• 4/2010: Slovak Music: Returns and Impulses

    4/2010: Slovak Music: Returns and Impulses

    Preface

    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 311 – 312

    Personalities

    Roman Berger

    BERGER, Roman: September Aesthetics
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 314 – 315

    MARTINÁKOVÁ, Zuzana: An Important Event in Our Music Life – World Premiere of the Vocal-instrumental Work Missa pro nobis by Roman Berger
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 316 – 317

    CHALUPKA, Ľubomír: Polish Inspirations in Roman Berger’s Output
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 318 – 329

    Studying the inspirations from the Polish ambience which have influenced the development of Slovak composer Roman Berger we may determine three sources of them. The first one is obvious from his biography: Berger comes from the family of a Polish evangelical priest active in Silesian borderland, who was persecuted during the Second World War as well as in the time of the following communist regime in Poland. In the early 1950s the family moved to Bratislava, where young Berger started to study piano playing and composition at the Academy of Performing Arts. There he had to face many dogmatic methods in the preparation of professional musicians. Later during the so-called normalization of the 1970s he had to cope with his expulsion from the Slovak music life. Following the changes after the revolutionary year 1989 Berger revived his contact with the music-cultural surroundings in Poland both as a composer and writer.

    The second source of inspiration from Poland may be found in particular compositions of Berger’s, beginning with his graduation work Transformations for large orchestra (1965), where his response to Polish composer W. Lutosławski’s music is audible. In his choral pieces he set to music the poetry of Polish poets (T. Róźewicz, H. Jasiczek), the supreme composition being De profundis (1980), a philosophical protest against war and misunderstanding among people. In the time when Berger was accepted by the Polish music society a number of pieces inspired either by contemporary Polish poets (W. Szymborska, Z. Herbert), events (Korczak in memoriam, Post scriptum), or memories of homeland (Pesničky ze Zaolzia) increased, and by the way of using quotations he declared his respect to K. Szymanowski and W. Lutosławski.

    The last source of Polish inspirations may be found in Berger’s theoretical and publicistic work. In his contributions he has followed e.g. the theory of the psychologist K. Dąbrowski; he has often quoted the statements of the Pope John Paul II. Berger’s ideas arise from a wide range of knowledge about current tendencies in humanities (psychology, sociology, theology), natural sciences (mathematics, physics) and formal disciplines (logic, cybernetics, systems theory, synergetics). His ideas are focused on the accentuation of the spiritual extent of the human creativity and ethics also in the realm of composition aiming at the increase of the cultural character of the modern society.

    Juraj Beneš

    PUŠKÁŠOVÁ, Melánia: Sitting over the Score – Juraj Beneš is forever 64
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 331 – 339

    FÖLDEŠOVÁ, Marta: Juraj Beneš – Additional Reflection
    In: Slovenská hudba,Vol. 36, 2010, No. 4, pp. 340 – 341

    Studies

    KREKOVIČ, Slavomír: Conceptual Strategies in Contemporary Music
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 342 – 389

    Beginning with the second post-modern wave roughly since the middle of the 1970s we may identify in the extremely varied contemporary music the conceptual expressions whose essence of creation and effect is formed by procedures of the semantic combination of music action and “outer world”, until now comprehensively theoretically unelaborated. We may talk about conceptual tendencies in music when music action displays signs of music conceptualization: i.e. a realization of a creative idea in acoustic medium, preferred to traditional aesthetic and material processing. Facts of the real world become the determining component of a music action. Several music projects thus demonstrate a characteristic shift from a narrowly specified work as an artefact to the comprehension of an open work, encompassing also poetic processes participating in its origin. Beside the definition of semantic mechanisms a general typology of practically overlapping conceptual creative strategies (thematic, post-productional, processual, technological and media ones) forms part of the contribution. Conceptualism in contemporary music may be perceived as another historic attempt to establish an organic connection of music and reality: in the case of conceptual creation music ceases to be a closed entity with its own rules, and it is formed in interaction with the surrounding world.

