Cesta excentriků z přízemí ven: Nástin vývoje české neoficiální hudební scény 80. let a její změny po roce 1989

Journey of the Eccentrics from the Main Floor Upward: To the Evolution of the 1980s Czech Unofficial Music Scene and Its Change after 1989

Jan Bárta

Musicologica Olomucensia vol. 32, (2020):7-24 | DOI: 10.5507/mo.2020.010  

The text focuses on the musical phenomenon of the so-called Czech New Wave of the 1980s. It examines its main features as presented in the essay by Josef Vlček "Nová vlna - příběh dušičkový" published in the book Excentrici v přízemí (1989). Some of the musical groups which belonged to the Czech New Wave, or more precisely to the punk rock of the first half of the 1980s are discussed in detail. On the example of the selected groups (specifically Krásné nové stroje, Nahoru po schodišti dolů band, Slepé střevo - the predecessor of the later Mňága a Žďorp, and Už jsme doma - initially punk band F.P.B.), which in spite of their success with their audience...

Popularizace angloamerického rocku v Československu v době normalizace na příkladu brněnské scény

Popularization of Anglo-American Rock in Czechoslovakia at the Time of Normalization on the Example of the Brno Scene

Jan Blüml

Musicologica Olomucensia vol. 32, (2020):25-49 | DOI: 10.5507/mo.2020.011  

The study examines the forms of institutionalized popularization of Anglo-American rock in the context of Brno music clubs at the time of normalization (1969-1989). Based on unpublished sources and oral historical research, the text shows the specifics of the rock scene in the south Moravian region, while contradicting the dominant interpretation of the history of rock music behind the Iron Curtain primarily as a political force.

Experimentální stavba hudebních nástrojů v letech 2017-2022

Experimental Construction of Musical Instruments between 2017 and 2022

Jiří Höhn

Musicologica Olomucensia vol. 32, (2020):50-67 | DOI: 10.5507/mo.2020.012  

Traditional musical instruments of folk culture quickly disappear from common use and, unfortunately, often from society's general awareness. Mentions about these instruments, contained in songs and surviving in names, are just unknown terms for many people. But in fact these instruments accompanied many generations of our ancestors in their childhood. Although we cannot find any record, it is possible to suppose that musical instruments such as willow whistle were one of the first entries into the world of music for many future musicians. More difficult instruments, for example kobza and koncovka, brought musical culture even to regions where people...

Cyklické tendence v pozdní hudbě Erika Satie (1866-1925)

Cyclical Tendencies in the Later Music of Erik Satie (1866-1925)

Nors S. Josephson

Musicologica Olomucensia vol. 32, (2020):68-80 | DOI: 10.5507/mo.2020.013  

After receiving his diploma from the Schola Cantorum in 1908, Satie embarked on a series of large-scale instrumental and vocal works. These ambitious compositions all utilize innovative intervallic and key relationships that partly derive from earlier cyclical techniques of the late 18th and 19th centuries. This article presents an analysis of the cyclical tendencies in the later music of Erik Satie.

Operní styl v díle Viola Concerto Jörg Widmanna

The Operatic Styles in Jörg Widmann's Viola Concerto

Kheng K. Koay

Musicologica Olomucensia vol. 32, (2020):81-99 | DOI: 10.5507/mo.2020.014  

This study explores Jörg Widmann's operatic compositional approach found in his Viola Concerto (2015). He has created a refreshing and intriguing way of presenting the composition that differs from a conventional concerto. In it, Widmann delivers ideas and new approaches through the visual and auditory senses, allowing audiences to effectively engage in the manner he designed of the fictional world. The music takes on several roles so as to create atmosphere, emotion, dialogues, and abstract protagonists in a "story" he designed. He makes the music as dramatic and as theatrical as possible, giving a new presentation fashion in his concerto, keeping...

Proměny duchovní písně ve Slezské církvi evangelické příchodem nového chorálníku

Transformations of Spiritual Song in the Silesian Evangelical Church Upon the Arrival of a New Choral Book

Marcel Pastirčák

Musicologica Olomucensia vol. 32, (2020):100-119 | DOI: 10.5507/mo.2020.015  

The new Czech choral book must be considered as a publication that fundamentally influenced the form of the spiritual song in Silesia. It is a modern work that reflects the current needs of individual Christian congregations. The time range among the included songs is almost 650 years, drawing not only from the songs of churches registered in the Czech Republic, but also folk tunes, traditionals, etc. Its concept influences the form of the spiritual song especially by the thought that every melody is supposed to be processed in such a way so that it describes the essence of the text's composition and message. With its creation, it not only imprinted...

"Sudeten German Composers" - Approaches to a Difficult Category

Andreas Wehrmeyer

Musicologica Olomucensia vol. 32, (2020):120-139 | DOI: 10.5507/mo.2020.016  

For historical reasons, one could only speak of "Sudeten German composers" in relation to a narrow period from the end of the 19th up to and including the first half of the 20th century. But even then, the term is problematic because on the one hand it is highly politicized, i.e. inevitably projected onto the conflicts between Germans and Czechs, more precisely on the crimes of the National Socialists and their supporters in the 1930s and during the Second World War, and on the other hand, there seems to be no homogeneous group of "Sudeten German composers" that justifies this collective term. Based on the short portraits of five composer - Heinrich...

Biblické písně Antonína Dvořáka: cesta z Ameriky do Evropy a zpět

Antonín Dvořák's Biblical Songs: A Journey from America to Europe and Back

Alena Benešová

Musicologica Olomucensia vol. 32, (2020):140-151 | DOI: 10.5507/mo.2020.017  

The aim of this study is not only to present Bible songs but also to reveal several new facts that have not been published yet. The research was focused primarily on the foreign performance of songs and related reviews regarding the reception of the work, e.g. new facts about the performance of songs at the Norwich festival which occurred during the composer's lifetime. It also cites a review that includes a quotation of Dvořák's letter (a copy of which was part of a program) that gives us a sense of the composer's attitude to the orchestral arrangement of his songs. The study also points out an existence of yet-to-be-discovered orchestral arrangement...

Velek, Viktor: Hudební umělci mezi Ostravou a Vídní 3 / Tonkünstler zwischen Ostrau und Wien 3, Lída Mašková-Kublová - Eva Hadrabová-Nedbalová, Nakladatelství Lidové noviny, 2019.

Miriam Hasíková

Musicologica Olomucensia vol. 32, (2020):152-153