This study addresses the music-related aspects of the works of Claude Lévi-Strauss within the context of musicology and with a specific focus placed on his Mythologiques tetralogy. The aim is to define thematic categories for the individual theses within which they are further contextually understood. Selected references to music from Lévi-Strauss's work were analysed, compared, and interpreted, taking into consideration the theories of structural linguistics and anthropology. The topics chosen for the investigation include the system of relationships between language, mythology, and music, the analysis of myths using musical scores, the thesis that both music and myth are instruments that suppress time, the mythical nature of musical forms, and an analysis of Maurice Ravel's Bolero. The study takes into account current musicological applications that use the structural analysis of myths, and also critical reflections regarding Lévi-Strauss's theories. The individual categories were defined as structural homologies of myth and music, methodological tools of a metaphorical type to analyse myths using music, and the area commenting on the principles governing the styles and forms in the development of European art music and composed poetry.

This text points to serious issues in the history of sacred music in Moravia, the source being the archives of the Society of Friends of Music in Vienna:
Three instruments (organ table, organ positive and viola) from the parish church in Kvasice: Organ table made by Franz Harbicha (Brno) five voices positive organ from the 18th century, viola Mensur large (in the tradition of tenor violin), blank, from late 17th or the 18th century.
Activities of earlier singers and organists in Brno Cathedral, Philipp Opatřil since 1816 in Vienna.
Letter to the Director of Olomouc Cathedral's choir, Joseph Nešvera (1842-1914), to Ludwig Bösendorfer piano manufacturers (1835-1919), in which, inter alia, he announce the performance of his Mass in Vienna, dedicated to Archduke Eugene.
Biography of the composer from Rajhrad monastery, Joseph P. Maurus Haberhauer OSB (1746-1799), by the local abbot Augustine P. Koch OSB in 1826 sent to the Society of the Friends of Music in Vienna.
Pastorale for Strings and Organ from the year 1830 by the Olomouc Director of the Cathedral's choir Albertini Anton Thomas (about 1660-1735), and the Czech composer Josef Brentner (1689-1742).

Petr Eben was one of the few internationally renowned composers embracing the implications of the Second Vatican Council on writing music for the liturgy designed for the active participation of the entire congregation. He took up this challenge and succeeded in meeting both liturgical and artistic requirements. This paper discusses technical and aesthetic questions involved in composing for congregations and exemplifies these questions in analysing three works by Petr Eben: Deutsches Ordinarium (1965), Marien-Vesper (1968) and Missa cum populo (1981-1982).

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 and elementary education. The article includes a discussion of all sources connected to Lamb from the Lubiąż Cistercian collection.

The study deals with a number of musical manuscripts in the collection of the Archbishop's château in Kroměříž, documenting the cross-border musical contacts of the Olomouc bishops in the 18th century. At the centre of attention are materials for five oratorios (scores and parts), which the professional public has not engaged with in detail to date (Holzbauer: La Passione di Gesù Cristo, Wagenseil: Gioas, Re di Giuda, La Redenzione, Anonymous: La Morte d'Abele, Dittersdorf: Il Davide). Three of these oratorios are directly connected with the Lenten musical academies held in the Vienna Burgtheater in the 1750s, in which specifically in the case of Holzbauer's oratorio these evidently concerned materials from the production in 1757.

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 music accessible to children via the so-called method of elementary composition. Its authors were inspired by similar projects which had been taking place in the United States, Great Britain and Germany since the mid-1960s. The programme works primarily with the basic elements used in the process of composition, and it includes the use of non-traditional sounds, non-traditional musical instruments and graphic notation.
This paper focuses on the different ways and approaches to work with listening and perception in the framework of the Different Hearing programme, and their relation to contemporary music. It is based on the description and analysis of selected games and exercises that are used to initiate the compositional process. Experiences from the Different Hearing programme demonstrate that the intensive concentration on silence, sound or "soundscape" can be a suitable starting point for compositional activities in the classroom, as well as a way to the music of the 20th century. The paper draws conclusions in relation to compositional and pedagogical practices in the context of music education in the Czech Republic.

