Nationalism and Modernism : Czech (Exterritorial) Modern Music

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Nationalism and Modernism : Czech (Exterritorial) Modern Music

Popis výsledku v původním jazyce

This paper presents a reflection on the reception of some Czech composers who played prominent roles in the first half of the 20th century. A significant portion of the period which is in the focus of this paper is described in the book Czech Modern Music: A study of Czech Musical Creativity (1936) by Vladimír Helfert. Helfert’s attempt to write a distinctive history of Czech modern (read: national) music is built on the concept of an indigenous historiography and parallels broader cultural and political movements. Helfert’s point of view is focused on his own nation in search of its identity. The author’s interpretation is governed by the effort to free Czech music from foreign influences. On a laboratory scale, he measures the degree of identification with national culture and the methods with which individual authors expressed specifically Czech musical thinking. Such a way of thinking can be placed in opposition to the term „Exterritorial Mu- sic,” which appears in Adorno’s work The Philosophy of New Music (1949). According to Adorno, the Late Romantic music lost its national character, for which it deservedly paid a price. Overcoming alienation, the music entered the realm of nationalist reactionary ideology. Progressive tendencies of occidental music appeared without the “shameful stain” only in the exterritorial music of Janáček and Bartók. If Janáček, Hába or Martinů survived Adorno’s critique, Vítězslav Novák or Josef Suk certainly failed. Adorno would have likely pronounced Novák’s music nationalistic and reactionary – holding onto tradition and reaffirming it, as if Czech music could do nothing but cultivate some sort of local historical hypothesis of composers whose time passed a long time previously. In this paper the two aforementioned views are critically considered along with other views as well as notions on national stereotypes related to Czech music.

Název v anglickém jazyce

Nationalism and Modernism : Czech (Exterritorial) Modern Music

Popis výsledku anglicky

This paper presents a reflection on the reception of some Czech composers who played prominent roles in the first half of the 20th century. A significant portion of the period which is in the focus of this paper is described in the book Czech Modern Music: A study of Czech Musical Creativity (1936) by Vladimír Helfert. Helfert’s attempt to write a distinctive history of Czech modern (read: national) music is built on the concept of an indigenous historiography and parallels broader cultural and political movements. Helfert’s point of view is focused on his own nation in search of its identity. The author’s interpretation is governed by the effort to free Czech music from foreign influences. On a laboratory scale, he measures the degree of identification with national culture and the methods with which individual authors expressed specifically Czech musical thinking. Such a way of thinking can be placed in opposition to the term „Exterritorial Mu- sic,” which appears in Adorno’s work The Philosophy of New Music (1949). According to Adorno, the Late Romantic music lost its national character, for which it deservedly paid a price. Overcoming alienation, the music entered the realm of nationalist reactionary ideology. Progressive tendencies of occidental music appeared without the “shameful stain” only in the exterritorial music of Janáček and Bartók. If Janáček, Hába or Martinů survived Adorno’s critique, Vítězslav Novák or Josef Suk certainly failed. Adorno would have likely pronounced Novák’s music nationalistic and reactionary – holding onto tradition and reaffirming it, as if Czech music could do nothing but cultivate some sort of local historical hypothesis of composers whose time passed a long time previously. In this paper the two aforementioned views are critically considered along with other views as well as notions on national stereotypes related to Czech music.

Druh

D - Stať ve sborníku

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2019

Kód důvěrnosti údajů

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

Název statě ve sborníku

ON THE MARGINS OF THE MUSICOLOGICAL CANON : The Generation оf Composers Petar Stojanović, Petar Krstić аnd Stanislav Binički

ISBN

9788680639529

ISSN

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e-ISSN

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Počet stran výsledku

9

Strana od-do

21-29

Název nakladatele

Institute of Musicology of the Serbian Academy of Sciences and Arts

Místo vydání

Belgrade

Místo konání akce

Belgrade

Datum konání akce

1. 1. 2019

Typ akce podle státní příslušnosti

WRD - Celosvětová akce

Kód UT WoS článku

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