Živá hudba 2

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http://hdl.handle.net/10318/7663

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  • Krize racionality pohledů na hudební řeč?
    Vladimír Tichý
    In the history of European musical theory up to the present, we can perceive an effort to deepen the rational, exact theoretic conception of the structure of musical language. This is especially so when such components and parameters are explored that enable such a conception (pitches and structures formed by them – horizontally (melodies) or vertically (simultaneities). At present, music theory (similar to many other scientific fields) has met the limits of exact quantitative understanding that originated in the ideas and images of 18th century rationalism. It tries to find new ways. One of these possibilities seems to be the young mathematical (and in a larger sense, philosophical) field – the theory of chaos. Its application has already provided much inspiration across numerous scientific branches. This study brings some suggestions on methods to apply some perspectives of the theory of chaos on the system of working methods in music theory.
  • Shakuhachi in Transition: a Transcultural Perspective
    James Franklin
    The shakuhachi, the Japa nese endblown bamboo flute frequently associated with Zen Buddhism, has a long tradition of migration, from its origins in China, via Japan, and on to the rest of the world. During its extended period of development in Japan, the tradition lines of the instrument became increasingly fragmented, to the point that no current school of performing can lay claim to primacy or exclusive authenticity. In this pluralistic setting, the next stage in the development of the instrument lies in its export outside of the Japanese cultural sphere. The pluralism of the traditions and the processes of export and transculturation raise questions about the possibilities of intercultural transmission and integration both of the musical characteristics of the shakuhachi and of the spirituality of its music. Of particular interest is the question as to whether there is a spiritual basis which is capable of being transmitted through and along with the music.
  • Baletní kritika v českém denním tisku 1918–1928
    Lucie Kocourková
    This article deals with the issue of dance as a subject developed in the media in Czech daily newspapers in 1918–1928. For this purpose two dailies were chosen – Venkov and České slovo – to show the different attitudes the authors bring to the topics. Samples of reviews published on premieres of the National Theatre Ballet in Prague were utilized using a quantitative analysis of the content.
  • 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.
  • John Cage – usměvavý Frankenstein? (Část II)
    Jaroslav Šťastný
    The second part of a larger study on the music of John Cage. His approach to composition is discussed here based on examples from his different works (Concert for Piano and Orchestra, Theatre Piece, MUSICIRCUS) which represent his development in respect to the social structure of his music.
  • Harmonické pole v atonální hudbě (část 1.)
    Petr Zvěřina
    The harmonic field in atonal music is not easy to understand. However, I’m trying to adumbrate the theory, which can help us to comprehend some principles of this music. I’m exploring ideas of Vladimír Tichý (Harmonic Field) and Karel Janeček (The Foundations of Modern Harmony). The problem of perception of atonal music is somehow based on the reciprocity of the metric structure and the harmonic material of composition. I’m analyzing the atonal music with the possibility of the segmentation of harmonic field. I clame that relationships between chords are not only based on dissonant characteristics. We can speak of thought processes, which influence the selection of harmonic material.