This article sheds new light on Georg Friedrich Haas's borrowing methods through an analysis of Tria ex Uno, which paraphrases a piece published half a millennium earlier: the Agnus Dei II from Josquin des Prez's Missa "L'homme armé" super voces musicales, which employs borrowing techniques itself. I demonstrate the transformation from the Agnus Dei II to Tria ex Uno by revealing Haas's specific spectral paradigms and techniques within a framework of Peter Burkholder's and Richard Beaudoin's work on musical borrowing. My study thus provides a means to understand the spectral treatment of existing music within the discourse on musical borrowing.

Although Ilse Weber's compositions have become central to the "Terezín canon", very few of her musical manuscripts are available. My study argues that the lack of sources actually serves Weber's popularity, as her Terezín songs can be tailored to the needs of individual performers to represent manifold notions of Terezín. Furthermore, my research juxtaposes Terezín's current status as a memorial site with its original function as a "Potemkin Village." Considering that much of the complexity of Terezín's original soundscape has been ignored or suppressed, I argue that it has become a simplified mirror image of the "model ghetto" it originally was.

The beginning of the 1930s marked a culmination in the long-lasting hatred of Vítězslav Novák towards his critic Zdeněk Nejedlý. In 1931 Novák issued a brochure entitled Zdeněk Nejedlý in the Mirror of His Scientific Critique in which he analyzes Nejedlý's criticism of his compositions and compares it with Nejedlý's evaluation of the musical style of Zdeněk Fibich published in 1925 in the book The Love Diary of Zdeněk Fibich. Novák identifies logical weaknesses in the statements of Nejedlý and, as a counterattack, he points to some insufficiencies of Fibich as a composer. In the argument by Novák, Zdeněk Fibich and his works serve as evidence of Zdeněk Nejedlý's insufficient musical talent and lack of expertise. The paper also deals with other evaluations of Fibich's piano works, from the points of view of the composer's subsequent interpreters (Helfert, Hudec) and contemporary reviewers. The comparison of various views identifies some common elements in the reception history of Fibich's music.

Vienna was a city of many nationalities with a population coming from all parts of the monarchy. This fact established the prerequisites for relations of a positive nature and yielded positive results, such as the capability of communication in more than one language, opportunities for mutual cultural inspiration, and the like, but also created a hotbed for growth of xenophobic feelings aimed in various directions. Assimilated Bohemians, Moravians, and Slovaks with their pro-Austrian sentiments formed a strong contrast to German nationalists and thus served as a reinforcement for liberal and social-democratic political agendas. As concerns Vienna, Czechs were the only stratum of its population that could really be considered a national minority and acted as such in relation to the state and the land of their origin. The exclusive position of the Czech minority was determined by geographical proximity to the motherland, with which ties were maintained, and by its social makeup. No other minority created a structure of organizations and societies in Vienna with such a broad range of interests. The share of Bohemians and Moravians in the city's cultural life played a role in the reception of artists coming from those regions and of their works, in their integration into Viennese cultural life, and in generating feedback to the land of their origin.
This contribution is devoted to the reception of works by Zdeněk Fibich on both levels: in official Viennese (German-language) musical life and in enterprises of the Czech minority. Period opinions concerning Fibich and his works are documented based on responses to performances of his works, while broader geopolitical and aesthetic associations are also suggested. Although incomparably fewer works by Fibich were performed in Vienna than by other Czech composers (quite apart from Dvořák, who clearly predominated), he did find his devotees and promoters in Vienna among journalistic, artistic, and private circles. Fibich was considered a modern composer with the courage to experiment, although he built on the bequest of his precursors and linked his work to theirs. He was called the continuation of the Smetana-Dvořák line of development, but was viewed as having freed himself from stylistically-narrow nationalist ties, taking instead a cosmopolitan stance.
Translated by David Beveridge

