Wyniki wyszukiwania - Biblioteka Nauki

1

Jaký vztah měl muzikolog Vladimír Helfert k tvorbě Josefa Suka?

100%

Nouza Z.

Hudební věda (Musicology)

|

2006

|

tom 43

|

nr 1

27-38

EN

Was the musicologist Vladimír Helfert an adversary of Josef Suk’s works or not? The answer is given by following the development of Helfert’s opinion during the period 1912–1936. As a young musicologist, member of the editorial board of the journal Smetana, and a close co-worker of Zdeněk Nejedlý, Helfert was strongly influenced by him. At that time, he disliked the compositions of Antonín Dvořák (whose work he considered to be an outcome of an already outdated, uncultured and thoughtless musicianship) and also Leoš Janáček, and he was a determined adversary of the works of Josef Suk, which, at that time, he evidently did not understand (see the totally negative judgement of his symphony Asrael, the piano cycle Životem a snem [Things lived and dreamt], and others). Only after World War I and settling in Brno (1919), did Helfert gradually separate himself from Nejedlý’s influence and broke away from his opinions. Consequently he forsook his former aversion to the music of Dvořák and Suk, about whom he, in his book Česká moderní hudba [Czech Modern Music] (1936), had already written very positively. At that period, indeed, also other co-workers of the journal Smetana (Josef Bartoš, Otakar Zich) abandoned their former negative opinion of Suk’s music; only Z. Nejedlý further escalated his contest against Suk (and the Bohemian Quartet) after the foundation of the independent Czechoslovakia (1918). In contradiction to Nejedlý, and due to Helfert, Masaryk University in Brno awarded Suk the title Doctor Honoris Causa on the occasion of his sixtieth birthday.

2

Hudebníci v průvodech olomouckých biskupů

63%

Sehnal J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 2

153-166

EN

Based on depictions and chronicle reports, the work focuses on participation of the horn-blowers and timpanists in the processions organised upon the occassion of bishops' entries to Olomouc between 1664-1748. Six of bishop's horn-blowers rode horses or went on foot near the bishop dressed up in beautiful costumes. Units of attending townsfolk, and municipal guards were acompanied only by drummers, or, eventually, by a piper playing the transverse flute. Town's musicians played wind instruments from the tower gallery. The ceremony went on with ringing bells, mortar cannonade, and volley fire from the cannons and muskets. Such processions were typical for the bishops of the Baroque period. After mid-eighteenth century they lost their pompous fashion or were not taking place through danger by war.

3

Luca Marenzio and the Czech Lands

63%

Bata J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 2

117-126

EN

The article deals with several aspects of the dissemination and influence of Luca Marenzio's works in the Czech lands during the 16th and early 17th centuries. It investigates the present state of knowledge and uncovers hitherto unknown facts on the dissemination of Luca Marenzio's works in Central Europe. It presents a complete inventory of relevant sources.

4

ZOLTÁN KODÁLY AND THE HUNGARIAN LANGUAGE

63%

Szathmari I.

Magyar Nyelv (Hungarian Language)

|

2007

|

tom 103

|

nr 21

129-136

EN

This talk introduces the world-famous composer, musicologist, folk music expert and educator Zoltán Kodály as an admirer of his mother tongue (and to some extent its researcher, too), on the occasion of the 125th anniversary of his birth and the 40th anniversary of his death. The speaker lists the factors that turned Kodály's attention towards studying the Hungarian language, with special emphasis on the role of the Eötvös College and Professor Zoltán Gombocz in that respect. Kodály's relevant public speeches and writings are then discussed, as well as which outstanding pieces of Hungarian poetry and prose he set to music and in what other ways he contributed to the musical (and in general, national) awareness of Hungarians. He was especially interested, obviously, in spoken language, in live speech. He spoke up against what he thought was the 'deterioration' of this language in 1937 (and in 1938 in a radio commentary). In fact, however, he devoted all his life to exploring Hungarian folk music and making his mother tongue a better, more flexible vehicle of communicating one's thoughts and feelings.

5

Archa, jež se nepotopila. Mše k svátku Nanebevzetí Panny Marie z rkp. B roudnického proboštství

63%

Hajek J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 2

127-152

EN

The study focuses on the repertory of the literary brotherhood in Roudnice nad Labem. It aims to evaluate a recently discovered inventory of 1591, and attempts to dating two musical manuscripts, currently kept in Roudnice priory (CS ROU A and CS ROU B). The first, a fragment of a multivolume gradual was identified as one of the items listed in the above-mentioned inventory. The second, rorate hymn-book with added polyphonic voices - whose pertinence to the repertory of the local literate brotherhood was, however, not possible to prove - contains extended quadriple voice mass with seven parts, which is analysed in detail by the study.

