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2. Collage as the Principle of Mythological Thinking and Postmodern Music
- Creator:
- David Kozel
- Format:
- print, bez média, and svazek
- Type:
- model:article and TEXT
- Subject:
- hudební estetika, musical aesthetics, hudební kompozice, composition (music), mytologie, mythology, 78.01, 78.02, 25, and (048.8)
- Language:
- Czech
- Description:
- Studie Davida Kozla je věnována formě hudební koláže ve vztahu k princpipu mytologického myšlení, stejně jako jejího použití v postmoderní hudební tvorbě., The term neo-mythologism can be used as an interpretative approach to reflect the new 20th-century music paradigm, which helps to explain changes in the understanding of basic structural elements of myth and music. The study identifies certain possible correlations between mythological thinking and music by analysing the concept of collage (bricolage). The underlying theoretical concept employed is Claude Lévi-Strauss’ structural anthropology as proposed in La Pensée Sauvage (1962). Collage is viewed as a manifestation of neo-mythologism and as a narrative in the postmodern musical discourse, which is accompanied by changes in the understanding of the essence of the musical matter and compositional techniques of composers. The compositional treatment of several different layers of the musical structure within a musical collage with a view to conveying a new meaning is in principle akin to how meaning is generated in mythological thinking through the combination of various materials., David Kozel., Rubrika: Studie, and České resumé na s. 192, anglický abstrakt na s. 181.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:private
3. Listening for Stockhausen
- Creator:
- Marcus Zagorski
- Format:
- print, bez média, and svazek
- Type:
- model:article and TEXT
- Subject:
- Stockhausen, Karlheinz, 1928-2007, hudební díla, musical works, poslech hudby, music listening, hudební teorie, music theory, 78.08, 78.01, 781, and (048.8)
- Language:
- Czech
- Description:
- Studie Marcuse Zagorskiho je věnována dílu hudebního skladatele Karlheinze Stockhausena. Autor se však na něj zaměřuje z netradičního pohledu, protože zkoumá problematiku a způsob poslechu Stockhausenovy hudby., Karlheinz Stockhausen’s theory of listening reflected essential tenets of his creative practice and aesthetic inclinations. He outlined an admirably tolerant and accepting approach to listening and encouraged different listeners to generate different formal models to describe the same music. His method of listening thereby challenged the perceptual reconstruction of known, pre-existing forms that was so important to listening in the preceding 150 years, and this complemented his compositional challenge to another established aesthetic category – that of the closed musical work. By revealing this aesthetic background, this article shows the significance of Stockhausen’s thinking about listening., Marcus Zagorski., Rubrika: Studie, and České resumé na s. 201, anglický abstrakt na s. 193.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:private
4. Marginálie ke Slovníku staročeských hymnografů
- Creator:
- Jan Kouba
- Format:
- print, bez média, and svazek
- Type:
- model:article and TEXT
- Subject:
- muzikologie, musicology, hymnologie, hymnology, 78.01, 783.6:781, and (049)
- Language:
- Czech
- Description:
- Příspěvek Jana Kouby představuje autorovo zastavení nad jeho knihou "Slovník statočeských hymnografů". Věnuje se zde otázce pojmů hymnografie a hymnologie, německým hymnografům a dalším tématům., The article summarises all of the problems with the existing editions of Leoš Janáček’s organ compositions. The indisputable originality of the composer’s musical language, highlighted by his peculiar, inimitable notation and the nearly illegible handwriting that resulted when his hand could not keep up with his thoughts, did not always lead to comprehension of the composer’s intentions. These circumstances also emboldened the efforts of publishers to make the notation of his compositions more intelligible and often to “improve” his works in the best sense of the word. It is the author’s assertion that in spite of the existence of a Complete Critical Edition of the Works of Leoš Janáček and of many other printed editions, we shall still have to wait for an edition of Janáček’s organ works that will correct all of the errors in the musical text and will approach a return to the composer’s notation., Jan Kouba., Rubrika: Informatorium, and Anglický abstrakt na s. 223.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:private