Das Thema des Mädchenkrieges erscheint in der tschechischen Literatur zum ersten Mal in der Chronica Bohemorum des Cosmas von Prag, wo sie jedoch lediglich als ein ritueller Wettstreit zwischen den jungen Männern und den Mädchen geschildert wird. In der am Anfang des 14. Jahrhunderts auf Tschechisch in Versen geschriebenen Chronik des sogenannten Dalimil wird die Sage bereits als ein Krieg der Frauen mit einer ausgearbeiteten Handlung und konkreten Personennamen beschrieben. Weitere Versionen der Sage stammen vom Chronisten Přibík Pulkava von Radenín [Pulkawa von Radenin] aus der zweiten Hälfte des 14. Jahrhunderts, von Aeneas Sylvius Piccolomini (dem späteren Papst Pius II.) aus dem 15. und von Racek Doubravský von Doubravka aus dem 16. Jahrhundert; alle haben die Fassung des Dalimil weiter entwickelt. Auch die von Václav Hájek z Libočan [Wenzeslaus Hajek von Libotschan] in der ersten Hälfte des 16. Jahrhunderts verfasste Version übernimmt und ergänzt im Grunde die Version des Dalimil. Es gibt drei tschechische Libretti mit dem Thema des Mädchenkrieges, und zwar von Julius Zeyer, Karel Pippich und Anežka Schulzová. Das Libretto Šárka von Julius Zeyer ist auf Anregung von Antonín Dvořák wahrscheinlich im Jahre 1880 entstanden, Dvořák hat es jedoch dem Schriftsteller zurückgegeben. Auch bei Bedřich Smetana und Karel Bendl erweckte der Text kein Interesse. Es war der damals als Komponist noch unbekannte Leoš Janáček, der Zeyers Libretto vertont hat - allerdings ohne dessen Wissen und mit wesentlichen Umarbeitung des Textes. So ist es verständlich, dass Zeyer, als ihn Janáček im Nachhinein davon verständigte und ihn um seine Bewilligung bat, sich verletzt fühlte und die Vertonung verbot. Ein weiterer Grund war die Polemik um Smetana zwischen Janáček und dem Redakteur der Zeitschrift Dalibor, Václav Vladimír Zelený. Kein Wunder, dass Zeyer, als er sich bei Zelený über Janáček informierte, keine positive Antwort erhielt. Dies hat seine Entscheidung, dem Komponisten die Verwendung des Librettos nicht zu gestatten (obwohl die Oper bereits komponiert wurde), nur unterstützt.

The report deals with the Variations in B flat major for piano by Zdeněk Fibich (1850-1900) which Vladimír Hudec, author of the Zdeněk Fibich: Tematický katalog [Zdeněk Fibich: Thematic Catalogue], believed to have been lost. Its complete autograph, however, was recently discovered by the author of this article in the music collection of the Prague Hlahol Choral Society. The discovery of this composition, therefore, has substantially changed the existing knowledge of the work-as shown in this paper, describing its context, such as the Fibich sources linked to it (including the Moser catalogue and the estate of Stanislav Kamenický). The article also points out the discrepancies found in the secondary literature.

A musicological conference on Zdeněk Fibich as a Central European Composer at the End of the Nineteenth Century took place in the Corpus Christi Chapel in the Art Centre of the Palacký University in Olomouc, Czech Republic. It was organised by the Zdeněk Fibich Society in cooperation with the Department of Musicology in the Philosophical Faculty of the Palacký University in Olomouc. Previously musicologists met on a similar occasion in Prague 10 years ago. Researchers discussed Fibich's works from very different points of view, a fact which draws attention to the permanent inspirative power of Fibich's music as well as an enquiring approach to an ever-rediscovered personality.

While Wagner's impact on Musorgsky appears limited to a few quotes from Lohengrin and Siegfried in Boris Godunov and Pictures at an Exhibition, respectively, Beethovens's influences on the Russian composer are far more extensive. Already Musorgsky's early scherzo compositions are clearly modelled on Beethoven's scherzi from his 4th and 9th Symphony. In addition, the central themes in Boris Godunov utilize earlier Beethoven themes, and many later Musorgsky subjects from Songs and Dances of Death and Khovanshchina are based on ideas from Beethoven's string quartets op. 132 and 133.
Even more impressive are Musorgsky's numerous borrowings from Schumann's works. These include cyclical intonations from Schumann's first two symphonies, the piano compositions Carnaval and Kinderszenen (both actually quoted in Pictures at an Exhibition!) and several declamatory Schumann songs. Together the Beethoven and Schumann influences on Musorgsky's creative output indicate extensive stylistic ties between German and Russian music of the 19th century.

