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Od Piesní Ľudu K Figurálnej Hudbe

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Od Piesní Ľudu K Figurálnej Hudbe Ústav hudobnej vedy Slovenskej akadémie vied Musicologica Slovaca Ročník 11 (37) 2020 Číslo 1 Bratislava 2020 MUSICOLOGICA SLOVACA Ročník 11 (37), 2020, číslo 1 Volume 11 (37), 2020, Number 1 Časopis Ústavu hudobnej vedy Slovenskej akadémie vied, vychádza dvakrát ročne. Journal of the Institute of Musicology of the Slovak Academy of Sciences, published biannually. Redakcia / Editorial Staff Hlavná redaktorka / Editor-in-Chief: Hana Urbancová Redaktorka / Editor: Katarína Godárová Redakčná rada / Editorial Board Bernard Garaj (Univerzita Konštantína Filozofa v Nitre), Michal Hottmar (Univerzita Komenského v Bratislave), Ladislav Kačic (Slavistický ústav Jána Stanislava SAV), Jana Lengová (Ústav hudobnej vedy SAV), Peter Ruščin (Ústav hudobnej vedy SAV), Eva Szórádová (Univerzita Konštantína Filozofa v Nitre), Markéta Štefková (Vysoká škola múzických umení), Eva Veselovská (Ústav hudobnej vedy SAV) Medzinárodná redakčná rada / International Advisory Board Zsuzsa Czagány (Zenetudományi intézet MTA BTK, Budapešť), Vladimír Maňas (Masary- kova univerzita, Brno), Barbara Przybyszewska-Jarmińska (Instytut Sztuki PAN, Varšava), Jurij Snoj (Muzikološki inštitut ZRC SAZU, Ľubľana), Jadranka Važanová (City University of New York), Lubomír Tyllner (Etnologický ústav AV ČR, Praha), Hana Vlhová-Wörner (Universität Basel – Akademie věd České republiky, Praha) Adresa redakcie / Editorial Address Dúbravská cesta 9, 841 04 Bratislava 4, Slovenská republika e-mail: [email protected] tel./fax.: +421 2 54773589 Vydavateľ a distibúcia / Publisher and Distributor Ústav hudobnej vedy SAV Dúbravská cesta 9, 841 04 Bratislava 4, Slovenská republika e-mail: [email protected]; [email protected] tel./fax.: +421 2 54773589 Časopis je evidovaný v databázach / Abstracted and Indexed in RILM (Répertoire International de Littérature Musicale), EBSCO – RILM Abstracts of Music Literature, CEJSH (The Central European Journal of Social Sciences and Humanities) © Ústav hudobnej vedy Slovenskej akadémie vied, Bratislava 2020 ISSN 1338-2594 MK SR EV 4007/10 Musicologica Slovaca 11 (37), 2020, č. 1 OBSAH Štúdie Darina MÚDRA: Poznámky k typológii sakrálnej hudby (Od piesní ľudu k figurálnej hudbe)........................................................................................................... 5 Jana LENGOVÁ: Bratislavský spevácky spolok a jeho prvý zbormajster Anton Strehlen ................................................................................................................ 34 Michal ŠČEPÁN: Renesancia mýtu v hudobných baladách Tadeáša Salvu ................. 62 Lenka KAŠČÁKOVÁ: Testovanie rozvoja hudobných schopností detí predškolského veku ........................................................................................................ 92 Materiály Klaudia DŽAVÍKOVÁ – Hana URBANCOVÁ: Drotárske piesne z obce Veľké Rovné ................................................................................................................. 117 Recenzie Janka Petöczová (ed.): The Musical Sources of Spiš/Zips and Central Europe (Thomas Hochradner) ................................................................................................. 137 Eva Veselovská: Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini (Veronika Garajová) ................................................................................ 139 Ivan Hrušovský: Úvod do štúdia teórie harmónie (Kristína Gotthardtová) ............. 141 Správy Musik und ihre gesellschaftliche Bedeutung in den staats- und postsozialistischen Ländern Mittel- und Osteuropas seit 1945 / Music and social meaning in state and post-socialist countries of East and East Central Europe since 1945, Marburg, 5. – 7. júna 2019 (Michal Ščepán) ................................................................................ 143 Music in the Context of Culture, dedicated to the 90th anniversary of Givi Orjonikidze, Tbilisi, 2. – 4. decembra 2019 (Vladimír Fulka) ....................... 145 Musicologica Slovaca 10 (36), 2020, č. 1 CONTENTS Studies Darina MÚDRA: Notes on the Typology of Sacred Music (from Folk Hymns to Figural Music) ................................................................................................................... 5 Jana LENGOVÁ: The Bratislava Choral Society and Its First Choirmaster Anton Strehlen ................................................................................................................ 34 Michal ŠČEPÁN: Renaissance of Myth in the Musical Ballads of Tadeáš Salva ......... 62 Lenka KAŠČÁKOVÁ: Testing the Development of Musical Abilities in Children of Pre-school Age ............................................................................................................ 