Some Remarks on The Year of Czech Music 2024 or From His Life The 200th anniversary of the birth and the 140th anniversary of the passing of the founder of Czech national music, Bedřich Smetana, is the strongest incentive for organising The Year of Czech Music. The author of this paper refers to the edition of Smetana’s diaries from his school years and points out the problems associated with musical recitation that were topical in the 19th century. The author also analyses problematic passages in the librettos of Smetana’s operas. In the closing section of the paper some suggestions to incorporate The Year of Czech Music 2024 in teaching at Czech primary and secondary schools are presented.

Abstract The article explores the impact of the Directive on collective management and multi-territorial licensing 2014/26/EU on the music industry in the Czech Republic. The analysis focusses on the transaction costs associated with granting multi-territorial licence for online distribution of music content, the position of Czech collective rights management organisations vis-à-vis providers of online music services, and the availability of Czech repertoire in the catalogues of streaming services offered worldwide. For the purpose of contextual analysis of the functioning of the digital music market in the EU and its impact on the availability of Czech music content in the offerings of online music services abroad, we will also use a comparison with the results of our previous research on licensing in the audiovisual sector and its impact on the availability of Czech audiovisual content in the offerings of online audiovisual services. The aim of the comparison is to describe the differences and similarities between the licensing regimes of both markets for copyright-protected content and to identify the causes or reasons for the better or worse international availability of Czech music and audiovisual content in the offerings of digital services abroad.

ABSTRACT In this article, we investigate the attitudes expressed by members of the Czech electronic music and hip-hop scenes (musicians and music producers) regarding copyright and how copyright affects their work in terms of sampling or remixing third-party recordings. We present their opinions on what measures would help improve the situation regarding the complex settlement of rights. Lastly, we investigate the ethical standards upheld by producers when sampling or remixing third-party material vis-à-vis the use of copyrighted music recordings and related rights.

The real and not only Nazi propaganda proclaimed huge increase in concert and theatre life was used by the representatives of the Protectorate government as an argument for cultural and national autonomy. During the years of occupation, major musical events were held, such as the Prague Music May (1939), the Czech Music May (1940), the Jubilee Year of Antonín Dvořák (1941) and the Jubilee Year of Bedřich Smetana (1944). These large, organised events, primarily focused on the presentation of Czech music, also included the celebration of the 70th anniversary of Vítězslav Novák's birth in 1940. It was the work of this composer that had seen a surprising renaissance of interest during the difficult years of occupation compared to previous decades, as shown by the increased frequency of performances on concert stages, radio broadcasts and theatre stages. This paper explores the musical life of the Protectorate and highlights the central role played by the personality and work of Vítězslav Novák.

Studie pojednává o fenoménu Roku české hudby, akci, která se koná již přes půl století každých deset let od roku 1954 do současnosti s výjimkou let 1964 a 1994. První část textu se věnuje předpokladům pro vznik tohoto festivalu, za které lze do jisté míry považovat již shakespearovské slavnosti roku 1863, dále Zemskou jubilejní výstavu r. 1891, Národopisnou výstavu r. 1895, První český hudební festival r. 1904, smetanovské oslavy r. 1924, 1934 a 1944, Hudební máje ad. Ve stati je též nastíněna základní podoba koncepce a rozebrána možnost zařazení akce pod pojem festival. Hlavní část studie se věnuje chronologicky všem jednotlivým ročníkům mezi lety 1954 a 2014, jimž jsou věnované samostatné části textu ve snaze vykreslit, jak se postupně Rok české hudby formoval, a popsat jeho měnící se podobu, zejména však s důrazem na počátek v roce 1954. Součástí stati je též rozsáhlá bibliografie k tématu.

Interpersonal semiotics of music belongs to the sphere of musical anthropology. It is based on introspection and experiments with different types of music and different groups of respondents. Its theoretical principle represents the theory of small social group and system of interpersonal tendencies by Knobloch and Knoblochová (1999). This is used in relation of I/Other in which ‘Other‘ means music. Some works of B. Bartók, A. Berg, L. Janáček, B. Martinů, J. Sibelius, I. Stravinsky and J. Suk were analysed and described, among others, on this ground, i.e. from the point view of my interpersonal testimony. The interpersonal analyses of Czech music of the 1950s by several groups of respondents confirmed that such testimonies are distinguishable. The presented survey represents results of long work as part of my diverse semiotic and aesthetic activities.

