michal scepan - Academia.edu (original) (raw)

Papers by michal scepan

Musicologica slovaca, 2015

Studia musicologica Labacensia, 2023

After the crown jewels were taken to Vienna and almost all central offices moved to Buda, followe... more After the crown jewels were taken to Vienna and almost all central offices moved to Buda, followed by a large segment of the aristocracy, the city started to lose its importance. These significant changes also affected the local musical life. After disbanding the number of aristocratic music bands, its character changed, when dominant role had continuously been taken over by bourgeois/townspeople. This fact was also reflected in the institutional basis the pillar of which became music associations. As a qualitatively new institutional form, they were associating music lovers and were adapted to social and cultural interests of the newly established middle class, i.e., townspeople. However, the aristocracy did not disappear from the music life completely, when participated on music activities, in addition to organizing, mainly through the function of patron of individual associations. The basic function of the associations was cultivating artistic singing and art music as such but, at the same time, the associations worked as a medium of spending one's spare time in a cultivated and meaningful manner with the unwritten requirement of developing creativity of their 1 This article is the outcome of the implementation of the Personality and Work in the History of Musical Culture of the 18 th-20 th Centuries in Slovakia (No. 2/0116/20) project supported by the

Musicologica slovaca, Jun 15, 2021

Musicologica slovaca, 2020

Slovenske divadlo /The Slovak Theatre

Pojem baladickosti sa spája predovšetkým s predstavou atmosféry ako súhrnu prvkov tragickosti, dr... more Pojem baladickosti sa spája predovšetkým s predstavou atmosféry ako súhrnu prvkov tragickosti, dramatickosti a lyrickosti. Prenikavá atmosféra baladickej poézie a prózy sa stala inšpiráciou pre mnohých hudobných skladateľov. K uplatneniu baladického fenoménu postupne dochádzalo nielen v kratších vokálnych útvaroch, ale i väčších vokálno-inštrumentálnych druhoch nevynímajúc operu. V priebehu 20. storočia vzniklo na Slovensku viacero operných titulov, ktoré možno na základe prítomnosti špecifických znakov označiť ako baladické. Predkladaná štúdia je zameraná na šesť vybraných slovenských operných diel, s poukázaním na hlavné inšpiračné faktory, ktoré viedli autorov opier k siahnutiu po baladickej predlohe. Približuje tiež motívy, ktoré sa vo zvolenom literárnom titule podieľajú na vytváraní daného fenoménu, aj to, k akým zásahom a odchýlkam v porovnaní s pôvodnou predlohou prišlo pri tvorbe operného libreta a akým spôsobom skladatelia pracovali v zmysle dosiahnutia vytýčenej baladickosti pri hudobnej charakteristike postáv a dejových situácií.

Historical Studies on Central Europe

The most important cultural establishment in Slovakia, the Slovak National Theatre (SNT),was foun... more The most important cultural establishment in Slovakia, the Slovak National Theatre (SNT),was founded in 1920. The beginnings of this institution were extremely complicated because itsactivities were not managed by the state, but by a private company called the Cooperative of theSlovak National Theatre. This joint company was founded in 1919 and consisted of representativesof the then governing bodies, the Slovak intelligentsia, and representatives of banks and otherassociations. In the first two seasons, the Cooperative was dealing with operation issues, mostly withobtaining the financial resources needed. The complete artistic program was in the hands of the firstdirector of the SNT, Bedřich Jeřábek (1920–1922). During this period, however, we cannot talk aboutthe profiling of the dramaturgy of opera and operetta on the SNT stage. This period was followed bythat of directors and private entrepreneurs Oskar Nedbal (1923–1930) and Antonín Drašar (1931–1938), who due to the financial ...

Musicologica Brunensia, 2017

Tadeáš Salva was one of the most interesting and prolific Slovak composer of the last century. Hi... more Tadeáš Salva was one of the most interesting and prolific Slovak composer of the last century. His inventive approach in connection with audiovisual and electroacoustic media brought to Slovak music extremely original works, first of their kinds. The first composition which name is Radio oratorio was one of first Slovak electroacoustic composition. Another strictly vocal work is Slovak first Radio Oratorio Margita and Besná. Salva is also author of opera Weeping, specifically composed for radio broadcasting. The opera consists of only two voices-soprano and basso and its performance demands quadrophonic performance from one part voice increasing to twelve in culmination point. This contributions dealing with above-mentioned works, their genesis, analysis and the partial problematic of application of new media and the principle of total artwork in Tadeáš Salva's compositions.

Historical studies on Central Europe, Jun 16, 2022

The most important cultural establishment in Slovakia, the Slovak National Theatre (SNT), was fou... more The most important cultural establishment in Slovakia, the Slovak National Theatre (SNT), was founded in 1920. The beginnings of this institution were extremely complicated because its activities were not managed by the state, but by a private company called the Cooperative of the Slovak National Theatre. This joint company was founded in 1919 and consisted of representatives of the then governing bodies, the Slovak intelligentsia, and representatives of banks and other associations. In the first two seasons, the Cooperative was dealing with operation issues, mostly with obtaining the financial resources needed. The complete artistic program was in the hands of the first director of the SNT, Bedřich Jeřábek (1920-1922). During this period, however, we cannot talk about the profiling of the dramaturgy of opera and operetta on the SNT stage. This period was followed by that of directors and private entrepreneurs Oskar Nedbal (1923-1930) and Antonín Drašar (1931-1938), who due to the financial incompetence of the Cooperative, took the management of the SNT fully into their own hands. Both directors, together with the heads of the opera ensembles, preferred modern and experimental dramaturgy, including the latest works of art. Whereas Drašar used a pragmatic approach to resolving the theatre's financial problems, for Nedbal caused the loss of his function and life. This study deals with the comparison of the work and theatre management of individual directors in the interwar period, with an emphasis on opera and operetta dramaturgy.