The second half of the 18th century marked an extraordinary flowering of music, especially church music in the Czech lands. Monastic churches, in particular, were characterised by a high level of music production performed by choral scholars whose liturgical music was conducted by chosen monks. Some members of religious orders also composed. These were for example M. J. Haberhauer (1746-1799), a member of the Benedictine order situated in Rajhrad near Brno and P. J. Marek (1748-1806) who belonged to the Augustinian monastery in Brno. Both of them got a musical education as choral scholars and remained musically active also after entering orders. Eventually these two authors both performed as chorregents in the 70’s and early 80’s of the 18th century and they collected sacred and secular pieces of music of their more famous and popular contemporaries (C. Ditters, F. X. Brixi, Haydn, etc.). Apart from a few exceptions they were only composing liturgical works. Haberhauer bequeathed 90 compositions, most of whom composed of Mass for choir and solo accompanied with instrumental ensemble as well as vespers and motets. Marek, however, composed only 21 church compositions and most of them consist of Marian antiphons and litanies of Loreto. These were necessary at the Augustinians, given the honor rendered to the picture of Virgin Mary placed in their church. The two monasteries ran a mutual cooperation which can be proved by Haberhauer music collection preserved at Augustinians in Brno. Haberhauer work can be also found in the collections of other Moravian churches and also at Prague Benedictine order. While Marek’s compositions were exclusively connected to the Augustinian monastery in Brno. Their pieces of music are purely purposeful showing features of a musical classicism. Lives and works of both composers are now the subject of research of the author and of Pavel Žůrek from the Ins, Irena Veselá., and Obsahuje bibliografické odkazy
Under Maria Theresa, the provincial courts in Moravia continued to operate along the lines set out in the judicial reforms of 1620-1650. Although the reform efforts of the Theresian system had little direct effect on them, the character of these courts did gradually change. By the early 1740s they were inundated with a backlog of unresolved cases that rendered them slow and unwieldy. Following the cancellation of inactive disputes, however, the number of open cases started to drop rapidly, and by the 1760s the provincial court was accepting an absolute minimum of new lawsuits. This was due less to any restrictions imposed by the state than to a lack of interest among the nobility in pursuing claims in the court. The provincial court continued to sit twice a year, but the reduction in the number of cases meant that the number of sessions in each judicial period also fell considerably. The nearly fifty cases heard by the provincial court in the reign of Maria Theresa were, however, similar in scope to those we are familiar with from the preceding period - property-related lawsuits among the nobility, disputes between monasteries and towns, criminal cases and claims by subject communities against their own landlords. Significant changes can also be discerned in the makeup of the courts, with judges being appointed on the basis of their legal training rather than their social standing or other "merits" and, generally, a far closer correspondence to other types of Theresian court, particularly the royal tribunal. There thus ceased to be a meaningful distinction between the royal and provincial judicial systems in the Theresian period., Jiří David., and Obsahuje bibliografické odkazy
Mohelno-Plevovce was repeatedly occupied during the Late Upper Paleolithic. Two paved stone structures constructed from local stones have been excavated thus far. These structures are characterized by a high density of lithic artifacts within the paved area and a rapidly decreasing density away from the paved area - this is interpreted as a result of the "barrier-effect" of the covered area. The lithic tools are characterized by abundant splintered pieces, steeply retouched end scrapers, and tiny microlithic tools produced on carenoidal blanks. Utilized raw material types indicate good knowledge of local rocks including rock crystal and weathering products of serpentinite, as well as broad raw material networks including erratic flint imported from northern Moravia and Szentgál radiolarite imported from Balaton Lake area., Petr Škrdla, Jaroslav Bartík, Jan Eigner, Tereza Rychtaříková, Pavel Nikolajev, Miriam Nývltová Fišáková, Ladislav nejman, Michaela Polanská, Jan Novák., and Obsahuje bibliografické odkazy
Later than in the wet of Europe, it was only in the course of the 12th century that the water wheel caught on in Bohemia and Moravia. At the same time hand-powered mills were still requently being used. Until the end of the 12th century most water mills as well as water courses were the property of princes, so permission to run an existing mil or to build a new one had to be granted. The location, design of and technology used in mediaeval mills in our vicinity have not been archaeologically researched. The hypotheritcal appearance of such mills and what equipment they had can be modelled based on the results of research abroad, since similar structures might also have been in use in mediaeval Bohemia and Moravia., Lucie Galusová, Martina Maříková., and Obsahuje seznam literatury
Studie Jany Spáčilové se zabývá mešními kompozicemi hudebního skladatele Antonia Caldary, dochovanými v moravských hudebních sbírkách., This article is dedicated to the problem of the erroneous attribution of authorship of Masses to Antonio Caldara in Moravian collections of church music. It contains information about extant records of Masses by Caldara and methodological discussion concerning the reliability of sources with respect to authorship. Also included is an overview of Caldara sources of Moravian provenience, including both extant music and entries in period inventories. Attention is dedicated both to compositions by others regarded in Moravia as works by Antonio Caldara, and to works by Caldara under the names of other composers. Works identified as having been written by other composers are presented in the form of tables, including signatures of all concordant sources found so far in European libraries. The purpose of the article is to give an idea of the standing of Caldara’s works in the repertoire of Moravian church music and to prepare material for a future thematic catalog of Moravian sources of Masses by Caldara., Jana Spáčilová., Rubrika: Studie, and Anglické resumé na s. 75, anglický abstrakt 45.
