Dobroslav Orel and the Slovak Musicological School

1. The relevance of the research topic

This study illustrates the evolutionary trajectory of the Department of Musicology at Comenius University in Bratislava and analyzes the activities of its founder and long-time head Dobroslav Orel. 

During the period of historical musicology, the creative endeavours of the Department of Musicology concentrated on complex historical events which were studied by, among others, Antonín Hořejš, Konštantín Hudec, Zdenka Bokesová, František Zagiba, Ladislav Burlas, Pavol Polák, Richard Rybarič, Ľubica Ballová, Darina Múdra, Marta Hulková, Jana Bartová, Janka Petőczova, Peter Ruščin, Eva Szorádová, and Eva Veselovská. The specified subject is insufficiently researched in Ukrainian[1] and foreign musicology and, hence, there is a need for its deeper and more systematic study.

Musicologists oriented towards ethnic music, especially traditional Slovak music, included Soňa Burlasová, Alica Elscheková, Oskár Elschek, Darina Laščiaková, and Ivan Mačák. Scholars as well as composers such as Otto Ferenczy, Ivan Hrušovský, Ladislav Burlas, Igor Vajda, Naďa Hrčková, Ľubomír Chalupka, Juraj Lexmann, Milan Adamčiak, Július Fujak, and Yvetta Kajanová have focused on 20th-century music, with particular attention to contemporary Slovak music.

 

2. Introduction

          After the declaration of the independent Czechoslovak state on 28 October 1918, there was a need to establish a university in Slovakia. At that time – in contrast to the Czech Republic – Slovakia had no university. Therefore, by the governmental decision,  Comenius University was founded in Bratislava on 27 June 1919. The establishment of a higher educational institution became a factor in the cultural growth of the Czechoslovak Republic. It needs to be noted, however, that the University primarily served as an instrument of state educational and cultural policies in the ethnic Slovak lands, and its activities were affected by new political, social, and cultural-ideological conditions.

In the initial years, Comenius University consisted of three faculties: medical, philosophical, and law; after 1940, the Faculty of Natural Sciences and the Theological Faculty were added (Rybarič, 1994).

Each faculty was headed by a collegial body, i.e. the council of faculty or college professors, which included the dean, vice-dean, all professors, and two representatives elected from associate professors. The structure of faculties comprised departments and institutes. A department was headed by the professor associated with it, who gave lectures on certain academic subjects. For holding lectures, seminars and practical classes, the departments and their teachers had offices and special classrooms. As scientific institutions, the departments were also equipped with libraries and/or laboratories.

The teaching staff of Comenius University consisted of professors, private associate professors, assistants, and lecturers. Professors who held the degree of Doctor of Philosophy occupied leading teaching positions. The academic title of associate professor and their teaching rights could be granted to individuals who were doctors of philosophy and had passed the habilitation process: after the approbation of a published academic work, it was necessary to prepare a colloquium on the special topic and read a public lecture in front of a professional commission and the faculty’s panel of professors.

 

3. The history of musicological studies at Comenius University

The father figure of the Department of Musicology at the Philosophical Faculty of Comenius University was Dobroslav Orel (1870–1942).

The Philosophical Faculty, now the Faculty of Arts,[2] commenced its operation on 23 September 1921. Political circles were well aware of the need to conduct research into national history, language, literature, and art and to train secondary school teachers. The faculty’s professorial body saw its main role in founding disciplines oriented towards Slovakian culture, with the Faculty of Philosophy occupying an indispensable place as a sole professional centre.

At the faculty’s founding meeting, seven newly appointed professors decided to start lectures and seminars for the first 30 full-time students and, from mid-October 1921, for another 34 individual students. Dr. Josef Hanuš, professor of Czech literature history was elected dean, and Jozef Škultéty, professor of Slovak language and literature, became vice-dean (Matula, 1998).

Orel began working at Comenius University in September 1921 as a professor of music history and head of the Musicology Department (1921–1939). His teaching load was only small (5 hours of weekly lectures and practical classes). In the first semester of the 1921/22 academic year, he established a regular Musicological Seminar (which went over several months) for students of the Philosophical Faculty who sought to deepen their knowledge of the Slovak musical art history (Orel, 1929:1). The creation of the Musicological Seminar as a scientific and pedagogical institution followed the model of Western Europe, or rather the one-person musicological departments in German universities. In general, musicology as an academic discipline at Comenius University worked according to the European musical and educational tradition, which was based on the organizational experience and methodological principles of German musicology.

