Musicologica Olomucensia 29 (2019)
SOCIAL CAPITAL AT MUNICIPAL CONCERTS IN ISTANBUL
This study considered how music affects social capital within Istanbul’s social fabric. Taking into account Istanbul’s specific socio-cultural structure and research on the social outcomes of music participation, we developed a set of potential mechanisms through which personal social networks, thick ties, particularized ties and trust, and generalized trust might be affected by concert attendance at free concerts in the Istanbul district of Üsküdar. This article focuses on statistical analysis of audience survey results. The concerts proved to be lively social environments, and all types of social capital seemed to benefit from concert attendance, although outcomes depended especially on the genre of music.
GOVERNORATE COLLECTION FROM 1819 IN BOHEMIA. NUMERUS KLAUSUS? TO THE 200TH ANNIVERSARY OF THE COLLECTION OF FOLK SONGS FROM 1819 IN BOHEMIA
The collection of folk songs organized in 1819 in Vienna, in our environment called the governorate, in Austria Sonnleithner’s, is the first known centrally organized collection in Europe. The fact that the collection covered lyrics, songs, and melodies of folk dances was a unique feature. The official result of the collection in Bohemia was the so-called Kolovrat manuscript (1824), the unofficial one was the printed collection of Czech and German lyrics and songs called Rittersberk’s (1825). Gradually, however, another 9 sources were identified, representing more than a thousand writing units of folk songs and dance tunes from Bohemia.
INVESTIGATING MELODIC ANNOTATION DISAGREEMENTS IN STRING QUARTETS
The article presents an analysis of melody annotation disagreements in a novel dataset containing annotations of a selection of Haydn and Mozart string quartet movements. For this purpose the following definition of melody from the music information retrieval (MIR) community is applied: the sequence of monophonic pitches that a listener might sing or hum when asked to reproduce a polyphonic piece of music, and encompasses the core identity of the piece. The resulting collection of annotations makes up the new Melody Annotated String Quartets (MASQ) dataset, available online. The rates and types of disagreements between annotators are discussed, as well as the influence of musical form and style on melody perception and the suitability of the given definition of melody.
THREE NAMES OF RUSSIAN FUTURISM IN MUSIC
Filippo Marinetti in his Beyond Communism (1920) called Futurism the official art of Soviet Russia. What is Futurist art in the viewpoint of Russia? Defining art as “a source of power and transformation,” Russians believed that it is essential to arrange human society in a new way to create unified art. This paper deals with the viewpoints of Nikolai Kulbin (1868–1917), Arthur Lourie (1891–1966), and Mikhail Matyushin (1861–1934). Having joined the Futurism movement during a certain period, their art concepts found a reflection in the form of an essay that the current paper is based on.
BOHUSLAV MARTINŮ: MEMORIAL TO LIDICE AS PSALM, CHORALE AND LAMENTO
A prominent Czech composer Bohuslav Martinů composed his short symphonic poem Memorial to Lidice in a memory of the victims of Lidice, a Czech village annihilated by Nazis in time of the World War II. The present study is a music analysis, an insight into structures and means used by Martinů with his intention to create an atmosphere of lamentoso. Martinů’s composition is a dirge, a mournful type of music instigated by tragic events, in a memory of Czech victims which will never be forgotten. Therefore the analysis is not only that of a form, harmony, tonality and modality: it has to be a semantic analysis of lamentoso, chorale and psalm elements, of musical associations of this kind in a broader context. In spite of its psalmodic-lamentoso intonations and associations (Dies Irae, chorales of the east orthodox church, Memorial of Lidice, baroque lamentoso), Memorial to Lidice may in the end be designated the victorious chorale of hope, of magnificence, moral victory and regeneration of the Czech nation. In this double meaning we can perceive Martinů’s citation of the ancient Czech St. Wenceslaus chorale in the beginning of the composition and his citation of Beethoven‘s “fate motive” from the Symphony No. 5, C minor, in the end of this composition. Another citation from Beethoven’s 5th symphony, which can identified in the piece, also represents a heroic chorale reminding of Czech musical “aura”, which we know from his Czech Madrigals and symphonies. The origin of Martinů’s Czech “aura” we can identify in triadic sonority and in the fusion of tonality and Moravian modality integrated with this sonority, a unique trait of Martinů’s music.
JAMES MACMILLAN’S LITURGICAL MUSIC INVOLVING THE SINGING CONGREGATION
James MacMillan is one of the few internationally renowned composers who embraced the liturgical reform of the Second Vatican Council with its key concept of participatio actuosa and wrote music involving the congregation. With regard to these works, the following questions are discussed and answered: In what way did he compose for untrained singers so that they are able to sing his compositions? Which stylistic compromises did he accept and how are they artistically justifiable? How does his liturgical music involving the congregation relate to liturgical theological concepts?
MILOŠ BOK – A REPRESENTATIVE OF CONTEMPORARY CZECH SACRED MUSIC
Church music – music with religious content – entered its new development period in the Czech lands after year 1989. One of its representatives is Miloš Bok (born in 1968). The compositional speech of Miloš Bok is based on late Romantic foundations. His work is particularly inspired by his strong belief in God, Great Composers of the past and his relationship with nature. His most important works include three Masses, the Credo and the trilogy of Oratorios. The oratorio Apokalypsa v Kamenické stráni (Apocalypse on the Slopes of Kamenice) has become the most performed work of 2017.