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ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 34 – 2009 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 34 – 2009 MUSICOLOGICA OLOMUCENSIA X Univerzita Palackého v Olomouci Olomouc 2009 AUPO Musicologica Olomucensia Editor-in-chief: Jan Vičar Editorial Board: Michael Beckerman – New York University, NY, Mikuláš Bek – Masaryk University in Brno, Roman Dykast – Academy of Performing Arts, Prague, Jarmila Gabrielová – Charles University, Prague, Lubomír Chalupka – Komenský University in Bratislava, Dieter Torkewitz – Universität für Musik und darstellende Kunst Wien, Jan Vičar – Palacký University in Olomouc Executive editors of volume No. X: Věra Šímová and Jan Vičar MORAVIA+WORLD MORAVA+SVĚT Art in the open multicultural space Umění v otevřeném multikulturním prostoru X. svazek AUPO, Musicologica Olomucensia byl vydán v rámci výzkumného záměru Morava a svět: Umění v otevřeném multikulturním prostoru, MSM 6198959225 The present volume was submitted to print on September 21, 2009. Dieser Band wurde am 21. September 2009 in Druck gegeben. Předáno do tisku 21. září 2009. 1. vydání © Věra Šímová, Jan Vičar (editors), 2009 ISBN 978-80-244-2456-9 ISSN 1212-1193 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X CONTENTS Mark FITZGERALD: New Music, Old Music, Newer Music: The Cologne Soundscape in the Late 1970s . .11 Greg HURWORTH: Musical Ethnography in Maramureş: Fieldwork in the Shadow of Béla Bartók . .27 Marek KEPRT: Structure of Chords in Compositions of Scriabin’s Middle Period . .59 Jiří KOPECKÝ: The Opera Šárka by Zdeněk Fibich . .79 Markéta KOPTOVÁ: Alma Mahler – a Woman, Artist, Muse: From the Life of a Femme Fatale . .97 Václav KRAMÁŘ: Work of Music – Musical-Aesthetic and Legal Conception: On the Protection of the Copyright for a Work of Music in Dependence upon Transformation of the Musical Paradigma and Shifts in Terminology . .109 Markéta KRATOCHVÍLOVÁ: Music under the Sediment of Ideology: Development of the Reception of the Work of Otakar Ostrčil . .125 Lenka KŘUPKOVÁ: Why The Makropulos Case is Most Popular with the Anglo-Saxons? A Probe into the Reception of Janáček’s Opera in Germany, England and the USA. .133 Ivan POLEDŇÁK: Musicologist and Aesthetician in the Labyrinth of Politics and Ideology: Antonín Sychra . .147 5 Jan VIČAR: Ivan Poledňák (An Obituary). .165 Martina STRATILKOVÁ: Husserlian Tradition in the Conceptions of Musical Time . .169 Jan VIČAR: From Moravian Zauchtenthal through German Herrnhut to American Indians: On the Origins of Brass Music among American Moravians . .181 Eva VIČAROVÁ: St Wenceslas Cathedral in Olomouc – the Archbishop’s Sanctuary and the Centre of Cyrilian Reform . .191 List of B.A., M.A. and Dissertation Theses Defended at the Department of Musicology, Philosophical Faculty, Palacký University, Olomouc, in the Years 1993–2009 . .219 List of Studies Published in AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Contributors . .251 6 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X INHALT Mark FITZGERALD: Neue Musik, alte Musik, neuere Musik: Die Klangpalette von Köln am Rhein in den späten siebziger Jahren des zwanzigsten Jahrhunderts . .11 Greg HURWORTH: Die Musik-Ethnografi e in Maramureş: Feldforschung auf den Spuren von Béla Bartók . .27 Marek KEPRT: Akkordstrukturen in den Kompositionen von Skrjabins mittlerer Schaff ensperiode . .59 Jiří KOPECKÝ: Die Oper Šárka von Zdeněk Fibich . .79 Markéta KOPTOVÁ: Alma Mahler – Frau, Künstlerin, Muse: Aus dem Leben einer Femme fatale . .97 Václav KRAMÁŘ: Musikalisches Werk – die musikalisch-ästhetische sowie die rechtliche Auff assung: Zu dem verfassungsrechtlichen Schutz eines Musikwerkes im Zusammenhang mit den Änderungen des musikalischen Paradigmas und mit dem Fortschritt der Technologie . .109 Markéta KRATOCHVÍLOVÁ: Musik unter der Schicht der Ideologie: Die Entwicklung der Rezeption des Schaff enswerkes von Otakar Ostrčil . .125 Lenka KŘUPKOVÁ: Warum Die Sache Makropulos bei den Angelsachsen beliebter ist? Eine Sonde in die Rezeption Janáčeks Oper in Deutschland, England und den USA . .133 Ivan POLEDŇÁK: Ein Musikwissenschaftler und Ästhetiker im Labyrinth der Politik und der Ideologie: Antonín Sychra . .147 7 Jan VIČAR: Im Andenken an Ivan Poledňák . .165 Martina STRATILKOVÁ: Die Tradition