{"id":300,"date":"2011-02-02T17:46:30","date_gmt":"2011-02-02T16:46:30","guid":{"rendered":"http:\/\/kajanova.zrak.sk\/?p=300"},"modified":"2012-09-30T07:07:06","modified_gmt":"2012-09-30T06:07:06","slug":"the-periodization-of-slovak-pop-music-and-jazz","status":"publish","type":"post","link":"http:\/\/kajanova.zrak.sk\/?p=300","title":{"rendered":"Periodiz\u00e1cia slovenskej popul\u00e1rnej hudby a jazzu"},"content":{"rendered":"<p class=\"qtranxs-available-languages-message qtranxs-available-languages-message-sk\">Je n\u00e1m \u013e\u00fato, t\u00e1to polo\u017eka je k dispoz\u00edcii iba <a href=\"http:\/\/kajanova.zrak.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fposts%2F300&lang=en\" class=\"qtranxs-available-language-link qtranxs-available-language-link-en\" title=\"English\">English<\/a>.<\/p><p><em><strong>Published In: Kajanov\u00e1, Yvetta: Towards a Periodization of Slovak Popular Music and Jazz. In: Musicologica Istropolitana VI, Stimul, Bratislava 2007, s. 197 \u2013 216, ISBN 978-80-89236-43-5<\/strong><\/em><\/p>\n<p>There are two reasons why we decided to deal with the periodization of Slovak pop music: Firstly, to attempt to prove the viability of Slovak non-artificial music as an independent musical unit, and secondly to point out that Slovak pop music and jazz should be understood as a historical phenomenon. The development of Slovak non-artificial music in a conceptual unit can not be separated from the world`s development. On the contrary, a complex understanding may lead to fundamentally new responses to the constantly recurring questions of (1) isolation and (2) falling behind the world`s progressive trends, as it was said about Slovak pop music and jazz in the first written works of Igor Wasserberger, Ladislav \u0160olt\u00fds, and J\u00falius Kin\u010dek.<sup><a href=\"#sdfootnote1sym\"><sup>1<\/sup><\/a><\/sup> In this paper, we aim to outline the basic historical data important for the general character of Slovak pop music, remarking on the developmental changes in particular periods. The periodization of the history of Slovak pop music is essential for further historical research in particular periods, and this research empties into synthetic history.<\/p>\n<p>When dealing with the periodization of the historical development of non-artificial music in Slovakia, it is necessary to consider some important characteristics:<\/p>\n<ul>\n<li>\n<p lang=\"en-US\">A classification of music in further genre subgroups which have their own internal development concerning a self-character of the\u00a0genre; it contains a mainstream \u2013 hit production, jazz, rock, folk, chanson, country and western, and electronic dance music;<\/p>\n<\/li>\n<li>\n<p lang=\"en-US\">A cultural \u2013 political development in Slovakia and its ideological interventions on non-artificial music. This production gained a\u00a0huge audience, primarily youth;<\/p>\n<\/li>\n<li>\n<p lang=\"en-US\">The organization and the system of the regulation of musical life in Slovakia; which experienced the processes of open competition and free market (1918 \u2013 39), followed by the destructive interventions of Fascistic and Nazi ideologies (1939 \u2013 45), then a process of free market competition (1945 \u2013 48), centralization (1948 \u2013 89) and finally decentralization (1989).<\/p>\n<\/li>\n<\/ul>\n<p>These three central aspects are taken into account in various ways in current synthetic works and monographs. A short section by Igor Wasserberger in <em>Jazzov\u00fd slovn\u00edk<\/em> from 1965<sup><a href=\"#sdfootnote2sym\"><sup>2<\/sup><\/a><\/sup> is the first study of the history of jazz in Slovakia. The author sees jazz as an independent genre with particular styles. He illustrates its development in Slovakia from World War II to the year 1965 when the publication <em>Jazzov\u00fd slovn\u00edk <\/em>came into existence.<em> <\/em>It is curious that Slovak jazzmen are ranked among the world`s big names. For example, if we take the letter \u201cD\u201d, along with the legendary American musicians such as Miles Davis, and Paul Desmond, we also find Slovak names such as\u00a0Laco D\u00e9czi and Ivan Domin\u00e1k. The same author, Igor Wasserberger<sup><a href=\"#sdfootnote3sym\"><sup>3<\/sup><\/a><\/sup>, in the <em>Encyklop\u00e9dia jazzu a\u00a0modern\u00ed popul\u00e1rn\u00ed hudby<\/em> (First edition<em> <\/em>from 1980, second edition from 1983), divides the history of non-artificial music in Slovakia into two sections \u2013 \u201cthe history of Slovak pop music\u201d and \u201cthe Slovak history of jazz\u201d in accordance with the conception of the authors of the book. Rock genre is classified in the section about the development of pop music. Igor Wasserberger understands the history of Slovak non-artificial music as the history of jazz, pop and rock music. However, he does not consider it necessary to write about the development of rock music in more detail, regarding its actual development. He moves the beginnings of the history of Slovak jazz back to \u201cthe end of the thirties.\u201d This is unlike a chapter of <em>Jazzov\u00fd slovn\u00edk<\/em> from 1965, in which he said that strict jazz tendencies in Slovakia began after 1953. He percieves the periodization rather pragmatically in decades \u2013 as the development in the fifties, sixties, seventies.<\/p>\n<p>A chapter devoted to Slovak pop music and rock, entitled \u201cK\u00a0te\u00f3rii popul\u00e1rnej hudby\u201d [On the Theory of Pop Music], is found in Ladislav Burlas` monography<sup><a href=\"#sdfootnote4sym\"><sup>4<\/sup><\/a><\/sup> <em>Hudobn\u00e1 te\u00f3ria a\u00a0s\u00fa\u010dasnos\u0165<\/em> from 1978. The author searches for societal and socially significant aspects and confronts his musical-theorethical approach with a\u00a0new genre area. He deals with rhythm, time, and the form genres of non-artificial music. Attention is paid to the fact that there is a\u00a0big difference between \u201c<em>a lyric chanson song, a\u00a0dance song, a\u00a0musical song unit, and beat and rock music<\/em>\u201d<sup><a href=\"#sdfootnote5sym\"><sup>5<\/sup><\/a><\/sup> in Slovakia. The history of non-artificial music in Slovakia is pragmatically divided into decades &#8211; the fifties, the sixties etc. In 1978, as well as during the writings of the mentioned works, there was a\u00a0short interval from the historical beginning of Slovak rock and other genres. A positive side of Burlas` view is that he wrote about the actual formations of the progressive rock Gattch and Collegium Musicum.<sup><a href=\"#sdfootnote6sym\"><sup>6<\/sup><\/a><\/sup> Another positive is that he went in search of the analytical approach to pop music, though it was not on behalf of the pop music in light of today`s axiological approach. Meanwhile, an essential work of analysis in this field was published in the collective volume <em>Jazzforschung <\/em>in Graz<sup><a href=\"#sdfootnote7sym\"><sup>7<\/sup><\/a><\/sup> by Lubom\u00edr Dor\u016f\u017eka in 1977. His approach, however, is much different.<\/p>\n<p>In 1994, Igor Wasserberger published a\u00a0study<sup><a href=\"#sdfootnote8sym\"><sup>8<\/sup><\/a><\/sup> on the beginnings of Slovak popular song. The period from 1920 to 1944 is treated as the first period in his periodization. It also appears in the title of his study. Concerning these findings and the confrontations in the research of authors such as Osk\u00e1r Elschek, \u013dubom\u00edr Chalupka,<sup><a href=\"#sdfootnote9sym\"><sup>9<\/sup><\/a><\/sup> and Juraj Lexmann, we consider it necessary to talk preferably about the period from 1918 \u2013 1945.<\/p>\n<p>Another compact work about pop music was written by Franti\u0161ek Tur\u00e1k and is a part of the synthetic work<em> <\/em><em>Dejiny slovenskej hudby<\/em> from 1996, edit Osk\u00e1r Elschek<sup><a href=\"#sdfootnote10sym\"><sup>10<\/sup><\/a><\/sup>. In this paper, the authors approach the history of Slovak music with a\u00a0new aspect of a genre and a stylistic multi-layer phenomenon for the first time. A genre-stylistic area of modern pop music in Slovakia is also a component part of the conception of history. In Elschek`s conception, however, the history of the twentieth century is a part of the entire development from the Middle ages to present times; proportionality of the particular chapters suits this assumption. Only one quarter of the total number, which is more than 550 pages of the synthetic history, is devoted to the twentieth century. It partially interferes with the chapter \u201cHudba v\u00a0obdob\u00ed romantizmu a\u00a0n\u00e1rodno-emancipa\u010dn\u00fdch sn\u00e1h\u201d [Music in the Period of Romanticism and National-Emancipatory Efforts].<sup><a href=\"#sdfootnote11sym\"><sup>11<\/sup><\/a><\/sup> The section \u201cSlovensk\u00e1 hudba 20. storo\u010dia\u201d [Slovak Music of the Twentieth Century] consists of 150 pages.<sup><a href=\"#sdfootnote12sym\"><sup>12<\/sup><\/a><\/sup> The twentieth century is divided into two sections: development through 1945, and after 1945. Therefore, the year 1945 is not only a political and historical milestone, but also a turning point after more than a 50- year period, after which a new factor logically comes. This milestone does not arise from the internal developmental marks of Slovak music, but it has rather of a cultural and social-political character. However, Turak`s short paper named \u201cModern\u00e1 popul\u00e1rna hudba a\u00a0jazz\u201d [Modern Pop Music and Jazz]<sup><a href=\"#sdfootnote13sym\"><sup>13<\/sup><\/a><\/sup> focuses only the development of pop and rock music, other genres are mentioned just partially. Obviously, it is not possible to describe the development of the other genres of jazz, folk, country and western, and chanson in such a short article. Franti\u0161ek Tur\u00e1k had to choose the genres which were more important to him. When he talked about pop music and rock in Slovakia, like the previous authors, he described history in the decennial developmental periods in the fifties, sixties, and so on up to the eighties.<\/p>\n<p>In Turak`s next monography<sup><a href=\"#sdfootnote14sym\"><sup>14<\/sup><\/a><\/sup> entitled <em>Modern\u00e1 popul\u00e1rna hudba a\u00a0d\u017eez na Slovensku: v\u00fdvojov\u00e9 tendencie a kritick\u00e9 reflexie<\/em> from 2003, the development of Slovak non-artificial music is known in the multi-layer genres of pop music, jazz, rock, chanson, operette, and the musical. However, it is problematic to integrate an independent line of the world`s development in the context of the development of Slovak pop music as well as the usage of some terms such as cabaret, folk music or chanson. The question arisis of whether it is not one developmental line of the genre named as \u201cthe short theatre forms\u201d of the past. Understanding the development in decennial periods, starting from the fifties of the twentieth century and so on, is found in periodization. Significant political milestones in Slovakia \u2013 e.g. the years 1968 or 1989 \u2013 are also a part of the developmental periods.