Musicologica

Journal of the Department of Musicology

Musicologica 1/2016

english

Department of Musicology · Faculty of Arts · Comenius University Bratislava
ISSN 1337-9070

Contents

  1. New Faces of Slovak Jazz — Yvetta Kajanová
  2. Scott Walker, Postmodern Tendencies of His Poetics and Works — Pavol Gajdoš
  3. Entertaining Music in Bratislava until 1938 — Yvetta Kajanová
  4. Miles Davis – From Bebop to Hip Hop. The Fifties — Luca Cerchiari

New Faces of Slovak Jazz

Yvetta Kajanová · 11.04.2017

Abstract

New faces of Slovak jazz is a competition of amateur jazz bands in Slovakia. The competition was formed in 1986 as part of the Slovak Jazz Festival in Žilina, later it has been transferred to Bratislava in 1995. This competition assisted in professionalising young novice jazz musicians. Almost a quarter of the participants of this event has gradually established themselves on the stage and achieved their creative, but also the peak period in their career which included musicians such as Ondrej Krajňák, Klaudius Kováč, Milo Suchomel, Martin Valihora, Hanka Gregušová, Michal Bugala, Štefan Bugala and others. This paper reports a detailed list of personalities who participated in the competition in the period 1986 – 2016. It was reconstructed by historical events through oral tradition, minutes from the archives of Slovak Jazz Society and scattered information in newsletters, newspapers and magazines.

Keywords

Musicologica · Musicologica 1/2016ISSN 1337-9070

Scott Walker, Postmodern Tendencies of His Poetics and Works

Pavol Gajdoš · 11.04.2017

Abstract

The author is dealing with six key words tied with a topic, which demonstrates indisputable importance of Scott Walker for world of music. One of them is conceptualism in the aesthetics of rock music as well as function and interaction of such terms as the relationship of the composer and the work, intertextuality, intersections of pop and classical music, intermediality and aesthetics of ugliness. The author presents in the character of Scott Walker the largest musical “chameleon” in the history of popular music; singer, composer pop, rock, classical and avant-garde music, composer of film music, song writer and poet who gives an exemplary work of progressiveness and syncretism in major artistic universe by his more than fifty years of musical career. With his personality and work we can demonstrate an example of the incoming “new” type of artist, dissatisfied, doubtful and unseized. His roots are based on popular culture; from times, even before the digital world of the mid-sixties, where the reflections of the composer and his work are moved to today’s fluid time. The chameleon is an animal that adapts to the environment by camouflaging; choosing different colors, but Walker tones changes his art eminently freely, freshly and unexpectedly. This study will talk about a story of courage, listening the voices of muses as well as insight of media and ability to articulate the deepest portions of the human being of the author and the recipient as well as inside the medium through which the dialogue between the two sides are pending.

Keywords

Musicologica · Musicologica 1/2016ISSN 1337-9070

Entertaining Music in Bratislava until 1938

Yvetta Kajanová · 11.04.2017

Abstract

At the end of the 19th century and at the beginning of the 20th century, Bratislava has been multicultural small city, which was gradually taking over many features of a big city entertaimnet up until 1938. Hungarian, German and Slovak music culture has been overlapped, but also cultures of other nations penetrated to the music such as Klezmer, Romani, Czech music and others. In this period dominated genres of brass music, music of promenade orchestras, chants of street parades, Gypsy music, saloon orchestras, cinema music, folk music and operetta in Bratislava.To these genres gradually penetrated entertaining music from big cities in the form of shimmy, two-step, one step, tango, charleston, rumba, cha-cha and jazz. In this multicultural environment, the first dance song had been created by D. Pálka-Š. Hoza: Don’t Tell Girl to Anyone.

Keywords

Musicologica · Musicologica 1/2016ISSN 1337-9070

Miles Davis – From Bebop to Hip Hop. The Fifties

Luca Cerchiari · 11.04.2017

Abstract

Tonality, which began in Europe, challenges the Second Viennese School of Schöenberg, Webern and Berg, again strongly reinforces the American pop music, while tonal feeling of jazz already with bebop elements (chromaticisms, bitonality, seconds, expansion of forms and structures) were in crisis and it started in the 50s its own way; a path that indicates further new perspectives for the future: moving away from the song form and improvisation based on chords performed by Cecil Taylor, a tendency towards expressive possibilities offered by modality and the nascent interest in multinational elements of ethnic music. A new musical language is coupled with technological innovations; while the radio is added to television and film production and is progressing rapidly as a worldwide phenomenon. Recording on magnetic tapes and LPs birth (ie disc 33 rpm) again extends and modifies creative relationships and the pursuit of confrontation in music. But it is hard-bop stream that Miles Davis intuitively senses and spreads even before pianist Horace Silver, drummer Art Blakey, trumpeter Clifford Brown and others formally directed the use of the typical African-American themes.

Keywords

Musicologica · Musicologica 1/2016ISSN 1337-9070

Editor-in-Chief: Yvetta Kajanová


Editorial Staff: Mgr. Zuzana Ben Lassoued, PhD., Mgr. Monika Dorna, PhD., Mgr. Lea Duffell


Editorial Board:

Prof. Stéphane Audard, PhD., Sorbonne Université, Paris Conservatory, Paris Cité University, Iremus-CNRS, Paris, France

Ass. Prof. Jana Bartová, PhD., Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

Mgr. Jana Belišová, PhD., Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

Mgr. Jan Blüml, PhD., Faculty of Arts, Palacký University Olomouc, Czech Republic

Prof. Luca Cerchiari, PhD., IULM-University of Languages and Communication, Milan, Italy

Mgr. Ondřej Daniel, PhD., Institute of World History, Faculty of Arts, Charles University, Pragues, Czech Republic

Prof. Peter Frost Fadness, Faculty of Performing Arts, Deparment for jazz, Dance, PPU and Music Production, University of Stavanger, Norway

Prof. PhDr. Marta Hulková, PhD., emeritus researcher, Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

Prof. Yvetta Kajanová, PhD., Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

Ass. Prof. Stefano Marino, Universita di Bologna, Department of the Arts, Italy

Petr Dorůžka, Czech National Radio, Prague, Czech Republic,  member of The World Music Charts Europe panel

Dr. Kinga Povedák, PhD. MTA-SZTE ‘Convivence’ Religious Pluralism Research Group (ELKH), Hungarian Academy of Sciences, Budapest, Hungary, University of Szeged, Departments of Ethnology and Cultural Anthropology), Hungary

Ass. Prof. Rüdiger Ritter, PhD. Technical University of Chemnitz, Institute for Cultural and Area Studies of East Central Europe

Prof. PhDr. Lubomír Spurný, PhD., Department of Musicology, Faculty of Arts, Masaryk University, Brno, Czech Republic

Ass. Prof. Igor Pietraszewski, PhD., Institute of Sociology, University of Wroclaw, Poland

Ass. Prof. Marina Toffetti, Universita degli studi di Padova, Dipartimento dei Beni Culturali, Italy

Ass. Prof. Dr. Marcus Zagorski, PhD., Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

Dr. Julijana Zhabeva Papazova, PhD., Ss. Cyril and Methodius University, Faculty of Music, Skopje, Macedonia

Ass. Prof. Mgr. Vladimír Zvara, PhD., Department of Musicology, Faculty of Arts, Comenius University, Bratislava, Slovakia

 

Publisher: Department of Musicology, Faculty of Arts, Comenius University, Bratislava

 

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Musicologica · Musicologica 1/2016 · ISSN 1337-9070