My dissertation project Double bass in Czech music of the 21st century with a focus on solo and chamber music literature in a historical and international context aims to convey a report about the state of the Czech contemporary music for double bass in the new millennium. The output value should be a summarization and cataloguing of new compositions, a comparison of the same and a description of them in both an international and historical context. An- other important aspect of this thesis is the case analysis of some pieces and a description of compositional techniques used. This work is meant to be mainly for musical high school (conservatories in the Czech Republic) and musical universities students and pedagogues, as well as double bass interpreters and others interested in this topic, who want to broaden their horizons and discover the state of the contemporary Czech literature for double bass and learn new and often superior compositions. First and foremost, an encyclopaedic style summariza- tion of contemporary double bass pieces should provide a useful tool for all readers interested in discovering new pieces for the deepest string instrument. Another important point of the thesis is a description and explanation of the most common interpretation techniques and a guide to their realisation in praxis.

Karel Janeček − a leading figure in Czech Music Theory and Pedagogy: his theoretical writings from the 1930s and 1940s

The article describes the introduction of the liturgical reform in the Czech Republic and the associated musical creation that would correspond to therenewed liturgy. It focuses on the work of individual liturgical commissions, the determination of the criteria of musical creation and the prominent music protagonists. At the same time, it describes the progress of the work on the common song-book for the Czech and Moravian dioceses.

Reviewed by: Czech Music around 1900by Křupková, Jiří Kopecký et al. Albrecht Gaub Czech Music around 1900. By Lenka Křupková, Jiří Kopecký, et al.. (Studies in Czech Music, no. 6.) Hillsdale, NY: Pendragon Press, 2017. [vi, 324 p. ISBN 9781576473023 (hardcover), $75.] Illustrations (including facsimile plates), music examples, charts, index, authors' biographies, bibliography. "We get a fascinating kaleidoscope … around the question of Czech music by some of the leading scholars in the field, much of which has never before been available in English" (p. 13). These words from Michael Beckerman's article "Flowers in the Graveyard, Tombstones in the Garden" aptly sum up the achievement of this generously illustrated book. Its main beneficiaries are four Czech composers born after Leoš Janček, who so far have received comparatively little attention by Western musicologists: Josef Bohuslav Foerster (1859–1951), Víteˇzslav Novák (1870–1949), Josef Suk (1874–1935), and Otakar Ostrčil (1879–1935). This publication, made possible by a grant from the Czech government, unites nineteen essays by nine authors. No editor is identified, but two people named on its title page—both professors at Palacký University in Olomouc, Czech Republic—are the de facto editors, as they sign the "Introductory Remarks on the Conception of this Book." Two more generalizing articles follow: Beckerman's highly personal commentary, with musings on Czechness and the devastating impact its implementation had on the ethnic minorities of the country, and Marta Ottlová's "The 'Other World' of Music at the Turn of the Century," which, written for an exhibition in Amsterdam in 1999, surveys the Czech music scene around 1900 and places it in the context of the philosophical and ideological debates of the time. The remaining articles are grouped under three headings—"In the Footsteps of Tradition: The Spirit of Romanticism," "Czech Music at the Heart of European Music round [ sic] 1900," and "The Clash with Compositional Issues in European Music"—but this categorization seems rather arbitrary. The following description ignores it. Bedrˇich Smetana was long dead by 1900, but his music was very much alive. Kopecký's "1892: The International Success of Smetana's The Bartered Bride" traces the history of this opera's reception and how it defined notions about Czech opera in general. David R. Beveridge's "A Rare Meeting of Minds in Kvapil's and Dvorˇák's Rusalka" (Jaroslav Kvapil was the librettist) is a highly elucidating case study originally written in 2009 for a program booklet of the National Theater in Prague. I was particularly impressed with the discussion of the quotation in Rusalka, hitherto unnoticed, from Antonín Dvořák's [End Page 274](p. 67). "Tchaikovsky, Charpentier and the Formation of Janáčěk's Mature Operatic Style" by the late John Tyrrell, based on his Janáčěk: Years of a Life(vol. 1, The Lonely Blackbird[London: Faber and Faber, 2006]), draws fascinating parallels between Peter Ilich Tchaikovsky's Pikovaıa dama[The Queen of Spades], Gustave Charpentier's Louise, and Janáčěk's operas. In "čapek's Feminism and Janáčěk's Femme fatale: Notes on Traditional Opera Aesthetics in Janáčěk's Opera The Makropulos Case," Křupková convincingly argues how Janáčěk turned the work's protagonist into a larger-than-life operatic heroine by downsizing the male characters from Karel Čapek's play and following operatic convention in the musical setting. But is it really true that Literaturoper(literary opera) gravitates towards the lieto fine(happy ending; p. 96)? "Josef Bohuslav Foerster's Lyrical Opera Evaand the Tradition of the French Drama[ sic] lyrique" by Kopecký, the only article in the collection dedicated to this composer, explores French influences. Zdeněk Nouza (who died before publication) contributed "Josef Suk, Dvořák's Favorite Pupil," which constitutes a comprehensive survey of the composer and his music. "Josef Suk's Ripeningand the Birth of the Czechoslovak Republic" by Judith Fiehler provides a wealth of information on this work, arguably Suk's masterpiece, alongside Asrael, and includes facsimile pages from the score. Both Suk articles come with extensive quotations from source texts, especially from correspondence. Two of Křupková's seven (!) articles on Novák...