<\/p>\n<p>When documenting the organization of musical life in Slovakia in the cited papers, the authors mostly confine themselves to the statements about the existence or absence of the publisher, the agent activity, and regular concert life. Some theorists absolutely did not give their opinions on ideological interventions in the artistic activities of musicians since they treated them as tabooed. Other authors were often forced to do so directly by an editorial office or the interventions \u201cof the regime\u201d in regard to the circumstances of publishing. Many ideological components were related to the concrete situations in cultural policy of any certain period. In the following part of this paper, we express an opinion on the ideological questions and problems of organizing musical life, which greatly influenced the periodization of the history of Slovak pop music and jazz in the past.<\/p>\n<p lang=\"en-US\"><strong>The Actual Periodization of Slovak Pop Music<\/strong><\/p>\n<p>Critical opinions which stressed out the social requirements of national and original production were often heard in the freely developing musical market after 1918. It is because the contemporary German, Austrian, Hungarian, Czech, as well as English and American big hits were spread throughout Slovakia. The first period of authentic Slovak works had freely been developing since the beginning of the first Slovak popular song in 1934 until the second World War began. Events in the war caused the first discontinuity and artificial interventions in the natural assimilation of outside sources. The period between 1945 \u2013 48 was a\u00a0short continuation of a freely developing market. After 1948, ideological interventions caused the features of discontinuity to again appear in the development of non-artificial music in Slovakia. Constraints \u201cby the regime\u201d directed \u00a0Slovak popular song away from Anglo-Saxon or American music<sup><a href=\"#sdfootnote15sym\"><sup>15<\/sup><\/a><\/sup>. Music of the ideologically \u201cfriendly countries of the Eastern block\u201d or the big hits dominating the western hit-parades of the European countries later in the sixties became an\u00a0important starting point. Indications of the periodization appear more in partial works of particular theorists in the present tracing of the history of the genre-stylistic area of Slovak non-artificial music. In 1994, Igor Wasserberger published a\u00a0study<sup><a href=\"#sdfootnote16sym\"><sup>16<\/sup><\/a><\/sup> about the beginnings of the Slovak popular song. He targets the period from 1920 to 1944. He provides an analytic and developmental view of contemporary pop music produced in the dulcimer Roma groups in paralell with the hit productions, folk music and operetta melodies. Besides the Roma groups, brass ensembles also performed at dances held in wide open spaces mostly in the country. They assumed the modern dances of these \u201cGypsy groups\u201d into their repertoire. These new forms of entertainment in night clubs offering the revue programs came to bigger Slovak towns (Bratislava, Ko\u0161ice). The pianists who played contemporary dance repertoire to entertain the audiences were mainly invited. While the Gypsy groups and their fluctuation throughout Slovakia were well-known before the foundation of Czechoslovak Republic in 1918, the coffee pianists, who appeared in Bratislava as early as in 1915, were also performing.<\/p>\n<p>The next type of music, through which contemporary hits were spread, is movie music. One of the first cinemas in Bratislava was built in 1905. In following years, cinemas were also built in other towns of Slovakia \u2013 Nov\u00e9 Z\u00e1mky, Nitra, Bansk\u00e1 Bystrica, Ko\u0161ice, Dob\u0161in\u00e1, Gelnica, Levo\u010da, \u017dilina, Lu\u010denec, Trnava, Ru\u017eomberok, Tren\u010d\u00edn, Zvolen, Pre\u0161ov, Levice, Poprad, Rimavsk\u00e1 Sobota, Ro\u017e\u0148ava, Liptovsk\u00fd Mikul\u00e1\u0161.<sup><a href=\"#sdfootnote17sym\"><sup>17<\/sup><\/a><\/sup> Repertoire mostly came from Germany and Austria. Czech hits came well after. Juraj Lexmann, in his monography about Slovak movie music, moves the formation of a\u00a0new type of music in Slovakia back to the beginning of the twentieth century in 1905. He points out that \u201cthe first cinema in Prague \u2212 Ponrepo \u2212 was opened as late as in 1907\u201d<sup><a href=\"#sdfootnote18sym\"><sup>18<\/sup><\/a><\/sup>, thus two years later than in Bratislava. The constitution of Czechoslovakia did not interfere with this process at all but it paved the way for the formation of a new type of urban culture. Therefore, we regard it relevant to determine the year 1918 \u2013 the foundation of Czechoslovakia &#8211; as the first significant cultural-political milestone for the formation of Slovak non-artificial music. Thus, Wasserberger`s periodization of Slovak pop music should be moved forward two years.<\/p>\n<p>Slovak folk music was ready to assume many new elements if we consider its\u00a0developmental aspect. According to Alica and Osk\u00e1r Elscheks, the process of the propagation of a\u00a0new harmonic song (a transition from the fifth-tonal musical culture to the harmonic musical imagination)<sup><a href=\"#sdfootnote19sym\"><sup>19<\/sup><\/a><\/sup> and a Neo-Hungarian song in Slovak folk music took place in the 1890s. As Elschek said, the Hungarian and Slovak middle class burghers regarded this new musical style as their national music and as an expression of national pride. Slovak nationalists were enchanted by the new harmonic song in Gypsy performance. Neo-Hungarian musical culture found its way to Slovakia mainly through Gypsy musicians, soldiers, servants in towns, and agricultural workers who went for summer work to South (Dolniaky).<sup><a href=\"#sdfootnote20sym\"><sup>20<\/sup><\/a><\/sup> After the abovementioned facts, we may claim that Slovak folk music was able to assume new musical elements from the surrounding countries of Austrian \u2013 Hungarian provence; just as in the 1890s continuing until the foundation of Czechoslovakia.<\/p>\n<p>The recording of the first Slovak tango <em>Dita,<\/em> by Alexander Aranyos (music) and \u0160tefan Hoza (lyrics and vocal) in 1934 was another important milestone. The tango <em>Nepovedz diev\u010datko nikomu<\/em><em> <\/em>by Du\u0161an P\u00e1lka (music) and \u0160tefan Hoza (lyrics and vocal) was recorded on the second side of the same disc. Since the song <em>Nepovedz diev\u010datko nikomu<\/em> had been written two years before, the question of historical primacy is controversial and is related to the means of spreading a\u00a0then popular song. Du\u0161an P\u00e1lka played this song (1932) in a group of his friends when it was performed for the first time by a\u00a0violinist Die\u0161i in the coffee house Reduta, and later was copied and performed by many salons and Roma bands. In the spring of 1933, it was recorded and ready to be published with \u0160tefan Hoza`s vocals accompanied by the piano. The song <em>Dita<\/em> was originally published by the Czech, Mojm\u00edr Urb\u00e1nek (Prague), in a musical edition of vocals accompanied by the piano (1932). Due to its success, it was recorded once again at Christmas of the same year. We do not know, however, why the publisher Ultraphon decided to realize a new version of the song <em>Dita<\/em> in a performance of the experienced and successful Czech orchestra the Melody Boys of R. A. Dvorsk\u00fd. The song <em>Nepovedz diev\u010datko nikomu<\/em> is sung by \u0160tefan Hoza accompanied by the piano<sup><a href=\"#sdfootnote21sym\"><sup>21<\/sup><\/a><\/sup>. Both tangos were published on the same disc in 1934, although on the label<em> Dita<\/em> was deemed \u201cthe first Slovak tango\u201d (in Czech language). In retrospective shows, Aranyos acknowledged the primacy of P\u00e1lka and his tango <em>Nepovedz diev\u010datko nikomu<\/em><em>.<\/em> Owing to the problem of historical primacy and the way of spreading a popular song, some authors already mention the year 1932 as the year of the beginning of the first Slovak popular song. However, we must incline to the historical datum of the appearance of this song on disc, and therefore present the year 1934.<\/p>\n<p>This is how the foundations of the authentic Slovak song were laid. Its significance was underlined by the foundation of \u201cKruh autorov pesni\u010diek a\u00a0operiet\u201d in\u00a0Bratislava [The Circle of authors of songs and operettas], as a\u00a0step towards the protection of the author`s rights (KAPO, in the\u00a0Tatra Coffee House, 1937), as well as the foundation of the first publishing houses (the publishing house of J\u00e1n Sto\u017eick\u00fd, Karol Z\u00e1vodsk\u00fd). The next periodization of the history of Slovak pop music is clearly influenced by the political course of events in Europe and in the wider world. After the foundation of the Slovak Republic, activities in entertainment enterprises were limited to 9:00 pm under the pressure of fascist ideology. KAPO was first renamed as \u201cSlovensk\u00fd kruh autorov pesni\u010diek a\u00a0operiet\u201d [The Slovak Circle of authors of songs and operettas] (16\/12\/1938), but was dissolved on the second of April, 1943<sup><a href=\"#sdfootnote22sym\"><sup>22<\/sup><\/a><\/sup>. The music of American, English, French and Soviet authors was forbidden in broadcasts. Czech musicians had to leave Slovakia after 1939. Only German music, traditional folk music, and artificial Slovak music was played. External nationalist intervention in the internal development of Slovak pop music only formally facilitated authentic works when the Slovak Republic was founded. A Slovak popular song was naturally created by the assimilation of the streams of particular dance forms from the neighbouring countries, by an occasional exchange and migration of the coffee musicians, engagements in night clubs and variety shows, through radio broadcastings, and the transformation of folk music in the process of cultural exchange. This ideological attack caused the first discontinuity of Slovak pop music.<\/p>\n<p>The coming of the big band model of the swing orchestra, e.g. the first ensembles such as \u201cStudio Jazz Ladislava Faixa\u201d [The Jazz Studio of Ladislav Faix] (1939), \u201cOrchester Vysoko\u0161kolsk\u00e9ho zv\u00e4zu \u0161tudentstva J\u00e1na Ondru\u0161a\u201d [Orchestra of the University Union of Students led by J\u00e1n Ondru\u0161] (later led by Ady Helman; 1940), was very important for the subsequent development of Slovak pop music. These ensembles endeavoured to professionalize the Slovak scene of pop music. According to the partial research of the particular researchers in their theses, it is clear that the first non-professional orchestras in Slovakia appeared in the early thirties.<sup><a href=\"#sdfootnote23sym\"><sup>23<\/sup><\/a><\/sup><\/p>\n<p>In the period 1946 \u2013 47, Gust\u00e1v Brom formed an orchestra by choosing the best Slovak and Czech musicians in the Radio of Bratislava. The orchestra presented the highly performable and compositional qualities of jazz. Ladislav \u0160olt\u00fds considers Gust\u00e1v Brom`s Orchestra and his performance in Bratislava as laying<em> <\/em>\u201c<em>foundations not only of the modern performance but also of the composition of the pop music.