The Gradual of Česká Skalice, dating back to 1567, is a significant hand-written record kept in the Museum of Božena Němcová, which situated in Česká Skalice. This codex, which is written in Czech and is of a regional character, may be listed among all the other Czech sources. By analyzing it we may contribute to the recognition of the repertoire of utraquistic sources. However, the Gradual of Česká Skalice does not belong to such prestigious codices as the Gradual of Strahov, the Gradual of Chrudim, dating back to 1570, Franus' Hymnbook. The Gradual of Česká Skalice is merely a paper codex the decoration of which is very humble.
When reviewing the repertoire of the graduals, it is obvious that the Gradual of Česká Skalice contains only the most basic information. The proprium de tempore is announced; that is the repertoire covering the period from the advent to the office for sins. Offices on sanctification, the Ascension of the Virgin Mary, Sunday and on the Apostles are added to this from the votive masses. The repertoire lacks proprium de sanctis, commune sanctorum, votive masses, cantiones, polyphonic songs and diapason patriamina. To add to that, the Gradual of Česká Skalice contains written-out antiphons about Low Sunday and introits about the fasting Sundays.
It is without doubt that the Gradual of Česká Skalice is a matter of local character. The difference is also apparent in the very objective the source was created for. The origin of the Gradual of Česká Skalice was not stimulated by the effort to own an expensive and richly decorated hymnbook, but rather the effort to own such a codex, which would especially serve practical purposes. Therefore, we cannot add it to the prestigious codices when taking into consideration its external and internal characteristics.

The essay focuses on the reception history of jazz music in the Czech Lands. It is based on contrasting two rather distant historical moments. Firstly, the situation of 1920's comes under scrutiny. Jazz arrived to the Central Europe after the World War I as a new form of popular music. Simultaneously, numerous avant-garde composers saw it as one of possible catalysts of departure from traditional post-romantic musical idiom. In Central Europe, some advocates of jazz declared a need for classical music to receive a "transfusion of fresh blood" from jazz to re-establish any links to the modern social world. Among the Czech musicians, Erwin Schulhoff and Emil František Burian were the most prominent prophets of this attitude to jazz. The concept of rejuvenation of classical music by jazz was based on a view of both musical styles as being complete opposites.
The second part of the essay refers some findings from sociological surveys conducted in the Czech Republic over the last decade. There is strong empirical evidence, which suggest the social functioning of jazz has gradually changed from the otherness of popular music to a status very similar to that of the classical music. The share of Czech population having a preference for jazz has been decreasing over the last 50 years considerably from more then 50 % in 1963 to some 16.5 % in 2005. During the same period, the correlation between the degree of education and taste for jazz has been growing. The emerging type of the "omnivorous" listener bears sympathy for both jazz and classical music. Jazz has changed from a wild species of popular music into a socially approved exhibit in the imaginary museum of classical music.

The essay reflects musical events at Palacký University in Olomouc from 1945 until the present. It displays the development in the musical production that has been connected with the functioning of the University. In addition, it assesses the impact of these activities within the City of Olomouc, the region and the higher territorial units. The principal subject of the research is constituted by the reflexion of music functions within rituals and ceremonies of the University, as well as by the production of individual artists, music associations, clubs, or ensembles, working at the University.

