• 2/2020: Alternative in Music

    2/2020: Alternative in Music


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 93 – 94

    Hommage à Ľubomír Chalupka

    KAJANOVÁ, Yvetta: Ľubomír Chalupka – Only a Blank Page Remained...
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 95 – 98

    DOI: 10.4149/SH_2020_2_1

    FUJAK, Július: Remembering Professor Ľubomír Chalupka
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 99 – 100

    DOI: 10.4149/SH_2020_2_2

    Ľubomír Chalupka – Bibliography
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 101 – 116

    DOI: 10.4149/SH_2020_2_3

    Hommage à Miloslav Starosta

    PERGLER, František: Remembering Professor Miloslav Starosta
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 117 – 121

    DOI: 10.4149/SH_2020_2_4


    SMOLÍK, Pavol: Let’s Try It without Formaldehyde! (teacher’s interpretation of the musical-dramatic work, e.g. Mozart’s Don Giovanni)
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 122 – 133

    DOI: 10.4149/SH_2020_2_5

    The contribution deals with the issue of how to present a musical-dramatic work to a young listener in an attractive and intelligible way. There are a number of manners and attempts focusing on pedagogical interpretation of a musical-dramatic work. While dealing with them the teacher usually runs up against the problem of diversity of materials and their internal relations: the interpretation cannot only sum up the interpretations of textual and musical components of the work but has to express their mutual overlaps. The text brings a feasible solution.

    teacher’s interpretation, musical-dramatic work, Mozart’s Don Giovanni, Franco Zeffirelli,  Peter Sellars, Vincent Boussard

    BARTOŠOVÁ, Adriena – KAJANOVÁ, Yvetta: The Influence of Professional Experience on the Vocal Improvisational Ability of Vocal and Instrumental Students. An Experimental Study
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 134 – 142

    DOI: 10.4149/SH_2020_2_6

    Do improvisational abilities depend on creative musical thinking, or can they be learnt? This was the principal research question of our experimental workshop conducted with students of musical singing and instrumental students focused only on the performance of classical music. Of eight participants, some already had professional improvisational experience in a rock band. The respondents were asked to perform vocal improvisation by inventing new melodies and rhythms to the well-known pieces Sunny (Bobby Hebb, 1963), Fly Me to the Moon (Bart Howard, 1954), and Imagine (John Lennon, 1971), and to a simple three-chord scheme. The participants found improvising on three chords much more challenging than to popular songs. Moreover, those without professional experience faced considerably greater difficulty. The experiment consisted of two phases, through which we planned to investigate whether the quality of students’ improvisations would improve. They also had the opportunity to practise between the two stages. The instrumental students only showed better results in the second phase. The experiment – carried out using participant observations and evaluated with a scaling method – demonstrated that improvisation can be learnt, but its originality is influenced by the student’s individual ability as well as professional experience.

    creative musical thinking, vocal improvisation, vocal technique, participant observations


    FUJAK, Július – PAVELKA, Ľubomír: A Backward Glance on Hermes’ Ear and PostmutArt in Nitra
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 143 – 149

    DOI: 10.4149/SH_2020_2_7

    The submitted contribution is an excerpt from a new publication Hermovo ucho & PostmutArt – 2 dekády „oného“ umenia v Nitre [Hermes’ Ear & PostmutArt – 2 Decades of “That” Art in Nitra] of the authors Július Fujak, Ľubomír Pavelka et al., mapping two decades (1999–2019) of existence of the international series – or festivals – HERMOVO UCHO V NITRE and POSTMUTART in a retrospective and chronological way. Since the end of the 20th century both projects have been focused especially on nonconventional artistic initiatives occurring often in a taxonomically indescribable interspace – on the boundary of intermedia overlaps and innovative fusions of new music, fine art, discursive and non-discursive symbolism in the epoch of late postmodernism. This publication provides its readers with the evidence of origination, developmental issues and vivid existence of such events presenting contemporary music/intermedia art. The authors endeavour to offer a pragmatic evaluation of their meaning and influence on the cultural life in the region in question from the aspect of their contribution to our new modern cultural heritage exceeding local dimensions.

    nonconventional artistic initiatives, postmodern, music/intermedia art


    JASLOVSKÝ, Marian: Marián Varga: Nebo, peklo, raj (a dégustation of the book of interviews under preparation)
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 150 – 158

    DOI: 10.4149/SH_2020_2_8

    An image of the rock idol Marián Varga is put together from memories of his friends and schoolmates – the teacher and composer Vladimír Bokes and lyric writer Kamil Peteraj. We will learn about his beginnings, from the times when his boisterous talent just started to show up. Only with difficulties could the originality of his gifts and personality have fitted into the prescribed curriculum and rules of the secondary educational system at the conservatory in the 1960s in (Czecho)Slovakia. The text forms part of the book under preparation mapping the life of this unique representative of the Slovak rock music in the second half of the 20th century and first years of the 21st century.

    Marián Varga, conservatory studies, rock music, Vladimír Bokes, Kamil Peteraj


    SONDOROVÁ, Dominika – GÁLISOVÁ, Lenka – KAČMÁROVÁ, Simona: Festival of Arts Konfrontácie 2019
    In: Slovenská hudba, Vol. 46, 2020, No. 2, pp. 159 – 168

    DOI: 10.4149/SH_2020_2_9


    DŘÍZALOVÁ ČERBOVÁ, Zuzana: Ilja Zeljenka: Rozhovory a texty. I. diel
    In: Slovenská hudba, Vol. 46, No. 2, pp. 169 – 176

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