<\/em>\u201d<sup><a href=\"#sdfootnote24sym\"><sup>24<\/sup><\/a><\/sup> However, he did not discern swing pop music from the swing model of jazz as a concert genre. The conflict between the ambitions of the musicians to produce concert music and the requirements of the audience to play dance music and create dance repertoire was also common in the world`s development of jazz. It was apparent in the repertoire of \u201cTane\u010dn\u00fd orchester bratislavsk\u00fdch vysoko\u0161kol\u00e1kov\u201d [The Dance Orchestra of the Undergraduate Students in Bratislava] (1947 \u2013 49). This orchestra was founded by the drumer Pavol Polansk\u00fd, a promoter and a broadcasting moderator in 1947. He recorded a composition of progressive jazz \u2013 Concerto for a Doghouse by Stan Kenton in the radio \u201c\u010ceskoslovensk\u00fd rozhlas\u201d in Bratislava. This might be considered a more distinct professional jazz expression. In the next period of time, orchestras approach pop songs influenced by swing (\u201cKolekt\u00edv 50, 51, 52 \u2013 58\u201d of the conductors J\u00e1n Siv\u00e1\u010dek, S\u00edlo\u0161 Poh\u00e1nka, Jaroslav Laifer). The definite jazz expressions culminate in small combos: The Quintet of Juraj Henter (1954 \u2013 56, although the Quintet of Juraj Henter was ensued from the orchestra \u201cKolekt\u00edv 54\u201d of J\u00e1n Siv\u00e1\u010dek), The U5 of Karol Ondrei\u010dka from 1954, The Quintet of Karol Ondrei\u010dka (1956 \u2212 57). Therefore the year 1954 is considered to be a notable milestone for the birth of modern jazz as a genre-stylistic area.<sup><a href=\"#sdfootnote25sym\"><sup>25<\/sup><\/a><\/sup><\/p>\n<p>The year 1955 is another important milestone for the further internal development of Sovak pop music. It is mentioned in Ladislav \u0160olt\u00fds` serials \u201cPolstoro\u010die slovenskej popul\u00e1rnej hudby\u201d [A half-Century of Slovak Pop Music] and \u201cPiesne n\u00e1\u0161ho storo\u010dia\u201d [Songs of Our Century]<em> <\/em>in the journal <em>Popul\u00e1r<\/em>. In 1955, a Slovak popular song was established within the general reception of the public audience insomuch as that the domestic production exceeded a sale of the foreign hits and Czech popular songs. These were the songs such as <em>Na dobr\u00fa noc bozk ti d\u00e1m<\/em> (beguin) and <em>V\u00e1m o l\u00e1ske spievam<\/em> (waltz) by Andrej Lieskovsk\u00fd, <em>Zavri o\u010di kr\u00e1sne<\/em> (tango) by Teodor \u0160ebo &#8211; Martinsk\u00fd, <em>Nie som u\u017e s\u00e1m<\/em> (tango) by Zden\u011bk C\u00f3n \u2013 Viera Pal\u00e1tov\u00e1, <em>Ako vt\u00e1k let\u00ed v dia\u013e<\/em> (slow fox) by Milan Nov\u00e1k \u2013 Viera Pal\u00e1tov\u00e1, <em>Mar\u00edna<\/em> (tango) by Gejza Dus\u00edk &#8211; Andrej Braxatoris. The new cover version (gramophonic renditions) of the songs <em>Pre\u010do sa m\u00e1me roz\u00eds\u0165<\/em> by Du\u0161an P\u00e1lka (1948) and <em>Tak nekone\u010dne kr\u00e1sna<\/em> (1944) by Gejza Dus\u00edk were the fourth successful sales regarding gramophonic discs in the period 1949 \u2013 58. The year 1955 represents the first retro-wave in Slovak pop music with the comeback of some ten-year old songs, as well as a stylistic tie with the first period of Slovak popular song as a reaction to the audience towards the ideologically preferred mass and revolutionary songs. Even after fifty years, we may point out that these songs represent a historically attested value because their reception is still alive. However, the historical breakthrough of the successful establishment of the Slovak popular song in 1955 occurred thanks to the internal development and professionalization of the Slovak music scene in light of performance. Orchestras copying the contemporary European sweet-music orchestras, European swing and American big bands were also formed in Slovakia. \u201cTane\u010dn\u00fd orchester bratislavsk\u00e9ho rozhlasu\u201d [The Dance Orchestra of the Broadcast in Bratislava] (fifty members, 1954), The Orchestra of J\u00e1n Siv\u00e1\u010dek, Jaroslav Laifer , and Gust\u00e1v Offermann<sup><a href=\"#sdfootnote26sym\"><sup>26<\/sup><\/a><\/sup> were the keystones of the professionalization of dance music. This climax in Slovak pop music was proceeded by the development of aesthetic and receptive thinking of the songwriters in the late forties. Primarily the elder generation of the performers pursued the model of salon music proceeding from the tradition of European music of \u201cwaltzs and operettas\u201d. Communist ideology preferred a model of mixing folk music with the new dance compositions, as documented by the second Congress of the Czechoslovak composers and musicologists [Zjazd \u010deskoslovensk\u00fdch skladate\u013eov a hudobn\u00fdch vedcov] in May 1949 and the first meeting of The Slovak Composers Union [Zv\u00e4z slovensk\u00fdch skladate\u013eov] in Tre\u010dianske Teplice in June 1949.<sup><a href=\"#sdfootnote27sym\"><sup>27<\/sup><\/a><\/sup> On the one hand, a traditional model of entertainment music proceeding from the traditions of the nineteenth century was ceased, on the other hand priority was given to the imported elements of new dance compositions\u2013on the principles of linking with Slovak folk music. The ideology of the art and culture ordered by the regime underlined folk dance tradition as \u201cthe best manifestation of the new form aborning socialist enertainment.\u201d<sup><a href=\"#sdfootnote28sym\"><sup>28<\/sup><\/a> <\/sup>\u201cThe Victorious February in 1948\u201d established new requirements of intelligibility, folksiness, greater communicativity, and optimism. Owing to this fact, the sense of the mass revolutionary song and the variety song was emphasized. It was an ideologically influenced song production, artificially preferred in light of contemporary politics. A new younger generation of songwriters (including J\u00e1n Siv\u00e1\u010dek, Pavol Zelenay, Jaroslav Laifer, Franti\u0161ek Havl\u00ed\u010dek, Tom\u00e1\u0161 Seidman, Bohumil Trne\u010dka, \u013dudov\u00edt \u0160tassel, Gejza Toperczer, Milan Nov\u00e1k) preferred the swing model of dance music with new modern engagements, instrumental sections of the big band, and the compositional techniques of swing, unlike the older generation supporting the traditional entertainment of salon music. However, the audience was not ready to accept this model of mixed new dance elements of jazz and rock, as is reflected in the wide popularity of tangoes and waltzes in 1955.<\/p>\n<p>The musicians of Variety Show in the Tatra Coffee House indirectly continued the improvisational practices of movie music, the experiences of bar pianists, and the night club revue entertainment from the beginning of the century. These shows were known as the \u201cTatra revue shows\u201d in the period between 1957 \u2013 61. Besides dance music, other genres such as modern jazz, swing, traditional jazz, and chanson took place in Tatra<sup><a href=\"#sdfootnote29sym\"><sup>29<\/sup><\/a><\/sup>. The year 1957 represents the beginning of chanson as a genre in variety show programs in Tatra revue performed by the orchestra of Juraj Berczeller. Hana Hegerov\u00e1 is considered to be the first chanson singer.<\/p>\n<p>In 1959, the First Congress of the Slovak Composers Union [I. zjazd Zv\u00e4zu slovensk\u00fdch skladate\u013eov] officially dealt with the problems of dance music and \u201cthe small musical forms\u201das \u201cdirected by the regime\u201d. These musical forms represented \u201can important step towards large musical forms\u201d. \u201c<em>According to the final results of The First Congress of the Slovak Composer Union, all institutions gradually took some measures which should have enhanced the quality of small musical forms. The broadcast emloyees most intensively endeavoured to do it. On the thirty-first of March, they held a\u00a0seminar with the composers and performers. &#8230; They also tried to solve the problems related to the small musical forms although they were not the matter of broadcast. They dealt with the following problems: a\u00a0need for training composition of dance music at The Academy of Music and Dramatic Arts [V\u0160MU] and at conservatory; keeping up the lyricists; proof-reading and approval of compositions; monitoring the repertoire of the musical ensembles in the entertainment enterprises; clarification of the modern and national features of the dance song; keeping up young singers in the dance song; affording facilities for increasing the quantity of professional ensembles specializing in the genres of the entertainment music etc.<\/em>\u201d<sup><a href=\"#sdfootnote30sym\"><sup>30<\/sup><\/a><\/sup><\/p>\n<p>In the mid-sixties, dance and entertainment music in broadcast production focused on folk music, dance song, and big beat. The same trend was also apparent in music of the non-professional village groups performing at dances. In 1963, we can prove existence of pop music, and jazz as genres, as well as the first indications of rock music, country and western music on the Slovak music scene. However,\u00a0wide-spread popularity was gained only by rock and pop music. According to \u0160olt\u00fds, big beat was wide-spread in 1966, however, \u201cthe beat features were mixed with a dance song of a swing type\u201d<sup><a href=\"#sdfootnote31sym\"><sup>31<\/sup><\/a><\/sup> in the expression of many bands.It was evident in the song <em>Lampy u\u017e d\u00e1vno zhasli<\/em><em> <\/em>by Bra\u0148o Hronec, performed by Marcela Laiferov\u00e1, Jana Bel\u00e1kov\u00e1, and Elena Pr\u00edbusov\u00e1 (1963)<sup><a href=\"#sdfootnote32sym\"><sup>32<\/sup><\/a><\/sup>. In 1964, the Slovak Central Committee of the Young League [Slovensk\u00fd \u00fastredn\u00fd v\u00fdbor Zv\u00e4zu ml\u00e1de\u017ee] organized the all-Slovak parade of dance and jazz orchestras in Bratislava. The parade lasted for three days. \u201cA <em>big band from \u017dilina led by Ing. R. Ma\u0161lonka took first place in the chart, among the revival groups it was the Revival Jazz Band from Bratislava, and among the dance groups it was the band from The Factory Club of the Nickel Smeltery in Sere\u010f. A\u00a0special category consisted of the big-beat bands. Pr\u00fady was the most popular band among them.<\/em>\u201d<sup><a href=\"#sdfootnote33sym\"><sup>33<\/sup><\/a><\/sup><\/p>\n<p>The beginning of Slovak rock is related to the formation of the hard rock bands \u201cPr\u00fady\u201d (1963) and \u201cThe Beatmen\u201d in 1964. The first distinctive essays of popularized character about the history of Slovak rock were published in the journal <em>Slovensk\u00e1 hudba<\/em> in 1994. Marian Jaslovsk\u00fd and Iveta Posp\u00ed\u0161ilov\u00e1 &#8211; the authors of the papers based on authentic evidence according to interviews and contemporary critiques &#8211; presented the beginnings of Slovak rock &#8211; closely tied with the above mentioned bands. The existence of other rock groups in Slovakia can not be proven by evidence nor is it reflected anywhere. Other popular bands were \u201cJolana\u201d (1963) and later \u201cPlayers\u201d (1966). In the early sixties, 38 \u201cambitious and relatively popular bands\u201d in Bratislava, and more rock bands in other towns all over Slovakia, were already known.