Lenka Křupková, Jiří Kopecký, et al., <i>Czech Music around 1900: Studies in Czech Music Series No. 6</i>

The study recapitulates the results of activities of the Centre for Music Lexicography under the patronage of Institute of Musicology, Faculty of Arts, Masaryk University, and especially its key project, the Czech Music Dictionary of Persons and Institutions. Initial works started in 2000 and next year is the 20th anniversary.

The dissolution of the USSR in 1989 had a profound impact on musicological scholarship. In addition to momentous achievements such as the rediscovery by Christoph Wolff and his team of the Berlin Sing-Akademie archive in Kiev, particularly rich in sources related to the Bach family, other Central and East European musical repertories are also benefiting from increased scholarly attention. Although the author does not mention the changing political context in Europe as a contributing factor enabling the project, it is certainly one reason why this book is timely. Robert G. Rawson’s Bohemian Baroque is a pioneering effort, unveiling a substantial repertory of little-known music situated in what he terms the ‘Czech-language milieu’ (p. 2). Featuring an astonishing range of genres including sonatas, concertos, pastorellas, countryside ditties, oratorios, Passion music, and operas, his unearthing of this enormous repertory of Czech musical sources is a feat of accomplishment in itself. Rawson offers his own explanation of why these sources have suffered neglect, therewith articulating the book’s scholarly contribution. He suggests that several myths need to be dispelled: first, that the period between 1618 and the nationalistic period beginning in the late eighteenth century is typically viewed as the ‘dark period’ for Czech literature and arts. Second, that the Czech language was hardly used during this time, and that it was replaced with German. Third, the notion that a Czech musical identity emerged only in the nineteenth century—the ‘golden age’ of Czech music (p. 1). Rawson’s extensive archival findings suggest otherwise on all three counts, and his study productively contextualizes Czech sources of the Baroque period. Meticulously researched and unusually richly infused with historical background relevant to the period, the study is organized around ‘musical cultures and style’ (p. 3). As such, this is aimed at musicologists (rather than historians), and music examples abound.

This treatise aims to assess the meaning of the terms 'people' and 'popular' in the Czech music periodicals, especially after the Second World War.

The Preliminary study deals with the history of the Czech music semiology. This type of aesthetics theory was developed in Czechoslovakia from the end of the 50s. Since the 70s it has been connected with the activities of the Interdisciplinary team for systems of expression and communication in art. In the 70s and 80s, a group of musicologists worked in this team, which was later called the "Prague team for music semiology". The core of this group were Jaroslav Volek (1923–1989), Jaroslav Jiránek (1922–2001), Jiří Fukač (1936–2002) and Ivan Poledňák (1931–2009). The initial wave of enthusiasm and a broader interest in this kind of research was replaced by a gradual cooling off during the 90s. It seems now that music semiology stands at the periphery of musicologists' interest, while having the advantage of an "insiders' fellowship". Such a statement may sound exaggerated, but still the absence of references in scholarly writings or the frequency of papers in conferences rather support such pessimistic statements. Though the semiotic orientation of the Prague team gradually dissipated and the team itself fell apart through the successive deaths of its members, these succeeded during more than 12 years in creating an individual conception of musical semiotics. The members of the team described it in a range of studies in periodicals, books and dictionary entries.