Die Studie beschäftigt sich mit der Persönlichkeit von Antonín Sychra (1918-1969). Sychra gehörte und gehört zu den bedeutenden und unvergesslichen Persönlichkeiten der tschechischen Musikwissenschaft und Ästhetik in der Mitte des 20. Jahrhunderts. Er war eine ausgesprochen symptomatische und symbolische Persönlichkeit für die gegebene Zeit und für die politische Situation sowie für die in den tschechischen gesellschafts- und kunstorientierten Wissenschaften ablaufenden Prozesse. Sychra schuf ein sehr umfangreiches und in vielerlei Hinsicht anregendes wissenschaftliches Werk, welches aber im Bewusstsein der breiteren sowie der fachlichen Öffentlichkeit in bedeutendem Maße von ideologischen Aspekten seiner Tätigkeit überlagert wird. Er gehörte nämlich zu den Persönlichkeiten, die in der tschechoslowakischen Kultur und Wissenschaft in der Zeit nach der kommunistischen Wende im Jahre 1948 das Regime und dessen Ideologie repräsentierten und dessen Kunstverständnis propagierten. Sychra hatte Musikwissenschaft und Ästhetik zuerst an der Masaryk-Universität in Brno und dann an der Karlsuniversität in Prag studiert. Zu seinen Lehrern hatte der renommierte Musikwissenschaftler Vladimír Helfert und der führende Ästhetiker Jan Mukařovský gehört. Er verteidigte seine Dissertation in Form einer statistisch orientierten Schrift mit dem Titel Musik und Wort im Volkslied. Nach der Wende im Jahre 1948 begann er eine engagierte publizistische Tätigkeit zu entfalten, in der sich seine revolutionäre Begeisterung sowie seine Ambitionen niederschlugen. Er wurde ein bedeutender Funktionär des Verbandes der tschechoslowakischen Komponisten und veröffentlichte Aufsätze und Referate in der Verbandszeitschrift Hudební rozhledy (Musikrundschau), in denen er die Tätigkeit dieser Organisation sowie die Richtung des Geschehens in der Kunst sowie in den Kunstwissenschaften darlegte. Seine Veröffentlichungen fasste er in den Publikationen Die parteiliche Musikkritik - ein Mitgestalter der neuen Musik. Die Einleitung in die Musikästhetik des sozialistischen Realismus (1951) und Über Musik von Morgen (1952) zusammen. Auch seine Karriere als Pädagoge und Wissenschaftler entwickelte sich in schnellen Schritten: Im Jahre 1951 wurde er zum Professoren ernannt (er war an dem Lehrstuhl für Musikwissenschaft und dann auch Ästhetik tätig). Als einer der ersten Mitarbeiter erwarb er den neu eingeführten höchsten Titel für Wissenschaftler, nämlich DrSc., und zwar mit seinem umfangreichen Werk Antonín Dvořák: Zur Ästhetik seines sinfonischen Schaffens (1959, auf deutsch erschien im Jahre 1972), dem auch die wissenschaftliche Richtung seiner musikwissenschaftlichen und ästhetischen Arbeit zu entnehmen ist. In einer weiteren Etappe seiner Tätigkeit stellte Sychra, der die Ergebnisse seiner Arbeit auch auf internationalen wissenschaftlichen Kongressen präsentierte, insbesondere die Publikationen Musik und Wort aus experimentaler Sicht (1962) und Musik mit den Augen der Wissenschaft gesehen (1965) vor. In einer Reihe von Studien, die in dem zusammenfassenden Werk Musik und Realität (postum, 1990, es erschien ein Teil Impressionismus und Expression in der Musik) herausgegeben werden sollten, beschäftigte er sich neben anderem mit der Musik von Leoš Janáček, mit der neueren Musik (einschließlich Pop-Musik), mit Musikerziehu

Wagner's adopted motifs, conceived in an interval-modal way, or quotations, may be seen as a fully modern stylistic feature because it is repeatedly found in the work of contemporary composers, such as Debussy, Stravinskij and Bartók. With the Bayreuth master we often feel as if pure inspiration was almost secondary because it seems to be subordinated to a particular interval material. Similarly, Wagner's increasing propensity for quoting himself, especially in works such as Die Meistersinger and Parsifal, can be understood as a pioneering act in relation to many modern composers, e.g. Gustav Mahler and Alban Berg, whose complex work formed an artistic unity. From this historical aspect Wagner's whole work - in spite of its clear origin in German-French early Romanticism - appears to be an obviously more advanced, progressive predecessor of the modern style of the beginning of the 20th century.

Die Geschichte der modernen tschechischen Populärmusik vor dem Jahr 1989 umfasst eine Vielzahl von vermischten Stilrichtungen. Aus der Sicht der gemeinschaftlichen Bedeutung gehören zu den wichtigsten von ihnen zweifellos die Bereiche der Folkmusik, Countrymusik und Wanderlieder. Obwohl viele bedeutende Ereignisse, die mit den Konstitutionen dieses Musikbereiches verbunden sind, sich in Prag abspielten, entwickelten sich seit den Sechzigerjahren erfolgreich insbesondere lokale Kreis- und Bezirksszenen. Nicht einmal die Olmützer Szene war eine Ausnahme, in der während der Sechziger und Achtziger Jahre eine Menge von bemerkenswerten Solisten und Gruppen erschienen. Ein Olmützer Künstler, der einen gesamtstaatlichen Erfolg erzielte, war Karel Plíhal. Der Volksmusikliedermacher begann seine Karriere in den Sechziger Jahren in der örtlichen Gruppen Hučka, Falešní Hráči und Plíharmonyje. Zu Anfang der Achtziger Jahre begab er sich auf Solokarriere. Dank seiner hohen originellen Werke reihte sich Plíhal zu den bedeutendsten Darstellern, der sogenannten zweiten Generation der tschechischen Folkmusik, ein. Eine Olmützer Countrygruppe, die deutlich in das gesamtstaatliche Geschehen eingriff, war beispielsweise Bluegrass Nova.
Parallel zur steigenden Beliebtheit der Folkmusik, Countrymusik und Wanderlieder bei dem Olmützer Publikum kam es zu einer Ausbreitung der örtlichen institutionalen Basis dieser Musik. Während der Sechziger und Achtziger Jahre in Olmütz fanden zahlreiche mehr oder weniger bedeutende Festivals und Musikschauen statt, und es entstanden neue Clubs. Die lokalen Kulturorganisationen veranstalteten ebenfalls regelmäßige Populärvortragszyklen und Seminare über die Schlüsselfiguren, Gruppen und Stile des inkriminovierten Musikbereiches. Ein Ehrenplatz in der Geschichte der heimatlichen Populärmusik in Olmütz gebührt auch dank der Veranstaltung einem der bedeutendsten heimatlichen Festivale - Porta, das hier sehr erfolgreich in den Jahren 1977, 1978 und 1979 stattfand.

