Interpretation of the Work of Art – University doctoral workshop – Abstract
Sorry, this entry is only available in Slovensky. Abstracts are available in English.
Yvetta Kajanová
Čítať ďalej
Ubuntu – Abstracts
The conference aims to answer the questions as to whether fusion music is still relevant today in Europe and in the world, in which genres and styles, and whether the current situation is similar to or reminiscent of the early history melting pot of jazz in the USA. Some papers will be based on their authors´ musical and creative practices and will point out the artistic processes and the significance of improvisation in the genesis of a new composition. Another group of contributors will bring theoretical knowledge and new information about fusion trends in the world of contemporary music.
“Ubuntu” and Fusion Music
Sorry, this entry is only available in Slovensky. Abstracts are available in English.
Rock subculture in Bratislava
Although the Bratislava rock subculture was established in the late 1950s, the bands were given the opportunity to perform professionally only in 1963. On the one hand, rock pushed jazz out as a genre, on the other hand, there were various censorship problems. The Bratislava rock subculture changed from hard rock to art rock, bans mainly related to punk rock and heavy metal as styles. In the 1990s, the hip hop subculture began to push rock out as a genre, and rock survives mainly due to poly-stylistic connections with other genres.
From Bratislava´s Lyra to Czechoslovakia has talent. Music in Bratislava in the period from 1966 to 2010
In Bratislava, the capital of Slovakia, performances of world-class artists have always taken place. In the period from 1948 to 1963 most of the significant performances of jazz and popular artists took place in Prague. After 1963, when Chris Barber (Great Britain) performed in Bratislava, the city became the center of important jazz and popular events too. The situation with the organization of jazz, rock and popular concerts of international artists in the former Czechoslovakia changed with the establishment of Bratislava´s Lyra (1966) and Bratislava Jazz Days (1975) festivals. Bratislava became an equal emancipated city alongside Prague in organizing festivals. Bratislava’s lyras, as an author’s song contest, lasted until 1992, the next sequel was unsuccessful and replaced by karaoke Superstar (Super Idol), interpretation contests since 2004. The festival Bratislava Jazz Days have preserved continuity until today, unlike the International Jazz Festival in Prague. After 1989, the concert life in Bratislava no longer focuses only on festivals, but it organises throughout the year in clubs, in big performances for several thousand listeners. Bratislava is no longer the only city of Slovakia, where large concerts of foreign jazz, rock, pop stars take place, but it is also happening in Košice, Žilina, Piešťany, Nové Zámky, Trenčín and Trnava.
Jazz in the Heart of Europe
Until 1989, the region of Central Europe was closed due to ideological reasons, and was divided into the musical culture of Eastern and of Western Europe. Because of the socialist cultural politics, the territory of former Czechoslovakia is often incorrectly ranked among the countries of the Eastern Bloc. If we take into account the geographical breakdown of Europe, the musical culture of the Czech Republic and of the Slovak Republic belong to the “heart of Europe”. While, until 1918, the territory of Slovakia had developed cultural ties especially with Budapest and Vienna, Prague had closer contacts with Germany, as well as with other European cities (Paris). At present, from the aspect of developing musical contacts, the region of Central Europe is perceived as a coherent one, consisting of the Czech Republic, Poland, Slovakia, Hungary and Austria, which plays an important role in seeking communication, contacts and managerial connections with other European regions. Slovak jazz, as a representative of the Central Europe region, searches for a network of contacts and partners abroad. All European countries face the same problem when trying to develop managerial networks for jazz but, contrary to Slovakia, they have a longer tradition of jazz festivals, clubs, and jazz personalities.
New Faces of Slovak Jazz
New faces of Slovak jazz is a competition of amateur jazz bands in Slovakia. The competition was formed in 1986 as part of the Slovak Jazz Festival in Žilina, later it has been transferred to Bratislava in 1995. This competition assisted in professionalising young novice jazz musicians. Almost a quarter of the participants of this event has gradually established themselves on the stage and achieved their creative, but also the peak period in their career which included musicians such as Ondrej Krajňák, Klaudius Kováč, Milo Suchomel, Martin Valihora, Hanka Gregušová, Michal Bugala, Štefan Bugala and others. This paper reports a detailed list of personalities who participated in the competition in the period 1986 – 2016. It was reconstructed by historical events through oral tradition, minutes from the archives of Slovak Jazz Society and scattered information in newsletters, newspapers and magazines.