1919. Orel was an outstanding musicologist, music historian, music critic, and teacher. He mastered the basics of composition under Professor Vítězslav Novák at the Prague Conservatory in 1910 (Chalupka, 2001: 21) and also studied musicology under Professor Guido Adler at the University of Vienna. In 1914, having defended his thesis on the Speciálník codex of Hradec Králové,[3] Orel obtained the degree of Doctor of Philosophy. In addition, he graduated from the Theological Faculty of Charles University in Prague in 1919.

The first Slovak Institute of Musicology was originally located at 1 Kapitulská Street, and in 1924–25 it relocated into the reformed girls lyceum at 33 Dunajská Street. Later it transferred into a building at 12 Šafárik Square, which had two small auditoriums. In principle, the Institute was ready to work as a separate scientific and pedagogical institution, following the model of the one-person musicology departments in German universities. It possessed the necessary equipment, a general library, and a sound library (Kresánek, 1981: 51). From the beginning, however, the Institute encountered many problems, primarily due to financial difficulties.

Since musicology students were required to independently engage in educational and scientific work and actively participate in seminars and discussions on predetermined topics, they needed literature to prepare for them. Understanding this, Dr. Orel was collecting musicological books, thus building up the Institution’s library.

The musicology curriculum largely consisted of the music history from antiquity, early Christianity, the Renaissance, through classicism, and Romanticism to the New Age, and the history of Czech and Slovak music. In addition, the programme included 18th-century musical paleography, an introduction to musicology, and the study of the Bratislava musical culture and Slovak folk songs. Lectures on Bach, Dvořák, Smetana, Mozart, Beethoven, Schubert, Novák, and on modern musical compositions were planned for a duration of one semester (Hudec, 1947: 556).

During his 17-year teaching career, Orel only had four graduates: Antonín Hořejš, Zdenka Hanáková-Bokesová, Konštantín Hudec (who first became a teacher and later Orel’s deputy), and František Zagiba (who left Slovakia in 1946 and played a significant role in developing a course in ancient music history at the University of Vienna). The rest of Orel’s students (Jan Boháč, Františka Glatzová, Pavel Kriška, Alžbeta Mayerová, Jaromír Novák, Josef Oskar Odstrčil, and Viera Zochová) did not complete their studies.

In addition to teaching at Comenius University, Orel made a significant contribution to the development of the Music and Drama Academy in Slovakia. Through a concert society, he helped to popularize the works of Slovak composers, especially those of Ján Levoslav Bella, who at that time was just being discovered by Slovak society. Orel was tasked with collecting, processing, and storing Bella’s oeuvre in the Musicological Department’s library (Hořejš, 1930). Besides popularizing Slovak music, he also organized musical evenings to acquaint the public with the music of Czech composers (for example, a series of lectures on Bedřich Smetana) as well as little-known Slovak composers (Koričánsky, 1927).

Orel studied the history of Czech medieval singing (both monophonic and polyphonic), which resulted in Český kancionál (1921), his major work on this topic. Orel’s further works which became the most significant resources for the study of Slovak musical history include the monographs Ján Levoslav Bella (1924), František Liszt a Bratislava(1925), Hudební památky františkánske knihovny v Bratislavě (1930), Hudební prameny na Slovensku (1931), Milan Lichard (1933), and Štefan Fajnor, slovenský skladatel (1935), (Knechtsberger-Karin, 1963).

In the 1920s, the number of employees in the Department of Musicology increased; the teaching team welcomed Frico Kafenda, a lecturer in harmony and counterpoint (1922–1951), Oskar Nedbal, who taught the basics of instrumental arrangement (1926–1930), and Anna Dočkalová, assigned to lecture in music pedagogy (1936–1939).

The composer, conductor, pianist, and teacher Frico Kafenda (b.1883 in Mošovce –d. 1963 in Bratislava) attended from 1901 to 1905 the Leipzig Conservatory studying piano with Robert Teichmüller, composition with Salomon Jadassohn and Stefan Krehl, and conducting with Artur Nikisch. Concurrently, he completed eight semesters at the Department of Musicology in Leipzig (1902–1906). From 1920, Kafenda taught at a music school in Bratislava, which in 1928, by virtue of his effort, became the Music and Drama Academy. He played a significant role in supporting the school under difficult conditions (mainly the lack of financial resources), systematized its curriculum, and took care of students’ professional growth (he obtained for the school the right to issue certificates on completion of higher musical education). Kafenda taught many well-known Slovak artists, including the pianists Michal Karin and Eva Fischerová-Martvoňová and the composer Eugen Suchoň. Kafenda is the author of the theoretical work O prírodnej stupnici (an unpublished manuscript), in which he analyzed the tonal characteristics of Slovak folk songs (Knechtsberger-Karin, 1963).

