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Scientific Journal

Musicologica 1/2015

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Ethnographic Research into the Alternative Music Scene in Bratislava

· · Musicologica 1/2015, Rock Pop Jazz

This paper is dedicated to the ethnographic research into the alternative music scene in Bratislava, conducted during November and December 2014. For our observations, we selected two music clubs in Bratislava (Slovakia) that have continually promoted alternative bands: the Majestic Music Club and the British Rock Stars Club. The ethnographic research focused on three performances: the concert of Wayne Hussey in the British Rock Stars Club, and the performances of Lamb and Laibach in the Majestic Music Club. The general goal for the observations was to better understand the alternative or indie music culture. The principal method was an analysis of the relationship or communication between the audiences and the musicians as a process of both mutual subjective reactions and reflections.

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Ambient sound and onomatopoeia in jazz

· · Musicologica 1/2015, Rock Pop Jazz

The defining feature of the harmonical component of contemporary jazz is sonority that underlines spatiality. In jazz, it first appeared in 1950s, mostly thanks to the progressive approaches of Miles Davis and his innovative principles based on the then-newly rediscovered modal music. In the continuum of jazz style transformations, a new trend appeared at the turn of the millenia. Under the auspices of ECM publishing house, American and European musical traditions amalgamate in a globalised world to create a solid basis for the new, both local and global, trends that form today’s jazz language. This trend also brought new particularities into jazz harmony, which is looked at more closely in this study. One of the most significant personalities who contributed to the formation of the onomatopoeic harmonic language of jazz is American guitar player Bill Frisell. His compositional and improvisational style is analysed, along with a closer look at the musical premises he respected, and related to the music of European descent in order to present a viewpoint on the principles that form the basis of harmonic onomatopoeia in jazz.

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Punk and New Wave in Czechoslovakia, Yugoslavia and Poland

· · Musicologica 1/2015, Rock Pop Jazz

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.

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Imagination, singing technique and natural singing in pop-rock music

· · Musicologica 1/2015, Rock Pop Jazz

The author studies the role of imagination and musicality in singing. The need of education of pop-rock singers is discussed in the light of the most often used singing styles in pop-rock music. Rock singers used to start their career as amateur musicians. However, they gradually began to employ particular vocal nuances that gave rise to unique vocal techniques. These were based on well-known vocal techniques (bel canto), enriched by the new approaches employed by the singers. Throughout the history of pop-rock music, several styles have risen – belting, speech level singing (singing with the mix), a number of throat singing styles (screaming, growling, shouting) and classical bel canto style. The techniques and their relevance in the historical development will be analysed on a particular set of examples (Eddie Vedder, Lenny Kravitz, Chris Martin, Mário „Kuly“ Kollár).

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Penetration of Jazz into Various Genres and Subcultures

· · Musicologica 1/2015, Rock Pop Jazz

Jazz is a universal music that has influenced many generations and still attracts new audiences. Although it was developing autonomously along with popular and classical music, its development has been progressively absorbed into different musical genres and styles. Jazz penetration into other genres culminated in the 1960s with its expansion into pop music. The 1970s saw “the golden era” with the fusion of rock and jazz and, in the 1980s, with the funky style. Since the 1990s jazz has been transformed into such styles as nujazz and electrojazz. Due to the heterogeneous character of contemporary music it is very difficult to differentiate the characteristics of a particular music style and define the jazz influences in it. This paper emphasizes the versatility of jazz styles, points out the penetration of jazz music into various subcultures, and it particularly examines these phenomena in Slovakia and the Czech Republic.

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Transformations of music club institution using the example of Olomouc popular music scene before 1989

· · Musicologica 1/2015, Rock Pop Jazz

The study shows the development of the institution of popular music club and club culture in the micro-area of Central-Moravian city of Olomouc during the forties to the eighties of the twentieth century. Organizational, social, artistic, cultural-political and general cultural aspects are reflected. Attention is paid to the origins of the club scene in the institutionalized meetings of fans in order to listen to recorded music in the fifties, as well as to the specific institution of the “multi-genre musical-theatrical club” of the sixties, not least to the transformations of the club scene at the time of the so-called normalisation.

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On the receptive method of teaching music in pre-primary education

· · Music Systematics, Musicologica 1/2015

Musical education in children of pre-primary-school age is executed by musical activities that include listening to music. Until now, the major part of the research in children’s interest in listening were mostly focused on children in the first grades of primary school. However, this study analyses the phenomenon in even younger children. The aim of the research was to find out whether pre-school-aged children are willing to listen to classical music. The hypothesis was that, at most, one third of the children studied will express the willingness to listen to the genre. Through an observation of the children while listening along with a follow-up interview on the children’s emotions, it was concluded that 100% of the children was open to the activity even though the overwhelming majority (93,75%) had no previous perceptive experience. In collective listening, the children’s attention span was longest when listening to the music from Romanticism, full of passion and dramaticity. It can thus be suggested that besides the rhythmical component, melody and harmony are also significant factors for children when listening to music.

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