<sup><a href=\"#sdfootnote34sym\"><sup>34<\/sup><\/a><\/sup> Both Marian Jaslovsk\u00fd and Iveta Posp\u00ed\u0161ilov\u00e1 had to confront the Czech pop scene. Posp\u00ed\u0161ilov\u00e1 says that a beat spree came to Bratislava two years after it had started in Prague<sup><a href=\"#sdfootnote35sym\"><sup>35<\/sup><\/a><\/sup> because \u201c<em>at the time of the first public performances of Pr\u00fady in Slovakia, Czech bands had already been very popular<\/em>\u201d. We assume that Posp\u00ed\u0161ilov\u00e1 refers to the more expressive reception of Slovak rock groups and this reception shows the non-sufficient organization in the Slovak musical environment more than the real interest of the audiences. \u201cThe Beatmen\u201d had their performance in Prague in 1965. Later in <em>Mlad\u00fd sv\u011bt<\/em>, articles were published entitled <em>Better than<\/em> <em>Olympic<\/em> by Ji\u0159\u00ed \u010cern\u00fd who considered them to be the best band which got ahead of the top band of Czech rock \u2013 Olympic of Petr Janda \u2013 in creativity.<sup><a href=\"#sdfootnote36sym\"><sup>36<\/sup><\/a><\/sup> \u201cThe Beatmen\u201d (Mari\u00e1n Bedn\u00e1r \u2013 bass guitar, Miroslav Bedrik \u2013 guitar, De\u017eo Ursiny \u2013 lead guitar, vocal, comp., Peter Petro \u2013 drums) was the first Slovak rock band with an agent and with their own manager, Peter Tuchscher. They had many performances. The band \u201ePr\u00fady\u201c performed at students\u2018 events and was first recorded in the radio \u010ceskoslovensk\u00fd rozhlas in Bratislava in the mid-sixties. In 1967, Mari\u00e1n Varga joined the band and they had their perfomance in the program \u201cVe\u010der pre dvoch\u201d by Lasica and Satinsk\u00fd (1967). Other bands of rock beatlemania were \u201cSoulmen\u201d with De\u017eo Ursiny (1966), \u201cNew Soulmen\u201d(1968 \u2013 69), and \u201cProvisorium\u201d(1969). De\u017eo Ursiny wrote his texts in English until 1971 (it is said that the first texts were written by his mother). The band \u201cPlayers\u201d with \u013dubom\u00edr Bel\u00e1k imitating the band \u201cShadows\u201d was performing in 1966 \u2013 68. At this time, they also made some radio recordings. Further popular and musically mature rock bands were \u201cPr\u00fady\u201d of Pavol Hammel, \u201cCollegium musicum\u201d of Marian Varga (1969), and later the band \u201cFerm\u00e1ta\u201d (1972).<\/p>\n<p>In this period of time the blues background was also established in Slovakia. It was represented by the \u201cBlues Five\u201d in 1967. Peter Lipa and his band \u201cBlues Five\u201d were awarded \u201cThe Discovery of the Festival\u201d at the second Czechoslovak beat festival in Prague in 1968. J\u00e1n Liteck\u00fd-\u0160veda gives more information about the beginnings of the blues in Slovakia in his monography <em>Blues na Slovensku<\/em>.<sup><a href=\"#sdfootnote37sym\"><sup>37<\/sup><\/a><\/sup><\/p>\n<p>The new episode of the variety tradition in the former Tatra Revue (1957 \u2013 1961) was the theatre \u201cDivadlo na Korze\u201d in Bratislava. The comical couple Milan Lasica and J\u00falius Satinsk\u00fd had already performed in the Tatra Revue in their days as students. Music played an important part in their cabaret shows especially the political satire in the program \u201cVe\u010der pre dvoch\u201d (Two men evening) at the theatre \u201cDivadlo na Korze\u201d in Bratislava (1967 &#8211; 71).<sup><a href=\"#sdfootnote38sym\"><sup>38<\/sup><\/a><\/sup> Lyrics by Milan Lasica from that period may be found on the LP disc of Zora Kol\u00ednska <em>Ver\u0161e p\u00edsan\u00e9 na vodu<\/em> (Opus 1971). In consequence of the events following 1968 and the later consolidation of society, the couple had to stop their public performances. Though they did continue their performances in Moravia in the theatre \u201cVe\u010dern\u00ed Brno\u201d (1971 &#8211; 72). Jaro Filip, inspired by blues and folk, cooperated with them onward from 1978.<\/p>\n<p>\u201cSmall theatre forms\u201d \u2013 the genres of cabaret, chanson, and folk &#8211; were most often under the supervision of communist censure because they laid stress on lyrics. The ideological interventions were evident and they caused a discontinuity of continual development. After 1961, chanson singer Hana Hegerov\u00e1 left for Prague where she obtained a permanent engagement in the theatre \u201cSemafor\u201d. Other chanson singers associated with the small theatre forms appeared after Hana Hegerov\u00e1. \u00a0The singer and actor Zoro Laurinc (born in 1949) after his four-year career became the winner of the television competition named \u201cZlat\u00e1 kamera\u201d in the category of chanson in 1965. Next, singer and actress Em\u00edlia Do\u0161ekov\u00e1 (1937) together with jazz pianist Ladislav Gerhardt became popular on the music scene in 1969. However, both Zoro Laurinc and Em\u00edlia Do\u0161ekov\u00e1 were under ideological pressure as seen in their works. One might have found Russian ballads and romances (Zoro Laurinc) and political songs (Milka Do\u0161ekov\u00e1) in their repertoire.<sup><a href=\"#sdfootnote39sym\"><sup>39<\/sup><\/a><\/sup> It was the beginning of mixing the categories of chanson with folk movements in Slovakia, in these developmental lines. The public, or the small circle of the audiences, reflected the existence of Slovak folk as \u201ca protest song\u201d, from the establishment of the song association named Slnovrat in the club \u201cU\u00a0Rolanda\u201d in Bratislava in 1979. <sup><a href=\"#sdfootnote40sym\"><sup>40<\/sup><\/a><\/sup><\/p>\n<p>Country and western music penetrated Slovakia in the fifties as a non-professional movement of its fans. According to the members of the monopolistic concert agency Slovkoncert (founded in 1969), there were not professional musicians of this genre who would be suitable for performances. Igor Wasserberger also held this view in 1980<sup><a href=\"#sdfootnote41sym\"><sup>41<\/sup><\/a><\/sup>, although he wrote that the band \u201cJazdci\u201d specialized in country and western music from 1969 onward. It is still uncertain whether it was a\u00a0matter of lobbing or less transparency when searching for the talents in this genre. In regard to the monopolistic position of Czech Supraphon with the inflexible Slovak branch office in Bratislava (1946 \u2013 70), the Czechoslovak radio in Bratislava substituted a competence of publishers in Slovakia. This is why many archival records are a\u00a0part of the state broadcast and still have not been published on sound records as albums. The first professional products of country music appeared after 1989. According to secondary sources, this musical scene had already existed in 1961 but had not been documented in theoretical works<sup><a href=\"#sdfootnote42sym\"><sup>42<\/sup><\/a><\/sup>. For example in December 1974, \u201cA parade of the country and western bands\u201d was held in Bratislava. As written in the contemporary press, this event was really appreciated and \u201c<em>laid the foundations of regular performances of the bands of this musical genre.<\/em>\u201d<sup><a href=\"#sdfootnote43sym\"><sup>43<\/sup><\/a><\/sup> It was organized by the employees of \u201cZ\u00e1ujmovo umeleck\u00e1 \u010dinnos\u0165 Obvodn\u00e9ho kult\u00farneho a\u00a0spolo\u010densk\u00e9ho strediska Bratislava III\u201d [A Hobby-Creative Activity Group of the District Cultural and Social Centre in Bratislava III].<\/p>\n<p>\u201c<em>Six bands were introduced at December concert:<\/em> <em>Dostavn\u00edk, Teton, R\u00e1kosn\u00edciKormor\u00e1ny, Folk, and W-klub. Their performances showed that they perceived country and western music as well as folk music as a broad spectrum of the songs of various characters, sometimes absolutely different from the confined musical genre. R\u00e1kosn\u00edci attracted the audience the most, they were also successful at Luna \u201974 at which they won the author`s competition with the song Trieska. The band Folk got audience ovation especially with the smiling song Karol. Most bands were on a good non-professional level with the perspective of further growth. The event might be considered wonderful. However, it would be better if the bands outside Bratislava also participate<\/em>.\u201d<\/p>\n<p><em> <\/em>In the early sixties, Laco \u0160olt\u00fds mentions \u201cthe mass movement of returning back to nature\u201d, which expressed itself in the wave of western and tramp songs. As reported, only the songs <em>Akordy na ohe\u0148<\/em>(1963) and <em>T\u00e1bor\u00e1k<\/em>(1963) by L\u00e1nik were endeared among dozens of Slovak songs.<sup><a href=\"#sdfootnote44sym\"><sup>44<\/sup><\/a><\/sup> This wave of western continued into the mid-sixties with the mainstream songs by J\u00e1n Melkovi\u010d &#8211; <em>Torn\u00e1do nad Horn\u00e1dom, Hu\u010d\u00ed voda, hu\u010d\u00ed, Po lese t\u00fala sa piese\u0148,<\/em> by \u013dudov\u00edt \u0160tassel &#8211; <em>Savana sp\u00ed, Jimmy, <\/em>and<em> Smutn\u00e1<\/em> <em>Anne.<\/em><sup><a href=\"#sdfootnote45sym\"><sup>45<\/sup><\/a><\/sup><em> <\/em>It is considered a reflection of the non-professional scene in the mainstream, not as the development of independent genre.<em> <\/em><\/p>\n<p>From 1959, the small theatre forms were supported at the congresses of Czechoslovak composers and Slovak composers, even at the meetings of the Central Committee of the Slovak Communist Party.<sup><a href=\"#sdfootnote46sym\"><sup>46<\/sup><\/a><\/sup> All small musical forms were officially equalized according to party documents from 1962 onward. They belong to artistic genres, however entertainment music in Slovakia was reduced exclusively to dance music, as is documented above. Party officials interpreted the meaning of small musical forms as the songs of the pioneers, songs for the choirs and bands of \u013dudov\u00e1 umeleck\u00e1 tvorivos\u0165 [Folk Artistic Creativity], mass songs, brass music, and the so-called \u201cadvanced pop music\u201d. A model of the separated creative chain of composer, lyricist, performer \u2013 instrumentalists and singer star also existed alongside these \u201csmall forms\u201d. Composing a\u00a0song was more closely evaluated than the art of performing\u2013according to the theoretical reflection and cultural policy. As late as the mid-seventies, theoretical papers (Fuka\u010d, Kotek, Poled\u0148\u00e1k)<sup><a href=\"#sdfootnote47sym\"><sup>47<\/sup><\/a><\/sup> stratifying qualitative differences between artificial and non-artificial music came into existence. According to these papers, a performer is more important than the musical work in this genre-stylistic area.<\/p>\n<p>The era of the separated creative process of composer-lyricist-performer-singer definitely ended in 1977 when the band \u201cModus\u201d came up with the song <em>\u00dasmev<\/em> (music by J\u00e1n Lehotsk\u00fd, lyrics by Kamil Peteraj) and was the winner of Bratislavsk\u00e1 l\u00fdra. The musicians of this band were simultaneously the authors of the music and performers as well. The government held the right to censor the lyrics through established committees; and approve, and check the repertoire of the bands until 1989. A gulf between governmental ideology presented by the media and official institutions on the one hand, and songwriters, the true audience demands and their receptive reactions on the other hand, grew constantly deeper and deeper, as found in the following material. The variety Soviet ensemble with the important instrument balalaika was given as an example model for Slovak pop music by the journal <em>Popul\u00e1r<\/em> in 1975. \u201c<em>The Soviet<\/em> <em>composer Viktor Kuprevi\u010d<\/em><em> <\/em><em>got the idea of using traditional Russian instruments such as balalaika, dombra, and bajan in modern pop music. He formed the band named Balalaika which played these instruments when performing a contemporary popular song.