Vedecké časopisy a ročenky vydávané na pôde SAV

Zoznam článkov

Musicologica Slovaca

Volume 7, 2016, No. 1



1 Štúdie:

  Rodový aspekt vo výskume ľudovej piesňovej kultúry na Slovensku
Hana Urbancová

gender studies, ethnomusicology, traditional musical culture, woman, folk song

In Slovakia gender studies are among the least developed research areas in ethnomusicology. The gender aspect has, however, been integrated into the majority of Slovak works devoted to folk song, music and dance tradition. It has become part of several research themes and circles, where its role has been that of a partial standpoint. This study summarises the results thus far of the application of the gender aspect in selected research circles (genres, multi-part singing, dance types). Special attention is given to studies on women in traditional song culture, which began to appear in Slovakia from the turn of the 1980s, focused on tradition bearers, song genres and mental images.

Musicologica Slovaca . Volume 7, 2016, No. 1: 5-18.

  Mestské divadlo v Prešporku na sklonku 19. storočia a jeho riaditelia Emanuel Raul a Ignácz Krecsányi
Jana Laslavíková

Pressburg, 19th century, City Theatre, German theatre director, Hungarian theatre director

The City Theatre in Pressburg began operation in 1886 in a newly-erected building (now the Historical Building of the Slovak National Theatre). The building belonged to the city, which rented it under a theatrical contract to the German and Hungarian theatre directors and their companies. The individuals in question were the German director Emanuel Raul (1843–1916) and the Hungarian director Ignácz Krecsányi (1844–1923), who were active in the City Theatre at the close of the 19 th century. The city, as owner of the building, decided on the hiring of the theatre and influenced its everyday operation with stipulations. Selection of the repertoire was the responsibility of the director, who compiled a daily plan of performance based on requirements laid down in the contract, as well as the preferences of the regular audience. This was comprised of German-speaking inhabitants, a fact which is reflected clearly in the theatre’s attendance.

Musicologica Slovaca . Volume 7, 2016, No. 1: 19-51.

  Biografia hudobného skladateľa Tadeáša Salvu
Michal Ščepán

composer, life, biography, family, employment

This article summarises the results of the latest research focused on the biography of the Slovak composer Tadeáš Salva (1937–1995). Salva is regarded as one of the most important figures in Slovak music in the second half of the 20th century. The research draws upon hitherto unpublished works, verifying the existing facts and presenting new information on the composer’s life. Tadeáš Salva was born in the village of Lúčky, where he spent his childhood and derived his first musical inspirations. During his music studies in Žilina, Bratislava and Katowice, and following their conclusion, Salva worked in various positions in institutions in Dolný Kubín, Liptovský Hrádok, Martin, Košice, Bratislava and Nitra. He died at the age of 57 in circumstances which have never been clarified. He is buried in his native village, on the plot belonging to his work studio, close to the family home.

Musicologica Slovaca . Volume 7, 2016, No. 1: 52-93.



  Korespondence Guida Adlera a Dobroslava Orla. Svědectví vztahu učitele a žáka
Vlasta Reittererová

This article is devoted to the personal and professional relationship of Dobroslav Orel and Guido Adler. Both scholars had in common an interest in historical musical monuments. Under Guido Adler’s direction Orel gained a doctorate at the University of Vienna in 1914, became a member of the working team for the edition Denkmäler der Tonkunst in Österreich , and in subsequent years gave his teacher ongoing information about his research. Despite the fact that he did not complete his prepared edition Kodex Speciálník, Dobroslav Orel laid the foundations of Czechoslovak medieval studies with his further research, publications, and above all his teaching activity. Part of the correspondence of the two scholars is today deposited in the USA, in Guido Adler’s effects at the University of Georgia, while some written materials may be found in the effects of Dobroslav Orel at the National Museum – Czech Museum of Music. The correspondence with commentary, testifying to the mutual respect of the two scholars, which endured throughout a long period, is published in full for the first time.

Musicologica Slovaca . Volume 7, 2016, No. 1: 94-131.



  K životnému jubileu Alice Elschekovej
Hana Urbancová

Musicologica Slovaca . Volume 7, 2016, No. 1: 132-141.



  Janka Petőczová: Hudba ako kultúrny fenomén v dejinách Spiša. Raný novovek
Peter Ruščin

Musicologica Slovaca . Volume 7, 2016, No. 1: 142-144.

  Tatiana Pirníková: Umelec a intelektuál v zrkadle času. Premeny života a tvorby Ota Ferenczyho
Zuzana Sláviková

Musicologica Slovaca . Volume 7, 2016, No. 1: 144-148.

  Soňa Burlasová: Naratívne piesne o zbojníkoch. Príspevok k porovnávaciemu štúdiu
Kristína Lomen

Musicologica Slovaca . Volume 7, 2016, No. 1: 148-150.



  The 43 rd ICTM World Conference, Astan (Kazachstan), 16. – 22. júla 2015
Jana Belišová

Musicologica Slovaca . Volume 7, 2016, No. 1: 151-152.

  Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM), Manchester (Veľká Británia), 17. – 22. augusta 2015
Zuzana Cenkerová

Musicologica Slovaca . Volume 7, 2016, No. 1: 152-155.