92 Materials Klaudia DŽAVÍKOVÁ – Hana URBANCOVÁ: Tinker Songs from the Village of Veľké Rovné .................................................................................................................. 117 Reviews Janka Petöczová (ed.): The Musical Sources of Spiš/Zips and Central Europe (Thomas Hochradner) ................................................................................................. 137 Eva Veselovská: Catalogus fragmentorum cum notis musicis medii aevi e civitate Kesmarkini (Veronika Garajová) ................................................................................ 139 Ivan Hrušovský: Úvod do štúdia teórie harmónie (Kristína Gotthardtová) ............. 141 Reports Musik und ihre gesellschaftliche Bedeutung in den staats- und postsozialistischen Ländern Mittel- und Osteuropas seit 1945 / Music and social meaning in state and post-socialist countries of East and East Central Europe since 1945, Marburg, June 5 – 7, 2019 (Michal Ščepán) ................................................................ 143 Music in the Context of Culture, dedicated to the 90th anniversary of Givi Orjonikidze, Tbilisi, December 2 – 4, 2019 (Vladimír Fulka) ....................... 145 Musicologica Slovaca 11 (37), 2020, č. 1 5 POZNÁMKY K TYPOLÓGII SAKRÁLNEJ HUDBY (OD PIESNÍ ĽUDU K FIGURÁLNEJ HUDBE) Darina Múdra PhDr. Darina Múdra, DrSc.; Ústav hudobnej vedy SAV, Dúbravská cesta 9, 841 04 Bratislava 4; e-mail: [email protected] Abstract In researching the culture of sacred music (of the Roman Catholic Church, the major denomination) during the period of classicism on the territory of present-day Slovakia, we have reached a new stage of knowledge, enabling us by novel means to reassess the received image of how that culture was nurtured in our land. The new findings concern places where the musical art was cultivated (which can now be connected in the form of a musical network), musicians and musical families, the instrumentarium (organs and other instruments), and the repertoire. The creation of a musical network has been made possible by an exceptionally rich new factography with a powerful argumentative force, and also by a new typology based on criteria of a supremely musical nature (and secondarily, of a universal cultural nature). The decisive criterion was the character and level of performance practice, as applied in the given period. Key words: typology, changes, performance practice, canonical visitations, music, database Úvod Vo výskume problematiky sakrálnej hudobnej kultúry (majoritnej rímskokatolíckej cirkvi) v epoche klasicizmu sme dospeli do štádia poznania, ktoré umožnilo novým spôsobom prehodnotiť obraz pestovania sakrálnej hudobnej kultúry na našom území. Pre teritórium Horného Uhorska, teda dnešného Slovenska, bola totiž ešte aj v štýlovej epoche klasicizmu charakteristická (historicky podmienená) prevaha sakrálnej hudby nad profánnou, čo zvýraznilo význam miest jej pestovania. Vďaka radikálnemu náras- tu faktografie (získanej výskumom kanonických vizitácií) a zásluhou novej typológie 6 Darina Múdra (s kritériami výsostne hudobného charakteru) sa podarilo nielen vyplniť mnohé biele miesta v doteraz platnej mozaike našich hudobných dejín, ale tiež korigovať viaceré (časom svojho vzniku podmienené) tvrdenia. I. Premeny typológie Doterajšia typológia miest pestovania hudby na Slovensku v rozmedzí rokov asi 1750 – 1830 bola založená prevažne na kritériách nehudobného charakteru. Tie sa opierali o stupeň hospodárskej rozvinutosti lokality, jej politicko-spoločenský status, a násled- ne z toho sa odvodzovala aj miera kultúrnej (teda aj hudobnej) rozvinutosti. Tento druh typológie nájdeme uplatnený vo väčšine zatiaľ u nás publikovaných dejín hudby syntetizujúceho charakteru. V tomto smere výnimku tvorí iba publikácia Konštantína Hudeca Vývin hudobnej kultúry na Slovensku (1949).1 Hudec zahrnul klasicizmus do kapitoly Pobaroková hudba. Jeho historickú existenciu však zároveň poprel tvrdením „Ťažko by bolo u nás hovoriť o klasickej alebo romantickej hudbe.“ Ako stredisko hud- by si jeho pozornosť vyslúžila iba Bratislava. Niekoľko ďalších lokalít spájal s pobytom skladateľov. Len osem rokov po Hudecovej práci vyšli na pôde SAV prvé synteticky zamera- né tzv. akademické Dejiny slovenskej hudby (1957),2 a to ako kolektívne dielo. Ivan Hrušovský sa ujal spracovania dovtedy „neexistujúceho“ klasicizmu.3 Ako základné kritérium jeho členenia použil rozdelenie na oblasť svetskej a cirkevnej hudby. V prvej skupine zohľadnil hudobnú kultúru tých miest, ktoré v rámci župného členenia Hor- ného Uhorska patrili k najrozvinutejším. Ostatné spomenul len ako miesta pobytu významných skladateľov, prípadne interpretov. Podobný kľúč členenia uplatnil Hru- šovský aj v oblasti sakrálnej hudby. Rozhodujúcimi pre výber miest sa stali
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