<\/em>\u201d<sup><a href=\"#sdfootnote48sym\"><sup>48<\/sup><\/a><\/sup><em> <\/em>This text comes from the East German journal<em> Melodie und Rhythmus<\/em> from the German Democratic Republic<em> <\/em>and was equivalent to the Czech journal <em>Melodie <\/em>[Melody]<em> <\/em>and Slovak<em> Popul\u00e1r <\/em>[Popular].<em> <\/em> It can be said that on one hand, there was an official ideology which isolated the communist countries and artificially created ideas, opinions, and public opinion as well. On the other hand, there were some officially popular artists who tried to make progress according to their point of view and their opportunities to get abroad. And finally, there was a reactionary scene of underground alternative genres (Ivan Hoffman) which became one of the sources of the Velvet Revolution in 1989. <em> <\/em><\/p>\n<p>The conflict between practice and ideology got bigger in the eighties. Real problems of the pop scene in Slovakia were concealed owing to the ideological reasons and the interests of lobbying groups as well. These maintained their positions in the state institutions (the state radio, television, the music publisher Opus, the artistic agency Slovkoncert). Their monopolistic position coupled with a simple working mechanism of greedy \u201cmutual assistance\u201d, which broke out to corrupt relationships and unclear organization in other parts of Slovakia, corresponded with their needs. These problems were not mentioned, they were disguised by demagogics transfering to different areas, e.g. neverending polemics and the pseudo-problems of the lyrics. They were blamed for superficiality, their topics, content, style, insufficient artistic character, and a deficiency of elementary poetic requirements such as \u201dcomposition<em>, rhyme, rhythm, methaforical system<\/em>\u201d.<sup><a href=\"#sdfootnote49sym\"><sup>49<\/sup><\/a><\/sup><em> <\/em>Many theoretical papers relating to this topic appeared in several journals and newspapers such as<em> Pravda, \u013dud, Ve\u010dern\u00edk, Nede\u013ea, Romboid<\/em>, and <em>Popul\u00e1r <\/em>in the eighties<em>.<\/em><sup><a href=\"#sdfootnote50sym\"><sup>50<\/sup><\/a><\/sup><em> <\/em>Moreover, the topic became the subject of the speech of the prime minister of the Slovak Republic: Peter Colotka<sup><a href=\"#sdfootnote51sym\"><sup>51<\/sup><\/a><\/sup>. When evaluating lyrics, the ideologically problematic parts of the lyrics were emphasized. \u201cIn<em> the lyrics by Lanny J\u00e1no\u0161, we face the ideologically problematic elements. In the lyrics of <\/em>\u00b4<em>Zabal\u00edm f\u013ea\u0161u slivovice\u00b4 (I pack the bottle of whisky), the author describes false illusions about the world, chiefly about the capitalist world, about the way a charismatic man easily becomes successful.<\/em>\u201d<sup><a href=\"#sdfootnote52sym\"><sup>52<\/sup><\/a><\/sup><em> <\/em> The next area of demagogic disguise of the real problems of the organization of musical life and the deficient functioning of the market mechanism is found in the area of musical critique. It is mentioned that musical critique is bad, non-constructive, and non-professional. Gorbachev`s \u201cperestroika\u201d and \u201cglasnost\u201d in the sense of listening to the voice of the public did not help either. Thus, the communist system internally destroyed itself and the artists of the minor genres of jazz, alternative rock (punk rock), folk, and blues. All of this contributed to its disintegration.<\/p>\n<p>After 1989, Slovakia was ready to accept the world`s trends in pop music and mainly the global music market which fairly endangered the existence of authentic Slovak works. Two festivals with international response were organized \u2013 the country and western festival \u201cDobrofest\u201d in Trnava (1992) and the international festival of rock, folk, and pop music \u201cPohoda\u201d in Tren\u010d\u00edn (1997). This period ends in 1997 when plenty of domestic festivals of local significance appeared and regional culture became much more important. However, the\u00a0new competition of commercial media against organized concerts showed up and limited the development of Slovak pop music. At the beginning, it started with the awards given through television or radio, awards like \u201cZlat\u00fd sl\u00e1vik\u201d which were based on the votes of the audiences starting in 1996. From 2002 it was \u201cAurel\u201d &#8211; awards of the critics, then charity events recorded by the television and radio, or awards of \u201cOTO \u2013 Osobnos\u0165 telev\u00edznej obrazovky\u201d (a celebrity of telescreen). After 2005, some reality shows also took place in the media (Super Star, Big Brother, Let`s Dance). Unfortunately, these programs brought into an already consumer based manner of life a superficiality of style and an inability to understand deeper musical values. Most of the ideals of the Velvet Revolution such as freedom and a better quality of life turned to the striving for profit. For many people a better quality of life means luxurious lifestyles. Seeking internal ideas, ideals of humanism, and deeper musical values became a\u00a0part of the minor genres, much like before the Velvet Revolution. The genres of jazz, folk, and alternative rock did not attract a large number of audiences, they rather moved to the fringes of the common interest of society.<\/p>\n<p lang=\"en-US\"><strong>A Draft of Periodization<\/strong><\/p>\n<p lang=\"en-US\">Our periodization springs out of the existence of a main stream of pop music in which particular genres are integrated according to their origination and internal development.<\/p>\n<p lang=\"en-US\">A draft of the periodization (summary):<\/p>\n<ul>\n<li><strong>from the 1890s to 1918<\/strong>:<strong> <\/strong>a general propagation of the new harmonic song (a transition from the fifth-tonal musical culture to the harmonic musical imagination) and a Neo-Hungarian song; salon music \u2013 polkas, mazurkas, and quadrilles<sup><a href=\"#sdfootnote53sym\"><sup>53<\/sup><\/a><\/sup>;<\/li>\n<li><strong>1918 \u2013 1934<\/strong>: the<strong> <\/strong>formation of the entertainment culture of the urban type; reception of the imported modern dance genres (shimmy, two-step, Charleston, Rumba, English waltz); foreign hits; the influence of movie music; salon music of the nineteenth century (operetta, waltz, popular pieces by European masters) are mixed with the new genre-stylistic area of the Anglo-American provenance;<\/li>\n<li><strong>1934 \u2013 1939<\/strong>: in 1934 \u2212 the beginning of the first authentic Slovak popular song <em>Nepovedz diev\u010datko nikomu<\/em> (Du\u0161an P\u00e1lka and \u0160tefan Hoza), <em>Dita <\/em>(tango, Alexander Aranyos &#8211; \u0160tefan Hoza); the beginning of new authentic Slovak dances \u2013 tango, waltz, foxtrot, from which the hybrid genres ensued at the dividing line between folk songs, waltzes, polkas, and fox by mixing with the elements of urban folklore; these genres are introduced at the etiquettes SP as cheerful fox, Slovak folk fox, czardas foxtrot, and fox-polka;<\/li>\n<li><strong>1939 \u2013 1945<\/strong>: repressive interventions in the development of music and constraints due to war time events, and directives and restrictions towards the national minorities;<sup><a href=\"#sdfootnote54sym\"><sup>54<\/sup><\/a><\/sup> Jews could not be the editors according to the \u201cDecree of the government defining the term Jew and regulating the number of the Jews in some freelance occupations from April, 18 in 1939\u201d [\u201cVl\u00e1dne nariadenia zo d\u0148a 18. 4. 1939 o vymedzen\u00ed pojmu \u017did a usmernen\u00ed po\u010dtu \u017eidov v niektor\u00fdch slobodn\u00fdch povolaniach\u201d]<sup><a href=\"#sdfootnote55sym\"><sup>55<\/sup><\/a><\/sup>; Czech musicians were forced to leave the country; restrictions of the broadcasting of foreign songs on the radio of Bratislava (mostly the songs of the enemy countries, meaning American and British songs as well); a ban on conducting night club business after 9:00 pm; these factors led to the first indications of discontinuity;<\/li>\n<li><strong>1945 <\/strong><strong>\u2212 48<\/strong>:<strong> <\/strong>the development of dance music continues in a\u00a0short, three-year democratic period as it was before World War Two; the features of the big-band swing markedly appear;<\/li>\n<li><strong>1948 \u2013 1955<\/strong>: in 1948 \u2212 centralization of musical life came along with the abolition of all business activities in the cooperatives and small publishing houses; in 1955 \u2013 general reception of Slovak popular music came through the songs <em>Mar\u00edna<\/em> (tango, Gejza Dus\u00edk \u2013 Andrej Braxatoris, <em>Pre\u010do sa m\u00e1me roz\u00eds\u0165<\/em> (Du\u0161an P\u00e1lka), <em>Tak nekone\u010dne kr\u00e1sna <\/em>(Gejza Dus\u00edk \u2013 Andrej Braxatoris);<\/li>\n<li><strong>1954<\/strong>: the beginning of modern jazz as a genre-stylistic area (The Quintet of Juraj Henter, 1954 \u2013 56, U5 \u2013 the band of Karol Ondrei\u010dka, 1954; The Quintet of Karol Ondrei\u010dka 1956 &#8211; 57) began and continued<sup><a href=\"#sdfootnote56sym\"><sup>56<\/sup><\/a><\/sup>;<\/li>\n<li><strong>1957<\/strong>: The Tatra Revue Orchestra of Juraj Berczeller; the beginning of <strong>chanson<\/strong> as a genre within variety programs; Hana Hegerov\u00e1 was the first chanson singer;<\/li>\n<li><strong>1955 \u2013 1966<\/strong>:<strong> <\/strong>a process starting with the ideological mass revolutionary song, through the swing model of popular song to the beginning of festivals, international festivals of popular song named \u201cBratislavsk\u00e1 l\u00fdra\u201d from 1966;<\/li>\n<li><strong>1966 \u2013 1977<\/strong>:<strong> <\/strong>formation of the author`s background on the new generation of lyricists and composers; in 1974 \u2013 the new members of the band \u201cModus\u201d and their triumph at Bratislavsk\u00e1 l\u00fdra 1977 with the song <em>\u00dasmev<\/em> (music by J\u00e1n Lehotsk\u00fd, lyrics by Kamil Peteraj) pointed out that the audience was ready to accept a\u00a0new type of pop music; the end of the the era of \u201cTin Pan Alley\u201d \u2013 separation of composer, lyricist, performer, and singer, when the author of the music and the\u00a0performer is the same person;<\/li>\n<li><strong>1963<\/strong>:<strong> <\/strong>the beginning of Slovak rock<strong> <\/strong>&#8211; the band \u201cPr\u00fady\u201d (of Pavol Hammel), in 1964 the band \u201cThe Beatmen\u201d (of De\u017eo Ursiny); country and western music penetrates pop music culture; in 1965 &#8211; the first recording of the Slovak rock by the band The Beatmen: Break It\/Lets&#8216; Make a Summer, SP Supraphon, Supraphon &#8211; Artia (for foreign countries)<sup><a href=\"#sdfootnote57sym\"><sup>57<\/sup><\/a><\/sup>;<\/li>\n<li><strong>1967<\/strong>: <strong> <\/strong>the first Czechoslovak beat festival in Lucerna, Prague in December 1967 where De\u017eo Ursiny had his performance with the band Soulmen; they won the main award of the festival<em> <\/em>along with the opportunity to record an EP disc for the publisher Panton (Prague) and the