Prince, umělec, který chtěl být populární? Kreativita, nezávislost a turismus

Prince, the Artist Who Wanted to Be Popular? Creativity, Independent Artist and Tourism Marketing

Patrice Ballester

Musicologica Olomucensia vol. 25, (2017):5-21 | DOI: 10.5507/mo.2017.001  

Through the figure of the singer Prince, Roger Nelson (1958-2016), LoveSymbol, we can reflect complex relationships between the artist and the game of celebrity. The fact of becoming popular, of being a known singer on a world scale, involved automatically and systematically desire to control his image, to come into conflict with his record company and to propose new marketing formulas to sell his music. Now, the tourism and the visit of Paisley Park (Minneapolis - Chanhassen) become a new stage of the memory's construction and of this popularity. This avant-garde singer in his way of communicating and expressing himself on the stage offers future...

Návrh experimentu a technické nástroje pro výzkum hudebních podnětů s uměle implementovanou komplexitou fyziologického typu užité pro rehabilitaci pacientů s Alzheimerovou chorobou

Experimental Design and Technical Tools for the Research of Musical Stimuli with Artificially Implemented Complexity Used in the Rehabilitation of Alzheimer's Disease Patients

Lenka Dohnalová, Tomáš Fürst

Musicologica Olomucensia vol. 25, (2017):22-33 | DOI: 10.5507/mo.2017.002  

This study focuses on identifying new and effective rehabilitation strategies for patients with Alzheimer's disease, which relies on the empirically confirmed effect of musical stimuli. The strategies were inspired by studies of new rehabilitation methods designed by Nicholas Stergiou (Biomechanics Lab, University of Nebraska in Omaha), based on signals that contain artificially incorporated physiological complexity (e.g. pink noise). The physiological signals of a healthy organism contain a certain degree of such complexity. The first phase of the research includes the creation of software in a MIDI format, which enabled the implementation of this...

Zapomenuté klavírní dílo Karla Goldmarka

Forgotten Piano Music of Karl Goldmark

Tihamér Hlavacsek

Musicologica Olomucensia vol. 25, (2017):34-50 | DOI: 10.5507/mo.2017.003  

Karl Goldmark became an esteemed figure in Vienna's cultural life alongside Brahms and Hanslick, who recognized the distinctive qualities of his music. Whilst Goldmark's most popular works - for example Die Königin von Saba which earned world fame for him - were performed across Europe and America, his piano music remained almost completely undiscovered. This exploration aims to introduce that repertoire by placing it in the context of Romantic piano literature. This will not only add new perspective to existing scholarship but enhance a more complex understanding of a significant figure's music, linking different styles and eras.

Nedokončený "Kontrapunkt" Karla Janečka

Unfinished "Counterpoint" by Karel Janeček

Miloš Hons

Musicologica Olomucensia vol. 25, (2017):51-77 | DOI: 10.5507/mo.2017.004  

Janeček's unfinished textbook of counterpoint was created from 1945 to 1948. The writings are 150 pages and consist of two parts: Common theory of Counterpoint and Vocal Counterpoint. For the third piece on instrumental counterpoint, he completed six introductory chapters. According to Janeček, adequate knowledge of vocal polyphony technique is an indispensable part of a comprehensive musical-theoretical education. The study of counterpoint should be preceded by an understanding of the basics of classical harmony. Counterpoint must meet two basic requirements: melodic autonomy of voices and harmonic integrity of polyphony. The main characteristic of...

Problematika zla v pozdní tvorbě Alexandra Nikolajeviče Skrjabina

To the Issue of Evil in the Late Works by Alexander Nikolayevich Scriabin

Marek Keprt

Musicologica Olomucensia vol. 25, (2017):78-97 | DOI: 10.5507/mo.2017.005  

Alexander Nikolayevich Scriabin denies the polarity of good and evil in favour of unity of all things. According to Skrjabin, evil occurs only in relative quantity and is a necessary accompanying phenomenon without which it would not be possible to reach higher spiritual spheres. This attitude leads to the adoration of relative evil, as evidenced by Skrjabin's texts, especially the conclusion of Poeme de l'Extase and the text Acte préalable. In Skrjabin's compositions of the middle and late periods, evil is manifested in three sub-spheres: 1) the sub-sphere of hidden forces, 2) the sub-sphere of death and the eternal cycle, 3) the sub-sphere of strange...

Sukův kompoziční vývoj v kontextu umělecko-estetických a eticko-filosofických akcentů doby

Josef Suk's Composition Development within the Framework of the Art-Aesthetics and Ethical-Philosophical Accents of His Era

Vladimír Kulík

Musicologica Olomucensia vol. 25, (2017):98-114 | DOI: 10.5507/mo.2017.006  

This study is focused on the formation of Josef Suk's compositional language, contingent on inspiration originating in the social and cultural atmosphere at the turn of the 20th century, which was marked by the arrival of new poetic and literary trends, influenced by the philosophy and aesthetics of the period. Suk's creativity not only brings attention to an amount of new tendencies in the period style of composition, but in his artistic visions he also responds to a great numbers of latent philosophical statements contained in selected works of poetry and prose from the period. In the text, you can also find the idea that the logical development...

Prvé roky fungovania Mestského divadla v Prešporku a pôsobenie nemeckého divadelného riaditeľa Maxa Kmentta

The First Years of the Municipal Theater in Pressburg and the Work of the German Theater Director Max Kmentt

Jana Laslavíková

Musicologica Olomucensia vol. 25, (2017):115-131 | DOI: 10.5507/mo.2017.007  

The new Municipal Theater in Pressburg (today's Historical building of the Slovak National Theater in Bratislava) was opened in 1886, and until the year 1920, the city rented it to German and Hungarian directors. The first German tenant was Max Kmentt. He worked in the Municipal Theater in the years 1886/1887 and 1889/1890. His repertoire consisted mainly of entertainment pieces (German and French comedies, Austrian farce and operettas). An analysis of the repertoire brings up the question about the meaning of the Municipal Theater, which had long been influenced by the Viennese cultural environment. The members of Kmentt's artistic ensemble were mostly...

Jakub Rataj, Gilberto Agostinho: Digitální technologie v hudební tvorbě pro akustické nástroje, Praha, Nakladatelství AMU, 2016, 140 stran, ISBN 978-80-7331-419-4.

Jan Borek

Musicologica Olomucensia vol. 25, (2017):132-134 | DOI: 10.5507/mo.2017.008