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2 Musicologica Slovaca

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CONTRIBUTION OF DOBROSLAV OREL (1870 – 1942) AND OF THREE STATE INSTITUTIONS IN BRATISLAVA TO RESEARCH ON THE EARLY HISTORY OF MUSIC

100%

Hulková M.

tom 13 (39)

nr 2

253-272

In the academic year 2021/2022, we commemorate the hundredth anniversary of the foundation of the Faculty of Arts of Comenius University in Bratislava, where the Seminar for Musicology was also established. The latter created a professional base for the development of Slovak music-historical research, especially for heuristics and for the preservation of extant music-historical sources from several places of present-day Slovakia. The founder of this Seminar for Musicology, Dobroslav Orel, a Czech theologian and musicologist, also built a music-documentation station at the Faculty of Arts of Comenius University in Bratislava in Slovakia after the model of Czech and Moravian institutions. By time, however, the competencies changed and the task to amass, store, catalogue, and scientifically process the extant music-historical sources went in the 1950s to the Institute of Musicology of the Slovak Academy of Sciences and then, in 1965, to the Music Department of the Institute of History (today Music Museum) of the Slovak National Museum. The ongoing interdisciplinary and international collaboration improves the quality of the scientific activities of music-documentation institutes in Slovakia, which is facilitated also by their ongoing collaboration with other public institutions.

HUDOBNÁ MUZEOLÓGIA Z POHĽADU MUZIKOLOGICKÉHO DIELA JOZEFA KRESÁNKA

75%

Bárdiová M.

nr 2

224 - 234

Musical museum-keeping plays have an indispensable role in preserving the musical cultural heritage, which is a part of the spiritual potential of society. This notwithstanding, its theoretical generalisation – musical museology – is seeking out still currently only its place in the systematics of museology and musicology. Valuable suggestions towards the formation of the musical museology may be found in the musicological work by Jozef Kresánek. Particularly, he signals the importance of the existence and activity of music-historical institutes and the monuments which they preserve, treat and present in Hudobná historiograﬁa (Music historiography) (1981) and Úvod do systematiky hudobnej vedy (Introduction to systematic musicology) (1980). He also mentioned the need for a formulation of the methodology and theory of this work and indicated circles of issues concerning the basic functions of museums – selection, storage of treasures, presentation and communication.