Relevant bibliographies by topics / Music for Prague

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music for Prague'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Music for Prague"

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Honisch, Erika Supria. "Of Music, Morals, and Salads." Common Knowledge 27, no. 2 (May 1, 2021): 280–308. http://dx.doi.org/10.1215/0961754x-8906173.

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Abstract This article uses music and the discourse about music to understand the practice of tolerance in Prague during the period immediately preceding the outbreak of the Thirty Years’ War. Drawing on Las ensaladas (Prague, 1581), a collection of vernacular polyphony compiled by the Spanish composer Mateo Flecha the Younger, and Harmoniae morales (Prague, 1589–90), comprising musical settings of Latin texts by the Slovenian composer Jacobus Handl, the article argues that such music offered Prague's diverse citizens a medium for reflecting on how to live morally and peaceably. Ultimately, this article challenges the commonplace that musical harmony offered an effective model for social harmony, arguing that the practice of singing together exposed the limits of tolerance even as it illuminated how difference might be accommodated.
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Cairns, Zachary. "Music for Prague 1968: A display of Czech nationalism from America." Studia Musicologica 56, no. 4 (December 2015): 443–58. http://dx.doi.org/10.1556/6.2015.56.4.11.

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As an overt response to the Soviet bloc invasion of Czechoslovakia, Karel Husa’s Music for Prague 1968 makes an obvious nationalistic statement. In his foreword to the published score, Husa describes Prague’s use of the Hussite war song “Ktož jsú boží bojovníc” as its most important unifying motive. He says this song has long been “a symbol of resistance and hope.” The author does not debate the work’s nationalistic intent, he finds remarkable that, in 1968, Husa was an American citizen, teaching at Cornell, and using compositional techniques not frequently associated with Eastern European nationalism. If musical nationalism (expressed by folkloric elements) in Eastern European countries can be used to express primacy over avantgarde music, Music for Prague 1968 presents the opposite — a traditional war song submersed in an entirely Western European/American musical language. The study examines several portions of the composition to demonstrate the ways in which Husa expresses his nationalism in a non-nationalistic manner, including chromatic transformations of the Hussite song; the integrally serial third movement, in which unpitched percussion instruments are intended to represent the church bells of Prague; and the opening movement’s non-tonal bird calls, intended to represent freedom. Furthermore, Music for Prague 1968 uses a Western avant-garde language in a way that Husa’s other overtly nationalistic post-emigration pieces (Twelve Moravian Songs, Eight Czech Duets, Evocations of Slovakia) do not. In this light, it will be seen that Music for Prague 1968 fills a special role in Husa’s nationalistic display.
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Michl, Jakub. "Musical Activity of the Cantors of the Studnička Family from Suchomasty near Beroun." Musicalia 10, no. 1-2 (2018): 43–84. http://dx.doi.org/10.1515/muscz-2018-0002.

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The music library of the Elizabethan Nuns in Prague contains a collection of music that was copied by cantors of the Studnička family from the village Suchomasty near Beroun. The first cantor in Suchomasty from 1769 was Josef Jan Jakoubek (1751–1810), the uncle of Jakub Jan Ryba, and after his departure for Mníšek pod Brdy in 1785, his successor was František Vincenc Studnička (1764–1826). František Ladislav Studnička (1797–1864) carried on the family tradition, followed by Otomar Studnička (1845 – after 1900), who later went to Prague and took the family music collection with him. He worked as a teacher at a public school in Libeň, then at the Saint Wenceslas Prison in Prague’s New Town. From 1884 he continued his work as a teacher at the prison in Pilsen-Bory. In 1889 he donated the family music collection to a convent of the Elizabethan Nuns. That material was integrated into the convent’s collection, and it was still being used in the twentieth century.
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Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera institutions aimed at historically informed, “authentic” productions of these operas. This article shows that the attempts to transform Mozart's operas into autonomous artworks, artworks that would faithfully reflect the unique vision of their creator and not succumb to changing audience tastes, were closely linked to national politics in nineteenth-century Prague. As the city's population became more and more divided into ethnic Czechs and Germans, both groups appropriated Mozart for their own narratives of cultural uniqueness and cultivation. The attempts at historic authenticity originated already in the 1820s, when Czech opera performers and critics wanted to perform Don Giovanni in a form that was as close as possible to that created by Mozart in 1787 but distorted in various German singspiel adaptations. Similar attempts at historical authenticity are also prominent in Bedřich Smetana's approach to Le nozze di Figaro, during his tenure as the music director of the Czech Provisional Theater in the late 1860s. German-speaking performers and critics used claims of historical authenticity in the 1830s and 40s to stress Prague's importance as a prominent center of German culture. During the celebrations of the 1887 Don Giovanni centennial, furthermore, both the Czech and German communities in Prague appropriated Mozart's operas into their intensely nationalistic debates.
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King, Alec Hyatt, and Jan Kristek. "Don Giovanni in Prague." Musical Times 128, no. 1738 (December 1987): 683. http://dx.doi.org/10.2307/964806.

