Martina Stratilková | Palacky University, Olomouc (original) (raw)

Papers by Martina Stratilková

For our current issues we are looking for articles focusing on diverse aspects of Eastern Europea... more For our current issues we are looking for articles focusing on diverse aspects of Eastern European musical culture (defined by the territory of post-communist European states). We welcome historical probes into the musical culture of the region as well as interdisciplinary reflections on contemporary phenomena, with overlaps into music sociology, cultural studies, popular music studies, ethnomusicology, and topics such as music and politics, music and national identity, or music and gender. We welcome a comprehensive approach that compares the issues of individual states in the region and places them on the West-East axis. Likewise, we favour a wide range of issues related to Czech (Czechoslovak) musical culture. Submission Guidelines The articles can be written in English, French, German, Czech and Slovak (4000-8000 words including footnotes).
Introducing the journal Musicologica Olomucensia is an independent, open-access, double-blind peer-reviewed journal dedicated to the broad scope of musicology and its interdisciplinary intersections. It has been published since 1993 by Palacký University Olomouc and it belongs to the wellestablished musicological journals in the Czech Republic. Musicologica Olomucensia is indexed by ERIH PLUS, CEEOL, DOAJ, RILM, EBSCO and Crossref databases. In 2024 the submission to Scopus is under consideration.

Musicologica Olomucensia, 2010

Kultura, umění a výchova, 2021

Carl Gustav Jung svými analýzami nevědomých procesů dalece překročil rámec psychoanalýzy, a to ta... more Carl Gustav Jung svými analýzami nevědomých procesů dalece překročil rámec psychoanalýzy, a to také svou koncepcí psychologických typů, které jsou určeny preferencí psychických funkcí (cítění, myšlení, intuice a vnímání). Tento model byl později převeden do inventáře Myers Briggs Type Indicator (MBTI), který charakterizuje výsledné osobnostní typy včetně jejich profesního směřování. Můžeme se tedy ptát: vypovídají rovněž o vztahu k hudbě? Po představení Jungova modelu v původním souvislostech jeho psychologie i v pozdějším standardizovaném testu MBTI se pozornost zaměří na empiricky zjištěné souvislosti mezi psychologickým typem a vztahem k hudbě. Z nich vyplývá, že nejlepší předpoklady ke svébytnému uchopení hudby mají lidé, upřednostňující intuici a cítění, přičemž tuto preferenci lze předpokládat v umění obecně. Příspěvek poté diskutuje koncept intuice a poukazuje na možnosti rozvoje intuitivního, respektive intuitivně citového učebního stylu v hudebně výchovném kontextu.

International review of the aesthetics and sociology of music, 2016

Edmund Husserl's views of intentionality and some of his rare statements about sound qualities in... more Edmund Husserl's views of intentionality and some of his rare statements about sound qualities include an interesting momentum, which can be brought in connection to developments of other branches of that time, including music. The paper concentrates on the context and character of shifts in musical style, mainly those that went along with impressionism, and the rise of the phenomenological treatment of sound qualities (Husserl, Stumpf, Hornbostel, Plessner). It is argued that the perception of music appears to be close to inner perception, in which consciousness turns inwards and confronts itself with the act and not with the object. Revelatory considerations of Moritz Geiger, who considered experiencing music with respect to the realm of auditory perception, and on that basis expressed the assumption of a weaker aesthetic distance in music perception, show how the phenomenology of sound can be germane for the topic of music experience.

Ostium, 2016

Phenomenology, as a philosophy of the twentieth century, is often confronted with music of the sa... more Phenomenology, as a philosophy of the twentieth century, is often confronted with music of the same period, which in contrast with the classical-romantic repertoire recedes from previously codified means for the organisation of musical structure (namely tonality) and holds up the actual matter of the music – sound – for admiration. So musical experience dwells more at the sound and its direct appearance rather than rushing to the musical meanings intended through sensuous moments. From this aspect music in the first decades of the twentieth century complemented the other arts undergoing a similar development. Romantic art was replaced by artistic creativity relying on the objectivity of the musical material and not on the emotional quality. The paper considers circumstances under which some of the phenomenological approaches adopt a positive approach to the music of the twentieth century (those which stress the immediacy of the perceptive presence) and some of which tend to reject it (those which apply the requirement of expressive intentionality).
Stratilková, Martina. “Sound or Expression: Dilemmas in the Phenomenological Aesthetics of 20th Century Music.” Ostium 12, 2016(4).
The article can be accessed on the journal website:
http://www.ostium.sk/sk/sound-or-expression-dilemmas-in-the-phenomenological-aesthetics-of-20th-century-music/

