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Scientific Journal

reception

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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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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New Art

· · Musicologica 1/2012, Contemporary Music

Listeners’ perceptions of music changed during World War II and the Cold War owing to the political conditions. Musical styles of the nineteenth and twentieth century were appreciated by listeners whereas other alternative modern styles (serialism, punctualism, sonorism, aleatoric music, dodecaphony, contemporary alternative improvised music…) seemed obscure. Modernism has not been publicly accepted but postmodernism which begins with minimal music, retro style, new simplicity, performance art, body art and conceptual art has been accepted. Sociological, aesthetical, philosophical and musical analyses are the foundation for complete understanding of music reception. Marketing is influential and has changed the listener’s perception in the twenty-first century from elite snobbism to cultural omniconsumption.

Die Perzeption des Zuhörers hat sich im Laufe des zweiten Weltkrieges und des kalten Krieges geändert genauso wie sich die politische Bedingungen und Funktionen geändert haben. Die musikalische Stile des 19. und 20. Jahrhundert waren on den Zuhörern anerkannt während die restliche alternative moderne Stile (Serialismus, Punktualismus, Sonorismus, aleatorische Musik, Dodekafonie, gegenwärtige alternative improvisierte Musik…) waren nur wenig bekannt und unbegreiflich für die Zuhörer.  Die Öffentlichkeit hat Modernismus nicht entgegengenommen, doch die Postmoderne, die fängt mit Minimal Musik an, nutzt Retro-Stile, neue Einfachheit, Performance-Art, Body-Art und Konzeptual-Art, war angenommen. Soziologische, ästhetische, philosophische und musikalische Analyse sind die Grundlage für das volle Verständnis der Rezeption und Perzeption der Musik. Marketing beeinflusst stark die Wahrnehmung des Zuhörers im 21. Jahrhundert und ändert diese von dem erstklasse Snobismus zur Kultur des Konsums.

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