Hudebně-rétorické figury: od teoretické Figurenlehre k hudební praxi

Musical-Rhetorical Figures: from Theoretical Figurenlehre to Musical Practice

Martin Čurda

Musicologica Olomucensia vol. 37(1), (2025):7-74 | DOI: 10.5507/mo.2025.010  

The present study builds on the author's experience with teaching musical-rhetorical figures to the students of a performance academy. It begins with listing a number of difficulties which the students of Figurenlehre must face, pointing out the insufficient reflection of this subject in Czech academic literature and the general lack of illustrative musical examples in the existing sources. The text is divided into three parts: the first offers a review of current academic literature on the subject (thus preparing the basis for further research); the second classifies musical-rhetorical figures and briefly comments on each category (thus supplying...

The Semantic Space of Ukrainian National Universals in Olena Lys' Choral Diptych "By the Stairs to Heaven…"

Olena Yakymchuk

Musicologica Olomucensia vol. 37(1), (2025):253-266 | DOI: 10.5507/mo.2025.002  

Since 2014, the work of Ukrainian composers has held a mirror up to the events of the Russo-Ukrainian war. A piece from early 2014 by contemporary composer Olena Lys is considered in this article. The piece begins with the composer's reflection on the events of Maidan in winter 2014 in the form of a choral diptych based on Vasyl Dovzhyk's poem "By the Stairs to Heaven…". In its two parts, it illustrates the death of the Maidan defenders (in the first part) and the mother's prayers for her dead son (in the second part). The present article focuses on a semantic analysis of Ukrainian symbols in both the libretto and the musical text, ultimately...

Witold Lutosławski's Radio Bohemica: A Commentary on the Musical Reception of the Manuscript of Dvůr Králové and the Manuscript of Zelená Hora in Poland

Małgorzata Sułek

Musicologica Olomucensia vol. 37(1), (2025):267-282 | DOI: 10.5507/mo.2025.001  

The discovery of the Manuscript of Dvůr Králové and the Manuscript of Zelená Hora in the Czech lands at the beginning of the nineteenth century aroused great interest among the Polish intellectual and artistic elite, provoking discussions on the prehistory of Slavonic culture and generating numerous more or less faithful Polish translations of the texts included in manuscripts. This article addresses the problem of the musical reception of both forgeries in Poland, which is far more modest than the Polish literary works inspired by the two Czech forgeries or the historical studies addressing the issues outlined in them. To the modest...