Anna Dočkalová taught music pedagogy to students of all degree courses from 1936/37 to the end of the the 1938/39 academic years (Gregor, 1982). After graduating from a high school in Brno (1904) and Charles University in Prague (1909), Dočkalová studied from 1909 to 1913 at the Stern Conservatory in Berlin. From 1913 to 1919, she was an operatic soloist at the Berlin State Opera. In 1930, she moved to Bratislava and together with Dr. Orel managed the Academic Singing Society at Comenius University. At the same time, she worked as a singing teacher at a state grammar school. Dočkalová also helped create a photo archive of musical sources at the Department.

Orel’s inspiring role as a teacher and musicologist with valuable knowledge on Slovak musical history was well appreciated. This was supplemented by his students focusing on musicological research in different Slovakian regions, while Orel primarily conducted his research in Bratislava. Their work laid a solid foundation for further knowledge about the history of music and music culture in Slovakia. In addition to specific regional topics, all of Orel’s disciples also tried to provide a comprehensible history of Slovak music.

One of Orel’s endeavours was to train music teachers so that they could achieve a professionally high level of teaching. In this regard, he organized permanent lectures on music education and regularly led courses for improving the qualifications of teachers at municipal schools, which were managed by the Ministry of Education. Orel brought new and advanced knowledge into the process of music education. He also emphasized the musical training of future musicologists. Furthermore, he conducted the choir of the Academic Singing Society, whose repertoire included choral and cantata works by Czech and Slovak composers. The importance of Prof. Orel is evidenced by the fact that he served as the head of the Department of Musicology and also held other managerial positions (deputy dean in 1922–23, dean of the Faculty of Philosophy in 1931–32, and rector of the University) (Chalupka, 2001).

 Antonín Hořejš (1901–1967), who had also attended Adler’s lectures in Vienna, worked at the Department as a research assistant in the years 1929–31. He was the first to analyze the monumental collection of the Levoča tablatures. While Orel’s research interests concentrated around Bratislava’s, Martin’s, and Liptovský Mikuláš’ music histories, Hořejš became one of the Czech teachers who made a significant contribution to the development of choral singing in Slovakia.

Konštantín Hudec (1901–1952) defended his thesis ‘Novšie výskumy o vývoji hudby na Slovensku’ in 1935. Hudec’s research focused on the history of 17th- to 19th-century Slovak music. His monographs Ján Levoslav Bellaand Kremnickí trubači were published in 1937. Particularly significant was a further monograph Hudba v Banskej Bystrici do XIX. storočia, published in 1941 (Petőczová, 2006).

         Similarly to teaching staff, musicology students also had the opportunity to publish their research findings in the Faculty journal Zborník FF UK. The first issue already appeared in 1922 and was divided into 13 thematic sections, which is still the case to the present day.

        After the 1938 Vienna Arbitration, Czech teachers had to leave Slovakia. As a consequence and despite his outstanding achievements, Orel also had to leave the Faculty two years before his retirement; however, his personal file stated that he had retired. After returning to Prague, he focused on preparing the Speciálník codex of Hradec Králové to be published by the Czech Academy of Sciences and Arts, which, in the end, did not happen.   Anna Dočkalová also finished her appoitment at Comenius University in December 1938.

After the 1940 disintegration of Czechoslovakia, which resulted from the Nazi Germany’s occupation, Comenius University was renamed the Slovak University. Acts on the habilitation of both Orel and Hudec were annulled.

      After Orel’s departure, Hudec became the head of the Department, working voluntarily. However, rather than giving lectures, he took care of the library. It was hard work, often with a sense of helplessness, as the library collection, carefully assembled by Orel, was being constantly relocated until 1950. The Department of Musicology and its library moved eight times, which resulted in a number of  uncatalogued books and some damaged or even lost.

Following the example of his teacher, Hudec conducted lectures based on his preferences, gradually increasing the number of subjects. He lectured in the fundamentals of Christian music, the Gregorian chant, polyphonic music development, vocal counterpoint, medieval music in Czechoslovakia, the introduction to the history of Slovak music, the music of Slavic peoples, and musical paleography; in addition, he led a music-historical seminar.

Hudec entrusted his assistant Jozef Kresánek with conducting lectures in musical aesthetics and the basics of music analysis. In the post-war period, Ján Strelec (methodology of music education), Štefan Kantor (auditory analysis), and Eva Fischerová-Martvoňová (piano playing) worked for a short time at the institution, allong with Kafenda. From October 1947, musicology classes were conducted by Eugen Suchoň; he read the basics of harmony in the 1949/50 academic year.