6

Hybrydowe metody DOA przetwarzania sygnałów odbieranych przez dwuwymiarowy szyk antenowy

54%

Rosłoniec S.

Przegląd Telekomunikacyjny + Wiadomości Telekomunikacyjne

|

2023

|

tom nr 3

20--33

PL

Przedmiotem rozważań są metody spektralne MUSIC i Root – MUSIC dostosowane do wyznaczania kierunków odbioru fal elektromagnetycznych TEM za pomocą regularnego,, dwuwymiarowego szyku antenowego. W celu zwiększenia ich niezawodności i zmniejszenia „kosztu obliczeniowego” są one wspomagane tradycyjnymi metodami DOA,, takimi jak metody monoimpulsowe lub skanowania przestrzeni 3D za pomocą wąskich wiązek charakterystyki kierunkowości stosowanego szyku.

EN

The MUSIC and Root - MUSIC spectral methods are considered, adapted to determine the directions of reception of TEM electromagnetic waves by means of a double - regular,, two - dimensional antenna array. In order to reduce the “computational cost” these methods are supported by one of the traditional DOA methods, i.e. monopulse methods or methods using a narrow beam of the pattern’s directivity characteristics moved in 3D space.

7

Muzyka jako hałas

51%

Kofin E.

Prace Kulturoznawcze

|

2012

|

tom 13

71-77

EN

We are living in an era of omnipresent music, which is caused by the fact that the media enable us to use music any time and anywhere. Whether we like it or not, we encounter music everywhere, which leads to fatigue caused by sound excess resulting from the fact that music is treated functionally, mainly by the so-called muzaks, playing pieces selected in order to achieve some specific benefits. Consequently, music often seems to be noise, as, according to psychologists, all acoustic stimuli that disturb people who have to bear them are, in fact, noise. Today, music functions in our homes as a background to everyday life that does not require listening, as a result of which people become used to turning a deaf ear to it and, consequently, become indifferent to it and lose any musical sensitivity. The omnipresence of music is also enhanced by earphones that transmit it wherever we want, which has its good and bad sides. The advantage is that the listener does not impose his or her music on others; the disadvantage — according to otolaryngologists, the listener is at risk of gradually becoming deaf. The abuse of music is denounced mainly by musicians, who want to have some sensible, binding regulations in this respect. Unfortunately, they have had little success until now, so music keeps making a noise.

8

Mozart v Čechách

51%

Hilmera J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 2

167-180

EN

The study is the first attempt to map putting on stage of Mozart's operas and singspiels in Bohemia from the late 1780s till 1900 outside Prague. It focuses on theatre troupes that included Mozart's pieces in their repertory, on their directors and singers, as well as the places, where they performed. The information is drawn from such sources as archival official documents, collections of theatre posters in archive and museum collections, notes in contemporary press, contemporary theatre almanach, etc. As much as 106 performances of Mozart's scenical pieces were found, of which the most frequent were 'Don Giovanni' (35×), 'Die Zauberflöte' (32×) and 'Le nozze di Figaro' (25×). With regard to the fact that the article was written within a larger research looking closely at theatre activity in the Bohemian regions in the nineteenth century, the author is convinced that the list of locations, where professional execution of Mozart's opera could have taken place, is complete. Less guaranteed (especially in the period until the mid-nineteenth century) is the completeness of the titles performed, and their rendering - there could have been more of these.

9

Mezi hudbou a slovem. Mezi tajemstvím a tichem. Eufemias Mysterion pro soprán a komorní orchestr na řecká slova op. 50 Miloslava Kabeláče

51%

Kordík P.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 3-4

307-345

EN

The article analyses Miloslav Kabelac's op. 50 (1965), the first of the series of his most mature works. In some way, words play an essential role in all these works by introducing great humanistic and philosophical subjects. Words represent substance sui generis, and enter the composition as an autonomous form (contact with such substance matures the long thought compositional concepts, together with Kabelac's tectonically combinatory thinking). The analysis of op. 50 focuses in detail on the key relationship between music and words. It seems that the space, in which both components meet is in the form of a litany. In its juxtaposition with bi-polar format conception (based on two contrasting sound platforms - drama and reconciliation), and with regards to the title of the composition 'Eufemias Mysterion' (The Mystery of Silence), it could be seen as a specific type of expression, a ritual and an initiation of space.

