The ancient Mesopotamian music (tonal) system was first interpreted as ascending (Kilmer, Duchesne-Guillemin, Wulstan, Gurney, Thiel and myself). Criticism of the "descending interpretation" (Krispijn, West, and, more recently, Gurney). No argument for this is valid (transformation of original heptatonic and nomenclature, primitive scales, ancient Greece a.o.). Musical-anthropological constants and nomenclature, psychology in the interpretation of notated sources, and the construction of harps all speak for the "ascending" interpretation. Question of Guerney´s new reading...
Czechoslovakia of the mid-1950s was a culturally isolated country where the Western gains were regarded suspiciously, to say the least. The regime’s attitude toward jazz was softening very slowly, and many jazz activities bordered on illegality. In this situation, Herbert Ward came to Prague (1954), one of a few American Communists, who asked for political asylum in Czechoslovakia and became involved in the local music scene. Although an almost unknown jazz bassist to the general public (though he played with Sidney Bechet, Willie ''Lion'' Smith, Bud Freeman, etc.), in the late 1950s, however, he contributed signifi cantly to the rehabilitation of jazz in communist Czechoslovakia. Ward became an invaluable asset for Czech jazz fans, and one of their tools in negotiating the position of their favourite genre with respect to the doctrine of Socialist Realism. Herbert Ward was not a part of the well-known cultural diplomacy projects arranged by the US Department of State (described by Von Eschen, 2004). His political activities were monitored by the FBI and, as a political refugee, he naturally took part in Czechoslovakia’s communist propaganda. As a ''jazz curiosity,'' however, he became part of the 1960s popular culture and the living myth of Czech jazz fans and musicians. Reconstructed from previously unknown archival records (FBI, State Security Archives), my paper portrays Ward’s political activities and his ambiguous identity of a jazz musician and a young American communist. and Přeložil: Jiří Mareš
Hudba je umění, dá se řící, že dokonce nejabstraktnější forma umění. Mizí v okamžiku, ve kterém byla stvořena, a po většinu času ji lidé nebyli schopni uchovávat jinak než v paměti nebo nějakou formou notového zápisu. Ani notový zápis však nepředstavuje skutečný záznam hudby, je to pouze předpis pro její opětovné stvoření a úspěch tohoto procesu závisí na zručnosti a vkusu interpreta. Vnímání hudby a její krásy je jedinečnou výsadou každého člověka a doprovodné subjektivní pocity závisejí na individuálním vkusu a kulturní predispozici. Otázku subjektivního vnímání ponecháme psychologii a na tomto místě se pokusíme popsat hudbu objektivně. Ve skutečnosti však nepůjde o skutečný popis hudby samotné. Objektivně jsme schopni popsat pouze hudební teorii, tj. nauku o tom, jak tvořit zvuky a souzvuky tak, aby to našemu uchu znělo libě - tedy spíše jak nevytvářet hluk. Tvorbu neboli skládání a interpretaci hudby ponecháme příslušným géniům - skladatelům a interpretům., This article provides a description of the perception of sound, the characteristics of tone and physical principles of music theory. Melody and harmony are explained by Pythagorean tuning of the three, five, and seven tone scale of notation along with just and tempered tuning., Vladimír Scholtz., and Obsahuje seznam literatury
In an article, I would like to present the mechanism for the politization of folklore, reaching for European examples. What interests me the most in this context is the idiom of traditional folk music and contemporary folk music. Then I will draw up contemporary strategies of manipulating tradition. Case study will be for me the movement of dance houses in Hungary and Poland. I decided to compare these two cases, because Polish dance houses are genetically and ideologically - which I will try to prove - related to the Hungarian ones. The analysis presented is based on the method of participant observation (Budapest, Poznań) and interviews with Polish dance house activists.
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