"Hudebně vědecký kolektiv má za sebou již také pěkné výsledky" – hudební věda mimo univerzitu v první polovině padesátých let v Brně

The presented case study, which from the microhistorical point of view is defined geographically rather than purely anthropologically, is built on the blending as well as the contradiction of the social requirement for a clear, though indefinable, artistic doctrine and its fulfilment or non-fulfilment, both in the issues regarding the distribution of the "canon" among musicians as well as within the whole of society (i.e. as an analysis of the system and the organization of musical life) and on the aesthetic level (i.e. the change in language itself). Inspired by Foucault, I am looking for "collective discourses", and I describe power "strategies" according to Bourdieu, but I characterize the chosen period and mainly the location rather using the "tactics of the subjects", whose freedom was signifi¬cantly curtailed, and the "practices" or even "do-it-yourself activities" of the newly "constructed" community of those in power. I would like to show such tactical acting and do-it-yourself activities in terms of the activities of the musicology team of the Union of Czechoslovak Composers, and more generally, the issue of the status of musical science in society.