Musicologica Olomucensia 25 (2017)
Prince, the Artist Who Wanted to Be Popular? Creativity, Independent Artist and Tourism Marketing
Through the figure of the singer Prince, Roger Nelson (1958–2016), LoveSymbol, we can reflect complex relationships between the artist and the game of celebrity. The fact of becoming popular, of being a known singer on a world scale, involved automatically and systematically desire to control his image, to come into conflict with his record company and to propose new marketing formulas to sell his music. Now, the tourism and the visit of Paisley Park (Minneapolis – Chanhassen) become a new stage of the memory’s construction and of this popularity. This avant-garde singer in his way of communicating and expressing himself on the stage offers future generations a wide range of academic research in multiple fields. He proposes a continuation of his musical art through Paisley Park and cultural tourism.
Lenka Dohnalová, Tomáš Fürst
Experimental Design and Technical Tools for the Research of Musical Stimuli with Artificially Implemented Complexity Used in the Rehabilitation of Alzheimer’s Disease Patients
This study focuses on identifying new and effective rehabilitation strategies for patients with Alzheimer’s disease, which relies on the empirically confirmed effect of musical stimuli. The strategies were inspired by studies of new rehabilitation methods designed by Nicholas Stergiou (Biomechanics Lab, University of Nebraska in Omaha), based on signals that contain artificially incorporated physiological complexity (e.g. pink noise). The physiological signals of a healthy organism contain a certain degree of such complexity. The first phase of the research includes the creation of software in a MIDI format, which enabled the implementation of this complexity into recordings of classical music, and its piloting on a “healthy” population. The following phase will examine the effects of these recordings on patients with AD (in collaboration with neurologists in diagnostics).
Forgotten Piano Music of Karl Goldmark
Karl Goldmark became an esteemed figure in Vienna’s cultural life alongside Brahms and Hanslick, who recognized the distinctive qualities of his music. Whilst Goldmark’s most popular works – for example Die Königin von Saba which earned world fame for him – were performed across Europe and America, his piano music remained almost completely undiscovered. Th is exploration aims to introduce that repertoire by placing it in the context of Romantic piano literature. This will not only add new perspective to existing scholarship but enhance a more complex understanding of a significant figure’s music, linking different styles and eras.
Unfinished “Counterpoint” by Karel Janeček
Janeček’s unfinished textbook of counterpoint was created from 1945 to 1948. The writings are 150 pages and consist of two parts: Common theory of Counterpoint and Vocal Counterpoint. For the third piece on instrumental counterpoint, he completed six introductory chapters. According to Janeček, adequate knowledge of vocal polyphony technique is an indispensable part of a comprehensive musical-theoretical education. The study of counterpoint should be preceded by an understanding of the basics of classical harmony. Counterpoint must meet two basic requirements: melodic autonomy of voices and harmonic integrity of polyphony. The main characteristic of vocal polyphony is the absence of harmonic content, non-periodicity, and the exclusion of sequential repetition. Drawn from historical development Janeček recognized the personal and representative styles. The aim of counterpoint learning was a knowledge of four historical follow-up representative styles: (1) a capella, with a peak in Palestrina, (2) a sophisticated baroque style with a peak in Bach, (3) a classical and romantic style and (4) modern style of 20th century.
To the Issue of Evil in the Late Works by Alexander Nikolayevich Scriabin
Alexander Nikolayevich Scriabin denies the polarity of good and evil in favour of unity of all things. According to Skrjabin, evil occurs only in relative quantity and is a necessary accompanying phenomenon without which it would not be possible to reach higher spiritual spheres. This attitude leads to the adoration of relative evil, as evidenced by Skrjabin’s texts, especially the conclusion of Poeme de l’Extase and the text Acte préalable. In Skrjabin’s compositions of the middle and late periods, evil is manifested in three sub-spheres: 1) the sub-sphere of hidden forces, 2) the sub-sphere of death and the eternal cycle, 3) the subsphere of strange astral beings. These sub-spheres are provided with verbal poetic comments and have their typical features in the area of melody, metro-rhythm and texture. A significant means of expressing the negative principle is also the deformation of musical material.
Josef Suk’s Composition Development within the Framework of the Art-Aesthetics and Ethical-Philosophical Accents of His Era
This study is focused on the formation of Josef Suk’s compositional language, contingent on inspiration originating in the social and cultural atmosphere at the turn of the 20th century, which was marked by the arrival of new poetic and literary trends, influenced by the philosophy and aesthetics of the period. Suk’s creativity not only brings attention to an amount of new tendencies in the period style of composition, but in his artistic visions he also responds to a great numbers of latent philosophical statements contained in selected works of poetry and prose from the period. In the text, you can also find the idea that the logical development of Suk’s musical language can more or less touch on the developing parallel of philosophic ideas recognisable in the ethical-philosophical projects of structuralism, existentialism, hermeneutics and psychoanalysis. The progressive philosophical meditation on the meaning of existence and the importance of artistic creation finally leads to Suk’s inner satisfaction with his life expectations.
The First Years of the Municipal Theater in Pressburg and the Work of the German Theater Director Max KmenTt
The new Municipal Theater in Pressburg (today’s Historical building of the Slovak National Theater in Bratislava) was opened in 1886, and until the year 1920, the city rented it to German and Hungarian directors. The first German tenant was Max Kmentt. He worked in the Municipal Theater in the years 1886/1887 and 1889/1890. His repertoire consisted mainly of entertainment pieces (German and French comedies, Austrian farce and operettas). An analysis of the repertoire brings up the question about the meaning of the Municipal Theater, which had long been influenced by the Viennese cultural environment. The members of Kment’s artistic ensemble were mostly ‘multitalented’ artists, who were capable of acting in comedies, singing operettas and entertaining Pressburg’s audience with their singing, acting and dancing in farce performances. Guests from the Viennese Court Theater and the Opera House established a high cultural environment; their presence being understood as proof of the education and culture of the inhabitants of Pressburg.