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Scientific Journal

Musicologica 1/2026

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“ZVOŇTE, ZVONKY“ [Bells, Ring] – A Musical Event

· · Musicologica 1/2026

The research paper “Zvoňte, zvonky“ attempts to define the status of a musical event—a singularity—by drawing on the oppositions between the social logic of generality and the social logic of particularity, as well as the aesthetics of identity and the aesthetics of contrast. This definition serves as a methodological tool that makes it possible to interpret why the band Prúdy’s album “Zvoňte, zvonky“ can be considered, in the context of Czechoslovak rock music and popular artistic culture in general, a musical event par excellence. In order to support this hypothesis with sufficiently convincing arguments, it was necessary to clarify the context that enabled the emergence of this event, how the album’s aesthetics and poetics differ from contemporary productions, and how it influenced the development of subsequent trends, particularly in Slovak rock music.

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Anthropological assumptions and aesthetics norms

· · Musicologica 1/2026

In Jan Mukařovský’s study Aesthetic Function, Norm, and Value as Social Facts, we encounter the term “anthropological prerequisites, which refers to anthropological principles, i.e., something that is part of human nature. This something belongs to nature and could be considered the natural basis of aesthetic norms. Anthropological principles include, for example, the regular rhythm of blood circulation or breathing, right angles, symmetry, viewing angles, color complementarity, etc., in short, something related to human physicality. However, according to Mukařovský, aesthetic norms are a social, ergo cultural fact, which contradicts the claim that they are constituted on the basis of anthropological principles inherent to humans as a species. On the one hand, anthropological principles and aesthetic norms are autonomous, one belonging to nature and the other to culture. On the other hand, it must be said that there is nevertheless interaction between them. In other words, in some cultures and historical stages of art development, certain anthropological principles, such as the regular rhythm of blood circulation, may be consciously or unconsciously used in the process of constituting aesthetic norms. In other cultures and historical stages of art development, we encounter the fact that the constitution of certain aesthetic norms deliberately violates anthropological principles, and this violation is determined by the presumed aesthetic effect of the work of art. The aim of the paper entitled Anthropological Assumptions and Aesthetic Norms is to examine some of the modalities of the relationship between anthropological principles and aesthetic norms.

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