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Scientific Journal

Musicologica 1/2018

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From Bratislava´s Lyra to Czechoslovakia has talent. Music in Bratislava in the period from 1966 to 2010

· · Musicologica 1/2018, Rock Pop Jazz

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.

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Children integration with health disabilities into primary art school

· · Music Systematics, Musicologica 1/2018

This paper deals with the issue of children integration with health disabilities into primary art school. Music education at the art school develops creativity and talent of intact individuals as well as pupils with health disabilities. The way of education for these children in the arts sector is integration. There is a necessity to create suitable conditions for pupils with special educational needs which fully respect their health status, disadvantages and deficits. The study focuses on the features and possibilities of integration into Slovak primary art schools.

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Spirituality in Slovak rap Kali, Majk Spirit, Rytmus, Suvereno

· · Musicologica 1/2018, Rock Pop Jazz

The research of this study is an analysis of the phenomenon of spirituality in Slovak rap music. The study is divided into two main sections. The first section is a brief introduction to spirituality and rap music abroad. The central theme is the problematic definition of spirituality and its pluralistic, syncretistic and ambivalent character in rap. In the second section we study spiritual allusions in the form of themes, ideas or motives to provide the first probe of this issue in the Slovak context. Part of this section is also the spiritual characterization of individual rappers with respect to origin and type of spiritual allusions. Due to the large number of rap singers and bands, we are discoursively devoted to the production of four famous Slovak rappers: Kali, Rytmus, Majk Spirit and Suvereno.

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Songs’ Lyrics Games

· · Musicologica 1/2018, Rock Pop Jazz

In recent years, the contemporary songs’ lyrics has become an influential phenomenon affecting predominantly young generation. The study tries to show that the lyrics can be used as an inspiring text material in teaching process at various levels of education, helping to develop text competences. The study presents some of creative writing techniques which are based on the operations with lyrics. The process of identification of the distinctive signs between lyrics and poetry helps to indicate some of the most dominant attributes of the Slovak contemporary lyrics production.

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Towards the language culture in the lyrics of Slovak popular music

· · Musicologica 1/2018, Rock Pop Jazz

The study deals with culture of language in Slovak song lyrics aproximately from 1950s up to present day. It declares unsufficient interest of linguistics in this area and a methodological problem concerning axiology of song lyrics which pose two approaches to language, systematic and pragmatic, with different approaches to language norm. Analysing examples of particular lyrics, it states the shift from the sentimental character of lyrics of 1950s to understanding of lyrics as a message from the late 1960s when greater engagement of poets in writing lyrics resulted in their higher literary and language value. The revolution in 1989 brought either diversification of views on standard language and its use in the shape of rapid development of sociolinguistics, or liberalisation of language in song lyrics with the higher representation of non-standard layers that helped to decrease their overall value.

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American and world jazz scene after 2000

· · Musicologica 1/2018, Rock Pop Jazz

Before the beginning of the new millenium, over the past three decades, jazz has been undergone major changes in the development. From the 70s we can see the fragmentation of jazz and the birth of many polystyle music formations. Jazz has become more open to other genres and has begun to create so called jazz fusion. Currently, artists go even further with a fusion and create eclectic projects that combine not only genres and styles, but also different types of art. Richard Lawn, theorist, talks about the complexity of gripping developments in recent decades, as we do not have enough distance to define some of the trends that are still subject to change. Clearly, jazz is not dead. But its development does notmove in the direction of one stylistic trend as it has been in the past. The development of jazz has changed in the last two decades. One of the most prominent changes is the abandonment of the swinging rhythm section that laid foundation of modern jazz in the first half of the 20th century and continued as a basic rhythmical jazz model across the development of the post-bop period.  The swing rhythm did not dissapear completely from the phrasing, but the so-called hard swinging rhythm section holds its stance mainly in the mainstream. The change of the developmental paradigm and its associated phenomenon – globalization – has contributed to the great transformation. Jazz ceased to be a matter of the American continent and its development moved to Europe and other countries in the world. Thankfully to this situation, different national traditions have been implemented in jazz, which resulted in the enrichment of the musical language and the instruments. The transformation has also been made in aethetics and sound that influence different genres and current technological trend. Some theoreticians, artists and jazz journalists consider these tendencies as separation from the direct development of jazz. These new trends have emerged in the 1980s but they have gradually become more intense and became the main elements predicting developments in the new millenium. Theoretician Mervyn Cooke has expressed this period as a period when jazz enters the world of diversity but also the unclear and unpredictable future.

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Scott Joplin’s Treemonisha (1911), the “first” black opera. A new ethnoanthropological and musicological analysis

· · Musicologica 1/2018, Rock Pop Jazz

More than one century after its birth and its unlucky efforts to stage it properly, Scott Joplin’s complex and beautiful opera Treemonisha calls for a new, interdisciplinary critical analysis. African-American music needs to be viewed not only as a synthesis of oral and written sources, but also in light of how popular music and the mass media have influenced its development. This requires a revision of the musicological study of jazz and related genres to include ethnographic, anthropological and systematic points of view.

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On Musical Material: Serialism and “Materialdenken”

· · Musicologica 1/2018, Contemporary Music

Writings about the material of music have been a part of European music theory for nearly 2000 years, but they were especially prominent in theoretical writings that accompanied the serial music of the 1950s and 60s. In their efforts to dismantle traditional compositional techniques and build a new music from the most basic elements, many postwar composers and theorists seized upon the concept of musical material and invested it with the intellectual concerns of their time. Theories of musical material are, therefore, both essential to an philosophical content. The value of such theories can be found in what they tell us about the period and what they impel us to ask further.

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