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Brodbeck, David. "Hanslick's Smetana and Hanslick's Prague." Journal of the Royal Musical Association 134, no. 1 (2009): 1–36. http://dx.doi.org/10.1080/14716930902809114.

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This article examines the Viennese critic Eduard Hanslick's reception of the music of Bedřich Smetana during the 1880s and 1890s. In three case studies, it suggests that the critic's reviews are best understood in terms not of Smetana's Czech nationalism, but of Hanslick's German liberalism, and of the critic's memories of the youthful background he shared with Smetana in German-speaking yet nationally indifferent Vormärz Prague.
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van der Heijden, Frieda, and Laura Ventura Nieto. "Med-Ren 2017 in Prague." Early Music 45, no. 4 (November 2017): 700–701. http://dx.doi.org/10.1093/em/cax088.

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Honisch, Erika Supria. "Encounters with Music in Rudolf II's Prague." Austrian History Yearbook 52 (April 5, 2021): 64–80. http://dx.doi.org/10.1017/s0067237821000126.

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AbstractThis article uses three well-known members of Rudolf II's imperial court—the astronomer Johannes Kepler, the composer Philippe de Monte, and the adventurer Kryštof Harant—to delineate some ways music helped Europeans understand identity and difference in the early modern period. For Kepler, the unfamiliar intervals of a Muslim prayer he heard during the visit of an Ottoman delegation offered empirical support for his larger arguments about the harmonious properties of Christian song and its resonances in a divinely ordered universe. For Harant, listening and singing were a means of sounding out commonalities and differences with the Christians and Muslims he encountered on his travels through the Holy Land. Monte sent his music across Europe to the English recusant William Byrd, initiating a compositional exchange that imagined beleaguered Bohemian and English Catholics as Israelites in exile, yearning for Jerusalem. Collectively, these three case studies suggest that musical thinking in Rudolfine Prague did not revolve around or descend from the court or sovereign; rather, Rudolf II's most erudite subjects listened, sang, and composed to understand themselves in relation to others.
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Honisch, Erika Supria. "HEARING THE BODY OF CHRIST IN EARLY MODERN PRAGUE." Early Music History 38 (September 11, 2019): 51–105. http://dx.doi.org/10.1017/s0261127919000032.

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The multi-confessional cities of early modern Central Europe resounded with sacred music. People sang to express faith, to challenge the beliefs of others, and to lay claim to shared urban spaces. This study considers how such music was heard in Prague, the capital of the Holy Roman Empire, during the reign of the Habsburg Emperor Rudolf II (1576–1612). During this period, the city’s Catholics jostled for supremacy with Czech-speaking Utraquists (followers of Jan Hus), who vastly outnumbered them, and a growing population of German-speaking Lutherans. Focusing on the sonically rich Corpus Christi processions held by Prague’s Jesuits, this article examines how sounds that aggressively promoted Catholic Eucharistic doctrine were received by those who were––by chance or by design––within earshot. Viewing Catholic claims alongside non-Catholic resistance suggests that music’s power lay as much in the fact of its performance as in its deployment of specific texts and sounds.
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SPRACKLAN-HOLL, HANNAH. "ZELENKA CONFERENCE PRAGUE, 19 OCTOBER 2018." Eighteenth Century Music 16, no. 2 (August 20, 2019): 192–94. http://dx.doi.org/10.1017/s1478570619000083.

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Dissertations / Theses on the topic "Music for Prague"

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Barrows, Christine Suzanne Covert. "The music of the Bohemian literary brotherhoods as preserved in Prague, Narodni Knihovna manuscript PragU XVII B 19." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10048.

