• 2/2017: Hommage à Adamčiak

    2/2017: Hommage à Adamčiak

    Obálka – reprodukcia: Jozef Baus © Happy Ending, 2014


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 105 – 106

    Hommage à Adamčiak

    MURIN, Michal: Adamčiak – Solely about Music
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 108 – 116

    The contribution endeavours to scrutinize the life and work of Milan Adamčiak in the period beginning roughly at the time of the author’s first meeting with this significant representative of Slovak music in April 1987. The interests they had in common, later joint concerts with the Transmusic Comp. ensemble, joint exhibitions and exposition project preparations brought these two people closer together to such an extent that in the most recent years their collaboration culminated in the elaboration of a 4-volume monograph of 1,500 pages, which includes also a CD and DVD. The project was to be crowned by an exhibition in the Slovak National Gallery in cooperation with the gallery exhibitions officer Lucia Gregorová-Stachová. Unfortunately, Milan Adamčiak did not live to see the event opening. The extensive exhibition presented his concepts, happenings, experimental poetry, and most of all graphic scores, sound objects and a short collaboration with John Cage; the presented material introduces mostly this segment of Adamčiak’s work.

    FUJAK, Július: Milan Adamčiak, A Unique Musical and Intermedial Being
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 117 – 122

    MATEJ, Daniel: Memories… Milan Adamčiak – A Teacher, Musicologist, Artist, Colleague, Friend
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 123 – 127

    VESELÝ, Ondrej: Possibilities and Limitations of Graphic Scores (With a Special Focus on the Performance of the Piece by Milan Adamčiak)
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 128 – 133

    The text presented here compares the traditional notation of European musical tradition and graphic score in terms of the possibilities and limitations of their musical realization. Emphasis is placed on the personality and work of Milan Adamčiak (1946–2017) and the historical contexts in which the intermedial graphic notation spread into the artistic creation in Slovakia. At the end of the contribution, we analyze the performing possibilities of Adamčiak’s Transfigurazioni from 1979.


    RUTTKAY, Juraj: Musical Manuscripts of Jenö Hubay from the Manor House Mošovce (A Contribution to Hubay’s Activities in Slovakia)
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 134 – 161

    The study presents the activities of the violinist, teacher, organiser of musical life and an owner of an estate Jenö Hubay (1858–1937) in Slovakia. It concentrates on his over a decade-long work in the manor house Mošovce, where Hubay’s collaborators, pupils and artists gathered. Joined by his wife the Countess Róza Cebrian and world-famous artists (Krips, Zathureczky and others) he organised evening chamber concerts in their Mošovce manor house. After their estate was confiscated in 1945, Hubay’s name in relation to Mošovce has been forgotten for 70 years. In the manor house several manuscripts and composition copies were preserved, now deposited in the collection of the Literary Archive of the Slovak National Library in Martin. Some of them are not listed in the catalogue of Hubay’s compositions from 1997 compiled by László Gombos.

    LANGSTEINOVÁ, Eva: Three Significant Publications of Czech and Slovak Music Pedagogy and Their Legacy for the Present
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 162 – 172

    The author of this paper analyses three relevant monographs of Czech and Slovak music pedagogy which represented a significant step towards the development of this field of study, and greatly influenced the shape of the music education concept at schools. Attention is also given to various related issues as well as a potential legacy the results may have for the present education practice.


    ZÁHRADNÍKOVÁ, Ľubomíra: Value Orientation of Young Instrumentalists
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 173 – 193

    Although the questions of music’s ethical influence have been in the purview of philosophy since the Middle Ages, they have not been unambiguously answered. However, if the possibility exists that “beauty of music” and “beauty of goodness” share the same source, these questions should be further investigated, especially when it comes to education, since human education assumes goodness and values as its goal. The participants of our research titled Value orientation of young instrumentalists were elementary level art school pupils from Slovakia – successful participants in national and international competitions in music performance (18 students). The study’s aim was to determine, whether high levels of participants’ music performance skills translated into similarly high levels in the area of value orientation. The data was collected using a combination of quantitative and qualitative methods and employing research tools created ad hoc: a) solving moral dilemmas; b) sentence completion test; c) Charles E. Osgood’s modified semantic differential (value factor, energy factor, and a newly created “emotional impact factor”) by means of which the participants assessed fifteen concepts (truth, competition, triumph, revenge, goodness, justice, lie, friendship, indifference, love, forgiveness, loss, mockery, beauty, courage); d) structured interviews with a subgroup of eight participants in the final phase of research. Data analysis points to a noncomformist mindset of participants, with orientation toward spiritual and social-interactive values, gravitating toward the value of love. Although the research has confirmed a correlation between participants’ music orientation and an orientation toward goodness, it was unable (as it was not its aim) to confirm a causal link between them – does music cause goodness in participants or is participants’ goodness the reason for their appreciation of musical beauty? In every case, the esthetic and the ethical dimmensions stand side by side and are not mutually exclusive. The actual causal direction between them is open to further research. Our aim was not to discover the truth that humankind has not been able to discover in centuries, but to advance toward it and to look for ways in which it can be approached.


    STAROSTA, Miloslav: Alena Kručayová: Ornamentika v inštrumentálnej hudbe
    In: Slovenská hudba, Vol. 43, 2017, No. 2, pp. 194 – 195

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