The paper discusses the importance of micro-historiography in music history research, which involves studying the everyday lives of individuals and events to uncover forgotten details and gaps in traditional historical approaches. Reading the main source, the daily Pest-Ofner Localblatt und Landbote it is especially important to emphasize the significance of shorter news, reports, and advertisements in newspapers as valuable sources of information for reconstructing everyday musical life in Pest-Buda. The Pest-Ofner Localblatt und Landbote mentions several guest performers on the stages of Pest-Buda, including the visits of traveling national or folk companies, the performances of the successful Spanish folk dance company at the National Theater in Pest, the tour of the popular Tyrolean folk music company for several months, the supposedly Viennese singing company, marked by the names of Mutzbauer, Honetz, and Lasky, which clearly represented the Wienerlied repertoire on the stage of popular cafés, the guest performances of singer Babette (Betty) Gundy, or Sigismund Thalberg's student, the pianist Rosa Kastner. The present paper also discusses the sources that can be used to list the guest performers, such as the surviving archive material of the National Theater in Pest, the theatre pocket books of German theaters, and the period's press, especially the Pesth-Ofner Localblatt und Landbote. By studying the lives of everyday individuals and the events of everyday life, researchers can uncover information that may have been overlooked or ignored by traditional historical approaches. In the context of music history, micro-historiography can help to shed light on the functioning of an entire city or region, as well as the structure of musical life from a variety of perspectives. It can also help to reveal the realities of everyday musical life, including the network of contacts through which musicians could reach their audience, and how this was reflected in the period's sources.

On January 10, 1873, the journal Dalibor predicted for Zdeněk Fibich’s Meluzína that its success would help to spread Fibich’s name within the ‘wider circles of the artistic world’. In retrospect, this prediction might have been a little too optimistic, as, up until this day, Fibich has been acknowledged primarily for his innovative approach to music-dramatic genres. This paper aims to close this research lacuna by shedding light on both Meluzína’s reception and selected compositional-aesthetic features.

The choice of the theme of Princess Libuše for the opera shows how problematic mythology is in relation to operatic conventions. The decision of Josef Wenzig (or also Ervín Špindler) and Bedřich Smetana represents, in a sense, a risky artistic experiment as well as a quite exceptional solution. Smetana's Libuše was to retain its position as a representative work within Czech social life, and it still fulfils this purpose today. The history of the reception of Smetana's Libuše is closely linked to the history of the independent Czechoslovak (Czech) state; on the other hand, it is impossible not to see how poor the statistics on the performance of Libuše outside the Czech cultural circle are. Our study attempts to show how Smetana's Libuše helped to build the National Theatre's permanent Czech repertoire, often in spite of the theatre's operational vicissitudes and not infrequently in spite of Smetana's intentions (Libuše was more or less always ready for performance and filled the dramaturgical gaps of the institution's management). A counterpart to the Czech reception history (in the sense of provincial patriotism) is provided by information about performances of Libuše on non-Czech stages. And in this field we find ourselves rather in the realm of - to use Vladimír Macura's words - dreams about Libuše. Of course, dreams and visions also constitute national consciousness. We concentrate on the oft-repeated information that Gustav Mahler intended to perform Libuše in Vienna in the 1890s.

Of all the operas by Ferenc Erkel, we know the most about Erkel's efforts to present abroad his second opera Hunyadi László, while the absence of similar data concerning the other operas may be the result of the fact that the composer himself and/or the National Theatre did not even try to have them performed outside of Hungary. For Erkel's first two operas - Bátori Mária (1840) and Hunyadi László (1844) -, the National Theatre had a German-language score prepared after the premiere, and Franz Liszt, among others, tried to promote the premiere of Hunyadi László, which ultimately became one of the most performed Hungarian operas abroad. After Ferenc Bónis, Dezső Legánÿ, Katalin Szerző Szőnyi, and Inge Birkin-Feichtinger, who have already published on this negative performance history, this study would like to highlight a few minor details that contrast with our previous perception of Erkel's lack of interest in the distribution of his operas outside of the Hungarian capital's National Theatre. Through the performance history of Hunyadi László, and by taking into account the performance copies surviving from the period as well as the contemporary press, we get an insight into the moves and changes that occurred within the theatrical/opera companies during the second half of the 19th-century as well.

