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Musicologica Slovaca Ústav hudobnej vedy Slovenskej akadémie vied Musicologica Slovaca Ročník 6 (32) 2015 Číslo 1 Bratislava 2015 MUSICOLOGICA SLOVACA Ročník 6 (32), 2015, číslo 1 Časopis Ústavu hudobnej vedy Slovenskej akadémie vied Vychádza od roku 1969; v rokoch 1970 – 2008 ako zborník; od roku 2010 dvakrát ročne. Hlavná redaktorka: Hana Urbancová Výkonná redaktorka: Katarína Godárová Preklady do anglického jazyka: John Minahane Návrh obálky: Eva Kovačevičová-Fudala Redakčná rada: Zsuzsa Czagány (Maďarsko), Ladislav Kačic, Jana Lengová, Janka Petőczová, Bar- bara Przybyszewska-Jarmińska (Poľsko), Jarmila Procházková (Česko), Ivana Rentsch (Švajčiarsko), Peter Ruščin, Markéta Štefková, Jadranka Važanová (USA), Eva Veselovská Adresa redakcie: Dúbravská cesta 9, 841 04 Bratislava 4 E-mail: [email protected] Tel./Fax.: +421 2 54773589 Evidenčné číslo: EV 4007/10 Vydáva: Ústav hudobnej vedy Slovenskej akadémie vied IČO: 00586978 Vychádza: v júli (prvé číslo) a decembri (druhé číslo). Zalomenie a tlač: AEPress Rozširuje, objednávky a predplatné prijíma: AEPress a redakcia časopisu Časopis je evidovaný v medzinárodných bibliografických databázach CEJSH a RILM. ISSN 1338-2594 Musicologica Slovaca 6 (32), 2015, č. 1 OBSAH Štúdie Eva FERKOVÁ: Dynamizmus hudobnej štruktúry. Úvahy o hudobnoteoretickej ter- minológii .............................................................................................................................5 Zuzana CENKEROVÁ: Melodické očakávania v kontexte hudobného štýlu ...............19 Miriam TIMKOVÁ: Pozostalosť Karola Plicku a problémy jej spracovania.................62 Materiály Hana URBANCOVÁ: Jozef Kresánek ako etnomuzikológ .............................................86 Jana LENGOVÁ: Vrstovník Jozefa Kresánka – hudobný historik Ernest Zavarský ....96 Profily K životnému jubileu Ľuby Ballovej (Andrej Čepec) ..................................................... 105 Recenzie Jarmila Procházková... [et al.]: Vzaty do fonografu: Slovenské a moravské písně v na- hrávkách Hynka Bíma, Leoše Janáčka a Františky Kyselkové z let 1909 – 1912 / As recorded by the phonograph: Slovak and Moravian songs recorded by Hynek Bím, Leoš Janáček and Františka Kyselková in 1909 – 1912 (Jadranka Važanová) ....... 114 Gerold Gruber – Eva Ferková (ed.): Prieniky slovenskej hudby v Európe a európskej hudby na Slovensku v 15. – 18. storočí. Der Einfluss der slowakischen Musik in Europa und der Einfluss der europäischen Musik auf die Slowakei im 15. – 18. Jahrhundert (Juraj Jartim) ........................................................................................... 118 Zuzana Sláviková: Kreativita a integrácia v umeleckej edukácii (Tatiana Pirníková) ...... 123 Alex Ross: Zbývá jen hluk. Naslouchání dvacátému století (Juraj Beráts) ................ 125 Adrian Thomas: Polish Music since Szymanowski (Michal Ščepán) ......................... 127 Správy Nationality / Universality. “Musical historiography in Central and Eastern Europe”. – Narodowość i uniwersalizm. „Historiografia muzyczna w Europie Środkowej i Wschodniej”. Radziejowice (Poľsko), 15. – 17. septembra 2014 (Janka Petőczová).. 131 Ivan Zajc (1832 – 1914): Musical Migrations and Cultural Transfers in the “Long” 19th Century in Central Europe and Beyond, medzinárodná muzikologická konfe- rencia, Záhreb (Chorvátsko), 16. – 18. októbra 2014 (Jana Lengová) ................... 134 Svetový kongres medzinárodnej spoločnosti pre rómske štúdiá Gypsy Lore Society, Bratislava, 11. – 13. septembra 2014 (Jana Belišová) ............................................... 136 Pocta Dobroslavu Orlovi, medzinárodná muzikologická konferencia – výstava – kon- certy. Ronov nad Doubravou, 23. – 25. apríla 2015 (Janka Petőczová) ................. 137 Musicologica Slovaca 6 (32), 2015, č. 2 CONTENTS Studies Eva FERKOVÁ: The Dynamism of Musical Structure. Thoughts on Music Theory Terminology .......................................................................................................................5 Zuzana CENKEROVÁ: Melodic Expectation in the Context of Musical Style ............19 Miriam TIMKOVÁ: The Literary Remains of Karol Plicka and the Problems of Processing .........................................................................................................................62 Materials Hana URBANCOVÁ: Jozef Kresánek as Ethnomusicologist .........................................86 Jana LENGOVÁ: A Contemporary of Jozef Kresánek – the Music Historian Ernest Zavarský ............................................................................................................................96 Profiles Life Jubilee of Ľuba Ballová (Andrej Čepec) .................................................................. 