Nešvera Josef (1842, Hořovice - 1914, Olomouc), a major representative of Smetana and Dvořák composer's school, choir director, a much sought-after teacher and performer, an honorary member of many Czech and Moravian associations and the holder of state honors, conducted the orchestra of the Cathedral of St. Wenceslas in Olomouc for thirty years (1884-1914). In promoting the Cyrillic reforms he relied on his predecessor Pavel Křížkovský (1820-1885).
His period meant the stabilization of organization and repertoire. The choir consisted of six singers and an equal number of pupils of the foundation school, it was strengthened by hiring scholars on Sundays and holidays.
In his repertoire - except Křížkovský and numerous Nešvera's works - occurred compositions by Renaissance authors (J. Handl-Gallus, O. di Lasso, G. P. da Palestrina and T. L. de Victoria), representatives from the German reform-oriented schools (F. X. Witt, E. Stehle, J. B. Benz and M. Brosig) and finally compositional domestic range (J. B. Foerster, K. Stecker, F. Picka, F. Hruška, J. C. Sychra, etc.). Nešvera's foundation also enjoyed good reputation and it produced many celebrities who were also applied in the professional music sector (S. Tauber, H. and M. Doležil and J. Kvapil). During Nešvera's tenure, Olomouc Dom choir ranked among the best church ensembles in Moravia.
The study deals with the compositional activities of Josef Nešvera. From more than 400 liturgical songs the sacramental significance reached 31 compositions and 4 requiems. Nešvera's compositional language is introduced through the analysis Missa sancti Theodori honorem in B flat major, Op. 67 (1893) and sacred cantatas St. Wenceslas (end of 80s of the 19th century).

Friedrich Blum became director of the Olomouc Theater in 1847, and the events of the revolution of 1848 strengthened his position there during the entire decade of the 1850s. Blum was able to integrate the theater into the community life of the town, and to profit by directing the theaters in Olomouc and Krakow simultaneously. He also took advantage of contacts in Lvov [Lemberg] and Karlovy Vary [Carlsbad]. Despite the rigid absolutism closely connected to the political realities of the time, Blum led artistic efforts with tolerance and vigor. But since these artistic accomplishments did not gain appreciation by specialists, and Blum was not able, for example, to rely on reserving free tickets to further the theater's role as an institution of cultural education, the ensemble eventually performed at only an average level. Blum became an undesirable person, and was not able to continue during the changes that followed the October Diploma of 1860.

An important Czech music historian, Miroslav Karel Černý (December 11, 1924 - July 10, 2011) died in Prague after a short disease. He worked as a lecturer at the Faculty of Education of Charles University, later at the Department of Music Theory and History in the Academy of Performing Arts in Prague, as a researcher at the Institute of Musicology of the Czechoslovak Academy of Science (1962-1985), and as an associated professor at the Department of Musicology of Palacký University in Olomouc (since 1991). In defiance of his serious eye defect, his scholarly work is extensive. He was oriented to European 19th and 20th century music, methodology of musicology, and symphonies of Antonín Dvořák. His monograph Hudba antických kultur [Music of Ancient Cultures] (Olomouc, 1995; 2nd enlarged edition, Prague, 2006) is a book of international significance.

