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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.