Franjo Ksaver Kuhač and Moravia

Ovo istraživanje dokumentira kontakte Franje Ksavera Kuhača s češkim glazbenim krugovima u Moravskoj te njegovo zanimanje za tradicijsku kulturu lokalne hrvatske dijaspore. Ključnu je ulogu pritom odigralo njegovo prijateljstvo s pravnikom Sigismundom Vašátkom (1831-1886) koji je uspostavio kontakte s ličnostima okupljenim u češkom glazbenom društvu Beseda brnénská.Tako se u Kuhačevu opusu našla kantata Na grobu Sv. Metoda, uglazbljujući tekst pjesnika iz Brna Vladimíra Št’astnýja (1841-1910) u prijevodu Ivana Trnskog. Njihovo je poznanstvo također dokumentirano Kuhačevim objavljivanjem triju narodnih pjesama moravskih Hrvata koje je upoznao u zbirci Františeka Sušila (1804-1868), kao i, na primjer, iz torza Sbírka písní slovansky’ch (Brno 1851), sačuvanog u Kuhačevoj ostavštini u Zagrebu. I obratno, Vašátkova jedinstvena knjižnica sadrži reprezentativnu zbirku južnoslavenske literature, a nakon njegove smrti pohranjena je u klubu Muzejní spolek, gdje je stajala na raspolaganju širokom krugu intelektualaca u Brnu, uključujući Leoša Janáčeka (1854-1928). U Vašátkovim pismima adresiranim na njegova hrvatskog prijatelja nalaze se, osim bilježaka o razmjeni knjiga, i poziv Kuhaču na koncert u Brnu (31. kolovoza 1879) i preporuka svećeniku Josefu Nehudeku (1826-1905), koji je omogućio hrvatskom etnografu da kasnije primi pisani izvještaj o životu moravskih Hrvata u selu Frélichov (Frjelištorf).The study documents the contacts of Franjo Ksaver Kuhač with Czech musical circles in Moravia and also his interest in the traditional culture of the local Croatian diaspora. The key role belongs to his friendship with the lawyer Sigismund Vašátko (1831-1886), who arranged the contacts with the personalities gathered in the Czech musical association Beseda brnénská. Thus the work of Kuhač includes a cantata Na grobu Sv. Metoda, setting a text by the Brno poet Vladimír Št’astný (1841-1910) as translated by Ivan Trnski. The mutual knowledge is also documented by Kuhač publishing three folk songs of Moravian Croats, which he knew from the collection by František Sušil (1804-1868), as well as, for example, by the torso Sbírka písní slovanských (Brno 1851) preserved in Kuhač’s legacy in Zagreb. And vice versa, Vašátko’s unique library contained a representative collection of South Slavic literature and after his death it was kept in the Muzejní spolek (Museum Club), where it was available to a wide circle of Brno intellectuals, including Leoš Janáček (1954-1928). In Vašátko’s letters addressed to his Croatian friend, there are, besides notes on a book exchange, an invitation for Kuhač to a concert in Brno (31 August 1879) and a recommendation to the priest Josef Nehudek (1826-1905), which enabled the Croatian ethnographer to receive later a written report on the life of Moravian Croats in the village of Frélichov (Frjelištorf)

Vladimír Helfert ve Státním ústavu pro lidovou píseň

Vladimír Helfert's publishing activity in the field of musical folkloristics and ethnomusicology was not extensive. This study encompasses his work and organizational activities on the Moravian-Silesian Committee of the State Institute for Folk Song from 1924 to 1939. His timeless approach to this subject matter was given by his depth of knowledge and feeling for musical aesthetics and by the dynamic understanding of the folk song that he carried over from Otakar Hostinský. This was also the source of his long-term interest in the situation in the field and the records involving all song genres. Helfert brought a critical approach towards sources and a feel for their systematic, scholarly treatment to his work at the State Institute for Folk Song. Interestingly, he took the first steps in this direction together with Leoš Janáček, and this may also explain the fundamental transformation of his opinions in evaluating Janáček as an artistic phenomenon. Helfert brought a number of talented students from the Musicology Seminar at Masaryk University into the study of folkloristics, and many of them later distinguished themselves as important scholarly authorities in this field of research