Research into the urban musical culture of Early Modern cities is impossible due to the frequent absence of primary musical monuments without a systematic study of non-musical sources. These are sources that are linked to the functioning of specific urban institutions, such as the town office or the parish. In addition to account books, council books, books of town correspondence, or the rather varied record material, probate books and inventories of estates also contain partial information on music. The sources have often survived continuously since the Middle Ages and their contents have not yet been properly evaluated. From a musical point of view, these sources mainly provide information on individual musicians and their estates, on specific music books or musical instruments in their possession, as well as partial reports on the bequests of music-loving burgesses. The study points out the importance of studying these sources, with specific examples from three Moravian royal cities. More than a dozen wills or inventories of the estates of organists, organ builders, cantors and town trumpeters have been preserved in Brno, Znojmo and Olomouc, which contain information essential for understanding the musical culture in these cities in the 16th and early 17th centuries.

This article presents a hermeneutic and analytical study of Nikos Skalkottas's Sixteen Songs (1941), focusing particularly on the first song of the cycle. After an outline of Skalkottas's biography and cultural context, the work explores the complex interplay between poetic text, musical rhetoric, and dramaturgical structure within the song cycle, emphasizing their roots in both Greek tradition and European modernism. Employing tools of topical, textual, and serial analysis, the study demonstrates how Skalkottas fuses dodecaphonic techniques with references to folk music, popular contemporary dances, and rhetorical devices, creating a unique and ironic sound world that transcends the boundaries of tonality, atonality, and genre. The article highlights the cycle's oscillation between lyrical and agitato moments, its dense web of literary and musical topoi, and the innovative handling of form and voice. In addition to presenting a detailed analysis of the first song - including its motivic, harmonic, and structural features - the article provides new English translations of the cycle's lyrics and offers a broader dramaturgical and interpretive perspective on the work as a whole. By considering the technical, symbolist, and expressive dimensions together, the study situates Skalkottas's songs as a singular synthesis of tradition and avant-garde, urging greater recognition of their artistic quality and significance for both Greek and international repertoire. Nikos Skalkottas; Hermeneutic analysis; Sixteen Songs (1941); Musical rhetoric; Musical dramaturgy

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 suggesting that Olena Lys and Vasyl Dovzhyk do not reconstruct the past: they comprehend the spiritual values of the Ukrainian people in the contemporary context in a new way.

Classical sonata cycles often end with effervescent dance-like movements. From the eighteenth century into the nineteenth, composers developed a taste for more substantial finales of serious character and reconceived the arrangement of multi-movement works altogether. This article examines a small collection of finales written at the turn of the century by Paul Wranitzky and Jan Dussek that occupy a unique position in these transformations and integrate slow movement and fast finale into an inseparable unit. The last movements of Wranitzky's String Quartets Op. 30 Nos. 2 and 5 and Dussek's Piano Sonata Op. 39 No. 1 constitute an original type of finale defined by the following features. (1) The opening suggests that a slow movement is underway. (2) A shift to a fast tempo signals an attacca transition to the finale. (3) The slow section returns. (4) The fast tempo resumes and provides closure. The formal design of these movements includes elements of rondo ­and/­or sonata and require frequent re-evaluation on the part of the listener. These movements also display resemblances in their expressive content: the slow sections feature a solemn tone provided by the hymn topic. The return of the slow section - the most striking feature of these cyclic finales - will support two interpretations: a memory from the past and a musical analogy of Schiller's cyclical journey of human growth. The comparative study of these works provides a springboard to address the varying aesthetic demands of final movements, examine the evolution of the sonata cycle, and illustrate how form and expression interact in standardized ways.

