Musicologica Olomucensia 21 (2015)
Unknown Compositions by Johann Alois Lamb in Lubiąż. A Contribution to the Composer’s Biography
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.
Experimental Musical Instrument Making as a Method of Organology
Experimental musical instrument making with the use of period tools and techniques seems to be one of many possible methods for researching the development of musical instruments. This is especially important for the study of those instruments where the customary use and transfer of techniques in traditional forms, i.e. from the maker – teacher to the learner, were interrupted. This is not only useful when researchng folk music instruments, but also when documenting musical instruments in extinct cultures or musical instruments vanished in previous eras. The output resulting from experimental making extends our knowledge of the development of particular musical instruments and explains their functional, aesthetical and structural features by elucidating the course of their making. In this way, it is possible to discover the inputs (cost, time, knowledge and material) required to make musical instruments. It is always necessary to be aware of the fact that experimental making is an interpretation based on the experience of those who participated in the project, and the documents that have survived from the time when the researched musical instrument was a vivid part of the music culture; more general results can be reached only if the procedure is repeated many times.
Samson, wake up! Musical Prague and our recollections
The article, based on the long-term research of music events in contemporary Prague, aims to find the ways whereby various Prague communities remember their pasts through music. The theoretical background comes from Jan Assmann (2011), according to whom communities are bound together by the co-called connective structure; its time dimension can be understood as a way of remembrance. In the first part of the article, the author aims to elaborate an analytical approach providing a categorization of types – „modalities“ – of recollection. In the second part, three such modalities created by different communities are presented: an official modality of „national heroes“, the dynamic modality of the underground, and the nostalgic modality of „the children of a socialist paradise“.
Hoqeutus-Revival: from the Medieaval Clausula to Contemporary Music
The trend of rediscovery and usage of the earlier music traditions has been repeated several times in the history of music. Composers of the 20th century return to the music traditions of medieval and renaissance music at various levels. On the one hand, they do so practically by organizing performances, where renaissance music pieces are performed using new music. On the other hand, they do it theoretically by studying the old music and compositional concepts or by attempting to integrate their own music into music history. One of the reused old techniques is hocket, which we can find in works written by contemporary composers such as Louis Andriessen or György Ligeti. Attention is paid also to hocket as a music form, thanks to Guillaume de Machaut’s work Hoquetus David. His hocket has been remade to several arrangement and has become the inspiration for contemporary composers, for example Harrison Birtwistel and his Hocquetus Petrus.
Male Choir Association and Female Choir in Krnov and their influence on shaping the music culture of the town
The Male Choir Association in Krnov was established in 1858 by tranforming an original Liedertafel. In the beginning of the 20th century it grew into one of the biggest and most significant music ensembles in Krnov. Its repertoire frequently included the major works of European music creations as well as short figurations connected with folk songs or Liedertafel. Among the most significant choirmasters we can find Konrad Schmitz, a conductor, music teacher and instrumentalist from Krnov. Besides the male choir there was also, from 1877, the Female Choir, which was later merged with the Male Choir Association
Planetears: Climate, Problems of Our Time, Future Threats
Aleksandër Peçi (born 1951) is at the moment one of the most active and successful Albanian composers living in Albania. His music language is very specific and well appreciated in the international music scene. Lately Peçi developed a compositional logo named Polygravité CC2. Planetears is a composition where he uses for the first time his compositional logo, along with other music elements such as an Oi-interval originating in the Albanian folklore, or the Double Lacrimosa which is a combination of the cadence of Mozart’s Lacrimosa and the seventh interval from the Albanian lament. The name Planetears is made of two words planet and tears. The inspiration came from a speech by the U. S. president Barack Obama at the 2009 summit on global warming, and also from a poem by Al Gore about climate change and its effect on our planet. Every music element used expresses a specific non-music content and it is carefully chosen by the author. The analysis highlights the main music elements and techniques, and their effect on the piece. The climate problem is expressed by a combination of Albanian music elements (from the Albanian lament), western music (W. A. Mozart) and Peçi’s original techniques (Polygravité CC2).
Listening and perception as a starting point for creative activities in music education. Experience from the Different Hearing programme
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-1960´s. 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.