10

HUDOBNÁ PSYCHOLÓGIA SÚČASNOSTI AKO EMPIRICKÁ DISCIPLÍNA

51%

Cenkerová Z.

Musicologica Slovaca

|

2017

|

tom 8 (34)

|

nr 1

5 - 49

EN

Since the late 20th century, psychology of music has been pursued as a cognitive, empirical, data-driven discipline, building upon knowledge from musicology and psychology, as well as from the cognitive sciences and neurosciences. Currently, it covers various areas of research, including but not limited to music sensation, perception, cognition, and empirical investigations of the links between music and emotion; developmental music psychology, the issues of musical talent, the acquisition of musical skills, and the phenomenon of absolute pitch; music performance, composition and improvisation; neural correlates of listening to music and music-making; social aspects of music including its role in everyday life, in social, ethnic and broader cultural groups, as well as in educational and therapeutic settings. Empirical research in this specialised and interdisciplinary ﬁeld has been underrepresented within the domestic academic community. The task of building up a systematic research base will require a collective eﬀort of experts from related disciplines.

11

MUSIC AS AN OPEN CREATION. ON THE IDENTITY OF MUSICAL COMPOSITION

51%

Jusiak J.

Kwartalnik Filozoficzny

|

2008

|

tom 36

|

nr 2

179-200

EN

The article puts forward arguments that challenge the legitimacy of the ontological interpretation of music worked out by Roman Ingarden. This interpretation assumes that the existential, aesthetic, and axiological nature of music is determined by the ideal structure of a musical composition, independent of the real world and existing as an element of the transcendental consciousness that defines its timeless identity. According to the author, this argument does not have adequate justification either in the history of research on the nature, genesis, and functions of music, nor in considerations that make an attempt to explain its meaning. However, the category of the identity of a musical composition is not a completely unfounded idea. It is found in research referring to many supplementary methods in which it is treated as a rational postulate that makes it possible to determine what should actually be considered and taken into account in situations that demand examinations or modifications of statements concerning the identity of a musical work.

12

Mit cygański w twórczości Federico Garcii Lorki

51%

Piotrowska A. G.

Studia Romologica

|

2014

|

tom 7

179-195

EN

The phenomenon of Lorca’s poetry is connected, among others, with his fascina¬tion with Gypsy culture being on one hand a part and parcel of Andalusian identity, and on the other hand universal in its overall character. While referring to Gypsy folklore, and especially its musical component, Lorca managed to create his own, unique poetic idiom, becoming soon recognized as one of the world–known admirers of that ‘cursed race’. This, however, triggered certain problems already during his lifetime. In the article not only Lorca’s allusions to Gypsy mythology are presented as evident in his poetry, but also discussed is his own attitude to the Gypsy motif as well as its various interpretations by both his contemporaries and the posterity.

13

THE HUNGARIAN TERMINOLOGY OF MUSIC AND MUSIC LEXICOGRAPHY

51%

Foris A. , Berces E.

Magyar Nyelvor (Hungarian Language Guardian)

|

2007

|

tom 131

|

nr 3

270-286

EN

Music lexicography has been attracting linguists' attention for a few decades now. The area has seen a lot of activity at an international level, especially in the past ten to fifteen years. There are a large number of works on music lexicography, even though the study of lexicographic works and musical terms is a relatively new discipline. In this paper, the authors survey the preliminaries concerning Hungarian music terminology and music lexicography; they select and analyse some of the Hungarian dictionaries of musical terms, and conclude by describing ongoing large-scale international lexicographic projects on music lexicography.

14

Expression as Success: The Psychological Reality of Musical Performance

51%

van G. R.

Estetika: The Central European Journal of Aesthetics

|

2008

|

tom 45

|

nr 1

24-40

EN

Roger Scruton's ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer's manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. The author of the article argues that the musician's manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life the sui generis musical persona of musical expressiveness.

15

VZŤAH OSOBNOSTNÝCH ČŔT A HUDOBNEJ PREFERENCIE U STREDOŠKOLÁKOV

51%

Kráľ M.

Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied

|

2014

|

tom 17

|

nr 1

-

EN

Presented article focuses on identifying statistically significant differences in personal characteristics, in relation to favourite music genre and dominant use of music. Introductory part reviews hitherto published relevant research papers. Subsequent sections concisely describe particular components of the Five Factor model of personality. The sample consists of 128 adolescents, the students of comprehensive school. The personality dimension were assessed by Slovak mutation of NEO-FFI questionnaire, utilization of music was determined by Uses of Music Inventory and music preferences were divided to four consistent factors, delimited by foreign research. The data analysis confirms assumption of statistically significant differences in personal dimensions and in mode of music among listeners of various music genres.

