czech music
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2022 ◽  
Vol 2 (3) ◽  
pp. 26-33
Author(s):  
Jan Koucun ◽  
Jiri Kantor

The preventive restrictions imposed at the beginning of March 2020 led to the interruption of the therapeutic practice of most music therapists in the Czech Republic. The aim of this descriptive cross-sectional study was to find out what impact this situation had on the music therapy community at the end of May 2020, how many music therapists gained experience with virtual music therapy (VMT) and how ICT and other technologies were used in music therapy practice. A survey with an extended version of a questionnaire created by Gilboa, Weiss and Dassa (not yet published) for the purpose of an international survey in music therapy was used for data collection. Based on the findings, most music therapists at the time had no experience with VMT, but a small number of practitioners were interested in using VMT even after the end of the lockdown. ICT has been used more for receptive music therapy activities and its wider application faces problems such as a lack of knowledge and skills in the use of ICT in the context of music therapy. Based on these findings, a project focused on the implementation of best-evidence concerning VMT into Czech music therapy practice was launched. Also, we recommend creating projects focused on the use of ICT (including applications in music therapy conducted face-to-face) in the near future.


Author(s):  
Martin Flašar

Czech music has a lengthy tradition of Faustian settings extending back to the nineteenth century. Two important Faust compositions from the mid-twentieth century were created by the composer, writer, and poet Josef Berg. Berg’s position in post–World War II music resembled the story of Doctor Faustus in that he was faced with the choice of an official existence provided by the Czechoslovak Composers' Union or a life in isolated opposition. After starting his career as an optimistic supporter of communism, Berg shifted to a critical mode involving irony and parody. In the 1960s, Berg worked on two different adaptations of the Faust theme entitled Johanes doktor Faustus (Johanes Doctor Faustus). The first was created as a chamber opera for three persons and a small ensemble, while the second was conceived as a grand opera inspired by the poetics of folk puppet theater.


Notes ◽  
2019 ◽  
Vol 76 (2) ◽  
pp. 274-277
Author(s):  
Albrecht Gaub
Keyword(s):  

2018 ◽  
Vol 59 (3-4) ◽  
pp. 439-452
Author(s):  
Lenka Křupková

Abstract The Czechs have limited personal experience with foreign non-European cultures, people of different appearances and other religions. Apart from the not always latent xenophobic attitude towards “other” cultures, Czechs are known to have an almost paranoid fear of the decisions of larger nations. These are two complementary factors that determine the cultural profile of the Czech nation. Czech history, rich in moments and periods of the nation's failure, its humiliation and frustration, provides numerous examples serving to explain this situation. Everything foreign, new and unknown attracts an audience and at the same time repels it. This study demonstrates, using several examples from Czech music, how ambivalent the perception of “the other” can be: as something that fascinates but at the same time evokes fear and a feeling of threat. This experience with the ambivalent meaning of “the other” is surely not only characteristic of Czechs. Other nations also view “the other” as a projection wall of their desires and fantasies as well as fears. One can find similar motifs in other art works of a different provenience. In the case of small nations, however, these themes can be accentuated by the influence of particular historical situations and viewed from the perspective of established interpretations.


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