• 1/2014: Music – Semiotics – Aesthetics

    1/2014: Music – Semiotics – Aesthetics


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 5 – 6


    FUJAK, Július: Alternative Models of Musical Sign and Semiosis
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 7 – 17

    The specificity of quality of music presents us with a number of issues and challenges addressed by various thinkers since antiquity. Its multiple duplicity – potential linkage to both the numerical and semantic phenomena (V. Godár), abstractness and corporeality (H. Partch), or temporal parallelism of the successive passage of time and simultaneous layering of musical processes of different length (O. Messiaen) – is the subject of analysis even in contemporary semiotics. Building on the original theory of existential expressive aesthetics by František Miko (1920-2010) and musical semiotics of Peter Faltin (1939-1981), the paper titled Alternative Models of Musical Sign and Semiosis inter alia focuses on the correlation between the multilevel human (un)consciousness and the multidimensional nature of musical works. With respect to certain limits in the traditional sign models, the author, building on the above concepts and his own musical aesthetic research, puts forward an alternative model of a musical sign and the 3-D communication model of musical and artistic semiosis.

    HONS, Miloš: The Idea of Progress in Czech Music Aesthetics and Critique (From Hostinský to Sychra)
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 18 – 36

    The reflections on progress in Czech music aesthetics and critique grew in quantity in the time when they acquired a certain appraising significance. Hostinský’s study O pokroku v umění (About Progress in Art) from 1894 is one of the first Czech essays in which progress was joined with the origination of an independent national art and culture as a whole. The proclamation of a progressive line in Czech modern music, based on Smetana tradition, included the aesthetic, historical, philosophical, theoretical, psychological and sociological aspects. They were confronted with art realism, with categories of originality and eclecticism, with fashionability of absolute and programmatic music, with idealism and dialectic materialism, with social functions of music for masses and for intellectual groups. The progress in art was joined with social and technical (industrial) progress and it was comprehended as a fight joined with revolutional transformations of creative principles and poetics at the same time.
    In Czech music aesthetics Hostinský represents a line of aesthetic formalism, on which his most prominent pupils built their own concepts and methods: Zich headed towards experimental aesthetics based on dynamic concept of a musical structure and together with Štěpán he was at the birth of music semiotics and structuralism; Helfert steered to historical research of music creativity and musical thinking; Nejedlý based his scientific and critical work on an ideological explication of creation in the interest of progress. All faced a common problem, sometimes standing in the forefront and sometimes in the background of all the mentioned theoretical and aesthetic concepts: the question of the relation of form and content of a work. This was in the subsequent development diversified into the problems of social functions and political ideology by the generation of structuralists and socialist realists.
    Inter-war contemplations of European-oriented composers and musicologists crossed the borders of a domestic tradition and reflected a stylistic plurality of European modernism and avant-garde. The opinions regarding the music of Parisian modernism (Martinů, Očadlík) and German Schoenberg school (Hába) were accompanied by period reflections of the left-wing musicians oriented on Soviet paragons (Zdeněk and Vít Nejedlý). The communist putsch in 1948 and the period of the so-called cold war distorted the comprehension of progress onto the level of ideological demagogic norms after the Soviet Zhdanov model famous by its vulgarly naive critical judgements.

    BERÁTS, Juraj: Free Instrumental Forms of the 19th Century Inspired by W. A. Mozart’s Best Opera Opuses
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 37 – 65

    The contribution proposes an outline of the issue of the adaptation of opera themes and arias from Mozart’s supreme period in the 19th century instrumental music and explains the reasons of the emergence of these compositions, their mission and historical significance. The study offers an analytical view on three selected instrumental compositions inspired by Mozart’s top operas. It deals with the fantasia, reminiscence and variational forms, it appraises the measure of borrowing and quoting, as well as the relation of the original to its adaptation, and it designates the compositional devices of particular works.


    KUCIANOVÁ, Anna: Twenty Years of the IAML Slovak National Group (1993 – 2013)
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 66 – 74

    The IAML member institutions in Slovakia decided to set up the IAML Slovak National Group after the establishment of the Slovak Republic in 1993. Since then, this association has been operating in slightly varying composition on the basis of its statute and IAML international conference resolutions. The ten-year period of activity from 1993 until 2003 has been assessed in the article of the SNS IAML first president PaedDr. Emanuel Muntág and has been published in the Knižnica Magazine, 2004, Vol. 5, No. 3, pp. 95 – 98. This report presents the SNS IAML activities in the following decade from 2003 until 2013.

    Music Pedagogy

    ŽIARNA, Miriam: The Questions of Proper Selection of Singing Repertory for the Pupils of the Elementary Art School
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 75 – 81

    The goal of the contribution is to point to contemporary trends in the selection of music material, the necessity of its proper choice for a particular vocal and mental niveau of the pupils of elementary art school, as well as to warn against the wrong accommodation of the vocal technique to aesthetic norms while performing pieces of various music styles at the expense of natural voice development of the elementary art school pupils.

    SAVKOVÁ, Veronika: Slovak Lullaby – the Everlasting Phenomenon
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 82 – 89

    At first sight and on first hearing the lullaby is a primitive genre with regard to its form, lyrics and their content, ideas, its focus on an ordinary man, expressive means (rhythm, tempo, dynamics, melody, harmony), in its entire simplicity. However, it has more meanings and dimensions, comprehensible only when the time comes – when we are grown up. The aim of our research, as well as of the presented contribution, is to speed up this consciousness and to change the “labelled” opinion and knowledge about the lullaby as a genre.


    LINDTNEROVÁ, Jana: Roman Berger: Cesta s hudbou
    In: Slovenská hudba, Vol. 40, 2014, No. 1, pp. 90 – 91

    [The contribution is available only in Slovak language in the printed version of the revue.]