‘Regionality’ as a Key Concept in Historiography of Music with preliminary considerations as regards Salzburg

Author(s): Thomas Hochradner / Language(s): English Issue: 2/2020

This paper seeks to investigate Salzburg’s musical profile in its 20th century reception as an example of dealing with topographic facts in music history writing. In the face of awakening nationalism and the beginnings of a Mozart cult in late 19th century, and its continuation after 1900, musicologist Constantin Schneider tried to deidolize the feature of geniality by presenting two exhibitions on Salzburg’s music history in the 1920s, and to create an overall view on the bases of sources. Soon afterwards, in 1935, when Schneider published his Geschichte der Musik in Salzburg von der ältesten Zeit bis zur Gegenwart, he relied on his former projects. With this study, Schneider established a topographically supported philological approach in musicology that neither his academic teacher, Guido Adler, nor other authors had realized and that would not have come into being without the idea of ‘regionality’ as a key concept in the historiography of music.

Stredoveké notované fragmenty z knižnice evanjelickej cirkvi a. v. v Kežmarku – transregionálne vzťahy a lokálne špecifiká

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2020

In the bindings of books in the library of the Lutheran Church in Kežmarok, 36 parchment bindings with notation have been preserved. Liturgical manuscripts of the 12th, 14th, and especially 15th centuries were used as an outer wrapping for later books. All of the sources document monophonic liturgical chant the so-called cantus planus. Some of these music materials were transported to Slovakia in their secondary function, hence their binding originated outside the territory of Slovakia and the music sources testify to the musical and liturgical tradition of other regions. Certain of the bindings originated in Slovakia, and manuscripts from the Spiš region, on occasion directly from the town of Kežmarok, were used as suitable parchment material. Palaeographic, liturgical and musicological analysis has indicated either the transfer of music codices from their place of origin and use (manuscripts from Bohemia, Germany, and even Belgium) or the local specificities of scriptorial workshops in Slovakia (Spiš manuscripts).

Hana Urbancová (ed.): Žena v tradičnej hudobnej kultúre. Woman in Traditional Music Culture

Author(s): Kristina Lomen / Language(s): Slovak Issue: 2/2020

Review of: Hana Urbancová (ed.): Žena v tradičnej hudobnej kultúre. Woman in Traditional Music Culture, Studia ethnomusicologica V. Bratislava : Ústav hudobnej vedy SAV, 2019, 200 s. ISBN 978-80-89135-42-4.

Drotárske piesne z obce Veľké Rovné

Author(s): Klaudia Džavíková,Hana Urbancová / Language(s): Slovak Issue: 1/2020

The village of Veľké Rovné (region of Považie), in north-western Slovakia, was originally one of those localities with a well-developed shepherd culture of the upland type. The first documents relating to a tinker craft in the village come from the 1820s. Later this village became a unique centre of the tinker trade, from which inhabitants went forth to practise their skills not only all over Slovakia but also in many other regions of Europe and overseas. Linked with the tinkers’ profession was a distinctive tinkers’ subculture, one component of which was traditional singing. The specific song repertoire associated with tinker craft is represented by a group of seven songs, which have been preserved in local memory in the village to the present day. This song group was taken as an object of analysis concerning the genesis of individual song types, style features as well as occasions for singing. In the all-Slovakian context this song group (as a whole) was not recorded in the older published sources, nor do the systematic studies of Slovak folk songs take account of it. The tinker songs belong to the category of occupational songs associated with traditional crafts.

Eva Veselovská: Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini

Author(s): Veronika Garajová / Language(s): Slovak Issue: 1/2020

Review of: Eva Veselovská: Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini. Catalogus fragmentorum cum notis musicis medii aevi in Slovacia, Tomus V. Bratislava : Institut für Musikwissenschaft der Slowakischen Akademie der Wissenschaften, 2019, 132 s. ISBN 978-80-89135-43-1

Martin Kmeť (1926 – 2011) – etnomuzikológ vojvodinských Slovákov

Author(s): Milina Sklabinská / Language(s): Slovak Issue: 1/2019

In the course of the 20th century many writers attempted to define the distinctive cultural code of the Slovaks in Vojvodina, the historical Slovak enclave in Serbia. The musicologist, music teacher, composer and performer Martin Kmeť (1926 – 2011), who came from this enclave, produced work in ethnomusicology especially which surpassed those local limits and won him a place in the broader context of ethnomusicology in Central Europe. He documented, analysed, classified, and comparatively studied the Slovak folk songs of Vojvodina, and based on this, he defined the specific qualities of the music and musical imagination of those belonging to that enclave. The aim of this study is to elucidate the ethnomusicological achievement of Martin Kmeť and, using the knowledge that he attained in his works, to point to some specific aspects of the musical culture of Slovaks in Vojvodina in the area of traditional folk music.