This article examines the representation of Ukrainian music abroad through an analysis of programming in French musical institutions since 2022. Numerous concerts featuring Ukrainian compositions have occurred in France, signifying a renewed interest in, and at times a novel encounter with, this repertoire since the onset of Russia's full-scale invasion. We explored how two leading Parisian musical institutions, the Philharmonie de Paris and the Opéra National de Paris, have supported Ukraine, both symbolically and practically. Further, we analysed how the selected works, chosen to represent Ukrainian cultural identity on European musical stages, have been framed as part of a shared European heritage, thus demonstrating the role of music as a form of soft power in the current wartime context. Finally, we considered the 1991 Project, an initiative led by Anna Stavychenko that supports Ukrainian musicians and strives to preserve Ukrainian musical heritage. In this context, Ukrainian music emerges as a resilient force and a symbol of resistance within the European cultural sphere.

Although the subject of the Przemyśl Fortress has been incessantly popular for years, little space has been devoted so far to the merging of power and entertainment, whereas for the distribution of power the culture of leisure and its development was vital; developing appropriate habits and tastes as well as promoting appropriate (from the point of view of the authorities) forms of spending free time was by no means neutral in terms of content and form. The article discusses the relations between the Przemyśl garrison under Commandant Anton von Galgótzy (i. e., between 1891 and 1905) and the local civilians. Galgótzy used specific practices, abusing his power, compared with the commandants of other garrison towns. Concerts of military bands were supposed to warm up his image of an all-powerful general and, through appropriately selected repertoire, develop loyalty towards the Imperial-Royal Monarchy on its outskirts.

The Czech composer Vítězslava Kaprálová (1915–1940) maintained a profound connection with Paris throughout her career, undertaking studies at the École Normale de Musique. As both a composer and conductor, Kaprálová distinguished herself within domains traditionally dominated by men, and integrated successfully into the artistic milieu of her era. Despite her achievements, however, her legacy in France diminished after her premature death, remaining largely confined to brief and sporadic references until the early 21st century. This article critically assesses Kaprálová’s position within French music programming since 2001. Many aspects are explored, such as the evolution of the number of concerts that include opuses of Kaprálová, her most interpreted works according to the musical genre, or her place in the French musical institutions. Finally, a broader critique reveals how these observations fit in the institutional structures within the French musical landscape and the negative impact these structures have for the visibility of women composers.

The following study focuses on cultural transfer and the formation of theatre networks between the towns of Olomouc and Pressburg in the latter half of the nineteenth century. At that time, German-speaking theatre directors, namely Ignacz Czernitz and Emanuel Raul, worked in the municipal theatres of both these provincial towns. Their artistic activities in these two theatres share several features. What differed was the relationship of the urban elite (mainly members of the municipal council, the local press, and cultural societies) and their support of the director. Another important factor for the success of a theatre enterprise was the attractiveness of the theatre building, which decreased with its growing wear and tear. This manifested itself most prominently in the activities of Emanuel Raul, who encountered major financial difficulties in the fifty-year-old Olomouc theatre, whereas he was highly successful in the newly erected theatre in Pressburg.

In the collection of the University of Warsaw Library, there are three musical sources that testify to the musical culture of the monastery of Canons Regular of the Lateran in Fulnek. The paper focuses on three manuscripts (probably autographs) of sacred vocal-instrumental music by unknown composer Carolus Weldamon (d. 1736). He was a Canon Regular active in the Fulnek monastery in the turn of the 17th and 18th centuries. His compositions from the first decade of the 18th century were obtained by Conventual Franciscans in Głogów monastery in Silesia. The paper contains a biography of the composer and a brief overview of the sources and the music written inside. The Appendix contains a list of organists, cantors, rectors, and musicians associated with the monastery in Fulnek.

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 of four Biblical songs for the New York Philharmonic Orchestra instrumented by B. Wagenaar for a singing recital by J. Schwarz in December 1922. I believe that thanks to the new facts presented in this study, it will become a valuable contribution to this Dvořák's work.