Musicologica Olomucensia , 2018

Moritz Geiger, Edmund Husserl’s pupil, was the first phenomenologist to devote himself to the iss... more Moritz Geiger, Edmund Husserl’s pupil, was the first phenomenologist to devote himself to the issues of aesthetics throughout all his life. Growing out of a background in psychological aesthetics, mainly the aesthetics of empathy, he was chiefly concerned with the study of aesthetic experience. The present article pays attention to Geiger’s concept of aesthetic enjoyment and especially the position in it of music, while analysing the most important assumptions of Eduard Hanslick’s music aesthetics as Geiger implemented them into his own reasoning. The paper shows that Geiger’s position was mainly rooted in the Kantian formulation of the aesthetic attitude as it was echoed in Hanslick. Both Hanslick and Geiger were helped in their thoughts about the position of music among the arts by the role of perceptual parameters. While Geiger acquired a more differentiated position in classifying aesthetic perception over Hanslick’s brusque distinction between the right (aesthetic) and inappropriate (pathological) experience of art, in the context of his seemingly puritan formalism he could also appreciate Hanslick’s cautious claim about the ideas conveyed by music because his position later shifted toward positing the existential significance of art.

Call for Papers – Musicologica Olomucensia: Systematic Musicology (vol. 29, issue June 2019) ... more Call for Papers – Musicologica Olomucensia: Systematic Musicology (vol. 29, issue June 2019)

For the upcoming issue we welcome submissions on any topic of the systematic musicology and any aspects of the relation between musicology and other disciplines. These include, but are not limited to: music theory and analysis, music philosophy, composition, music and culture, anthropological approaches; interdisciplinary intersections with sciences such as acoustics, neurosciences, perception, psychoacoustics, empirical research in psychology and sociology, cognitive science, music therapy and medicine. The Varia section, covering a wider thematic area of musicology, will be included too. Submission Guidelines: The articles can be written in English, French, German, Czech and Slovak (4000–8000 words including footnotes). Submitted papers, not under review elsewhere, should be formatted for blind review, omitting any references to the author and his publications. In accepted papers such references can be added later. Papers should include an abstract of up to 100 words and 3-7 keywords, both in English. The submissions should comply with the guidelines presented on the journal's website. Deadline: June 15, 2019. Contact: Please send your submissions to martina.stratilkova@upol.cz

Musicologica Olomucensia, 2016

Hans Mersmann (1891–1971), an outstanding German musicologist, addressed music from several point... more Hans Mersmann (1891–1971), an outstanding German musicologist, addressed music from several points of view. While his early career started with works on pre-classical music, in the 1920s he became a prominent spokesman of New Music. In a study from 1919 2 he outlined some concepts forming a part of his later synthetic views of music: his study of the history of musical style foreshadowed his studies, which were both theoretically and historically well informed, and in which he elaborated a structural apprehension of a musical work. He formulated this approach comprehensively in Angewandte Musikästhetik in 1926, where he pronounced the tenets of the general methodological stance which should be exploited in musicology (phenomenology), and where he defi ned structural elements of music and the way they were integrated into the musical structure of the historical style periods of classical music. 3 He found the point of departure for understanding the organization of music in force and its dynamic transformations occurring within a certain context. Music encompasses two dimensions which form a background for something happening. The fi rst dimension can also be treated as horizontal and as temporality, the other as vertical and leading to spatiality. The horizontal dimension is expressed by the force which drives the musical fl ow towards its continuation in the direction of the future and towards greater power (centrifugal force). The vertical dimension bestows restrictions upon the pushing fl ow (centripetal force). If a place appears in the musical structure which divides the musical fl ow, reduces its intensity, and makes it regular (for example, cadence, metre, repeated

