Author:
Zachary Cairns University of Missouri — St. Louis, 243 Pond Hollow Drive, MO 63303 St. Charles, USA

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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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Senior editors

Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

Assistant Editor(s):
Patrick DEVINE (Maynooth University, Maynooth, IRL)
Anna LASKAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • Vjera KATALINIĆ (HR)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

STUDIA MUSICOLOGICA
Address: H–1250 Budapest, PO Box 9, Hungary
Fax: +36 1 375 9282
E-mail: studia@btk.mta.hu

Indexing and Abstracting Services:

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2023  
Web of Science  
Journal Impact Factor 0.1
Rank by Impact Factor Q3 (Music)
Journal Citation Indicator 0.17
Scopus  
CiteScore 0.1
CiteScore rank Q4 (Music)
SNIP 0.626
Scimago  
SJR index 0.114
SJR Q rank Q3

Studia Musicologica
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Studia Musicologica
Language English
French
German
Size B5
Year of
Foundation
2007 (1961)
Volumes
per Year
1
Issues
per Year
4
Founder Magyar Tudományos Akadémia
Founder's
Address
H-1051 Budapest, Hungary, Széchenyi István tér 9.
Publisher Akadémiai Kiadó
Publisher's
Address
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher
Chief Executive Officer, Akadémiai Kiadó
ISSN 1788-6244 (Print)
ISSN 1789-2422 (Online)