fragments and interesting stylizations, but even with autonomous musical images. Soundtracks reveal excellent workshop of their authors, their originality and sense of humor. Sometimes we hear classical like music, another time it is even avant-garde. To show the similiarities and differences between artistic strategies (not only strictly musical) I chose three pairs of cartoons...

K instrumentaci melodické linie v Symfoniích č. 42-47 Josefa Myslivečka

On the Instrumentation of the Melody Line of Joseph Mysliveček's Symphonies Nos. 42-47

Charris Efthimiou

Musicologica Olomucensia vol. 23, (2016):29-52 | DOI: 10.5507/mo.2016.002  

The aim of this paper is to look at the design of the melody line in J. Mysliveček's Symphonies nos. 42-47 (ED. 10: D21, F8, Bb8, Eb6, G10 and C11) from a music-analytical perspective. The following aspects are presented in details: instrumentation of the bass line, octave doublings of the melody line within a movement, as well as the participation of the low strings and the brass section in the performance of the melody. These symphonies will then be compared with opera symphonies from the same period which also have the same instrumentation, in order to find differences and similarities between them. Furthermore, J. Mysliveček's symphonies are compared...

Určující momenty Ducha a Duše v hudbě

Defining Moments of the Spirit and Soul in Music

Greg Hurworth

Musicologica Olomucensia vol. 23, (2016):53-80 | DOI: 10.5507/mo.2016.003  

This article represents an attempt to describe the use of a sequence of three-chord, comprising the sub-mediant, followed by the dominant and thirdly, the tonic by composers from 1610 (Monteverdi) to 1948 (Richard Strauss). During that time, this three-chord sequence has been used sparingly - by just nine composers - but is used in two of the most well-known and loved orchestral works. The author poses the questions: why has it been used so infrequently? What is the contextual meaning of this chord sequence by each composer? Is there anything significantly similar between the meaning of the chord sequence across all the works of these nine composers?...

Max Brod jako hudební kritik

Max Brod as a Music Critic

Michał Jaczyński

Musicologica Olomucensia vol. 23, (2016):81-100 | DOI: 10.5507/mo.2016.004  

The article is devoted to the presentation and interpretation of critical-musical works of Max Brod, Czech-born German-Israeli writer, composer and librettist, best known as a monographer of Franz Kafka. On the basis of the press articles (published, inter alia, in German-speaking daily "Prager Tagblatt"), the author analyzes and systematizes Brod's views on musical art. Significantly, in the center of the critic's interest were found to be such composers as Leoš Janáček, Gustav Mahler and Arnold Schönberg. The press articles concerning Jewish music, more specifically - the "Jewish element" ("Jewishness") in music are discussed in detail. The author...

Sibelius na rozcestí: tradiční cesty, jež vedou k novým tvůrčím východiskům, na příkladu skladatelovy Symfonie č. 2 (1901/02)

Sibelius at the Crossroads: Old Paths Leading to New Creative Departures in His Second Symphony (1901/02)

Nors S. Josephson

Musicologica Olomucensia vol. 23, (2016):101-110 | DOI: 10.5507/mo.2016.005  

Sibelius' Second Symphony derives its inspiration from several third intervals that were originally also used in Brahms' Second Symphony. These third cells are often linked via major second scalar progressions, resulting in recurring whole-tone scales, a concept already employed in Classical development sections. In addition, Sibelius' Second Symphony was also much influenced by Bruckner's Third Symphony, notably the latter's first three movements. Sibelius' sketches for the second and fourth movements also indicate that the composer toyed with the idea of transcendental codas for these sections, producing minor second harmonic relationships that may...

Vnímání hudby pomocí hudební nahrávky: zvuková interpretace

Perception of music from a sound recording

Pavel Kunčar

Musicologica Olomucensia vol. 23, (2016):111-122 | DOI: 10.5507/mo.2016.006  

Using grounded theory, this article attempts to look at the sound treatment of a musical record as an important component of artificial music. There are many possibilities to work with the sound of a recorded music, so the sound treatment becomes another interpretation. The interpreter in this case is the sound engineer. Using data collected from five interviews with sound engineers, music directors and composers, we are trying to prove, that although the sound works only as a music carrier, it has an importance of its own and can also be looked at in terms of aesthetic view.

"From the West to the Rest?" World Music v transformačním procesu

"From the West to the Rest?" World Music in Transition

Ivana Marijan, Julian Schmitz

Musicologica Olomucensia vol. 23, (2016):123-131 | DOI: 10.5507/mo.2016.007  

"Melodies, styles, new sounds drifting through the world without respect for borders and act on anyone who hears them, whether they like it or not." (Susanne Binas-Preisendörfer: Klänge im Zeitalter ihrer medialen Verfügbarkeit, Bielefeld: Transcript, 2010, 16.). In today's postmodern and globalized world, it is effortless to listen to any kind of music around the world from any place via internet or radio for example. But does this techno-cultural phenomena automatically lead to a cultural (and often called westernized) mainstream?This essay examines how world music is changing under the conditions of a globalized world.

Hudba a zpěv v olomouckých tělocvičných spolcích v letech 1918-1939

Music and Singing in Olomouc Gymnastic Societies between 1918 and 1939

Ingrid Silná

Musicologica Olomucensia vol. 23, (2016):133-143  

The study deals with performed music and singing within gymnastics clubs in Olomouc, i.e. Sokol, Orel, and Turnverein during the above mentioned period between the wars: 1918-1939. The clubs ranked among the most active in that branch. Their members devoted themselves, besides physical exercises, to playing theatre, or created instrumental ensembles. The clubs organized various celebrations, parties, and balls where their members took part, or some invited musicians and singers performed. The musical accompaniment could have been heard during public exercising, or, within the frame of exercising lessons, trainees were singing to march. Thanks to the...

Leslie Bunt - Stige Brynjulf, Music Therapy: An Art beyond Words, 2nd ed., London: Routledge, 2014, 256 pages.

Yue Lu

Musicologica Olomucensia vol. 23, (2016):145-146  

Viktor Velek, Lumír 150: sbormistři českoslovanského zpěváckého spolku "Lumír" ve Vídni, Třebíč: Apis Press, 564 stran.

Ingrid Silná

Musicologica Olomucensia vol. 23, (2016):147-148  

Martin Flašar, Poème électronique (1958): Le Corbusier, E. Varèse, I. Xenakis, Brno: Masarykova Univerzita, 2012, 162 stran.

Michal Slováček

Musicologica Olomucensia vol. 23, (2016):148-151