Husserls in der Konzeptionen der musikalischen Zeit . .169 Jan VIČAR: Aus dem mährischen Zauchtenthal (Suchdol nad Odrou) über das deutsche Herrnhut zu amerikanischen Indianern: Über den Ursprung der Blechblasmusik bei amerikanischen Mährern . .181 Eva VIČAROVÁ: Der Wenzelsdom in Olmütz – erzbischöfl iches Gotteshaus und Zentrum der cyrillischen Reform . .191 Verzeichnis der Bakkalaureat- und Diplom-Arbeiten sowie Dissertationen, verteidigt am Lehrstuhl für Musikwissenschaft der Philosophischen Fakultät der Palacký-Universität in Olomouc in den Jahren 1993–2009 . .219 Verzeichnis der Studien publiziert in AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Autoren . .251 8 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X OBSAH Mark FITZGERALD: Nová hudba, stará hudba, novější hudba: Zvuková paleta Kolína nad Rýnem na konci sedmdesátých let 20. století . .11 Greg HURWORTH: Hudební etnografi e v Maramureş: Práce v terénu ve stínu Bély Bartóka . .27 Marek KEPRT: Struktura akordů ve skladbách Skrjabinova středního tvůrčího období . .59 Jiří KOPECKÝ: Opera Šárka Zdeňka Fibicha . .79 Markéta KOPTOVÁ: Alma Mahler – žena, umělkyně, múza: Ze života femme fatale . .97 Václav KRAMÁŘ: Hudební dílo – pojetí hudebně estetické a právní: K autorskoprávní ochraně hudebního díla v závislosti na proměnách hudebního paradigmatu a posunech terminologie . .109 Markéta KRATOCHVÍLOVÁ: Hudba pod nánosem ideologie: Vývoj recepce díla Otakara Ostrčila . .125 Lenka KŘUPKOVÁ: Proč je Věc Makropulos u Anglosasů oblíbenější? Sonda do recepce Janáčkovy opery v Německu, Anglii a USA . .133 Ivan POLEDŇÁK: Muzikolog a estetik v labyrintu politiky a ideologie: Antonín Sychra . .147 9 Jan VIČAR: Za Ivanem Poledňákem . .165 Martina STRATILKOVÁ: Husserliánská tradice v koncepcích hudebního času . .169 Jan VIČAR: Z moravského Suchdolu nad Odrou (Zauchtenthal) přes německý Herrnhut k americkým Indiánům: O původu žesťové hudby amerických moravanů . .181 Eva VIČAROVÁ: Dóm svatého Václava v Olomouci – arcibiskupský svatostánek i ohnisko cyrilské reformy . .191 Seznam bakalářských, diplomových a disertačních prací obhájených na Katedře muzikologie Filozofi cké fakulty Univerzity Palackého v Olomouci v letech 1993–2009 . .219 Soupis studií publikovaných v AUPO, Musicologica Olomucensia, I–X, 1993–2009 . 239 Autoři . 251 10 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MUSICOLOGICA OLOMUCENSIA X New Music, Old Music, Newer Music: The Cologne Soundscape in the Late 1970s Mark Fitzgerald There is something attractive about labels for historians, not to mention for concert managers and marketing strategists, and while there is much discussion of how we have left a “period of common practice” and now live in a period of freedom from various “tyrannies”1, it is quite extraordinary how many labels are used to group together the vari- ous musics from this period. Jostling together are the new romantics, new expressionists, minimalists, devotees of the new simplicity and of course some old fashioned modernists. The English composer Christopher Fox has recently posited a further “Cologne School” from the late 1970s, but whereas Cologne in the 1970s for most people would instantly suggest the names of the two recently deceased compositional rivals who attracted stu- dents from around the world to the Hochschule, Karlheinz Stockhausen (1928–2007) and Mauricio Kagel (1931–2008), Fox concentrates on a group from the younger genera- tion of students who studied in Cologne at this period, some of whom would have been associated with the Neue Einfachheit group.2 Fox focuses almost exclusively on four composers, but if one also includes all names suggested to Fox by the composers interviewed for his article the result is the following list: Michael von Biel (b. Germany 1937), John Maguire (b. USA 1942), Clarence Barlow (b. India 1945), Claude Vivier (b. Canada 1948, d. Paris 1983), Walter Zimmermann (b. Germany 1949), Kevin Volans (b. South Africa 1949), Gerald Barry (b. Ireland 1952) and Chris Newman (b. England 1958). The four names selected to form Fox’s Cologne School are Barlow, Zimmermann, Volans, and Barry. Fox outlines the reasons for his selection as follows: 1 A term that can essentially be defi ned as the type of music not written by the composer using it. 2 Christopher Fox, “Where the River Bends: The Cologne School in Retrospect”, The Musical Times 148/1901 (Winter 2007), p. 17–42. 