prize for the best songs composed by them;<\/li>\n<li><strong>1967<\/strong>:<strong> <\/strong>formation of the first blues band \u201cBlues Five\u201d (Peter Lipa is a co-founder), the beginnings of blues in Slovakia;<\/li>\n<li><strong>1967<\/strong>: a program by Milan Lasica and J\u00falius Satinsk\u00fd: \u201cVe\u010der pre dvoch\u201d in the Divadlo na Korze theatre in Bratislava (1967 &#8211; 71), the performers are: the band Pr\u00fady with Marian Varga (1967), Zora Kol\u00ednska, and Peter Sm\u00e9kal;<\/li>\n<li><strong>1975<\/strong>:<strong> <\/strong>festival \u201cBratislavsk\u00e9 jazzov\u00e9 dni\u201d (The Bratislava Jazz Days); festival for \u00a0highly specialized listeners with the distinctive aristic taste of a \u201cdemanding\u201d listener;<\/li>\n<li><strong>1977 \u2013 89<\/strong>:<strong> <\/strong>the beginning of musical bands which were influenced by rock, disco sound, jazz rock, which understood their production as a creative workshop for composing a song and its performance; composer and performer blend together; a\u00a0new singer star with \u201caura\u201d and popularity, as perceived by Western society, becomes an idol, a sex-symbol for teenagers; after the Velvet Revolution in 1989 \u2013 a democratic environment for the new organization of musical life was created; a transition from centralization to decentralization;<\/li>\n<li><strong>1979<\/strong>: the official birth of the <strong>folk genre; <\/strong>foundation of the Slovak folk movement \u201cSlnovrat\u201d which gathered together various singers of protest songs with the guitar;<\/li>\n<li><strong>1989<\/strong>:<strong> <\/strong>professionalization of<strong> <\/strong>the Slovak<strong> country and western music <\/strong>scene through management; as well as professionalization and legalization of the <strong>gospel music<\/strong> scene<\/li>\n<li><strong>1989 \u2013 1997<\/strong>:<strong> <\/strong>Slovak bands penetrate foreign countries; an immense fascination with the foreign music scene; Americanization of the culture starts after many years of a deficit of information; many local, domestic and international festivals appear; private agencies and publishers are established; a competitive environment is created; after 1997 the taste of the listener is deformed by the mass media;<\/li>\n<li><strong>1992<\/strong>: the beginning of the international country and western festival \u201cDobrofest\u201d in Trnava<\/li>\n<li><strong>1997<\/strong>:<strong> <\/strong>the international festival of rock, folk, and pop music \u201cPohoda\u201d starts in Tren\u010d\u00edn<\/li>\n<li><strong>1997<\/strong>:<strong> <\/strong>the beginning of Slovak electronic dance music<strong> <\/strong>(rap, house music, hip hop, drum and bass)<\/li>\n<li><strong>1997<\/strong>:<strong> <\/strong>attention of the audiences \u2013 consumers is transferred from the concert activities to the commercial media of radio and television<\/li>\n<\/ul>\n<p lang=\"en-US\"><strong>A Concluding Evaluation of Progressiveness<\/strong><\/p>\n<p>The questions of isolation and underdevelopment of Slovak pop music behind the world`s trends, as mentioned by Igor Wasserberger, Ladislav \u0160olt\u00fds, and J\u00falius Kin\u010dek in their first works, were reasonable in the Slovak music scene only in the beginning of the twentieth century when the delayed industrialization of Slovakia caused an extended existence of folk music as the dance and entertainment genres. The natural assimilation of a new type of dance music \u201cfrom the outside\u201d was interrupted by the fascist and nationalistic cultural-political ideology in its first phase. After 1948, discontinuity was caused by the ideological interventions of the Communist dictatorship when forming socialist realism, and later in the period of consolidation after 1969. The biggest mistakes of the contemporary ideology of communism penetrated the mainstream where the sequence to a certain model suitable for assimilation in the Slovak environment was sought for a long time \u2013 a Soviet variety in the fifties, Italian popular songs at the festivals in San Remo in the late fifties, hits of the French chanson in the early sixties, modern contemporary dances, e.g. (lektiss) letkiss<sup><a href=\"#sdfootnote58sym\"><sup>58<\/sup><\/a><\/sup> of a Finnish origin, a Greek politically engaged song<sup><a href=\"#sdfootnote59sym\"><sup>59<\/sup><\/a><\/sup> in 1962, Austrian production of Udo J\u00fcrgens in the sixties, etc.<\/p>\n<p>Rock and roll first appeared in Slovakia as a\u00a0part of the dance production within the swing model of pop music in the early sixties. Moreover, the features of a trendy wave of twist were also apparent in the early sixties. When dealing with the beginnings of modern jazz in 1954 (\u201cThe Quintet of Juraj Henter\u201d, \u201cU2\u201d of Karol Ondrei\u010dka), we cannot talk about underdevelopment if we take into consideration the beginning of the modern jazz in the USA is tied with the beginnings of bepop as late as in 1942. If it is regarded that \u201cThe Quintet of Juraj Henter\u201d brought cool jazz to Slovakia and the band of Karol Ondrei\u010dka (later in 1956 The Quintet of Karol Ondrei\u010dka) brought west coast jazz, it was almost in line with the beginnings of these genres in the world. The problem was in the reception of the audience which was probably not ready to accept these genres and remained minor. The position of jazz was similar in the world as well.<\/p>\n<p>Slovak rock music was probably widely accepted by the youth in 1965. Regarding the year 1954 as the official beginning of Rock and Roll, and the first expressive accomplishments of the English band \u201cThe Beatles\u201d were experienced in 1962 \u2013 63, then the year 1965 does not represent a historical deficit in connection with world development. On the contrary, records of \u201cThe Beatles\u201d were played on the Slovak radio in Bratislava regularly from December 1964 and their success started with the hit <em>A\u00a0Hard Day`s Night<\/em>.<sup><a href=\"#sdfootnote60sym\"><sup>60<\/sup><\/a><\/sup><\/p>\n<p>The Blues music scene was problematic. Professional qualified personalities appeared as late as in the second half of the sixties (foundation of the blues band \u201cBlues Five\u201d). The authentic forms of blues and a\u00a0wave of revivalism got into jazz and rock only through the British rock music scene. The insufficiently developed environment of the musical industry and later ideological interventions were reflected in so called small theatre forms in which the lyrics, social critique or political satire played an important part. In 1961, the first singer celebrity of Slovak chanson left for Prague (Hana Hegerov\u00e1), other singers joined the mainstream (Zora Kol\u00ednska after 1971) or an engaged political song in light of the contemporary cultural policy after the \u201cPrague Spring\u201d [Pra\u017esk\u00e1 jar] in 1968 (Milka Do\u0161ekov\u00e1, Zoro Laurinc).<\/p>\n<p>Musical amateurism and insufficient professional qualities were reportedly long apparent in country and western music. This was why the first records of the country singers were issued as late as 1989 and after. The beginnings of this genre were projected to the mainstream in 1963. However, according to secondary sources the tramp movement existed in Slovakia in the fifties and came to Slovakia chiefly from the Czech state. Regarding the insufficient research in this field, it is not possible to set a\u00a0year important for the development of the country and western genre in Slovakia.<\/p>\n<p>We may clearly say that the\u00a0problem of jazz and rock was generally well-known because these genres were of Western character, regarding their presentation and the usage of musical and extra-musical means. Jazz as an artistic form emphasizes the freedom of improvisation, rock tends to express tension and aggressivity. The government perceived jazz, folk, country, and blues as minor genres but did not intervene in their development, only in the case of direct conflicts, which went without government support. The music of these genres was neither recorded nor performed on television.<\/p>\n<p>Ideological influences were expressed mainly in dance productions, the mainstream, the hit productions in which the interventions were reflected as a\u00a0preference of non-topical trends in the world. The audiences, \u201cthe people\u201d, so often emphasized in the governmental documents and orders, refused mass songs. Revolutionary, youth, and pioneer songs were disguised by the preference of folk music. Folk music, salon music, and dances popular in the first half of the twentieth century \u2013 polka, waltz, czardas, tango etc. &#8211; are played at the dances of a rural character even today. However, an attitude to the preference of the folk song in dance music in Slovakia from 1934 to 1955 has to be re-evaluated under the influence of the modern trend in today`s world music.<\/p>\n<p>The post-modern techniques of parody and irony were ideal for expressing the paradoxical situation in which the pop music in Slovakia was situated. On the one hand in management, it was an orientation toward the music of socialistic and befriended countries, on the other hand regarding progress, the dominance of those genres whose birthplace was the USA and Great Britain\u2013enemy countries, according to the ideology of the Cold War. In a historical view, the experiment of Franti\u0161ek Tugendlieb in his free jazz parodic conception of youth songs \u201cmusica iugens\u201d in 1954 was unique. However, a real era of parody started in 1982 in the bands \u201cDemik\u00e1t\u201d, \u201c300 HR\u201d, \u201cMa\u0165kovia\u201d &#8211; Martin Burlas, Robo Grigorov, \u201cVentil RG\u201d, and \u201cVidiek\u201d. The essence of jazz and rock issued from the freedom of thought, creativity, and the opportunity to express one`s own opinion even at the price of the error. When jazz and rock came into the system of a controlled police-state where everyone was allowed to think only what was officially proclaimed following the dictatorship of the proletariat, atheism, and politics of the Cold War against imperialism; ideology represented the basic conflict in internal development of Slovak jazz, rock and other genres as well. Ideology became the primary barrier for accepting the typical features of new music.<sup><a href=\"#sdfootnote61sym\"><sup>61<\/sup><\/a><\/sup><\/p>\n<p><a href=\"#sdfootnote1anc\">1<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r<\/em>, vol. 7 (1975), nos. 1 \u2013 5, pp. 15 \u2013 18, vol. 7 (1975), nos. 6 \u2013 12, pp. 18 &#8211; 21, vol. 8 (1976), nos. 1 \u2013 3, pp. 34 \u2013 36; Ladislav \u0160olt\u00fds, <em>Hudobn\u00e9 kri\u017eovatky &#8211; Polstoro\u010die so slovenskou popul\u00e1rnou pies\u0148ou <\/em>[Musical Crossroads \u2013 A\u00a0Half-Century with the Slovak Pop Song]<em>,<\/em> in: <em>Popul\u00e1r<\/em>, vol. 15 (1983), nos. 1 &#8211; 12, pp. 22 \u2013 23, vol. 16 (1984), no. 1, pp. 22 \u2013 23; Igor Wasserberger, <em>30 rokov slovenskej popul\u00e1rnej hudby <\/em>[Thirty Years of Slovak Pop Music]<em>,<\/em> in: <em>Hudobn\u00fd \u017eivot<\/em>, vol. 7 (1975), nos. 10 \u2013 15, p. 5; Igor Wasserberger, <em>Slovensk\u00fd d\u017eez<\/em> [Slovak Jazz]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 13 (1981), nos. 3 &#8211; 8; Igor Wasserberger, <em>Desa\u0165 rokov slovensk\u00e9ho jazzu <\/em>[Ten Years of Slovak Jazz]<em>,<\/em> in: <em>Melodie<\/em>, vol. 3 (1965), no. 8, p. 9; J\u00falius Kin\u010dek, <em>Kapitolky z te\u00f3rie modernej popul\u00e1rnej hudby<\/em> 1 \u2212 12. [Chapters on the Theory of Modern Pop Music 1 \u2212 12.], in: <em>Popul\u00e1r<\/em>, vol. 14 (1982), nos. 1 \u2013 12, pp. 22 \u2013 23.