DOI: 10.4149/SH_2023_4_1

The submitted text forms the third and closing part of the study Guitar Compositions of Slovak Composers. Following the first two parts, here we present the development of guitar composition in Slovakia since the 1980s up to the present time. In the chapter reflecting the period 1980–1989 we introduce the determinants and forms of guitar music by Dušan Martinček and Pavol Malovec. The next section is devoted to the development since the 1990s until the present day focusing on Lukaš Borzik’s music in particular. The autonomous closing chapter observes the employment of guitar in the lifelong music work by Joseph Kolkovich. Two interviews with composers – namely Marian Budoš and Joseph Kolkovich – represent a valuable contribution to the study; they recount the composers’ experience and opinions associated with the guitar possibilities in the contemporary composed music.

Keywords
guitar music; Slovak composers; female guitar composers; chamber music; music for guitar solo

DOI: 10.4149/SH_2023_4_2

Johann Nepomuk Hummel and His Cantata Polymelos, Op. 82 (1818)
A Wide Slavic Coda (Antonin Dvořak, Pyotr Ilyich Tchaikovsky)

The second part of the study (the first part was published in the Slovak Music revue, Vol. 49, No. 3, 2023) studies the circumstances of the origination of the astonishing cantata Polymelos, the 82^nd opus by Johann Nepomuk Hummel. The cantata employs Russian national songs from the Lvov–Pratch collection. The selected songs were synthetised by Hummel with the idiom of the High Classicism and in the version of the work using German-language lyrics he created a wedding cantata out of them (thus creating the predecessor of Stravinsky’s The Wedding).
The section A Wide Slavic Coda examines the usage of quoted Russian song collections in the works by Slavic Romantic composers – Antonín Dvořák and Pyotr Ilyich Tchaikovsky. Tchaikovsky’s approach was later modified by Igor Stravinsky while composing his ballet The Rite of Spring.

Keywords
Johann Nepomuk Hummel; Polymelos; Slavic music; Russian national songs

DOI: 10.4149/SH_2023_4_3

Based on the analysis of primary sources the study documents the development of teachers’ education in Modra in the years 1938–1950. It focuses on changes in the music education and music practice brought about by the political events in Slovakia in the late 1930s, and monitors the teachers’ education during the World War II. It observes the changes which took place in music education after 1945 and results of the reform of the teachers’ education after 1948. Bringing profiles of music teachers working in this teacher-training institution it assesses the influence of their activity on the quality of the music education and after-school activities.

Keywords
Modra; music; education; state teachers’ institution; state teachers’ academy; Samuel Kovař; Jozef Weber; Tibor Andrašovan; František Melkovič; Ladislav Hrdina; Leopold Zoltan Krull; piano playing; organ playing; singing and music theory; violin playing; music education