Živá hudba

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

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Procházet Živá hudba podle Rok vytvoření

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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.
  • Choreografie jako vyvážená kompozice dramatu a virtuozity
    Božena Brodská
    In her article Professor Božena Brodská recalls one of the greatest personalities of the world ballet scene – Marius Petipa, who died 100 years ago. Marius Petipa was born into the family of French dancer and ballet master, Jean-Antoine Petipa, in Marseille on March 11, 1818 and made his début a s a dancer in Brussel in 1831. While his older brother Lucien Petipa became the first soloist of the Paris Opera in 1839, Marius went on a not very successful tour of the USA, then danced in Bordeaux and Madrid, where he learned Spanish dance. Being more a demi-character kind of dancer, he never entered the Paris Opera, but took classes with the acclaimed Auguste Vestris. In 1847 he finally established his long career in St. Petersburg, which lasted until 1903. He danced in most of the ballets of Jules Perrot and Arthur Saint- Léon and from 1862 he became the first ballet master of the Imperial Ballet in St. Petersburg, following the success of his ballet La fille du Pharaon to the music of Cesare Pugni. Nevertheless, it was his collaboration with the composer P. I. Tchaikovsky which kept his choreography alive on contemporary stages all over the world. He died on July 14, 1910 at Gurzuf, Crimea.
  • Můj Sommer
    Vladimír Tichý
  • Nelineární čas v post-cageovské hudbě
    Iva Oplištilová
    The main focus of the study is the issue of non-teleological listening strategies for music. They are described based on a phenomenological approach from the first person perspective. Phenomenological reduction is suggested as a method of work with phenome na for which classical tools of musical theory have proven insufficient. Non-teleological compositions are related to J. T. Fraser’s theory of temporalities, specifically to non-linear temporalities. The characteristic phenomena in non-linear temporalities are described as experiences, i.e. phenomenologically, as well as from the viewpoint of the material utilized, i.e. as compositional procedures. The concept of duration is explored.
  • 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.
  • Calcastrum
    Lukáš Matoušek
    Paulus Paulirinus de Praga writes about musical instruments in the chapter Musica instrumentalis of his treatise Liber viginti artium (ca 1459–61). For many of them he used names which are rare or completely unknown from any other period sources. Sometimes he writes about a known instrument using a name for it current for quite different instruments. Calcastrum is one of them. From its description it is possible to compare it with other period instruments in Middle Europe and assume that Paulus Paulirinus is describing an instrument known by organologists of 20th c entury a s a psaltery-harp, harp-psaltery or double-resonator harp. This assumption is aided by the described shape of the instrument (plus trigonale quam quadrangulare), the use of gut strings (cordas nervales) as well as the way of playing the instrument (cum digittis cordas tangens). The manner of holding the instrument when playing is possible to compare with other chordophones (neckless) in the medieval Czech regions (these instruments were held with strings running parallel to the axis of the player’s body). By eliminating instruments used in Middle Europe in the middle of 15th century it is possible to come to the conclusion that Paulus Paulirinus describes the psaltery-harp using the name calcastrum.
  • Georg Friedrich Händel a hudební provoz v Londýně v 18. století
    Veronika Hyksová
    The following text endeavours to describe the phenomenon of Italian opera and music business in 18th century London while focusing on its economical and organisational aspects which substantially differed from Continental practices. George Friedrich Händel’s personality embodied both, that is, his experience of the Italian musical life as well as his role in creating suitable conditions for Italian opera in the capital city of the British Isles.
  • 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.