Musicologica Olomucensia 23 (2016)
In Search of Stylistic Idiom – Music to the Central-European Cartoons Krtek and Reksio
This paper concerns the issue of music in two well-known twentieth-century series – Czechoslovakian Krtek (aired between 1957 and 2002) and Polish Reksio (1967–1990). My aim was to present the wealth of composer’s ideas – how they provided the films not only with illustrative fragments and interesting stylizations, but even with autonomous musical images. Soundtracks reveal excellent workshop of their authors, their originality and sense of humor. Sometimes we hear classical like music, another time it is even avant-garde. To show the similiarities and differences between artistic strategies (not only strictly musical) I chose three pairs of cartoons (from both series) which action takes place in the similar surroundings or which refer to the suchlike questions. The article presents the conclusions from audiovisual analysis and therefore the description of music is inseparable from the plot. In the case of Krtek I present films with music of two composers – Miloš Vacek (1928–2012) and Vadim Petrov (1932), in case of Reksio it is one composer – Zenon Kowalowski (1939).
On the Instrumentation of the Melody Line of Joseph Mysliveček’s Symphonies Nos. 42–47
The aim of this paper is to look at the design of the melody line in J. Mysliveček’s Symphonies nos. 42–47 (ED. 10: D21, F8, Bb8, Eb6, G10 and C11) from a music-analytical perspective. The following aspects are presented in details: instrumentation of the bass line, octave doublings of the melody line within a movement, as well as the participation of the low strings and the brass section in the performance of the melody. These symphonies will then be compared with opera symphonies from the same period which also have the same instrumentation, in order to find differences and similarities between them. Furthermore, J. Mysliveček’s symphonies are compared to symphonies by W. A. Mozart of the same period (1772–1774) with the same instrumentation to determine relationships on the one hand, and to stress special features of the symphonic works of J. Mysliveček on the other hand.
Defining Moments of the Spirit and Soul in Music
This article represents an attempt to describe the use of a sequence of three-chord, comprising the sub-mediant, followed by the dominant and thirdly, the tonic by composers from 1610 (Monteverdi) to 1948 (Richard Strauss). During that time, this three-chord sequence has been used sparingly – by just nine composers – but is used in two of the most well-known and loved orchestral works. The author poses the questions: why has it been used so infrequently? What is the contextual meaning of this chord sequence by each composer? Is there anything significantly similar between the meaning of the chord sequence across all the works of these nine composers? Surprisingly, there was no use of this chord sequence between Monteverdi and Beethoven. After investigation, the author shows that the reverse of the sequence, tonic, dominant, sub-mediant chords, was a standard sequence in works from the Baroque through to the present day, often as an ostinato pattern. From Pachelbel’s Canon in D to songs by the Beatles, Bob Marley, and many other famous, contemporary singer-song writers. On the other hand, the author shows that the use of the three-chords, is either as cadence or at the beginning of a phrase; it can also be used as a means of modulating, from a minor to a Major key. From Monteverdi on through the list, the contextual meaning of the sequence, sometimes with a text, and sometimes without, has a religio-philosophical spiritual meaning and use. Most of the composers set the sequence to a Christian text (Magnificat, Easter hymns, Resurrection) while others use folk texts or celebrated poetry, to describe philosophically the journey of the soul from birth to death and beyond.
Max Brod as a Music Critic
The article is devoted to the presentation and interpretation of critical-musical works of Max Brod, Czech-born German-Israeli writer, composer and librettist, best known as a monographer of Franz Kafka. On the basis of the press articles (published, inter alia, in German-speaking daily “Prager Tagblatt”), the author analyzes and systematizes Brod’s views on musical art. Significantly, in the center of the critic’s interest were found to be such composers as Leoš Janáček, Gustav Mahler and Arnold Schönberg. The press articles concerning Jewish music, more specifically – the “Jewish element” (“Jewishness”) in music are discussed in detail. The author also attempts to answer whether the Zionist element of Max Brod’s worldview could have affected his professional evaluation of musical pieces. At the end of the article critical-musical skills of Max Brod are subjected to the technical analysis, and his artistic views (particularly on Neue Musik) are placed in a wider context of the thought of the era.
Nors S. Josephson
Sibelius at the Crossroads: Old Paths Leading to New Creative Departures in His Second Symphony (1901/02)
Sibelius’ Second Symphony derives its inspiration from several third intervals that were originally also used in Brahms’ Second Symphony. These third cells are often linked via major second scalar progressions, resulting in recurring whole-tone scales, a concept already employed in Classical development sections. In addition, Sibelius’ Second Symphony was also much influenced by Bruckner’s Third Symphony, notably the latter’s first three movements. Sibelius’ sketches for the second and fourth movements also indicate that the composer toyed with the idea of transcendental codas for these sections, producing minor second harmonic relationships that may derive from Borodin’s first two symphonies.
Perception of music from a sound recording
Using grounded theory, this article attempts to look at the sound treatment of a musical record as an important component of artificial music. There are many possibilities to work with the sound of a recorded music, so the sound treatment becomes another interpretation. The interpreter in this case is the sound engineer. Using data collected from five interviews with sound engineers, music directors and composers, we are trying to prove, that although the sound works only as a music carrier, it has an importance of its own and can also be looked at in terms of aesthetic view.
Ivana Marijan – Julian Schmitz
“From the West to the Rest?“ World Music in Transition
“Melodies, styles, new sounds drifting through the world without respect for borders and act on anyone who hears them, whether they like it or not.” (Susanne Binas-Preisendörfer: Klänge im Zeitalter ihrer medialen Verfügbarkeit, Bielefeld: Transcript, 2010, 16.). In today’s postmodern and globalized world, it is effortless to listen to any kind of music around the world from any place via internet or radio for example. But does this techno-cultural phenomena automatically lead to a cultural (and often called westernized) mainstream?
This essay examines how world music is changing under the conditions of a globalized world.
Music and Singing in Olomouc Gymnastic Societies between 1918 and 1939
The study deals with performed music and singing within gymnastics clubs in Olomouc, i.e. Sokol, Orel, and Turnverein during the above mentioned period between the wars: 1918–1939. The clubs ranked among the most active in that branch. Their members devoted themselves, besides physical exercises, to playing theatre, or created instrumental ensembles. The clubs organized various celebrations, parties, and balls where their members took part, or some invited musicians and singers performed. The musical accompaniment could have been heard during public exercising, or, within the frame of exercising lessons, trainees were singing to march. Thanks to the clubs’ providing the opportunity of the amateur music making by their own members, their musicality was developed and that contributed to their cultural experience. That kind of activity influenced larger public of various professions and helped with preserving of the music performed mainly in the Olomouc suburbs.