Tradícia antifón post Pentecosten v stredovekých hudobných prameňoch. Komparácia a analýza repertoáru

Author(s): Štefánia Demská / Language(s): Slovak Issue: 1/2019

This study addresses the problems of the identity of the antiphons in the Office in the post Pentecosten period. The antiphons in question are among the New Testament canticles Benedictus for lauds and Magnificat for vespers. The given section of the Office is not strictly regulated, and accordingly various divergences are found among European liturgical traditions. This melodic and liturgical material is therefore useful in determining and specifying the individual traditions. There is variability not only in the selection and arrangement of antiphons in a particular series but also in the texts and melodies of antiphons. A thoroughgoing analysis of the post Pentecosten series of antiphons has shown that in certain cases where antiphons have an identical text they have entirely divergent melodies or striking melodic deviations. For this reason it is necessary to work also with the musical component of the chosen repertoire, hence to process the antiphons in terms not only of their texts but also their melodies. A comparative musical analysis enables us to trace the bonds between the traditions which used a given melody and to reveal the relationships between the centres which performed the repertoire of the Office.

K harmonizácii slovenských ľudových piesní v prvých edíciách klavírnych úprav z 30. rokov 19. storočia

Author(s): Eva Ferková / Language(s): Slovak Issue: 1/2019

This paper elucidates the findings of an analytical probe into the basic harmonic thinking and technique evidenced in the musical reworking of Slovak folk songs in the first published editions of piano adaptations. The authors of these adaptations were musically educated members of the Slovak intelligentsia and collectors. Martin Sucháň (1792–1841) and Vladislav Füredy (1794–1850) did creditable work in the 1830s for the promotion of Slovak folk songs by compositional arrangements. Piano arrangements were intended to make the songs accessible to a wide musical and non-musical public, mainly through domestic music-making. The arrangements carry signs of the composers’ musical inventiveness, but they are marked also by a certain measure of amateurism. While they document several procedures typical of the composer, there are also some instances of defective knowledge of the conventional procedures for working on chords and their changes and harmonic functions, the construction and use of cadences, and other established structures and relationships in contemporary art music (composed music). In the published editions one can also find some errors in the notation; these, however, might originally have stemmed from the publisher’s negligence rather than the composer’s ignorance.

Jan Kouba: Slovník staročeských hymnografů (13. – 18. století)

Author(s): Peter Ruščin / Language(s): Slovak Issue: 1/2019

Jan Kouba: Slovník staročeských hymnografů (13. – 18. století) Praha : Kabinet hudební historie Etnologického ústavu AV ČR, v.v.i., 2017, 518 s. ISBN 978-80-88081-13-5

Jana Kalinayová-Bartová (ed.): Musicologica Istropolitana XIII. The Reception of the Italian Small-Scale Motet in Central Europe

Author(s): Patrik Sabo / Language(s): Slovak Issue: 1/2019

Jana Kalinayová-Bartová (ed.): Musicologica Istropolitana XIII. The Reception of the Italian Small-Scale Motet in Central Europe Bratislava : Katedra muzikológie Filozofickej fakulty UK, 2017, 200 s. ISBN 978-80-8127-206-6

Lengová, Jana (ed.): Hudba – výskum – kontexty. Zborník príspevkov z regionálnej muzikologickej konferencie venovanej 100. výročiu narodenia Františka Zagibu

Author(s): Miriam Timková / Language(s): Slovak Issue: 1/2019

Lengová, Jana (ed.): Hudba – výskum – kontexty. Zborník príspevkov z regionálnej muzikologickej konferencie venovanej 100. výročiu narodenia Františka ZagibuBratislava : Ústav hudobnej vedy SAV; Quirinus, 2015, 164 s. ISBN 978-80-89135-33-2

International Association of Music Libraries, Archives and Documentation Centres (IAML): International Congress 2018, Lipsko, 22. – 28. júl 2018

Author(s): Štefánia Demská / Language(s): Slovak Issue: 1/2019

Slovenská hudba vo Vojvodine, 14. muzikologická konferencia, Pivnica (Srbsko), 24. novembra 2018

Author(s): Kristina Lomen / Language(s): Slovak Issue: 1/2019

Tradycje śląskiej kultury muzycznej. XV Międzynarodowa Konferencja / Traditions of Silesian Musical Culture, 15th International Conference. Vroclav, 20. – 21. marec 2019