    KILIÇ, Lenka: Music Archaeologist Meredith Monk
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 390 – 403

    American composer, singer, choreographer, performer and movie-maker Meredith Monk is also often called a pioneer in the domain of the so-called „extended vocal technique“ and „interdisciplinary performance“. Her work is a kind of Gesamtkunstwerk. Music and human voice play a crucial role, joined with movement, image, light and objects. Thus while listening to Meredith Monk’s original music new ways of perception may occur. Her work has influenced many artists, from the realm of both classical and popular music. Herself, she feels to belong to the former one. Coming from performance and minimal music she has created a unique musical language using human voice in an absolutely new way and in new relations. Distinctiveness and originality of her work is based on its simplicity (although often quite apparent), and in the profoundness, openness and accessibility for all people all over the world, either musically educated or untouched by music. Meredith Monk draws on original sources and therefore her music does not follow fashion trends, but it is and remains ageless and pure. During her more than 45-year artistic career the public as well as expert critique have recognized her as the most important creative power in performing arts.

    ČERVENÁ, Ľudmila: Organist and Conductor Ján Valach and His Compositional Output
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 404 – 413

    Slovak organist, conductor and composer Ján Valach (born 1925) has been living in Antwerp, Belgique, since 1970. He went down in Slovak music history as the conductor of the original version of Eugen Suchoň’s opera The Whirlpool (Krútňava) in the Theatre of Jozef Gregor Tajovský in Banská Bystrica (1963) as well as the conductor and initiator of its Belgian premiere in the Flemish language with the Royal Flemish Opera in Antwerp and Gent (1968–1972). He has promoted the Slovak music abroad as a concert organist, too. In Belgique he broke through also as a composer of organ and oratorio pieces.

    From the Creation of the Young

    FINTOVÁ, Anna: Accordion – its Ttraditions and Perspectives
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 414 – 422

    In the 1970s accordion was one of the most popular musical instruments both in Slovakia and Bohemia. The first lessons in playing the accordion started at the Bratislava music school in the season 1949/1950 and before long the instrument penetrated all three Slovak conservatories (in Bratislava, Žilina and Košice). Since 1971 the conservatory graduates have been given an opportunity to continue their studies of accordion playing at the Academy of Music and Performing Arts. At that time the accordion achieved an enormous boom not only in pedagogical domain, but also in performance.

    The modern era of information technologies and consumer society has influenced also the demand in music education. The interest in playing the accordion at basic artistic schools and at conservatories has decreased. Presently a new model of a digital V-accordion (virtual accordion) has got on the market, possessing a number of innovative acoustic and technical options. Our opinion is that these qualities may help the instrument to range among the popular instruments of pupils, students or teachers and concert artists soon.

    HÍREŠOVÁ, Katarína: New Educational Programmes at Basic Artistic Schools
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 423 – 428

    The issue of the education of folk instruments playing has gradually come into the focus of interest. Its teaching at basic artistic schools has led to an increased interest of pupils in playing the dulcimer, pipe, shepherd’s flute, helicon and others.

    The data of UIPS (Institute of Information and Prognoses of Education) reveal that the interest in playing the folk instruments particularly in the Žilina region is not negligible. This kind of education is attractive for a wider age category from the pupils of the preparatory study to adult individuals attending the adult studies.

    The private Basic Artistic School of Folk Dance and Music in Ružomberok offers an educational programme with an additional opportunity to participate in folk ensembles Liptov and Liptáčik and by this way to recognize one’s own cultural roots.

    The school has implemented also a project of experimental verification of the dance and music branch of regional folk culture. Its aim is to educate the pupils in such a way that they are able to apply the acquired knowledge and skills in their villages for the recovery of the customs, activities of folk ensembles, of arts craft industry and others. The goal of the discipline is to educate the future promoters, rescuers and apostles of folk traditions in particular regions. The subject of the project of experimental verification is to supplement the artistic education in Slovakia with a substantial educational realm, and that is the specialization in expressions of traditional folk culture in regions. On the basis of the results of the experimental verification the project could be spread also to other regions of Slovakia. We plan to enroll the new subject into the system of artistic education as an 8-year study comprising also ISCED IB(International Standard Classification of Education)– the lower primary artistic education and ISCED 2B – lower subsidiary/secondary study.

    Reflection

    LINDTNEROVÁ, Jana: Chopin’s Model (Reflection of a Project)
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 429 – 430

    Review

    HVIŠČOVÁ, Ivana: Slávka Kopčáková: Slovo o umení bez slov
    In: Slovenská hudba, Vol. 36, 2010, No. 4, pp. 431 – 432

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