The study deals with the tower masters in Litovel (Moravia) in their last period of activity, i. e. 19th century. The tower musicians were acting there from about 1566. They were associated, like in other towns, in artisan corporations. The main person, paid by municipal authorities, was the tower master, who employed a journeyman and some helpers (guards), and also educated some apprentices. During the 19th century, three musicians worked, one after another, as the tower masters. From the end of the 18th century to 1811, it was Franz Josef Schiebel, then, from 1811 to 1841, Ignaz Bartl (1777-?), and finally, from 1841 to 1866, Josef Jiránek (1800-1885).
From the practical point of view, they were important as watchmen, i. e. they announced time or danger by means of a short Intrada.
Their performing activities in the sphere of secular music enriched musical life, they played both from the town hall tower, and at dances, as well as within other occasions.
However, the significant sphere of their performances was also the temple music within masses in the St. Mark's parish church. The educational activities were required only from the tower master as a part of his duty, and it contributed to the continuity of musical life in the town. The above mentioned musical activities of tower masters contributed to the cultural life not only in the 19th century but during the whole three hundred year period of their activities in the town.

Die Musik Fibichs spiegelt sein lebenslanges Suchen nach Schönheit, dramatischer Darstellung und jener klassischen Proportionalität wider, wie sie zu seiner Zeit verstanden wurde. Indem er diese Prinzipien weiterentwickelte, um seinen Stil in den dramatischen Werken zu gestalten, ist er bis an die Schwelle der Moderne gelangt. Zu den Innovationen Fibichs gehören: der Ausbau von breiten, auf dem dramatischen Verlauf beruhenden Formen, innerhalb derer sich die Harmonik, Melodik und thematischen Strukturen frei entfalten können; ausgedehnte, nach dem Vorbild von Arien mit verschiedenem Tempowechsel beruhende dramatische Monologe; Strukturen, deren Zusammenhalt von der wechselseitigen Verflechtung der musikalischen, nur auf ihre theatralische Wirkung hin berechneten Vorgänge abhängt; geschickte Verwendung der Kleinformen im Rahmen der großen Formen, charakteristische Motive und Figurationen, die auf den Verlauf der Handlung reagieren; ebenso programmatische Illustrationen, chromatische Verdichtungen und sich der Atonalität annähernde Rezitative. In seiner letzten Oper Dargun ist Fibich bis zu dodekaphonischen Atonalität selbst gelangt.
Übersetzt von Vlasta Reittererová

Der Beitrag setzt sich mit dem Vermitteln von Kompetenzen für eine Feldforschung im Bereich der Ethno-Musikwissenschaft auseinander. Der Autor beschäftigte sich mit dieser Problematik im Rahmen der Leitung des Faches "Methoden in der Ethno-Musikwissenschaft" im Bachelor-Studiengang am Lehrstuhl für Musikwissenschaft der Palacký-Universität in Olomouc in der Tschechischen Republik. Der Autor traf die Entscheidung, die Studenten mit hinaus vor Ort zu nehmen und zu versuchen, die Daten direkt dort an Ort und Stelle zu sammeln. Es handelte sich um ein pädagogisches Experiment, dessen Ziel es war, den zukünftigen Musikwissenschaftlern praktische Erfahrungen und Kenntnisse hinsichtlich der Datensammlung an Ort und Stelle zu vermitteln und ihnen den Sachverstand in diesem Bereich zu eröffnen.
Die Studenten entschieden sich, zusammen mit dem Vortragenden den Spuren von Béla Bartók in den rumänischen Kreis Maramureş, der in Bartóks Zeit ein Teil von Ungarn war, zu folgen. Sie beabsichtigten, möglichst viele Informationen über Bartóks Methoden der Datensammlung zu bekommen und die Gemeinden, in denen Bartók vor hundert Jahren arbeitete, zu besuchen. Ein weiteres Ziel des Projektes bestand in der Feststellung, ob in diesen Regionen noch etwas, was an die Musik und den Musikstil aus Bartóks Zeit erinnert, erhalten geblieben ist sowie in dem Vergleich der gesammelten Daten mit denen von Bartók.
Der Beitrag beschreibt einige Gedankenprozesse, die sich im Verlaufe der Gestaltung dieses experimentalen Projektes entwickelten und stellt auch den Ablauf des Projektes und dessen Auswertung dar. Der Text wurde mit einer kurzen Analyse von vier Liedern und mit einer Beschreibung mehrerer, von den Studenten während ihrer Arbeit im März 2008 gefundenen, Instrumente abgeschlossen. Diese Angaben wurden dann mit den eigentlichen Erkenntnissen Bartóks, die im fünften Teil seiner Musik in Rumänien veröffentlicht wurden, verglichen.