Přehled paměti a učení se v evropské psychologii

Katedra psychologieFilozofická fakult

Přehled paměti a učení se v evropské psychologii

Katedra psychologieFilozofická fakult

Wartości stałe i zmienność poglądów Janáčka na temat tożsamości narodowej i regionalnej w odniesieniu do muzyki

Leoš Janáček (1854–1928) was one of those composers whose work was in many respects closely connected with current social events and yet it carried a deep and timeless ethical message. Janáček’s activity as an artist, teacher and organiser reflected changes in the political and cultural paradigm disseminated in the European countries in the course of more than six decades. He himself went through an interesting inner development resulting from his studies, artistic and life experience, as well as his empathy related not only to his narrow individual but also a wider collective space. His relative isolation from the official artistic establishment of Prague gave him an opportunity to formulate his original views on the European, national, and regional identity. In addition to various literary forms, music composition remained his fundamental means of expression. In this context, this paper will attempt to define the basic directions in Janáček ́s dynamic evolution and the areas in which his key values and priorities remained constant.Leoš Janáček (1854–1928) jest jednym tych z kompozytorów, których twórczość pod wieloma względami była ściśle związana z aktualnymi wydarzeniami społecznymi, a jednocześnie niosła głębokie i ponadczasowe przesłanie etyczne. W działalności Janáčka, jako aktywnego artysty, pedagoga i organizatora, znalazły odzwierciedlenie zmiany w paradygmacie politycznym i kulturalnym, jakie na przestrzeni ponad sześciu dziesięcioleci rozprzestrzeniały się w krajach europejskich. Sam przeszedł interesującą drogę rozwoju wewnętrznego, co było wynikiem studiów, doświadczeń życiowych i artystycznych, a także empatii, dotyczącej nie tylko wąskiej przestrzeni indywidualnej, ale i szerszej — zbiorowej. Jego względna izolacja od oficjalnego establishmentu artystycznego w Pradze dała mu możliwość sformułowania oryginalnych poglądów na temat tożsamości europejskiej, narodowej i regionalnej. Obok rozmaitych form literackich jego podstawowym środkiem wyrazu była kompozycja muzyczna. W tym kontekście niniejszy artykuł jest próbą określenia podstawowych kierunków dynamicznej ewolucji Janáčka oraz tych parametrów, w obrębie których jego poglądy pozostały niezmienne

Transformations of folklore in Janáček´s choral and vocal works

The study concentrates on the part of the legacy of Leoš Janáček, which is dedicated to the choruses and which is inspired by folksong. The study describes and characterises different forms of the transcriptions of the musical folklore

Janáček´s activity conception of the Working committee for Czech National Folksong in Moravia and Silesia

Working Committee for Czech National Folksong in Moravia and Silesia [Pracovní výbor pro českou národní píseň na Moravě a ve Slezsku] like a branch office of the institution of Das Volkslied in Österreich [Folksong in Austria] began his activity in January 1906. The working committee was headed by Leoš Janáček and supported his efforts aimed at development of his own instruction for folksong collecting and modern methods (ethnographic photography, phonographic recording)

From a Living Tradition to the Theory: Comments on the Origin of the Term ‘Zahušťování’ in Janáček’s Terminology

The contribution of Czech composer Leoš Janáček (1854–1928) to music theory has been appreciated especially in the field of harmony. Within the context of music theory, Janáček's ideas on the 'thickness' of harmonic material first appeared in his study O skladbě souzvukův a jejich spojův (On the Construction of Chords and their Connections) in 1896. The term became fully developed and frequently used in his Úplná nauka o harmonii (The Complete Harmony Theory) in 1920. The origin and the use of the term by Janáček can be documented in connection with his experience with and discoveries from traditional folk music

Sušil´s Collections of Folk Songs from 1835 and 1840 and How They Were Used in the Third Collection

The paper deals with the first two Sušil´s collection which have not been published in re-editions, so that they are not accessible to the widerscientific public and the musicians: Moravské národní písně (Moravian National Songs), Brno 1835, and Moravské národní písně: Sbírka nová s 288 nápěvy (Moravian National Songs: New Collection with 288 Tunes), Brno 1840. Sušil later used the material from these collections when arranging his third, most voluminous collection (1860)