In 1953, the Department was headed by Associate Professor Jozef Kresánek, who became a professor in 1963 and Doctor of Philosophy in 1970. He lectured in the introduction to musicology, musical analysis, and musical aesthetics. After an administrative reorganization, which was one of the numerous reforms of higher education, the Musicology Department was integrated into the Department of Arts (headed by the literary critic Prof. Mikuláš Bakoš) as a sub-department and its emphasis shifted from the scientific orientation to mainly pedagogical programmes. The change was also due to the restoration of the Institute of Musicology at the National Academy of Sciences by Act № 22 of the Slovak National Council dated 22 February 1946, which defined the Academy as a scientific and research centre. Despite these unfavorable circumstances, Kresánek managed to gather a team of employees, including Veronika Šediváand Ladislav Mokrý. They both worked on the Essay on the History of Slovak Music, which was published in 1956.

At the end of the 1950s, there was another governmental intervention into the relatively well-established process of musicological education: as a result of the abolition of the Pedagogical University and the ‘convergence of science with life’ (Chalupka 2001, 21) being postulated at that time, the Department of Music Education of the Pedagogical University merged with the Musicology Department of the Faculty of Philosophy. It was pointed out that the musicological programme at Comenius University was too immersed in research problems and did not respond to the problems of modern musical life.

It was generally said that the advantage of this unification lay in the increasing number of regular teachers at the newly created department, chaired by Associate Professor Eugen Šimúnek. In addition, the department also envisaged a combination of musicology and musical pedagogy (therefore, musical education now also included learning a musical instrument). Vocal training as well as instrumental training lasted eight semesters and auditory analysis was planned for five semesters. Nevertheless, the fundamental disciplines of systematic musicology, such as music psychology, music sociology, and music philosophy, were absent, and there was also a narrower offering within the framework of elective lectures.

In 1963, a separate department of musicology was established with Professor Jozef Kresánek as its chair. At that time, it was important to resist pressure from the official  outside voices saying that after the foundation of the Department of Music Theory at the Academy of Music and Performing Arts (VŠMU), there was no need for two music research centres in Bratislava and the one at the Faculty of Philosophy should be, therefore, abolished. Unfortunately, the independent musicology department did not last long. In 1972, again for ideological reasons and after checking the teachers, a decision was made about the ‘correct orientation’ of workplaces.

In the mid-1980s, the sub-department of musicology in the Department of Aesthetics and Art Studies had only six teachers (Kristína Izáková, Ingeborg Šišková, Naďa Hrčková, Oľga Šimová, Ľubomír Chalupka, and Marta Hulková). In spite of the situation, the pedagogical processes did not lose momentum and lecturers sought  opportunities to stimulate students’ research interests (Chalupka, 2001: 21). From 1983, the Symposium of Young Musicologists was organized as the first event for young graduates in Czechoslovakia, and three years later it attracted international participation. In 1989, an independent musicology department was formed for the third time, headed by Associate professor, later Professor Oskár Elschek, who invited foreign lecturers, e.g. Professor Franz Födermayer from Vienna and Professor Jürgen Elsner from Berlin. (Chalupka, 2001: 26). A part of the library funds was also returned to the Department.

Musicologists (graduates from the Department) who focused on 20th-century music and its connections with other arts have included Otto Ferenczy, Ivan Hrušovský, Ladislav Burlas, Igor Vajda, Ľubomír Chalupka, Juraj Lexmann,  Milan Adamčiak, Július Fujak, and Yvetta Kajanová.

It is necessary to note that of two educational institutions with the oportunity to study either music theory (at the Academy of Music and Performing Arts/VŠMU) or musicology (at the Faculty of Philosophy, Comenius University), the Musicology Department at Comenius University is older and so graduates from VŠMU have to compete with the standard of those graduating from Comenius University whilst the two institutions also need  to collaborate. This is equally topical for contemporary music institutions and universities oriented towards music theory, such as the universities in Prešov, Ružomberok, Banská Štiavnica, and Banská Bystrica. In this regard, it is worth mentioning some other significant contemporary theorists (e.g. Eva Ferková, Zuzana Martináková, Hana Urbancová, Jana Lengová, and Slávka Kopčáková) who, instead of musicology at Comenius University, studied music theory but were influenced by distinguished musicologists, former graduates from Comenius University’s Department of Musicology. Here, attention is paid to all three main areas of musicological research: music history, ethnomusicology (the theory of folk and traditional music), and systematic musicology (including music theory, aesthetics, psychology, and acoustics). The teachers’ specializations covering most of the main areas of musicology correspond to the curriculum structure. In adition, students study folk music, popular music, jazz, and opera. Furthermore, bachelor’s and master’s courses also include the following practical subjects: Collegium Musicum, piano performance, and score studies, as well as areas of the practical application of musicology such as computer musicology, music criticism, music management, concert and opera dramaturgy, and music museology.