Published outputs of Jiří Sehnal's lifelong research in the field of musicology cover several important thematic areas. Presumably, the majority of his publications deal with the history of musical culture in Moravia in the 17th and 18th century, which is the main topic of Sehnal's scholarly concern. Within this group one can find a great amount of writings devoted to church and sacred Catholic music, hymnology, secular music of that historical period - mostly concerning the music of aristocratic court bands -, or regional musicological research. The next category of Sehnal's academic publications relates to the issues of pipe organs and pipe organ building in Moravia, especially in the 17th and 18th centuries. Last but not least, it is necessary to mention Sehnal's editions of early music. Jiří Sehnal is also the author or co-author of several important monographs and individually published books, as well as the writer of a wide range of entries in prestigious musicological and other encyclopedias. A great deal of Sehnal's scholarly work was published in German. However, one should not forget a number of writings of great importance published in English - for instance the monograph on the composer P. J. Vejvanovský and the Kroměříž music collection, which was highly appraised by the scholarly community.

Zdeněk Fibich's Oper Šárka entstand in den späteren 1890er Jahren und steht somit an der Schwelle zum angehenden 20. Jahrhundert. Ihre höchst konzentrierte motivische und intervallische Tonsprache wird vom tschechischen Komponisten systematisch entwickelt um ihre dramatische Ausdruckskraft zu verstärken. Außerdem werden ihre tonalen Stilmittel enorm erweitert. Letztere betonen oft Kleinsekundbeziehungen, so z.B. g-As oder C-Des in der letzten Szene des III. Aktes. Zudem verbindet Fibich seine schroffen dramatischen Gegensätze (die oft männlich-weibliche Konflikte betonen) auf meisterliche Art, eine Technik, die bereits auf ähnliche dramatische Polaritäten in den Opern Janáčeks hinweist. Obwohl sublimierte Erinnerungen an Smetanas Libuše und Wagners Tristan und Parsifal noch vorkommen (so besonders im herrlichen Liebesduett am Ende des II. Aktes), erreicht Fibich in Šárka einen künstlerischen Höhepunkt in der Geschichte der tschechischen Nationaloper.

Den Inhalt dieses Artikels bildet eine Analyse der Sonate für Klavier, eines Werkes auf dem Höhepunkt des Schaffens von Jaroslav Ježek (1906-1942), die zwischen den Jahren 1939 und 1941 in der Zeit des Exils des Autors in Amerika entstanden ist. In den bisherigen Erwähnungen in der Fachliteratur wird dieses Werk nicht nur im Rahmen des bisherigen Œuvres des Autors, sondern auch in Bezug auf die tschechische Musik der ersten Hälfte des 20. Jahrhunderts als einzigartig bezeichnet. Die Bedeutung der Sonate besteht vor allem darin, dass der Autor die Kompositionsvorgänge in ein viersätziges Ganzes integrierte, wie man es schon aus seinen vorherigen, insbesondere für Klavier komponierten Werken kannte. Es handelt sich zum Beispiel um die Bildung von Kompaktflächen auf der Basis eines in "Toccato" stilisierten Stroms von Figurationen, eine charakteristische rational-konstruktive Schichtung von Akkorden (zum Beispiel nach Tertien-Intervallen und gleichzeitig auf Tönen von weißen Tasten), die Kombination vom Zusammenklang des Tertien- und Quartenaufbaus, melodisch-rhythmische ostinate Flächen usw. Der Charakter der Sonate wird auch von kantablen oder lyrischen Flächen mitgestaltet, was unter anderem auch mit der Unterscheidung einzelner thematischer Ganzen in dem ersten Satz des Sonatenzyklus zusammenhängt. Ježek arbeitete nicht auf der Basis der tonalen Harmonie, er neigte jedoch auch nicht zu Schönbergs Dodekaphonie. Die Existenz von Tonzentren (im Sinne der Terminologie von Alois Hába) lässt die Tendenz zur zentrischen Hierarchie verspüren. Diese Vorgänge hängen mit zeitgenössischen Bemühungen um eine sachliche, nicht sentimentale musikalische Darlegung zusammen.