During recent decades historians and musicologists have devoted major attention to the harsh judgments of Zdeněk Nejedlý regarding Antonín Dvořák, devoting even one whole book to this topic. They have engaged in speculations about the causes of these judgments in the aesthetic, social, and political context of the time. It seems, however, that one of these causes, evidently the original cause and perhaps the main cause, has not yet been identified as such. To recognize it we must be aware that although Nejedlý's best-known condemnations of Dvořák come from the time of the "Battles over Dvořák" that broke out in 1912, his positions in this matter were essentially fully developed already much earlier, at the very beginning of his career. For example, in 1903 he wrote: "Dvořák lacked the artistic intelligence to create new forms." Critical is the fact that Nejedlý denigrated Dvořák even earlier, in his book about Zdeněk Fibich published in 1901, where many passages surprise us with assertions that in harmony, in subtle rhythms, in polyphony, in melody, in "musical technique," and in orchestration, inferior to Fibich was not only Dvořák but also the composer best known as Nejedlý's hero: Smetana. Nejedlý had published part of this book in advance in instalments in a periodical, late in 1900 shortly after Fibich's death, with an introduction that makes even clearer his adoration of this composer not only as an artist (with whom he himself had studied composition) but as a human being, and his bitter conviction that Fibich had not received the recognition he deserved. Later in the book he attempts to explain Dvořák's greater career success by the assertion that his music is "much simpler" and that England, which conferred such glory on him, was an "unmusical" country. From these observations and others we may conclude that Nejedlý felt the need to criticize Dvořák as the one who had received recognition that rightly belonged to Fibich. And in part Nejedlý was correct: even if we perhaps think Dvořák was a greater composer, it is indisputable that at the end of the nineteenth century his fame unjustly left Fibich in the shadow-which today is even more the case than then.

Analytical commentaries on Smetana's symphonic poem Z českých luhů a hájů are based on the development of the non-musical programme presented by the composer himself, which was later elaborated on by his admirer V. V. Zelený. The problematic relationship between the musical structure and the non-musical programme is viewed from the perspective of variable reception. Although Smetana assumed that the listeners would work specifically with their own fantasy, the study points out receptive approaches standing in contrast to the original intention and as such being a sad example of the reception of the symphonic poem.

The director of the Theater an der Wien Alexandrine von Schönerer and her art advisor Franz Jauner used the success of Smetana's Prodaná nevěsta [The Bartered Bride] on the occasion of the visit of the Czech National Theatre at the International Exhibition of Music and Theatre (Internationale Ausstellung für Musik- und Theaterwesen) in Vienna in 1892. They organized the Viennese premiere of this opera, which was also its first enactment in German, in April 1893. This operetta-focused theatre thus used Smetana's opera as a precursor to the intended change in the repertory composition directed towards the genre of comic and later also serious opera. With the same intention, the Theater an der Wien presented a comic one-act opera by Vilém Blodek V studni [In the Well] in the following year. Two Czech operas were thus intended to stand at the beginning of the dramaturgy representing higher ambitions in theatre management. Three years later, the premiere of Prodaná nevěsta in the Court Opera (Hofoper) took place. The study is dedicated to biographies of the artists who participated in both of the premieres in Theater an der Wien and the Court Opera, and provides a further context.

The text first of all gives a broader comparison of the development of two traditions that significantly influenced Czech society in the 19th century. Political, national and religious influences, together with the development of historical research, were reflected in artistic creation, including music. Both traditions were connected by many features: a place in Czech history, a religious basis, the element of Czech-German coexistence, partly also their incorporation into the interpretation of the Blaník legend, etc. The selection of compositions serves not only to understand the parallel coexistence of both traditions, but it is also beneficial in terms of finding compositions whose authors attempted to merge the two ideological currents. In addition to the compositions themselves, other valuable information on this confrontation is provided by contemporary materials (reviews, memoirs). The text reveals much about the composers’ motivations, the risks of choosing the themes, the reception by audiences, opportunities for performances, competitors’ opinions, etc. One of the main conclusions is the statement that Hus-Hussite compositions quantitatively predominated in the second half of the 19th century and that they were a symbol of the progressive current of Czech political representation. Compositions of a synthesising nature were united by an appeal to reconcile the confessionally, linguistically and politically divided nation, and, in this sense, they are closer to Saint Wenceslas compositions. As a whole, all compositions can then also be understood as a suitable addition to the reconstruction of the subject represented by the question “Wenceslas or Hus/Žižka”.

