Musicologica Olomucensia 26 (2017)
MUSICOLOGICA OLOMUCENSIA 26 – IN HONOREM ALENA BUREŠOVÁ
The first part of the journal is devoted to a prominent researcher and pedagogue of the Department of Musicology of the Palacký University, Prof Alena Burešová, PhD (1947) to her life jubilee. The readers are offered a selection from the rich publishing activities of the author from the 1970s to the present, whether it is academic studies on domestic and international topics, reviews, or other texts of scientific and popularizing nature. One of the chapters presents also an unpublished selected bibliography focused on children’s choirs from the 1970s, partly the early 1980s.
THE IMPACT OF FOREIGN MUSIC ON THE DEVELOPMENT OF SELECTED SLOVAK POPULAR MUSIC STYLES AND GENRES SINCE 1989
This study provides a brief outline of the development of mainstream music and popular music content since the fall of the Iron Curtain in Slovakia, mapping the rise of specific music styles, such as club, hip-hop, and electronic music, and providing a brief description of the infrastructure, including recording studios and currently active music producers. In studying the nature of the creative process, it focuses on selected popular musicians (Štefan Královič and Martin Kavulič) who have been active on the music scene in the recent years. The study deals with the nature of various sources of influence on musicians’ decision-making, addressing issues such as the role of their education versus their innate musicality and intuitive sensitivity to current trends, the role of globalisation and the media, and certain specific features related to Slovak artists’ mainstream music production.
TO THE ISSUE OF MUSICAL ANALYSIS OF ROCK OPERA JESUS CHRIST SUPERSTAR
This paper provides an analysis of Andrew Lloyd Webber and Tim Rice’s conceptual album (or rock opera) Jesus Christ Superstar. The introduction presents the analytical approaches which have been developed by other authors. Moreover, the study uses them as a starting point for the identification of individual structural features in the Jesus Christ Superstar. This musical work is analysed in the context of modern popular music, but with the use of traditional (classical music) terminology. The analytical view is focused mainly on a general classification of the work, as well as on the individual components of the musical work – kinetics, melody, harmony – and other elements such as motivic work and the style of individual compositions.
Anda Becut – Elena Trifan
THE ROMANIAN MUSIC SCENE. THE PRODUCTION, DISTRIBUTION AND CONSUMPTION OF POP MUSIC IN THE POST-SOCIALIST PERIOD
Our paper investigates the emergence of pop music in Romania against the background of the demise of state socialism and the implementation of neoliberal policies after 1989.
Romanian pop music is the most listened to genre among young people nationwide in Romania. The paper traces the evolution of the Romanian musical industry from a single state-owned label, Electrecord, during the socialist period, to the private initiatives, large or small, of post-socialism. We argue that the development of the Romanian pop music industry is tightly linked with particular processes of Romanian post-socialism. Hence, analysing this development enables us to shed light upon the specificities of post-socialism in Romania (but also in the broader Eastern European context). Furthermore, the paper delineates the relationship between pop music in Romania after 1989, post-socialism and global neoliberalism as a hegemonic discourse.
In the late 1990s and early 2000s, Romanian pop music meant private enterprises promoting teen stars playing simple compositions and improvised music videos produced on a low budget, dedicated exclusively to a Romanian audience, whereas more recently pop songs by Romanian stars have gained international recognition, and entered the international charts. Thus, Romanian pop music seems to portray the ethos of neoliberalism as described by Comaroff & Comaroff, with wealth being attained almost miraculously.
THE INVOLVEMENT IN CZECH AND SLOVAK POP MUSIC AFTER NOVEMBER 1989
This contribution pursues the manifestation of social involvement in the lyrics of various genres of pop music after 1989. Any content which touches upon the life of the society or the particular social phenomenon and expresses the specific opinion of it can be considered and broadly understood as “involved”. The contribution follows the development of the thematic structure of the lyrics from the 90’s (e.g. post-revolutionary disillusionment, corruption and economic criminality) until the New Millenium (racism and xenophobia, nationalism, “memory loss”, etc.). The subject of the detailed analysis is especially the work of the era after 2010 when the opinions which have been presented in the lyrics have highly reflected the opinion differences of the society (Xindl X, Gipsy.cz, Živé kvety, etc. versus e.g. Ortel).
Daniel Wiesner, Taneční divadlo aneb vyprávění o Macbethovi