<\/p>\n<p><a href=\"#sdfootnote2anc\">2<\/a> Igor Wasserberger, <em>Jazzov\u00fd slovn\u00edk <\/em>[The Jazz Dictionary]<em>,<\/em> \u0160HV, Bratislava \u2212 Praha 1965, a\u00a0dictionary entry <em>Hist\u00f3ria \u2013 E\/Slovensko<\/em> [History \u2212 E\/Slovakia], pp. 279 \u2013 281, the next entries of personalities are Gust\u00e1v Brom, Helena Bleh\u00e1rov\u00e1, Igor \u010celko, Laco D\u00e9czi, Ivan Domin\u00e1k, Ladislav Gerhardt, Juraj Henter, Ivan Horv\u00e1th, Branislav Hronec, Zuzana Lonsk\u00e1, Karol Ondrei\u010dka, S\u00edlo\u0161 Pohanka, Pavol Polansk\u00fd, Gust\u00e1v Ri\u0161ka, J\u00e1n Siv\u00e1\u010dek. <em>Jazzov\u00fd slovn\u00edk<\/em> [The Jazz Dictionary] contains a\u00a0personal and a\u00a0subjective part.<\/p>\n<p><a href=\"#sdfootnote3anc\">3<\/a> Anton\u00edn Matzner, Ivan Poled\u0148\u00e1k, Igor Wasserberger et al., <em>Encyklopedie jazzu a modern\u00ed popul\u00e1rn\u00ed hudby <\/em>[Encyclopedia of Jazz and Modern Pop Music], Supraphon, Praha 1980, 1983, the entries <em>Jazz V. &#8211; d\u011bjiny, Slovensko <\/em>[Jazz V. \u2013 history, Slovakia]<em>,<\/em> pp. 188 &#8211; 190, (I. Wasserberger is the author of the entry.), the entry <em>Modern\u00ed popul\u00e1rn\u00ed hudba V. &#8211; d\u011bjiny, Slovensko <\/em>[Modern Pop Music V \u2013 history, Slovakia], pp. 277 &#8211; 281 (Igor Wasserberger is the author of the entry.).<\/p>\n<p><a href=\"#sdfootnote4anc\">4<\/a> Ladislav Burlas, <em>Hudobn\u00e1 te\u00f3ria a\u00a0s\u00fa\u010dasnos\u0165 <\/em>[Musicology and Present Times], Tatran, Bratislava 1978, pp. 160 \u2013 181.<\/p>\n<p><a href=\"#sdfootnote5anc\">5<\/a> Ibidem, p. 174.<\/p>\n<p><a href=\"#sdfootnote6anc\">6<\/a> \u201cOur bands Gattch and Collegium Musicum also belong to the bands with the moderate expression.\u201d Ibidem, p. 175.<\/p>\n<p><a href=\"#sdfootnote7anc\">7<\/a> Lubom\u00edr Dor\u016f\u017eka, <em>Anmerkungen zur musikalischen Analyse von Jazz und Rock,<\/em> in: <em>Jazzforschung,<\/em> vol.<em> <\/em>7 (1977), no. 8, Graz, pp. 67 \u2013 82.<\/p>\n<p><a href=\"#sdfootnote8anc\">8<\/a> Igor Wasserberger,<em> V\u00fdvoj slovenskej popul\u00e1rnej hudby v rokoch 1920 \u22121944 <\/em>[Development of Slovak Pop Music in 1920 \u2013 1944]<em>,<\/em> in: <em>Slovensk\u00e1 hudba, <\/em>vol. 20 (1994), no. 2, pp. 203 \u2013 216.<\/p>\n<p><a href=\"#sdfootnote9anc\">9<\/a> \u013dubom\u00edr Chalupka,<em> Hudba 20. storo\u010dia \u2013 V\u00fdvoj po roku 1945 <\/em>[Music of the Twentieth Century \u2013 Development after 1945]<em>,<\/em> in: <em>Dejiny slovenskej hudby <\/em>[A History of Slovak Music]<em> <\/em>(ed. Osk\u00e1r Elschek), ASCO, Bratislava 1996, pp. 274 \u2212 341; English edition <em>A History of Slovak Music<\/em>, (ed. Osk\u00e1r Elschek), ASCO, Bratislava 2003, pp. 315 \u2212 398; \u013dubom\u00edr Chalupka, <em>Fenom\u00e9n recepcie ako s\u00fa\u010das\u0165 v\u00fdvoja slovenskej hudobnej kult\u00fary <\/em>[The Phenomenon of Reception as a\u00a0Part of the Development of Slovak Musical Culture]<em>,<\/em> in:<em> Recepcia s\u00fa\u010dasnej eur\u00f3pskej hudobnej tvorby v slovenskej hudobnej kult\u00fare 1. polovice 20. storo\u010dia<\/em> [Reception of the Present European Musical Production in Slovak Musical Culture of the First Half of the Twentieth Century]<em>,<\/em> (ed. \u013dubom\u00edr Chalupka), Stimul, Bratislava 2003, pp. 9 \u2212 27.<\/p>\n<p><a href=\"#sdfootnote10anc\">10<\/a> Franti\u0161ek Tur\u00e1k, <em>Modern\u00e1 popul\u00e1rna hudba a\u00a0jazz<\/em> [Modern Pop Music and Jazz]<em>,<\/em> in: <em>Dejiny slovenskej hudby <\/em>[History of Slovak Music]<em>,<\/em> (ed. Osk\u00e1r Elschek), \u00dastav hudobnej vedy SAV, Asco Art and Science, Bratislava 1996.<\/p>\n<p><a href=\"#sdfootnote11anc\">11<\/a><em> <\/em><em>Dejiny slovenskej hudby <\/em>[History of Slovak Music], (ed. Osk\u00e1r Elschek), Asco, Art and Science, Bratislava 1996, pp. 195 \u2212 258.<\/p>\n<p><a href=\"#sdfootnote12anc\">12<\/a> Ibidem, pp. 259 \u2013 393.<\/p>\n<p><a href=\"#sdfootnote13anc\">13<\/a> Ibidem, pp. 342 \u2013 359.<\/p>\n<p><a href=\"#sdfootnote14anc\">14<\/a> Franti\u0161ek Tur\u00e1k, <em>Modern\u00e1 popul\u00e1rna hudba a d\u017eez na Slovensku: v\u00fdvojov\u00e9 tendencie a kritick\u00e9 reflexie <\/em>[Modern Pop Music and Jazz in Slovakia: Developmental Tendencies and Critical Reflections]<em>,<\/em> Univerzita Mateja Bela, Bansk\u00e1 Bystrica 2003.<\/p>\n<p><a href=\"#sdfootnote15anc\">15<\/a> The following contemporary document shows evidence of a\u00a0conflict between two different political-economic systems. The speech of the president of the USA, John Kennedy, was quoted by \u0160olt\u00fds in the journal <em>Popul\u00e1r.<\/em> It was published in the Slovak contemporary press. \u201cThe president of the USA, John Kennedy, made his speech at American university on June 10, 1963: The total war is senseless in the age when a\u00a0single hydrogen bomb represents tenfold greater juggernaut than the whole allied Air Force during World War II. \u2026it is necessary to investigate relation to the very essence of the question of peace as well as our relationship with the Soviet Union. \u2026Contrary to the fact that we do not associate ourselves with the Communist ideology we may still congratulate the Russian nation on its great achievements in sciences and cosmos, economy and industrial development, as well as in culture.\u201d Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 9, p. 20.<\/p>\n<p><a href=\"#sdfootnote16anc\">16<\/a> Igor Wasserberger,<em> V\u00fdvoj slovenskej popul\u00e1rnej hudby<\/em>&#8230; (footnote 8), pp. 203 \u2013 216.<\/p>\n<p><a href=\"#sdfootnote17anc\">17<\/a> Juraj Lexmann, <em>Slovensk\u00e1 filmov\u00e1 hudba 1896 \u2013 1996 <\/em>[Slovak Movie Music 1896 \u2013 1996], Asco Art and Science, Bratislava 1996, p. 14.<\/p>\n<p><a href=\"#sdfootnote18anc\">18<\/a> Ibidem.<\/p>\n<p><a href=\"#sdfootnote19anc\">19<\/a> Alica Elschekov\u00e1 \u2013 Osk\u00e1r Elschek,<em> \u00davod do \u0161t\u00fadia slovenskej \u013eudovej hudby<\/em> [Introduction to the Study of Slovak Folk Music], N\u00e1rodn\u00e9 osvetov\u00e9 centrum, Bratislava 1996, p. 102.<\/p>\n<p><a href=\"#sdfootnote20anc\">20<\/a> Ibidem, p. 109.<\/p>\n<p><a href=\"#sdfootnote21anc\">21<\/a> LP <em>Antol\u00f3gia slovenskej popul\u00e1rnej hudby<\/em> [LP Anthology of Slovak Popular Music], Opus, Bratislava 1991; CD <em>Antol\u00f3gia slovenskej popul\u00e1rnej hudby, <\/em>\u201c<em>e\u0161te raz ku tebe pr\u00eddem&#8230;<\/em>\u201d<em> <\/em>[CD Anthology of Slovak Popular Music, \u201cI will visit You once more&#8230;\u201d], 501 833 2, Gibon s.r.o. Bratislava 2000, a dramaturgist Pavol Zelenay, remastering Alexander Sold\u00e1n.<\/p>\n<p><a href=\"#sdfootnote22anc\">22<\/a> Ladislav \u0160olt\u00fds, <em>Polstoro\u010die slovenskej popul\u00e1rnej hudby. Hudobn\u00e9 kri\u017eovatky<\/em>, \u010das\u0165 9 [A Half-Century of Slovak Pop Music. Musical Crossroads, Part 9], in: <em>Popul\u00e1r<\/em>, vol. 15 (1983), no. 9, p. 23.<\/p>\n<p><a href=\"#sdfootnote23anc\">23<\/a> Juraj Ruttkay, <em>Metamorf\u00f3zy hudobnej kult\u00fary vo Vr\u00fatkach<\/em> [Metamorphoses of Musical Culture in Vr\u00fatky], [Dissertation thesis], Ostrava 2006; Ema Kurajdov\u00e1,<em> Koncertn\u00fd \u017eivot Bratislavy v rokoch 1918 \u2013 1938 <\/em>[The Concert Life of Bratislava in 1918 \u2013 1938], [Dissertation thesis], Bratislava 2005.<\/p>\n<p><a href=\"#sdfootnote24anc\">24<\/a> Ladislav \u0160olt\u00fds, <em>Polstoro\u010die slovenskej popul\u00e1rnej hudby. Hudobn\u00e9 kri\u017eovatky<\/em>,<em> <\/em>\u010das\u0165 12<em>.<\/em> [A Half-Century of Slovak Pop Music. Musical Crossroads, Part 12.], in: <em>Popul\u00e1r, <\/em>vol. 15 (1983), no. 12, p. 22.<\/p>\n<p><a href=\"#sdfootnote25anc\">25<\/a> Yvetta Kajanov\u00e1,<em> Slovn\u00edk slovensk\u00e9ho jazzu <\/em>[Dictionary of Slovak Jazz]<em>,<\/em> Hudobn\u00e9 centrum, Bratislava 1999, p. 8. The U5 of Karol Ondrei\u010dka was popular only in university circles in 1954. The Quintet of Juraj Henter gained wider popularity.<\/p>\n<p><a href=\"#sdfootnote26anc\">26<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century], in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 1, p. 17.<\/p>\n<p><a href=\"#sdfootnote27anc\">27<\/a> \u201cElder composers preferred lyrical motives with a dominating melody based on national background and with a traditional rhythmic background. The next group of the composers, mostly younger composers, considered it necessary to continue the folk dance tradition along with the emphasis on the expression of a new form of the aborning socialist entertainment.\u201d Ladislav \u0160olt\u00fds, <em>Polstoro\u010die slovenskej popul\u00e1rnej hudby<\/em>. <em>Hudobn\u00e9 kri\u017eovatky, \u010das\u0165 12 <\/em>[A Half-Century of Slovak Pop Music. Musical Crossroads, Part 12], in: <em>Popul\u00e1r<\/em>, vol. 15 (1983), no. 12, p. 22.<\/p>\n<p><a href=\"#sdfootnote28anc\">28<\/a> Ibidem.<\/p>\n<p><a href=\"#sdfootnote29anc\">29<\/a> Igor Wasserberger, <em>30 rokov slovenskej popul\u00e1rnej hudby<\/em> [Thirty Years of Slovak Pop Music]<em> ,<\/em> in: Hudobn\u00fd \u017eivot [Musical Life], vol. 7 (1975), no.13, p. 5.<\/p>\n<p><a href=\"#sdfootnote30anc\">30<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r<\/em>, vol. 7 (1975), no. 6, p. 18.<\/p>\n<p><a href=\"#sdfootnote31anc\">31<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century], in: <em>Popul\u00e1r<\/em>, vol. 8 (1976), no. 2, p. 38. \u201cBig beat\u201d was the special term for rock and was used mainly in Central Europe.<\/p>\n<p><a href=\"#sdfootnote32anc\">32<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r, <\/em>vol<em>.<\/em> VII (1975), no. 10, p. 23.<\/p>\n<p><a href=\"#sdfootnote33anc\">33<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r<\/em> vol. VII (1975), no. 11, p. 22.<\/p>\n<p><a href=\"#sdfootnote34anc\">34<\/a> Vladim\u00edr Bro\u017e\u00edk \u2212 Franti\u0161ek Hora, <em>Beatov\u00e1 hor\u00fa\u010dka 1965 \u2013 70 <\/em>[A Beat Spree 1965 \u2013 70], (accompanying text on the LP) Opus 1989.<\/p>\n<p><a href=\"#sdfootnote35anc\">35<\/a> Iveta Posp\u00ed\u0161ilov\u00e1, <em>Skupina Pr\u00fady \u2013 jej miesto v\u00a0kontexte slovenskej popul\u00e1rnej hudby a\u00a0jej pr\u00ednos <\/em>[The Band Pr\u00fady \u2013Its Place and Contribution in the Context of Slovak Pop Music]<em>,<\/em> in: <em>Slovensk\u00e1 hudba, <\/em>vol. 20 (1994), no. 2, pp. 247 \u2013 257.<\/p>\n<p><a href=\"#sdfootnote36anc\">36<\/a> Marian Jaslovsk\u00fd, <em>De\u017eo Ursiny a\u00a0jeho v\u00fdstupy na Modr\u00fd vrch <\/em>[De\u017eo Ursiny and his Climb up the Blue Hill]<em>,<\/em> in: <em>Slovensk\u00e1 hudba,<\/em> vol. 20 (1994), no. 2, pp. 217 \u2212 226. Ji\u0159\u00ed \u010cern\u00fd, <em>Lep\u0161\u00ed ne\u017e Olympic <\/em>[Better than Olympic]<em>,<\/em> in: <em>Mlad\u00fd sv\u011bt, <\/em>vol. 7<em> (<\/em>May 1965), no. 18, p. 30; <span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.popmuseum.cz\/projects\/projects.php?q=tvb0000&amp;l=cz#content\">http:\/\/www.popmuseum.cz\/projects\/projects.php?q=tvb0000&amp;l=cz#content<\/a><\/span>.