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.

Through his activities, Bedřich Smetana fundamentally influenced the formation of modern Czech musical life. The exceptional nature of his position lies in the breadth and versatility of his activities. As a composer, he founded modern Czech music and he asserted himself as a pianist, conductor, choirmaster, music teacher, and music critic. For eight years he was at the helm of the Czech opera of the Provisional Theatre and participated significantly in the establishment and activities of some of Prague’s cultural institutions. Smetana’s public endeavours and artistic efforts were closely related to societal events, especially from the 1860s onwards, and this linkage between artistic intentions and societal demand is reflected in his production in terms of the range and choice of themes and genres. To some extent, Smetana subordinated his personal life to his public activities and artistic vocation, and his financial situation also reflected this decision.

In nineteenth-century Belgium the port city of Antwerp was the epicentre of the Flemish musical national movement that took a stand against the francophone dominance in the Belgian music scene and advocated a return to the roots of Flemish music. This movement of music nationalism was initiated and given a theoretical base by composer and conductor Peter Benoit (1834-1901), the founder and first director of the Royal Flemish Conservatory in Antwerp. The Flemish musical movement sympathised with Czech musical nationalism because of the common struggle for a recognition of their language and for emancipation. Benoit would incorporate 'Bohemian' music in his plans as the organizer of the music and concert scene and as the head of the Conservatory, just like he did with the musical culture of other cultural regions which were fighting a linguistic battle and trying to achieve emancipation. The interest in Czech music and the belief in music drama as an innovative operatic genre led Benoit and especially his student and assistant Edward Keurvels (1853-1916) to perform Zdeněk Fibich's trilogy Hippodamia in Antwerp, a plan that was not completely successful. In addition, Keurvels often performed orchestral works by Fibich and Bedřich Smetana, and also the latter's The Bartered Bride. The great interest that Antwerp musical life showed at the turn of the century for Czech national music would disappear after the First World War because of Keurvels' death.

Dictionary entries on the symphonic poem place the Czech Lands ahead of Russia, France, Germany and other countries. This sequence highlights the important pioneering attempts of a number of composers in Bohemia and Moravia who contributed vitally to the evolution of a form which was barely out of its infancy. Although the Czech symphony had witnessed no significant representative work for some fifty years since Jan Václav Voříšek's Symphony in D of 1821 - both Bedřich Smetana and Antonín Dvořák had continued in the central European symphonic tradition without any appreciable breakthrough or impact - Smetana's three "Swedish" symphonic poems of 1858-1861 achieved a certain notoriety and today stand as early landmarks in the history of the genre. Fibich would have been aware of the compositions of both Franz Liszt and Smetana when he turned to the fledgling form in 1873 with the first two of his works, Othello and Záboj, Slavoj a Luděk [Záboj, Slavoj and Luděk]; the other three pieces, Toman a lesní panna [Toman and the Wood Nymph], Bouře [The Tempest] and Vesna [Spring], followed in the next eight years. While this makes the collection contemporary with Smetana's cycle Má vlast, the question of inheritance is more appropriately applied to the Liszt and earlier Smetana series. The far-reaching influence of sonata form as handled by all three composers represents one of several avenues of inquiry in order to identify which aspects of the structure Fibich imitated in his music and which emerge as unconventional or original features.

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 generations a wide range of academic research in multiple fields. He proposes a continuation of his musical art through Paisley Park and cultural tourism.