16

CHOPIN AND SAND. AROUND THE FIGURE OF DON JUAN

51%

Brunel P.

Przegląd Humanistyczny

|

2005

|

tom 49

|

nr 3(390)

73-82

EN

The article concerns fascination with music and how events of George Sand's life affected her work in the years 1831-1851. Admiration of Don Giovanni by Mozart, affection for Musset and Chopin, theatrical and musical improvisation at home in Nohant were reflected in the genesis of some novels of that time ('Lélia' and its two versions from the years 1833 and 1839, 'Le Château des Désertes' in the form of a short story from 1847 and a novel from 1851, 'La Prima Donna', a short story from 1831, published in 1840, 'Consuelo'), and in the concept of some characters (Stenio from Lélia). The character of Don Juan often features in George Sand's works, yet, Don Giovanni comes first. It looks like the mask trio in that opera was the object of Chopin's fascination.

17

Záviš, autor liturgické poezie 14. století

51%

Vlhova-Woerner H.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 3-4

229-260

EN

The medieval poet and composer Zavis is known as author of religious and secular poetry, written in Latin and in Czech. Scholar works - both of musicologists and literary historians - mostly focused on his love song 'Jizt mne vse radost ostava', looking for its correct musical reconstruction and the proper place within the late-fourteenth-century vernacular literary tradition. The article deals with Zavis' less studied works, which represent typical additions to the repertory of the Latin liturgical poetry. It revises the hitherto authoritative Muzik's interpretation of the Zavis' 'lai O Maria, mater Christi' and its transmission, brings analysis of his tropes 'Kyrie Inmense conditor' and 'Gloria Patri et filio', and compares Zavis's output to the typical or exceptional works of the late-fourteenth / early fifteenth-century. The chants which can be today attributed to Zavis, show a strong influence by the late-medieval German repertory, knowledge of the chants once performed (only) in the St Vitus' Cathedral, and reveal a surprising link to the contemporary poetical repertory in Northern Italy. Following this, new arguments arise supporting older hypothesis about the identification of the autor ‘Zavis' as the influencial church official Zavis of Zapy.

18

Music in Boethius and in Medieval Philosophy

51%

Konik M.

Archiwum Historii Filozofii i Mysli Spolecznej (Archives of the History of Philosophy and of Social Thought)

|

2006

|

tom 50-51

51-74

EN

The most important medieval treaty concerning the theory of music is 'De institutione Musica' by Boethius. In this work, he presented an idea of 'musica mundana', which had been a predominant metaphysical conception of music until 14th century, when it was criticized by Johannes de Grocheo. Nevertheless, some aspects of Boethian doctrine were repeated even in 16th century by some theorists (Gaffurius, Jerzy Liban).

19

Denkmäler! – Denkmäler? Zu Phänomen und Begriff des Denkmals und seinen kulturpolitischen Kontexten

51%

Kalisch V.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 3-4

346-354

EN

The present article that was originally conceived as an inaugural lecture on the occasion of opening the exhibition 'Klingende Denkmaeler: Musikwissenschaftliche Gesamtausgaben in Deutschland' in November 2006 at the Robert Schumann Hochschule Duesseldorf deals with the phenomenon and notion of 'heritage' (or 'art heritage') and its cultural-political contexts. It also stresses the fact that culture and politics have always been closely bound together. Only if one is aware of these close relations, does it seems possible to guarantee a contemporary cultural-political status for musical heritage as cultural heritage of the past as well as their appropriate reception and appreciation.

20

Recepce Bohuslava Martinů v dobovém pařížském tisku (1923–1940)

51%

Urbanova J.

Hudební věda (Musicology)

|

2007

|

tom 44

|

nr 3-4

289-306

EN

This article is rewritten from the authoress MA thesis, 'The Paris Reception of Bohuslav Martinu between 1923 and 1940', compiled in 2005 from material collected during her sabbatical at the Universite de Paris-Sorbonne. The article presents a continuous picture of the forms and changes of the reception of Bohuslav Martinu's personality and work in the contemporary Paris press during the course of the seventeen years of his life there. A survey of the reviews of his work, year by year, from twenty-two selected periodicals, is supplemented by a description of the periodicals and reviewers that are essential for the correct evaluation of the reviews.