<\/p>\n<p><a href=\"#sdfootnote37anc\">37<\/a> J\u00e1n Liteck\u00fd- \u0160veda et al., <em>Blues na Slovensku <\/em>[Blues in Slovakia]<em>,<\/em> Hudobn\u00e9 centrum, Bratislava 2003.<\/p>\n<p><a href=\"#sdfootnote38anc\">38<\/a>\u013dubom\u00edr Gregor, <em>Astorka: divadlo, ktor\u00e9 nikto nechcel<\/em> [Astorka, The Theatre Nobody Wanted], List, Bratislava 2000.<\/p>\n<p><a href=\"#sdfootnote39anc\">39<\/a><span style=\"text-decoration: underline;\"> Anastasia <\/span><span style=\"text-decoration: underline;\">Mitrofanova<\/span><span style=\"text-decoration: underline;\">: <\/span><span style=\"text-decoration: underline;\"><em>Resistance Songs: The Subculture of Russian Extreme Nationalism<\/em><\/span><span style=\"text-decoration: underline;\">, ICCEES \u2013 Regional European Congress, Berlin 2. \u2013 4. August 2007. (http:\/\/www.iccees-europe.de\/<\/span>) The Communist regime preferred the singing of loyal \u201cpolitical songs\u201d to the protest songs of the dissidents. They tried to change the resistance songs for their own benefit.<\/p>\n<p><a href=\"#sdfootnote40anc\">40<\/a> Milo\u0161 Janou\u0161ek \u2212 Hana Daubnerov\u00e1 \u2212 Juraj Drobn\u00fd et al., <em>Folk na Slovensku <\/em>[Folk in Slovakia]<em>,<\/em> Hudobn\u00e9 centrum, Bratislava 2007.<\/p>\n<p><a href=\"#sdfootnote41anc\">41<\/a> Anton\u00edn Matzner \u2212 Ivan Poled\u0148\u00e1k \u2212 Igor Wasserberger et al., <em>Encyklopedie jazzu a modern\u00ed popul\u00e1rn\u00ed hudby <\/em>[Encyclopedia of Jazz and Modern Pop Music], Supraphon, Praha 1980, 1983, the entry word <em>Modern\u00ed popul\u00e1rn\u00ed hudba V. \u2013 d\u011bjiny, Slovensko <\/em>[Modern Pop Music V \u2013 history, Slovakia], pp. 277 \u2212 281 (written by Igor Wasserberger).<\/p>\n<p><a href=\"#sdfootnote42anc\">42<\/a> It was already mentioned by Jozef Kres\u00e1nek although he did not name particular personalities and bands. Jozef Kres\u00e1nek,<em> Soci\u00e1lna funkcia hudby <\/em>[The Social Function of Music], Bratislava 1961.<\/p>\n<p><a href=\"#sdfootnote43anc\">43<\/a> (vm): <em>Country and western<\/em>. in: <em>Popul\u00e1r,<\/em> vol. 7<em> (<\/em>1975), no. 2, p. 19.<\/p>\n<p><a href=\"#sdfootnote44anc\">44<\/a> Ladislav \u0160olt\u00fds,<em> Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 10, p. 23.<\/p>\n<p><a href=\"#sdfootnote45anc\">45<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 8 (1976), no. 1, p. 35.<\/p>\n<p><a href=\"#sdfootnote46anc\">46<\/a> \u201cDokument Predsedn\u00edctva \u00dastredn\u00e9ho v\u00fdboru Komunistickej strany Slovenska o mal\u00fdch hudobn\u00fdch form\u00e1ch z roku 1962.\u201d [Document of the Presidium of the Central Committee of the Communist Party of Slovakia about small musical forms, 1962.]<\/p>\n<p><a href=\"#sdfootnote47anc\">47<\/a> Josef Kotek \u2013 Ivan Poled\u0148\u00e1k, <em>Teorie a d\u011bjiny tzv. bytov\u00e9 hudby jako samostatn\u00e1 muzikologick\u00e1 disciplina <\/em>[Theory and History of \u201cRoom Music\u201d as an Individual Musicological Discipline]<em>,<\/em> in: <em>Hudebn\u00ed v\u011bda<\/em>, vol. 11 (1974), no. 4, pp. 335 \u2013 355; Ji\u0159\u00ed Fuka\u010d \u2013 Ivan Poled\u0148\u00e1k, <em>K\u00a0typologick\u00fdm polarizac\u00edm hudby, zejm\u00e9na polarizaci hudby artifici\u00e1ln\u00ed a\u00a0nonartifici\u00e1ln\u00ed<\/em> [Typological Polarizations of Music, especially the Polarization of Artificial and Non-Artificial Music]<em>,<\/em> in: <em>Hudebn\u00ed v\u011bda<\/em>,<em> <\/em>vol. 14<em> (<\/em>1977), no.4, pp. 316 \u2212 335.<\/p>\n<p><a href=\"#sdfootnote48anc\">48<\/a><em> Melodie und Rhythmus<\/em> A. K. in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 10, p. 23.<\/p>\n<p><a href=\"#sdfootnote49anc\">49<\/a> Bra\u0148o Hochel, <em>Poetologick\u00e9 probl\u00e9my textov popul\u00e1rnej piesne <\/em>[The Poetic Problems of Lyrics in Popular Song], in: <em>Probl\u00e9my s\u00fa\u010dasnej slovenskej popul\u00e1rnej piesne <\/em>[Problems of the Current Slovak Popular Song]<em>,<\/em> \u00dastav umeleckej kritiky a\u00a0divadelnej dokument\u00e1cie, Bratislava 1985, p. 61. (Other authors of the lyrics include: Pavol \u0160tev\u010dek, Pavol Plutko, J\u00e1n Zambor, Peter Zajac, Igor Wasserberger, J\u00falius Kin\u010dek, Bra\u0148o Hochel, J\u00e1n \u0160trasser, Ladislav \u0160imon).<\/p>\n<p><a href=\"#sdfootnote50anc\">50<\/a> Ladislav Burlas, <em>Spolo\u010densk\u00fd v\u00fdznam popul\u00e1rnej hudby <\/em>[A Social Sense of Pop Music], in: <em>Pravda<\/em>, 11. 9. 1982, p. 10; Ladislav Snopko \u2212 Daniel Mikleti\u010d, <em>K\u00a0poslaniu popul\u00e1rnej hudby, anketa <\/em>[The Mission of Pop Music, Inquiry], in: <em>\u013dud<\/em>, 7. 3. 1985, p. 3; J\u00falius Kin\u010dek, <em>Probl\u00e9my popul\u00e1rnej hudby<\/em><em> <\/em>[Problems of Pop Music]<em>,<\/em> in: <em>Nede\u013ea,<\/em> 7. 3. 1985, other documents: Peter Brhlovi\u010d, <em>K probl\u00e9mom textu a hudby v politickej piesni <\/em>[Problems of Lyrics and Music in Political Song], in: <em>Zborn\u00edk pr\u00e1c zo VII. Semin\u00e1ra mlad\u00fdch muzikol\u00f3gov a\u00a0kritikov <\/em>[A Collection of the Works of the Seventh Seminary of Young Musicologists and Critics], Zv\u00e4z slovensk\u00fdch skladate\u013eov, Bratislava 1978; Peter Brhlovi\u010d, <em>O textech ve slovensk\u00e9 popul\u00e1rn\u00ed hudb\u011b <\/em>[Lyrics in Slovak Pop Music]<em>,<\/em> in: <em>Melodie<\/em>,<em> <\/em>vol.<em> <\/em>18<em> <\/em>(1980), no. 7, p. 193, no. 8, p. 225; Daniela Kov\u00e1\u0159ov\u00e1, <em>Tentoraz o\u00a0kritike <\/em>[This Time about Critique]<em>,<\/em> in: <em>Popul\u00e1r<\/em>, vol. 13 (1981), no. 8, p. 6; <em>Poznatky Petra Brhlovi\u010da <\/em>[The Findings of Peter Brhlovi\u010d]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 4 (1972), no. 12, p. 7; Elena \u0164apajov\u00e1, <em>Slovo o\u00a0slove <\/em>[A Word about Word]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 10 (1978), no. 3, p. 12.<\/p>\n<p><a href=\"#sdfootnote51anc\">51<\/a> In: <em>Popul\u00e1r,<\/em> vol. 14 (1982), no. 7, p.22.<\/p>\n<p><a href=\"#sdfootnote52anc\">52<\/a> Pavol \u0160tev\u010dek \u2212 Pavol Plutko \u2212 J\u00e1n Zambor, <em>Anal\u00fdza textov slovenskej popul\u00e1rnej hudby <\/em>[Analysis of the Lyrics of Slovak Pop Music]<em>,<\/em> in: <em>Probl\u00e9my s\u00fa\u010dasnej slovenskej popul\u00e1rnej piesne <\/em>[Problems of the Contemporary Slovak Pop Song]<em>,<\/em> \u00dastav umeleckej kritiky a\u00a0divadelnej dokument\u00e1cie, Bratislava 1985, p. 26.<\/p>\n<p><a href=\"#sdfootnote53anc\">53<\/a> Alena Kru\u010dayov\u00e1, <em>Klav\u00edrna tvorba predstavite\u013eov slovenskej hudobnej kult\u00fary v 19. a na za\u010diatku 20. storo\u010dia <\/em>[The Piano Works of the Personalities of Slovak Musical Culture in the Nineteenth Century and at the Beginning of the Twentieth Century], in: <em>Hudobn\u00fd \u017eivot na Slovensku. Kontinuita \u010di diskontinuita? <\/em>[Musical Life in Slovakia. Continuity or Discontinuity?], Katedra hudby FP\u017dU, \u017dilina 2007, pp. 85 \u2212 93.<\/p>\n<p><a href=\"#sdfootnote54anc\">54<\/a><span style=\"text-decoration: underline;\"> http:\/\/www.upn.gov.sk<\/span><\/p>\n<p><a href=\"#sdfootnote55anc\">55<\/a><span style=\"text-decoration: underline;\"> http:\/\/www.upn.gov.sk<\/span> It was one of the first \u201cJewish Acts\u201d adopted from 1939 to May 1942 in the Slovak Republic. Limitations on the number of Jews were related to the occupations in \u201cadvocacy\u201d, \u201cnotary`s office\u201d, and \u201ceditor`s\u201d. \u201cA\u00a0Jew can be an editor only of a\u00a0Jewish magazine which is expressly labelled as Jewish and it follows interests of the Jewish confession and Jewish culture.\u201d in: Slovensk\u00fd z\u00e1konn\u00edk [Slovak Code of Law], Part 14, issued on April, 20 in 1939, volume 1939. \u00a74 of the act from March, 14 in 1939, no. 1, about independent Slovak state. \u00a710 was related to the profession of an editor`s office.<\/p>\n<p><a href=\"#sdfootnote56anc\">56<\/a> Yvetta Kajanov\u00e1,<em> Slovn\u00edk slovensk\u00e9ho jazzu<\/em> [Dictionary of Slovak Jazz]<em>,<\/em> Hudobn\u00e9 centrum, Bratislava 1999, p. 8. The U5 of Karol Ondrei\u010dka was popular only in university circles in 1954. The Quintet of Juraj Henter gained wider popularity.<\/p>\n<p><a href=\"#sdfootnote57anc\">57<\/a> Miroslav Bal\u00e1k \u2013 Josef Kytnar, <em>\u010ceskoslovensk\u00fd rock na gramofonov\u00fdch desk\u00e1ch, Rockov\u00e1 diskografie 1960 \u2013 1997 <\/em>[Czechoslovak Rock on Gramophonic Discs. Rock Discography 1960 \u2013 1997]<em>,<\/em> Indies Rec., Brno 1998, p. B-44. pzo Artia (company of foreign trade) was a\u00a0company providing export of the discs abroad. It had separated from Supraphon in the sixties.<\/p>\n<p><a href=\"#sdfootnote58anc\">58<\/a> Music and lyrics by Zden\u011bk C\u00f3n \u201c<em>D\u00e1\u0161 mi \u0161at\u00f4\u010dku cez <\/em>o\u010di\u201d, vocals Zden\u011bk Kratochv\u00edl, Zuzka Lonsk\u00e1, 1964. Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 8 (1976), no. 1, p. 36.<\/p>\n<p><a href=\"#sdfootnote59anc\">59<\/a> The song <em>Strose de stroma <\/em>by Mikis Theodorakis in 1962, English translation <em>Below Acropolis<\/em>. Mikis Theodorakis was the\u00a0chairman of the organization of democratic youth of Greece and a\u00a0member of parliament representing the party of the democratic left EDA. \u201cSeveral of his songs became an important part of a\u00a0national process in a fight against the Greek military junta.\u201d Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia <\/em>[Songs of Our Century], in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 9, p. 19.<\/p>\n<p><a href=\"#sdfootnote60anc\">60<\/a> Ladislav \u0160olt\u00fds, <em>Piesne n\u00e1\u0161ho storo\u010dia<\/em> [Songs of Our Century]<em>,<\/em> in: <em>Popul\u00e1r,<\/em> vol. 7 (1975), no. 11, p. 21.<\/p>\n<p><a href=\"#sdfootnote61anc\">61<\/a> This paper is a\u00a0part of the project APVV no. 20 \u2013 062305.<\/p>","protected":false},"excerpt":{"rendered":"<p>Je n\u00e1m \u013e\u00fato, t\u00e1to polo\u017eka je k dispoz\u00edcii iba English.Published In: Kajanov\u00e1, Yvetta: Towards a Periodization of Slovak Popular Music &hellip; <a href=\"http:\/\/kajanova.zrak.sk\/?p=300\" class=\"more-link\">More <span class=\"screen-reader-text\">Periodiz\u00e1cia slovenskej popul\u00e1rnej hudby a jazzu<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-300","post","type-post","status-publish","format-standard","hentry","category-musicology"],"_links":{"self":[{"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/posts\/300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=300"}],"version-history":[{"count":5,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/posts\/300\/revisions"}],"predecessor-version":[{"id":375,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=\/wp\/v2\/posts\/300\/revisions\/375"}],"wp:attachment":[{"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=300"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/kajanova.zrak.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}