 

 

4. Organization of the Department of Musicology at Comenius University in Bratislava

Currently, seven full-time teachers and researchers work at the Department: Marta Hulková and Jana Bartová mainly research the ancient history of music; Yvetta Kajanová is an expert in the history of jazz, rock and popular music; Marcus Zagorski, a graduate of Stanford University (USA), focuses on the music of the 20th century; Vladimír Zvara deals with the history of opera and the aesthetics of music; Jana Belišová focuses on Romani musical culture and ethnomusicology; Branko Ladič, conductor and pianist, gives lectures in music theory. They also either lead or participate in significant research grant projects. In addition, they are conducting a joint project dedicated to the history of music in Bratislava.

The department offers educational programs at the bachelor’s, master’s, and doctoral levels, teaching is conducted in Slovak and English. The number of students is limited, as it allows more profitable communication between students and teachers and the learning process. Graduates of the Musicology Department of Comenius University have successful careers both in Slovakia and abroad, and they are highly respected professionals not only in musicology, but also in the fields of music and cultural management, programming, and journalism.

Courses has been also conducted by doctoral students and guest teachers – leading Slovak and foreign experts from other academic institutions or artistic practices; they have included, among others, Professor Oskar Elschek, Peter Zajíček, Lucia Lužinská, Adriena Bartošová, Boris Čellár, and Miroslav Zahradník. In addition, the Department regularly holds one-off guest lectures, with recent participation of several outstanding foreign musicologists such as Wolfgang Dömling (Hamburg), Oliver Gerlach (Berlin, Neapol), Jarmila Gabrielová (Prague), László Vicarius (Budapest), Ivan Poledňák (Prague), Malgorzata Wozna-Stankiewicz (Krakow), Helmut Loos (Leipzig), Anselm Gerhard (Bern), Jürg Stenzl (Salzburg), Marina Toffetti (Padua), Luca Cerchiari (Milano), and Zuzana Ben Lassoued (Canada). Some musicologists (e.g. Julijana Zhabeva Papazova from Macedonia and Svetlana Šašina from Russia) worked at the Department of Musicology for several months as visiting researchers, supported by scholarship from SAIA or the Visegrad fund.

Graduates of the Bratislava School of Musicology work in various fields. Some teach at universities (art and pedagogical fields), high schools (conservatories and grammar schools), or primary schools of performing arts. Others have found employment in cultural institutions or in the media (as television or radio presenters/moderators), as journalists in professional magazines or newspapers’ cultural departments, or project managers in music institutions and theaters. They also use their skills and knowledge when working in specialized libraries, archives, or museums. Some of the graduates find their place in scientific institutions, in particular the Institute of Musicology of the Slovak Academy of Sciences, or at other musicology workplaces at universities in their country or abroad. For Slovak graduates, the path of independent activity in public associations, private publishing houses, and art agencies is also open. In this field, there are still many employment opportunities for ambitious, creative and well-prepared young people.

 

5. Conclusion

It is important to recognize the leading role of Dobroslav Orel in Slovak musicology. Orel sought to raise Slovak musicology to European standards in all aspects of music education, while preserving national achievements and encouraging the public to realize the social importance of music education for the progress of national culture and simultaneously strengthening the prestige of musicology as a necessary foundation for professional musicians.

Orel’s endeavours led to the emergence of a galaxy of Slovak musicologists and music historians who were brought up on methodology of European academic education. This was the first generation of musicologists who were able to receive a thorough European-model education in their homeland. Highly educated scholars were aware of the significant role of musicology for the development of society’s spiritual domain and appreciated achievements of national culture in the world-wide context.

 

 

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[1] Hysa Oksana Andriyivna, PhD, Associate Professor at the Department of Musicology and Musical Art Methodology of the Ternopil Volodymyr Hnatyuk National Pedagogical University in Lviv-Ukraine. 

[2] The recommended name change was agreed five years ago, even though some of the faculty departments had already used it from 1989.

[3] Der Mensuralkodex Speciálník: ein Beitrag zur Geschichte der Mensuralmusik und Notenschrift in Böhmen bis 1540. https://cs.wikipedia.org/wiki/Kodex_Speci%C3%A1ln%C3%ADk; https://ininet.org/oakeley-sir-herbert-stanley.html?page=126