Die Nicht-Existenz eines musikalischen Werkes in Form eines realen Gegenstandes basiert auf tradi... more Die Nicht-Existenz eines musikalischen Werkes in Form eines realen Gegenstandes basiert auf traditionellen ästhetischen Überlegungen, welche die Welt der Töne als etwas Entmaterialisiertes ansehen. Das hängt insbesondere damit zusammen, dass die in der Musik hervorgebrachten Töne, im Gegensatz zu anderen Sachen, nicht primär in ihrer räumlichen Lokalisierung zu erfassen sind, sondern dass sie als etwas, was sich in dem uns umgebenden Raum befindet, wahrzunehmen sind. Die Irrealität des musikalischen Werkes wird allerdings von der phänomenologischen Ästhetik fast mit derselben Gültigkeit für alle Arten der Kunst erklärt und stützt sich auf die Beziehung eines permanenten Wesens des Werkes zu seinen verschiedenen Vergegenwärtigungen in der Situation der Rezeption, resp. auf einen besonderen, dem Werk immanenten Charakter seiner Botschaft. Im Gegensatz zu Husserl, welcher die Musik für einen idealen, unter verschiedenen Umständen identisch erscheinenden, Gegenstand hielt, betonten Conrad und Ingarden, bei denen eine Meinungskontinuität zu verfolgen ist, eine fehlende endgültige Bestimmtheit des musikalischen Werkes, welcher erst Ingarden eine grundsätzliche Rolle für die Bestimmung der historischen Identität des Werkes und seiner Offenheit für Veränderungen im Bereich der Rezeption zuerkannte. Deren Standpunkt konzentriert sich auf das Verhältnis des Werkes zu einem ästhetischen Objekt, wobei Schütz die Problematik des Charakters des musikalischen ästhetischen Gegenstandes außer Acht lässt und sich mit seinem Inhalt und mit dem spezifischen Charakter des musikalischen Werkes als eines idealen Gegenstandes unter idealer Gegenständlichkeit als solchen auseinandersetzt. Conrad und Sartre stellen sich die Frage nach dem spezifischen Charakter der Rezeption des musikalischen Werkes: Conrads Betonung der Suche nach einem festen Standpunkt für die Wahrnehmung des Werkes und Sartres Auffassung des Kunstwerkes als eines Gegenstandes der Imagination bieten die Idee, dass das Wahrnehmen des Kunstwerkes in einem Modus des immanenten, an den eigentlichen Akt der Werkbeziehung orientierten Wahrnehmens, vor sich geht. Nur für Ingarden ist das musikalische Werk nicht ein idealer Gegenstand, sondern er sieht darin einen rein intentionalen Gegenstand, wobei er den Aspekt der Genesis des Gegenstandes (Datierbarkeit seines Entstehens) und nicht den Charakter der Sinnkonstitution, die er im Unterschied zu dem idealen Gegenstand nicht einbezogen hat, berücksichtigt.

Phänomenologie des inneren Zeitbewusstseins, die von Edmund Husserl verarbeitet wurde, nimmt eine... more Phänomenologie des inneren Zeitbewusstseins, die von Edmund Husserl verarbeitet wurde, nimmt eine ehrenvolle Stelle in der philosophischen Literatur ein. Sie versucht die grosse Veränderlichkeit der Erlebnisse, die die Umwelt in uns erweckt, zu ordnen. Die Reaktion, die in der Literatur über Musik als einer Zeitkunst erzielt wurde, ist völlig verständlich (trotzdem aber noch nicht genügend). Meine Studie bemüht sich die Konzeptionen der musikalischen Zeit, die in der musikphänomenologischen Literatur zu Grundbeiträgen wurden, zu beurteilen. Die Theorien von Alfred Schütz, David Lewin und Juda Lochhead führen diese Akzente aus – eine organische Anknüpfung an Husserl und Festlegungen der Zeitspezifität, eine detailierte Beschreibung der Wahrnehmungsmusikqualitäten in ihrer komplizierten Verknüpfung, Zeitausprägung von umfangreichen Musikflächen und eine mehrdimensionale Einstellung. Alle diese Theorien vervollständigen sich in Erfassung der subjektiv empfindenden Zeit und weisen auf Begrenzungen des phänomenologischen Diskurses über die Musikzeit hin.

Jean-Paul Sartre (1905-1980), an outstanding writer and existentialist philosopher, was closely c... more Jean-Paul Sartre (1905-1980), an outstanding writer and existentialist philosopher, was closely concerned with the issues of art. For music it is mainly his early philosophical work that is relevant with its themes of emotional experiencing and imaginative consciousness, but also through views anticipating Sartre’s central philosophical system drawn in the substantial work, Being and Nothingness (1943). The paper outlines the nature and transformations of Sartre’s views on music and meanings it has, mainly with respect to its potential of outer-musical references. Besides philosophical concepts it also takes into consideration Sartre’s own experiences with art.

There is still considerable awareness of Bohemian and Moravian treasures to be found in Swedish a... more There is still considerable awareness of Bohemian and Moravian treasures to be found in Swedish archives. During a three-week professional visit we tested this claim in the field of historic musical materials. We headed for the collections in the Royal library in Stockholm and the Carolina Rediviva University Library in Uppsala. Our aim was to establish whether these two important Swedish archives contained any important musical treasures taken from Central Europe by the Swedish armies during the Thirty Years War. Unlike in the field of literature and history, there has been no comprehensible work on identification of music sources of Bohemian and Moravian provenance in Sweden. After recapitulation of basic facts and results of earlier scholarship our findings are reported.

Books by Martina Stratilková