Reviewed by: S kým korespondoval Bedřich Smetana/Bedřich Smetana's Correspondents/Mit wem korrespondierte Bedřich Smetana, and: Bedřich Smetana a jeho korespondence/and His Correspondence Kelly St. Pierre S kým korespondoval Bedřich Smetana/Bedřich Smetana's Correspondents/Mit wem korrespondierte Bedřich Smetana. By Olga Mojžíšová and Milan Pospíšil. Prague: Národní muzeum, 2009. [lvi, 134 p. ISBN 9788070362587. 120 Kč.] Illustrations, index. Bedřich Smetana a jeho korespondence/ and His Correspondence. By Olga Mojžíšová and Milan Pospíšil. Prague: Národní muzeum, 2011. [lvii, 478 p. ISBN 9788070363065. 490 Kč.] Illustrations, bibliography, indexes. Both of these books contain catalogues; the first comprehensively lists the individuals with whom Smetana corresponded, and the second, the details of Smetana's sent and received letters. Neither includes actual reproductions of Smetana's letters, but instead are part of a much anticipated, larger project that aims to produce a critical edition of the composer's correspondence. Scholars attempted to organize such collections from the end of the nineteenth century onward, but their publications generally focused on listing the letters, rather than transcribing them (see, for example, Mirko Očadlík, "Soupis dopisů Bedřicha Smetany" ["An Inventory of Bedřich Smetana's Letters"], Miscellanea musicologica 15 [1960]: 1-134). Additionally, the most recent, "popularizing" anthology (as Mojžíšová and Pospíšil aptly describe it in their 2011 publication, p. xxiv) is František Bartoš's Smetana ve vzpomínkách a dopisech [Smetana in Reminiscences and Letters] (Prague: Topičova edice, 1939), now already over seventy years old. Bartoš's collection is especially problematic for English-speakers, because it remains the only anthology of Smetana's letters available in translation (Bedřich Smetana: Letters and Reminiscences, trans. Daphne Rusbridge [Prague: Artia, 1955]). Now, however, Mojžíšová and Pospíšil have gained funding through the Czech National Museum's "Leading Figures in Czech Sciences and Culture" program to assess materials held in the museum's subsidiary Bedřich Smetana and Czech Music divisions. These materials, in addition to those held in foreign institutions and by private owners, amount to over 2,200 pieces (and counting; see the authors' 2011 publication under review here, p. xiv). In their Bedřich Smetana's Correspondents and Bedřich Smetana and His Correspondence, Mojžíšová and Pospíšil aim to provide valuable tools for negotiating the breadth of this collection. Bedřich Smetana's Correspondents is comprised of two indexes; the first lists the individuals with whom Smetana communicated (592 listings), and the second, the institutions (266 listings). A third index also [End Page 91] details the locations to and from which Smetana sent correspondence (213 listings). Each entry within these indexes includes a concise, practical description of a party or location as well as a description of the relation to Smetana. The entry for Franz Liszt, for example, briefly acknowledges his work as a composer, pianist, and pedagogue before listing the instances in which Smetana interacted with him, either by letter or in person (p. 31). The entry for the city of Litomyšl, where Smetana was born, locates it within the district of Svitavy and in the Pardubice region before listing the residents and organizations with whom Smetana exchanged correspondence (p. 106). The catalog's greatest strength is that it makes available information concerning less prominent figures in Smetana's biography (composer Josef Drahorád on p. 10, for example), but its weakness (for English-speaking audiences) is that the indexes are listed entirely in Czech. The book's front matter is translated into both English and German, however, and includes an overview of Smetana's letters as well as graphs illustrating the current state of the collection and the frequency of Smetana's correspondence. The whole of Mojžíšová and Pospíšil's Bedřich Smetana and His Correspondence, which offers a comprehensive record of Smetana's known letters, is provided in both Czech and English. As the authors explain in their introduction, they aimed in this catalogue to provide a "final, partial insight into the whole of Smetana's correspondence" (p. xix) before the publication of the critical edition (in addition to a series...

The proceedings of the 1988 international conference on the composer. Contributors discuss analytic and editorial approaches, the operas, the Danube Symphony, the relationship between the composer and his contemporaries and European culture and his role in Czech music, and Czech music before the Nat

Journal Article REVIEWS OF BOOKS Get access Pavel Haas: Žwot a dilo skladatele (‘Pavel Haas: his Life and Work’). By Lubomír Peduzzi. pp. 175.(Published by the Brno Local History Society with the support of the Czech Music Foundation and the International Terezin Association, 1993. ISBN 80-85048-41-8.) PAULA KENNEDY PAULA KENNEDY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 75, Issue 4, November 1994, Pages 634–636, https://doi.org/10.1093/ml/75.4.634 Published: 01 November 1994

Research Article| October 01 1984 Some Thoughts on the History and Historiography of Russian Music Richard Taruskin Richard Taruskin Search for other works by this author on: This Site PubMed Google Scholar Journal of Musicology (1984) 3 (4): 321–339. https://doi.org/10.2307/763585 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Richard Taruskin; Some Thoughts on the History and Historiography of Russian Music. Journal of Musicology 1 October 1984; 3 (4): 321–339. doi: https://doi.org/10.2307/763585 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of Musicology Search This content is only available via PDF. Copyright 1984 Imperial Printing Company, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

An Outline of Czech and Slovak Music. Part I: Czech Music