Author(s): Janka Petőczová / Language(s): Slovak Issue: 1/2019

Métsko-gotická notácia na Slovensku v období stredoveku

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2018

Messine-Gothic notation is the most frequently used medieval notation on the territory of Slovakia. Over 3/4 of all complete manuscripts or fragments document the Messine-Gothic notational system in the time period from the first half of the 14th century to the beginning of the 16th century. In Slovakia it is documented in the former capitular libraries in Bratislava, Spiš Chapter, and other cultural and ecclesiastical centres. Messine-Gothic notation from the territory of Slovakia exhibits a clear stylistic structure, which may be divided territorially into two extensive areas. The western group of extant monuments (Bratislava, western and most of central Slovakia) inclines to the scribal tradition of the Austrian and Moravian notational workshops (Bratislava Antiphonaries I, IIa, IIb, IV, Bratislava Missal “H” etc.). The eastern group around Spiš Chapter (eastern Slovakia: Spiš Chapter, Levoča, Košice, Prešov; part of central Slovakia: Banská Štiavnica) in style and form approximates to the Polish manuscripts from Krakow (Spiš Gradual, Spiš Antiphonary and others.).

Trojkráľové piesne a koledy v slovenskom repertoári z ústnej tradície

Author(s): Hana Urbancová / Language(s): Slovak Issue: 2/2018

Traditional songs and carols for the feast of the Epiphany (Three Magi) were sung during ritual processions with carol-singing as part of folk games, and also independently as procession songs. The Slovak repertoire from the oral tradition includes two different song types, which were associated exclusively with this feast and are widespread in most of the regions of Slovakia. In the text component, apart from individual sequences of the Three Magi story, there are also contaminations from further layers of the Christmas repertoire (secular carols and pastoral songs). The tunes have stylistic features which mark them out from the historical layers of traditional Slovak music culture. They are indicative of connections with an analogous repertoire from other regions of Central Europe on the one hand, and on the other hand with the repertoire from hymn books as a part of the written tradition.

Lubomír Tyllner: Písně, litanie a modlitby, které při pohřbích zpívati se mohou

Author(s): Peter Ruščin / Language(s): Slovak Issue: 2/2018

Lubomír Tyllner: Písně, litanie a modlitby, které při pohřbích zpívati se mohouPraha : Etnologický ústav Akademie věd České republiky, v.v.i., 2017 (161 strán + CD). ISBN 978-80-88081-16-6

Hudobná topografia Spiša v kontexte výskumu miest v ranom novoveku

Author(s): Janka Petőczová / Language(s): Slovak Issue: 1/2021

The aim of this study is to demarcate the musical topography of the Spiš/Zips region focusing on individual local settlements (towns, villages, monasteries, aristocratic residences). Creating a topographic network of Spiš in the Early Modern Period requires music-historical research at least from five angles of view: research on musical sources, on historical musical instruments, on chronicles and contemporaneous prints, on archival sources and research on historical maps. However, towns (civitas, oppidum) certainly form the basic topographic unit of research. The primary musical hubs in Spiš included the cities that joined Luther’s Reformation movement and had an ethnically mixed, prevailingly Slovak-German population. The specification of the music-topographic network of Spiš enables us to identify the locally and denominationally differentiated musical life of the towns of this region.

Music as a Vehicle for Conquering Space in Jesuit Nysa and Its Neighbourhoods

Author(s): Tomasz Jeż / Language(s): English Issue: 1/2021

The presence of the Jesuits in the artistic culture of the early modern era has been defined as a mission and an accommodation to the “people, times, and places”. Music, considered as a spatial phenomenon, had an important function in this mission, mostly due to its rhetorical qualities. Based on the example of Nysa/Neisse, the paper’s author shows how music influenced the social space of the local community and affected their sense of security and identity describing the way space was conquered by music reshaping the town’s microcosm and its neighbourhoods.

Repertoár stredovekého ofícia notovaných fragmentov Štátneho archívu Trenčín

Author(s): Veronika Garajová / Language(s): Slovak Issue: 1/2021

Hundreds of fragmentary notated manuscripts have survived in the territory of Slovakia. Medieval fragments from the eleventh to the fifteenth centuries are deposited in several Slovak archives, libraries, and museums. One of the archives that houses a large number of notated fragments is the State Archives in Trenčín. During our music historical field research in this archive, we processed twenty-two notated medieval manuscripts in total. We analysed eleven fragments of antiphonaries, eight graduals, one missal, one breviary, and one fragment whose contents we did not manage to identify because it was severely damaged. Sixteen fragments are notated in Bohemian notation, which makes the State Archives in Trenčín the archive with the largest number of medieval fragments with this system of notation. This study aims for an indepth musical and liturgical analysis of the medieval office repertoire recorded in the fragments, identified in an interdisciplinary codicological palaeographic and music-palaeographic research to have belonged to a single liturgical codex which has unfortunately not survived in its entirety.