11 It is this consistency of artistic purposes [a sharing of compositional preoccupa- tions] that convinces me, if no one else, that it is useful to group these composers together. It also confi rms me in my decision to leave other fi gures out of the frame. When I discussed this article with Volans and Zimmermann they both mentioned the importance of Michael von Biel (b.1937), [...] but Biel’s rather sporadic output demonstrates a sensibility closer to the New York School than to the Cologne School. Barry and Volans also mentioned Claude Vivier (1948–1983) but as Volans said, Vivier was “totally in love with Stockhausen and his method” so they “ignored” him. The American composer John
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    http://oac.cdlib.org/findaid/ark:/13030/tf2j49n5h3 Online items available Finding aid for the David Tudor papers, 1800-1998, bulk 1940-1996 Lynda Bunting and Mary K Woods Finding aid for the David Tudor 980039 1 papers, 1800-1998, bulk 1940-1996 Descriptive Summary Title: David Tudor papers Date (inclusive): 1800-1998, bulk 1940-1996 Number: 980039 Creator/Collector: Tudor, David, 1926-1996 Physical Description: 177.5 Linear Feet Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Papers of the avant-garde pianist and electronic music composer, David Tudor, comprehensively document his participation in post-World War II experimental music. Scores by other composers, notably John Cage, Earle Brown, Morton Feldman, Christian Wolff, Sylvano Bussotti, and Karlheinz Stockhausen, Tudor's realizations of their scores, and his own electronic compositional materials form the bulk of the collection. Archive includes correspondence, financial papers, programs and announcements, specifications and documentation for electronic equipment, and audio and video recordings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Born in Philadelphia, Pa. in 1926, David Tudor studied composition and analysis with Stefan Wolpe, organ and theory with H. William Hawke, and piano with Irma Wolpe Rademacher. He began his professional work at 17 as an organist, and in 1950 established himself as a formidable talent in avant-garde music when he gave the American premiere of the Second Piano Sonata by Pierre Boulez.
  • Carpathian Ruthenia As an Imagined Colonial Space

    Carpathian Ruthenia As an Imagined Colonial Space

    THE CZECHOSLOVAK ORIENT: CARPATHIAN RUTHENIA AS AN IMAGINED COLONIAL SPACE BY GEOFFREY BROWN A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in History Victoria University of Wellington 2016 Figure 0.1 – “Let’s Get To Know the People and Beauty of Subcarpathian Ruthenia!” Czech Tourist Guidebook Cover (1937) “Poznejte lid a krásy Podkarpatské Rusi!” (Uzhhorod: Národohospodářský sbor pro zemi Podkarpatoruskou, 1937). ii Abstract In 1919 the territory of Subcarpathian Ruthenia joined the new state of Czechoslovakia under the terms set by the Treaty of Saint Germain. During the following twenty years a relationship developed between Czechs and Ruthenia’s Rusyn inhabitants which this study considers as an example of imperialism and colonialism. The Czech media applied a colonial framework in its portrayals of Ruthenia, encouraging the Czech public to see the poor and undeveloped territory as a colony ruled from Prague. Rusyns also used colonial terminology as a means of criticizing the Czech officials who ruled them. The colonial discourse occurred despite a shared Slavic ethnic background and even as representatives of both nations expressed brotherhood and solidarity towards one another. Some Czech officials sent to Ruthenia adopted imperialist attitudes and practices in an environment of minimal bureaucratic oversight, leading to friction with the Rusyn intelligentsia. Faced with the threat of Czechization, Rusyns struggled to achieve autonomy and an anti-imperialist movement supporting Rusyn rights developed among Czech Communists. The Prague government sought to defend its actions in Ruthenia against accusations of mistreatment by the Hungarian revisionist movement.
  • A A&M A&P Aaa Aaas Aardvark Aarhus Aaron Aau Aba Ababa Aback

    A A&M A&P Aaa Aaas Aardvark Aarhus Aaron Aau Aba Ababa Aback

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