105 Reviews Jarmila Procházková... [et al.]: Vzaty do fonografu: Slovenské a moravské písně v na- hrávkách Hynka Bíma, Leoše Janáčka a Františky Kyselkové z let 1909 – 1912 / As recorded by the phonograph: Slovak and Moravian songs recorded by Hynek Bím, Leoš Janáček and Františka Kyselková in 1909 – 1912 (Jadranka Važanová) ....... 114 Gerold Gruber – Eva Ferková (ed.): Prieniky slovenskej hudby v Európe a európskej hudby na Slovensku v 15. – 18. storočí. Der Einfluss der slowakischen Musik in Europa und der Einfluss der europäichen Musik auf die Slowakei im 15. – 18. Jahrhundert (Juraj Jartim) ........................................................................................... 118 Zuzana Sláviková: Kreativita a integrácia v umeleckej edukácii (Tatiana Pirníková) ...... 123 Alex Ross: Zbývá jen hluk. Naslouchání dvacátému století (Juraj Beráts) ................ 125 Adrian Thomas: Polish Music since Szymanowski (Michal Ščepán) ......................... 127 Reports Nationality / Universality. “Musical historiography in Central and Eastern Europe”. – Narodowość i uniwersalizm. „Historiografia muzyczna w Europie Środkowej i Wschodniej”. Radziejowice (Poľsko), September 15 – 17, 2014 (Janka Petőczová) ....131 Ivan Zajc (1832 – 1914): Musical Migrations and Cultural Transfers in the “Long” 19th Century in Central Europe and Beyond, international musicological conference, Zagreb (Croatia), October 16 – 18, 2014 (Jana Lengová) .................. 134 World Congress of the International Society for Roma Studies Gypsy Lore Society, Bratislava, September 11 – 13, 2014 (Jana Belišová) ................................................ 136 Pocta Dobroslavu Orlovi, international musicological conference – exhibition – con- certs. Ronov nad Doubravou, April 23 – 25, 2015 (Janka Petőczová) ................... 137 Musicologica Slovaca 6 (32), 2015, č. 1 5 DYNAMIZMUS HUDOBNEJ šTRUKTÚRY ÚVAHY O HUDOBNOTEORETICKEJ TERMINOLÓGII Eva Ferková prof. PhDr. Eva Ferková, PhD.; Katedra teórie hudby, Hudobná a tanečná fakulta Vysokej školy múzických umení, Zochova 1, 813 01 Bratislava; [email protected] Abstract The verbalisation of music involves many perils. Musicologists have surmounted those perils by creating suitable concepts and metaphors and by adopting specialised terminology from other scholarly disciplines. The development of scholarly terminology in musicology goes together with the attempt to find the most adequate means for description and characterisation of musical language. One way of doing so is to regard the current of musical sound, flowing in time, as a means of expressing changes of force, tension, quiet or disquiet. This quality of music may be compared to the idea of a dynamised current of sound, in which the listener is able directly to perceive changes of forces, tensions, kinesis and stasis. These changes are conveyed by relationships: harmonic, melodic-formal structural relationships, and also relationships of sound, metre and rhythm, texture, and register. Keywords: terminology, means of expressing music, horizontal and vertical forces, dynamism, dynamics, current of sound, tension and relief Cieľom teórie hudby je vyjadrovať sa o hudbe slovami, ktoré opisujú postup (metódy) alebo výsledky výskumu hudby, prípadne jej reflexiu (odraz hudby cez premýšľanie o nej) v našom vnímaní a emocionálno-racionálnom spracovaní, alebo priamo slo- vami opisujú hlavné vlastnosti a zákonitosti hudby. Keďže jazyk hudby spočíva v prú- de zvuku a jeho zmenách, ktoré sa dajú zapísať do nôt ako vertikálne a horizontálne vzťahy tónov, prípadne zvukov, je zrejmé, že hudba nemá verbálnu (slovnú) podstatu. Preto je slovné vyjadrovanie o nej problematické a vždy aj nedostatočné. Plnohodnot- ným umením ostáva len hudba sama a teória hudby ju ako umenie opisuje, poznáva, hľadá v nej ako vo výsostne ľudskom produkte princípy, zákonitosti, pravidlá, ale aj neopakovateľnosť a jedinečnosť. Preto jej výstupom môže byť nielen vedecký článok, ale aj umelecká esej. Pri zjednodušenom odlíšení vedeckej činnosti človeka od ume- leckej činnosti by sme mohli povedať, že umelecké dielo má ambície byť jedinečným, iným než všetky ostatné, kým vedecký objav si, naopak, vyžaduje, aby za rovnakých 6 Eva Ferková podmienok, pri použití rovnakých postupov, metód a skúmaných objektov sa vedec dopracoval k rovnakým či aspoň veľmi podobným výsledkom. Verbálna podstata pre- važnej väčšiny muzikologických výsledkov, ktoré sú opismi a charakteristikami javov a zákonitostí ich výskytu a správania, vyžaduje, aby teória hudby zabezpečila čo naj- väčšiu výstižnosť pojmov. Odborná terminológia, presnosť a spoľahlivosť pojmov sú teda alfou a omegou presnosti a plnohodnotnosti nášho vyjadrovania sa, zverejňova- nia vedecko-teoretických objavov a reflexií hudby. Preto sa nevzdávame snahy neustále rozvíjať odbornú terminológiu,
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