Musicologica Olomucensia 28 (2018)
JOSEF SUK’S CREATIVE PROGRESS IN THE STREAM OF MODERN STYLES
The study deals with the progress of the works by Josef Suk the composer (1874–1935) and its context with Czech and European modern music of the time. The goal is to show the dynamics of Suk’s compositional progress, his creative struggles, stylistic means, and their significance for Czech music. The study is an attempt to answer the question, whether – or how – was Suk a representative of artistic modernity of his time, or stayed in tradition.
Nors S. Josephson
LINEAR DESIGNS IN MUSORGSKY’S MUSIC (1839–1881)
The study presents a structural analysis of Modest Petrovich Musorgsky’s output. The songs are studied in detail as well as the extensive musical dramatic works. The findings of Musorgsky’s compositional style are given in the context of wider contemporary musical tendencies.
Markéta Karafiátová – Jiří Luska
INTRA-TONAL HIERARCHY OF MELODY IN DEVELOPMENT: PROBE-TONE METHOD AND ITS APPLICATION
Intra-tonal hierarchy is one of the basic principle of mental processing in music. The paper deals with the research of tonal hierarchy while using the “probe-tone method” first applicated by C. Krumhansl. The respondents aged 9‒17 were lower and upper level secondary school students and grammar school students. The tonal profile obtained in the research relative to the standardized tonal profile, student’s age and their musicality were examined.
Kheng K. Koay
VOCAL-INSTRUMENTAL STYLE IN JUDITH LANG ZAIMONT’S THE FIGURE STRING QUARTET
This paper explores the distinctive voice of Judith Lang Zaimont in The Figure String Quartet (2007). The composition demonstrates diverse ways of musical handlings that utilize, experiment with and imitate characteristics that are reminiscent of vocal writings. Not only are mood and emotion heavily stressed to create dramatic effects in the composition, but excitement in the music also is created through sound colors and creative musical ideas. Operatic recitative style and minimalist’s reiteration pitch patterns are also experimented. Throughout the composition irregular rhythms, pauses and rests are have significant meanings and purposes. It is as if Zaimont is writing the music with a text in mind and the work is written for singers. The expressive musical language not only shows Zaimont’s compositional creativity but also presents a challenging work that provides opportunity for imagination among both performers and listeners.
CREATIVE AND PEDAGOGICAL MATURATION OF IVAN KLÁNSKÝ
The study deals with the creative and pedagogical journey of pianist Ivan Klánský. The introductory part describes the study of I. Klánský’s piano interpretation; the personalities of all his piano educators are gradually introduced. The beginnings of the pedagogical work of I. Klánský as well as the development of his personal methodology is discussed. The study also describes the activities of I. Klánský as a lecturer of piano seminars for piano educators and as a leader of Master Classes for piano students.
EMERSON, LAKE & PALMER: TAKE A PEBBLE (1970) – THEMATIC AND MOTIVIC STRUCTURE, HINTS OF MONOTHEMATIC SONATA FORM
The subject of this analysis is the musical material of the progressive rock area, specifically the Take a Pebble song by the British band Emerson, Lake & Palmer (1970). The analysis focuses on motivic and thematic coherence and the overall musical form, but also deals with substantial correlations in the field of instrumentation, harmony, rhythm, melody as well as dynamic aspect, the program content of the composition (the lyrics), interpretation style and other contexts.
AESTHETICS OF SINGER-SONGWRITERS: TO THE ISSUE OF AUTHENTICITY OF EXPRESSION AND PERFORMANCE, ESPECIALLY WITH RESPECT TO THE FEMALE REPRESENTATIVES OF THE STYLE-GENRE TYPE IN QUESTION
The study deals with the aesthetics of singer-songwriters, namely the aesthetic category of authenticity. The aim of the text is to introduce a discussion of “authenticity” with regard to the worldwide singer-songwriters movement, especially its top female representatives (namely Carole King from the first phase in the sixties and seventies). The theoretical treatise is complemented by model analyzes of selected musical and extra-musical (textual, dance, etc.) elements that constitute what music critics call “authentic expression” – what they traditionally understand as a key criterion of musical/artistic quality (beauty, value) and on what they eventually build the canon of popular and rock music history.
EDUARD HANSLICK’S LEGACY IN MORITZ GEIGER’S MUSIC AESTHETICS
Moritz Geiger, Edmund Husserl’s pupil, was the first phenomenologist to devote himself to the issues of aesthetics throughout all his life. Growing out of a background in psychological aesthetics, mainly the aesthetics of empathy, he was chiefly concerned with the study of aesthetic experience. The present article pays attention to Geiger’s concept of aesthetic enjoyment and especially the position in it of music, while analysing the most important assumptions of Eduard Hanslick’s music aesthetics as Geiger implemented them into his own reasoning. The paper shows that Geiger’s position was mainly rooted in the Kantian formulation of the aesthetic attitude as it was echoed in Hanslick. Both Hanslick and Geiger were helped in their thoughts about the position of music among the arts by the role of perceptual parameters. While Geiger acquired a more differentiated position in classifying aesthetic perception over Hanslick’s brusque distinction between the right (aesthetic) and inappropriate (pathological) experience of art, in the context of his seemingly puritan formalism he could also appreciate Hanslick’s cautious claim about the ideas conveyed by music because his position later shifted toward positing the existential significance of art.