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First copied during the second half of the sixteenth century (and later renewed in 1650), for use by the literary brotherhood of the church of St. Havla in Old Town Prague, the manuscript PragU XVII B 19 belongs to an era of a culture of which many Western musicological scholars have little awareness. The manuscript forms the main subject of this thesis including its physical construction, provenance and musical contents, particularly the polyphonic Czech Credos. In addition this source is placed in the immediate social, cultural and theological context with special emphasis on its place within the larger context of the city of Prague, the kingdom of Bohemia, the monarchical structure of the Habsburg family and the greater conglomerate of the Holy Roman Empire.
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Barrows, Christine Suzanne Covert. "The music of the Bohemian Literary Brotherhoods as preserved in Prague, Naródní Knihovna Manuscript PragU XVII B 19." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq20901.pdf.

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Stapleton, Karl. "Czech music culture in Prague 1858-1865 : a catalogue of Prague concert life compiled from reports and reviews published by Czech newspapers and periodicals October 1858 - December 1865." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288800.

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Brinkman, Andrew. "Kosmopolitismus v Praze and The Question of Czech Authenticity." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587643009764839.

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Healey, John P. "THE SOLO PIANO MUSIC OF VIKTOR ULLMANN: FROM PRAGUE TO THE HOLOCAUST A PERFORMER'S GUIDE TO THE COMPLETE PIANO SONATAS AND VARIATIONS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991913187.

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Kyyanovska, Luba. "Die Briefe von Vasyl Barvins'kyj aus Prag als Spiegel des Musiklebens vor dem Ersten Weltkrieg: (1905 - 1914)." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15957.

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Die im Folgenden dargestellte Auswahl der Briefe von Vasyl Barvins'kyj repräsentiert nicht nur ein wesentliches Stück der nationalen ukrainischen Kultur schlechthin, sondern spiegelt auch wichtige Prozesse innerhalb der gesamten europäischen Kultur dieser widersprüchlichen und höchst interessanten Periode wider.
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Valíček, Martin. "Šedá zóna dočasnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2018. http://www.nusl.cz/ntk/nusl-377250.

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On an architectural proposal of techno club is demonstrated a stenographic approach in designing based on a phenomenon of electronic subculture. The Klub visitor is participating a ritual under the influence of music and nightlife lead by an ephemeral architecture, tectonic and spatial dramaturgy.
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Vojtěšková, Jana. "Briefe von Josef Suk an den Dirigenten Oskar Nedbal nach Wien." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15963.

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Die Briefe des tschechischen Komponisten Josef Suk an den Dirigenten Oskar Nedbal nach Wien wurden überwiegend in den Jahren 1910 bis 1914 abgefasst und geben die Atmosphäre um die Aufführung von Suks Werken in Wien wieder. Dieser Briefwechsel ist ein Beleg für die Bemühungen Oskar Nedbals, das Wiener Publikum mit dem Werk des talentierten Dvořákschülers und führenden Vertreters der so genannten tschechischen Moderne Josef Suk bekannt zu machen.
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Buerer, Harry F. "Winds of praise symphonic band recital /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Books on the topic "Music for Prague"

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Jiří, Všetečka, ed. Prague in history of music. Praha: V ráji, 1997.

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Kuna, Milan. Prague in history of music. Praha: V ráji, 1997.

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Opera and ideology in Prague. Rochester, NY: University of Rochester Press, 2006.

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Karásek, Oldřich. Symfonie pro sto věží =: Golden Prague symphony. Praha: Editio Supraphon, 1988.

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Eduard Hanslick and Ritter Berlioz in Prague: A documentary narrative. Calgary, Alta., Canada: University of Calgary Press, 1991.

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Flyte, Magnus. City of lost dreams. Detroit: Thorndike Press, 2014.

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Mikuláš, Jiří. Hudba v Praze 1760-1810: Music in Prague 1760-1810 : České muzeum hudby, Praha, 17.3.2006-4.9.2006. Praha: Národní muzeum, 2006.

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Jarmila, Gabrielová, and Kachlík Jan, eds. The work of Antonín Dvořák (1841-1904): Aspects of composition, problems of editing, reception : proceedings of the international musicological conference, Prague, September 8-11, 2004. Prague: Institute of Ethnology, Academy of Sciences of the Czech Republic, 2007.

