Living music

review for the study of music and dance

“I wanna do total seri­a­li­sation freehand”

My study is an analy­ti­cal survey of composi­ti­o­nal work with tone mate­rial in selec­ted works of ame­ri­can composer Mor­ton Fel­d­man. I am pri­marly focusing on han­d­ling of chro­ma­tic total (chro­ma­tic field) and also of interval con­tent of used pat­terns and har­mo­nies. I am following my previ­ous study Between Catego­ries where I was ques­ti­o­ning the boun­da­ries sepa­ra­ting the acous­tic and composi­ti­o­nal rea­lity in Feldman’s composi­ti­ons. Emphasizing of relati­ons within tone mate­rial does not mean that I am not aware of pro­ces­ses occu­ring in acous­tic rea­lity. Feldman’s composi­ti­ons are con­stantly swit­ching between composi­ti­o­nal and acous­tic rea­lity, but when we focus only on composi­ti­o­nal rea­lity, we can also dis­cover a lot of ambigui­ties and pro­ces­ses with mul­tiple meanings. This text is in some…

A Chord Qua­lity Taxo­nomy from Karel Janeček´s Základy moderní har­mo­nie (Foun­dati­ons of Modern Har­mony, 1965) and an Ame­ri­can set-​theoretical interpretation

Karel Janeček’s Základy moderní har­mo­nie (1965), while mostly unknown out­side of Czech-​speaking the­o­re­ti­cal circles, add­res­ses a vari­ety of topics relevant to current the­o­re­ti­cal dis­cus­si­ons of twen­ti­eth cen­tury music, inclu­ding but not limi­ted to, chord qua­lity, har­mo­nic function, and pro­longation. Besi­des rema­i­ning yet untransla­ted, the text pro­vi­des challenges in comple­xity, idi­o­syn­crasy, and scope. This study transla­tes selec­ted excerpts from Základy moderní har­mo­nie to explain Janeček’s the­ory of chord qua­lity taxo­nomy and then interprets it in tra­di­ti­o­nal set the­o­re­ti­cal language after the­o­rists like Allen Forte, Robert Morris, and John Rahn. Two fin­dings arise from my interpre­tation of Janeček’s taxo­nomy. The first is his­to­ri­cal: Janeček’s appro­ach is one of the…

Piano composi­ti­ons of Arthur Vin­cent Lou­rié up to 1922

The study is focused on the piano composi­ti­ons of Arthur Vin­cent Lou­rié (18921966) in a spe­cific time period. The miles­tone for this thesis is the year when the composer migra­ted to Wes­tern Europe, due to his expe­ri­men­tal and unstable composi­ti­o­nal style right before he had left his coun­try. The study shows a brief insight into Lourié’s life, as the composer is not awell-​known per­sona in music his­tory. The main part of the text con­sists of analy­sis of all exis­ting Lourié’s piano works composed before the year 1922. Based on an analy­tic appro­ach and compa­ri­sons with works of other composers, espe­ci­ally Ale­xan­der Scri­a­bin, the study shows Lourié’s inspi­rati­o­nal sour­ces, cha­rac­te­ris­tic aspects and, in gene­ral, the ove­rall cha­rac­ter of his works.

Tec­to­nics : its Czech ren­di­ti­ons and reflections

The study reflects mul­tiple con­cep­ti­ons of the pheno­menon of musi­cal tec­to­nics by Czech music the­o­rists (such as Skuher­ský, Muka­řov­ský, Jane­ček, Volek, Vostřák, Kohou­tek, Risinger, Kre­sánek, Medek). The gene­sis of its ter­mi­no­logy is briefly pre­sen­ted (its spe­cifics as con­cerns both his­tory and con­cepts), and then chro­no­lo­gi­cally followed as a pheno­menon, a music-​theoretical dis­cipline, a gene­ral structu­ring prin­ciple and others. The par­tial reflecti­ons, the­o­re­ti­cal as well as par­ticular composi­ti­o­nal ones, are assem­bled to pro­vide the most cohe­rent descrip­tion of tec­to­nics possi­ble. The study also compa­res the tec­to­nic structure to for­mal and form-​bearing one from the viewpoint of tec­to­nic prin­ciples and those of form. In conclusion, the author pre­sents his own con­cep­tion of…

The con­cept of imi­ta­tive prin­ciple in music as one of the “Fine Arts” in French Clas­si­cist aesthetics

Aga­inst the background of the deve­lop­ment of French Clas­si­cist aesthe­tics, which has been based, since the mid-​17th cen­tury, mainly on the Aris­to­te­lian and Hora­tian tra­di­ti­ons, the paper focuses on the way in which music beco­mes also part of the con­tempo­rary deba­tes about the prin­ciples of clas­si­cal doctrine, after the first period poe­tics pri­ma­rily devo­ted to poetry, drama and pain­ting. For research, in terms of the cho­sen topic, two period wri­tings were essen­tial – Jean Bap­tiste Dubos: Réfle­xi­ons cri­tiques sur la poesie et sur la pein­ture ( 1719) and Char­les Bat­teux: Les beaux-​arts réduits à un même prin­cipe (1746). The study reve­als how both authors attempted to cla­rify the sense of a musi­cal artwork based on the basis of the prin­ciples of clas­si­cist aesthe­tics, which was…

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