The ambiguity of Czechness in music and musical historiography

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F15%3A00082792" target="_blank" >RIV/00216224:14210/15:00082792 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The ambiguity of Czechness in music and musical historiography

Popis výsledku v původním jazyce

The paper partially answers the question, what is and especially what was ? under certain sociocultural circumstances ? recognized as the Czechness in music. Particularly, I focus on the discourses of Czech musical historiography and aesthetics of the early 20th century and examines the main conceptual topoi and also explicit definitions which could help us understand what was largely ? and ambiguously enough ? felt and perceived as ?Czech? sound, compositional procedures, musical contents, but also as?Czechness? of the composers. In the discourse analysis itself, I have come from ?metahistorical? approach which was originally developed for the purpose of analyzing historiographical concepts of the 19th by H. White. Its application in the analysis ofmusicological discourses has been already suggested by several essays of Music and text (1992) edited by S. P. Scher's and by other contributions of the ?new musicology?, but it has not been applied to the field of Czech music and musicol

Název v anglickém jazyce

The ambiguity of Czechness in music and musical historiography

Popis výsledku anglicky

The paper partially answers the question, what is and especially what was ? under certain sociocultural circumstances ? recognized as the Czechness in music. Particularly, I focus on the discourses of Czech musical historiography and aesthetics of the early 20th century and examines the main conceptual topoi and also explicit definitions which could help us understand what was largely ? and ambiguously enough ? felt and perceived as ?Czech? sound, compositional procedures, musical contents, but also as?Czechness? of the composers. In the discourse analysis itself, I have come from ?metahistorical? approach which was originally developed for the purpose of analyzing historiographical concepts of the 19th by H. White. Its application in the analysis ofmusicological discourses has been already suggested by several essays of Music and text (1992) edited by S. P. Scher's and by other contributions of the ?new musicology?, but it has not been applied to the field of Czech music and musicol

Druh

O - Ostatní výsledky

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2015

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů