Živá hudba

Permanentní URI pro tuto komunitu

http://hdl.handle.net/10318/7661

Procházet

Procházet Živá hudba podle autor "Jaroslav Smolka"

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  • Ladislav Vycpálek hudební kritik
    Jaroslav Smolka
    The final study of pro fessor Smolka in fact complements his monograph on Ladislav Vycpálek. He chronologically follows Vycpálek’s musiccritical texts published between 1908 and 1920 primarily in the periodicals Hudební revue and Lumír. In the introduction he presents the context of the period – the prewar musical society was divided in two camps roughly corresponding with the circles surrounding the periodicals Smetana and Hudební revue. Within this context he positions Vycpálek’s polemics with Nejedlý, Helfert, O. Zich and Jirák. In the prewar period, Vycpálek’s views were strongly influenced by his teacher, V. Novák. In his texts, Vycpálek displays an affinity for the circle around Hudební revue even though he never takes part in the active „fight for Dvořák“. He states clear critical remarks concerning Foerster and Fibich, while the work of Novák and Suk is closer to his taste. Another part of the study deals with the change that Vycpálek’s evaluation takes during WW I also combined with his liberation from Novák’s influence. Nationalism becomes Vycpálek’s main evaluating criterion. He changes his attitude to folk songs as well as to Smetana in comparison to Dvořák and other Czech composers. In his critical essays after the war, he supports the rising Czech modernist composers, evaluating mainly coherence of form. He ends his publication activities in 1920 when he moves his focus primarily to composition.
  • Zrcadlová forma jako originální přínos 20. století do tradiční soustavy hudebních forem
    Jaroslav Smolka
    Music of the 20th century has not presented many new basic types of musical forms. However, the formation of what is called mirror form (for the purposes of this article) was created in this period. Older music theory used the term mirror mainly in the theory of musical forms referring to relations of much more compact units. Here we mean a form working with mirror sequences of single tones or simultaneities and not bigger aggregates such as measures, sections or larger parts of a form. It is not an exact acoustic application of the optical phenomenon of mirroring, but is the closest that possibly analogically resembles live musical performance. The first cases of this method can be seen in the works of the first and second decade of the century while in the second half of the 20th century, the occurrence of mirror form is obvious in the works of many composers, both Czech and across the world. This article deals with the possibilities of its practical use in composition and analyses of such works and sections of compositions.