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Mezinárodní muzikologicka konference "Dílo Antonína Dvořáka (1841-1904): kompoziční aspekty - ediční problematika - recepce." The work of Antonín Dvořák (1841-1904): Aspects of composition, problems of editing, reception : proceedings of the international musicological conference, Prague, September 8-11, 2004. Prague: Institute of Ethnology, Academy of Sciences of the Czech Republic, 2007.

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Stapleton, Karl. Czech music culture in Prague 1858-1865: A catalogue of Prague concert life compiled from reports and reviews published by Czech newspapers and periodicals October 1858-December 1865. Birmingham: University of Birmingham, 2002.

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Book chapters on the topic "Music for Prague"

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Talbot, Kathrine. "A Yearbook of the Music of Vienna and Prague, 1796 Johann Ferdinand von Schonfeld." In Haydn and His World, edited by Elaine R. Sisman, 289–320. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831821.289.

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Scruton, Roger. "In Praise of Bourgeois Music." In Untimely Tracts, 49–51. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09419-6_24.

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Wellinga, Klaas. "Praise the Drug Lord: Narcocorridos in Mexico." In Crime and Music, 103–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49878-8_7.

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Alabi, Adetayo. "Oríkì praise tradition in Yoruba music." In Oral Forms of Nigerian Autobiography and Life Stories, 41–56. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158219-3.

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Tyson, Alan. "Die Prager Version von Mozarts »Figaro« 1786." In Musik in Baden-Württemberg, 143–58. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03625-4_9.

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Hodgin, Nick. "In Praise of Authenticity? Atmosphere, Song, and Southern States of Mind in Searching for the Wrong-eyed Jesus." In Relocating Popular Music, 186–206. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_10.

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NÄgele, Reiner. "Die wiederentdeckte »Stuttgarter Kopie (Prager Provenienz)« von Mozarts »Don Giovanni«." In Musik in Baden-Württemberg, 159–66. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03625-4_10.

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Fiala, Michele. "Maurice Bourgue." In Great Oboists on Music and Musicianship, 13–15. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0002.

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Maurice Bourgue is a French oboist, chamber musician, composer, and orchestra conductor who won international competitions in Geneva, Birmingham, Munich, Prague, and Budapest. In this chapter he discusses his career and its evolution, gives advice for those entering competitions, discusses national styles, and relates his most memorable performances.
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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau, 43–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.
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Hagen, Trever. "From Socialist Realism to the Prague Spring." In Living in The Merry Ghetto, 21–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190263850.003.0002.

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Chapter 2 explores aesthetic models, forms, and materials of creative practices in Czechoslovakia from the 1940s to the 1960s. It centers on how people made available aesthetic resources: the practice of furnishing an ecology. I examine the historical conditions of artistic production of post–World War II Stalinism’s “socialist realism” to the Czechoslovak Prague Spring and its political direction of “socialism with a human face” beginning with Egon Bondy’s work. I focus particularly on his biography as a producer and early poetry works after the 1948 coup, emphasizing two styles he developed with Ivo Vodseďálek from 1950 and 1951: Total Realism (Totalní Realismus) and Poetry of Embarrassment (Trapná Poezie). These poetic styles and content served as a response to the perceived absurdity of post-1948 Stalinist culture felt by Bondy and Vodseďálek. By examining this body of work, I investigate what Total Realism and Poetry of Embarrassment afforded, solved, and transmitted. On the heels of Stalin’s death and Khrushchev’s secret speech in 1956, I continue onto the boom and popularity of rock ’n’ roll during the 1960s and the initial, inchoate formation of the Underground following the Prague Spring of 1968. I analyze people’s engagement with circulating cultural media during this period that contributed to a cosmopolitan music scene in Prague, detailing the proto-underground rock bands of the 1960s and the emergence of psychedelic music in Prague.
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Conference papers on the topic "Music for Prague"

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Macik, Miroslav, Anna Kutikova, Adam J. Sporka, and Zdenek Mikovec. "CoBoard flowers: An interactive installation for Prague spring international music festival." In 2016 7th IEEE International Conference on Cognitive Infocommunications (CogInfoCom). IEEE, 2016. http://dx.doi.org/10.1109/coginfocom.2016.7804536.

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