The contribution of Czech composers to the development of the Polish national music begins in the era of the activity of Jan Stefani, the composer of musical set to Cracovians and Highlanders by Wojciech Bogusławski, considered the first Polish national opera. Further on are the achievements of Wilem Würffel as the creator of polonaises and fantasies based on Polish national melodies. Although after the anti-Russian uprising (1831), many Czech musicians still worked in Poland as music teachers, members of orchestras or choir directors, their participation in shaping the formation of Polish national music was rather niche. It was influenced by political reality, which was not favorable to the development of Polish-Czech contacts, especially in the part of the country under Russian rule (here Czechs were seen as Russophiles). The impulse that increased interest in Czech music in Poland in the last decades of the 19th century was the awareness of its high position in Europe. The successes of Smetana and Dvořák's works discussed in foreign music press, prompted several Polish music activists to attempts to introduce them to national stages. However, it was only the beginning of the twientieth century when Czech national music was properly assessed by Polish composers. And here political factors played also a role - the "Czech Renaissance" in Polish musical thought was largely inspired by the events of the Prague Neo-Slav rally of 1908.

James MacMillan is one of the few internationally renowned composers who embraced the liturgical reform of the Second Vatican Council with its key concept of participatio actuosa and wrote music involving the congregation. With regard to these works, the following questions are discussed and answered: In what way did he compose for untrained singers so that they are able to sing his compositions? Which stylistic compromises did he accept and how are they artistically justifiable? How does his liturgical music involving the congregation relate to liturgical theological concepts?

The study presents a structural analysis of Modest Petrovich Musorgsky's output. The songs are studied in detail as well as the extensive musical dramatic works. The findings of Musorgsky's compositional style are given in the context of wider contemporary musical tendencies.

Organ compositions by Josef Förster Jr. and Josef Bohuslav Foerster are interesting from two points of view. In connection with Josef Förster Jr., this can primarily be seen within the context of the overall change of in the aesthetic organ ideal in Bohemia, which was mostly started by Förster himself. His compositions are professionally composed, but their invention does not exceed the average of contemporary compositions. The compositions of J. B. Foerster are not particularly interesting in terms of their organ-building context, as J. B. Foerster bases his character of the organ on that promoted by Josef Förster Jr. J. B. Foerster's compositions are more interesting in terms of their compositional aspect. J. B. Foerster makes use of the organ like an orchestra, with a delicious intensification of multicoloured dynamics, with both distinct harmonic and dynamic twists, and also with a primary, but nevertheless changing, melodic. In this way a composition with the following characteristics arises: in comparison with Josef Förster Jr. more evolutionary, regardless of the time of creation (1896, 1925) but always conforming to a purely romantic feeling. Only a few of these compositions have been already critically edited and published. A number of them are definitely deserving of this in the future.

The subject of this analysis is the musical material of the progressive rock area, specifically the Take a Pebble song by the British band Emerson, Lake & Palmer (1970). The analysis focuses on motivic and thematic coherence and the overall musical form, but also deals with substantial correlations in the field of instrumentation, harmony, rhythm, melody as well as dynamic aspect, the program content of the composition (the lyrics), interpretation style and other contexts.

Moritz Geiger, Edmund Husserl's pupil, was the first phenomenologist to devote himself to the issues of aesthetics throughout all his life. Growing out of a background in psychological aesthetics, mainly the aesthetics of empathy, he was chiefly concerned with the study of aesthetic experience. The present article pays attention to Geiger's concept of aesthetic enjoyment and especially the position in it of music, while analysing the most important assumptions of Eduard Hanslick's music aesthetics as Geiger implemented them into his own reasoning. The paper shows that Geiger's position was mainly rooted in the Kantian formulation of the aesthetic attitude as it was echoed in Hanslick. Both Hanslick and Geiger were helped in their thoughts about the position of music among the arts by the role of perceptual parameters. While Geiger acquired a more differentiated position in classifying aesthetic perception over Hanslick's brusque distinction between the right (aesthetic) and inappropriate (pathological) experience of art, in the context of his seemingly puritan formalism he could also appreciate Hanslick's cautious claim about the ideas conveyed by music because his position later shifted toward positing the existential significance of art.

Intra-tonal hierarchy is one of the basic principle of mental processing in music. The paper deals with the research of tonal hierarchy while using the "probe-tone method" first applicated by C. Krumhansl. The respondents aged 9-17 were lower and upper level secondary school students and grammar school students. The tonal profile obtained in the research relative to the standardized tonal profile, student's age and their musicality were examined.