The Moravia territory has been the subject of geokinematic investigation within scope of several realized research projects and repeated GPS campaigns since 1992. The monitoring has been concentrated on all the Moravia region as well as on particular areas of interest concerning the eventual possible geodynamic changes (Králický Sněžník Massif, Diendorf-Čebín Tectonic Zone (DCTZ) and others). At present time all the territory is covered by several tenths of permanent and epoch GNSS stations. Long observation time series at permanent stations alone are not sufficient for delivering the regional velocity field of sufficient density. On the other hand, epoch stations are more densely spread but periods of repeated observations are less frequent and often the data processing is not homogeneous. In the paper the preliminary kinematic model is briefly described which gives for the first time the general view of movement tendencies at the region of Moravia. On base of long-term monitoring it shows that the Southern Moravia region is more active then it was supposed., Lubomil Pospíšil, Otakar Švábenský and Josef Weigel., and Obsahuje bibliografii
This paper considers forms of cultural transfer in decorative design in Central Europe in the second half of the 18th century, focussing on works that combine aspects of both free creative art and artisan craftsmanship. Based on a detailed analysis of a number of works (or parts thereof), the authors show that trends in decoration that had hitherto been broadly interpreted as a somewhat uninventive adoption of fashionable French graphic pattern-books and picture albums in the "goût grec" style (Jean-François de Neufforge, Jean-Charles Delafosse et al.) in fact represented an innovative quest for an original modern synthesis taking its inspiration from classical Roman art (Giovanni Battista Piranesi, Giocondo Albertolli, Carlo Antonini) and developing ideas emerging from the recently introduced teaching of artistic design at the Vienna Academy and from circles close to the imperial court (Johann Baptist Hagenauer, Ignaz Josef Würth et al.). The whole phenomenon in considered within the wider context of official cultural policy at the time of Maria Teresa’s and Joseph II’s economic and administrative reforms and is interpreted as one of a number of processes and strategies which, for various reasons, led to a reduction in transcultural transfer. Decorative design in Central Europe in the latter half of the 18th century thus paid more than lip-service to the ideal of universal culture in the sense of transculturality, interpreting it in a specifically local, middle-European and to some extent "nationalized" way - and, from a historical perspective, with extraordinary success., Pavel Suchánek a Tomáš Valeš., and Obsahuje bibliografické odkazy
Ořechov IV is a recently investigated Bohunician site located in southern Moravia, but outside the Brno Basin where most of the other known Bohunician sites are located. It appears to belong to the pure Bohunician industry with no bifacial technology detected. It was probably discovered in the 1930s and due to later errors in reporting its exact location, it was ‘saved’ from prospecting by amateur archaeologists for several decades. We have re-located this site in 2010 and have conducted numerous pedestrian surveys and subsurface testing. We have collected a total of 3214 artifacts (most of them recorded by GPS) and a small amount of ochre. Two-thirds of the artifacts were manufactured on Stránská Skála chert. The second most common raw material used was Krumlovský Les chert followed by very small numbers of other raw materials including erratic flint, a long-distance import. Up to 20 % of the artifacts were damaged by frost action and agricultural activities. Numerous Levallois points and evidence for bidirectional flaking support the Bohunician classification. Test pitting has confirmed the presence of undisturbed sediments with cultural material including 4 structured hearths. Results of radiocarbon dating of some of these hearths are consistent with Bohunician antiquity. Only one lithic artifact in association with a hearth was found insitu. It is likely that future subsurface testing will yield more artifacts., Petr Škrdla, Tereza Rychtaříková, Ladislav Nejman, Jaroslav Bartík, Alena Hrušková, Jan Krása., and Obsahuje seznam literatury