Entertaining Music in Bratislava until 1938
At the end of the 19th century and at the beginning of the 20th century, Bratislava has been multicultural small city, which was gradually taking over many features of a big city entertaimnet up until 1938. Hungarian, German and Slovak music culture has been overlapped, but also cultures of other nations penetrated to the music such as Klezmer, Romani, Czech music and others. In this period dominated genres of brass music, music of promenade orchestras, chants of street parades, Gypsy music, saloon orchestras, cinema music, folk music and operetta in Bratislava.To these genres gradually penetrated entertaining music from big cities in the form of shimmy, two-step, one step, tango, charleston, rumba, cha-cha and jazz. In this multicultural environment, the first dance song had been created by D. Pálka-Š. Hoza: Don’t Tell Girl to Anyone.
Punk and New Wave in Czechoslovakia, Yugoslavia and Poland
During emerging punk and new wave in former socialist countries possibilities of musicians varied immensely. Differences among musicians were associated with distinctive cultural and political climate in particular countries in the period from 1977 to 1989. While musicians in Yugoslavia and Poland were able to protect their artistic freedom, Czechoslovak rock musicians kept their underground position; participating at the club scene or moving to pop music. Radical attitude in underground helped to create Czech alternative scene as subculture, contrary Slovak musicians were part of the club scene and local activities. That was the main reason why Slovak new wave scene emerged much earlier than punk scene. Different conditions for development were important factors for success in Polish and Yugoslavian (Slovenian, Croatian…) rock abroad, but also for commencement of alternative and indie scene. The paper brings not only comparison of social and political situation and conditions for development of rock music in certain countries, but also character of new wave and punk music.
The Value of the Traditional and the Progressive in Jazz Development
Recently, two important syntheses on European jazz have been published: Eurojazzland:Jazz and European Sources, Dynamics, and Contexts by Luca Cerchiari, Laurent Cugny and Franz Kerschbaumer (2012); and Jazz behind the Iron Curtain by Gertrud Pickhan and Rüdiger Ritter (2009). The publications show the division of European jazz scenes between east and west, and they also deal with the methodological inconsistencies in jazz research and analysis which have precluded an integrated chronological approach to jazz events, personalities and styles. Progress, although regarded as the foremost quality, is not the only value in jazz development; and, especially since the death of Miles Davis, it has become a rather vague one. On the other hand, for the further development of jazz it is essential to respect the genre‘s traditions which foster jazz personalities to preserve the older jazz styles; however, for the future of jazz, qualities such as creative musicianship, innovation, jazz promotion and education, advocacy and popularization are equally important. These values are demonstrated by such personalities as the Slovak jazz singer Peter Lipa (b.1943) and the Czech-Slovak- Australian jazz pianist Viktor Zappner (b.1936).
The Value of the Traditional and the Progressive in Jazz Development
Sorry, this entry is only available in Slovensky. Abstracts are available in English.
Editorial 1/2013
Dear readers, The first jazz conference in Slovakia has been held in April 2013. Scholars from Slovakia, Italy, the USA, Canada, Austria, Germany, Poland, Macedonia and France met in the friendly atmosphere. Since the official language of the conference was English we will gradually publish individual contributions from key lectures and discussion´s topics in Slovak so we can spread the new information further. The first…
Wrote about us
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Video and photogallery
Video Photogallery – Jazz Conference 2013
Conference: European Jazz Personalities
Conference European Jazz Personalities, 22nd-24th April 2013 Bratislava, Slovakia Jazz Appreciation Month Department of Musicology, Faculty of Philosophy, Comenius University, Gondova 2, 814 99 Bratislava Call for papers European Jazz Personalities Department of Musicology, Faculty of Philosophy, Comenius University is announcing an international conference of European Jazz Personalities which will take place in Bratislava from April 22nd to the 24th 2013.…
Editorial 2/2012
Dear readers, In contemporary music, as it seems, the questions regarding the relation between the past and the present are still topical. It has always been obvious that modern music could not have come into existence without historical continuity with the previous development, and the contemporary artists realize this fact still more acutely. If their…
Transformations of Spirituals Today
Editorial 1/2012
Dear Readers We are delighted to present the new issue on interdisciplinary relationships in music sociology, management and physiology. Contributions are provided by external doctoral students Zuzana Balazsházyová-Ben Lassoued and Anna Hrindová and students of the musicology department, who participated last year in the Faculty of Philosophy’s competition run by Comenius University as part of…
Editorial 1/2011
Dear Readers, We are offering you the 4th publication, latest issue, of Musicologica Journal with more attractive graphical design and with a new domain. In this issue we will continue with the research on jazz, rock and the cultural – political events in communist era. More detailed research has been focused on the oldest genre…
Jazz-rock generation in Slovakia
Sorry, this entry is only available in Slovensky. Abstracts are available in English.