Alois Hába : A Poet of Liberated Music

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F20%3A00115753" target="_blank" >RIV/00216224:14210/20:00115753 - isvavai.cz</a>

Výsledek na webu

<a href="https://doi.org/10.4312/9789610603122" target="_blank" >https://doi.org/10.4312/9789610603122</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Alois Hába : A Poet of Liberated Music

Popis výsledku v původním jazyce

The article is a critical interpretation of selected musical ideas of the Czech composer Alois Hába. Alois Hába (21 June 1893, Vizovice–18 November 1973, Prague) entered Czech musical culture at a time when the “lived inheritance of folklore” had come to be recognized as something of genuine potential value for high culture. Some passages in Hába’s music have an undeniable similarity with Eastern Moravian melodic types, but Hába does not falsify folklore or demean himself by trying for the required “folky” effect, that is, the admixture of the “folk” remains something more essential than contrived. Although regional roots play an important role in Hába’s music, the composer never imitates or parodies folk music. As one of the most radical representatives of the Central European aesthetic avant-garde between the wars, Hába expressed his individual style by drawing on the well-springs in the sense of his own lived experience of folklore but then reformulating this inspiration at the most universal levels – microtonality, athematism, and modality.

Název v anglickém jazyce

Alois Hába : A Poet of Liberated Music

Popis výsledku anglicky

The article is a critical interpretation of selected musical ideas of the Czech composer Alois Hába. Alois Hába (21 June 1893, Vizovice–18 November 1973, Prague) entered Czech musical culture at a time when the “lived inheritance of folklore” had come to be recognized as something of genuine potential value for high culture. Some passages in Hába’s music have an undeniable similarity with Eastern Moravian melodic types, but Hába does not falsify folklore or demean himself by trying for the required “folky” effect, that is, the admixture of the “folk” remains something more essential than contrived. Although regional roots play an important role in Hába’s music, the composer never imitates or parodies folk music. As one of the most radical representatives of the Central European aesthetic avant-garde between the wars, Hába expressed his individual style by drawing on the well-springs in the sense of his own lived experience of folklore but then reformulating this inspiration at the most universal levels – microtonality, athematism, and modality.

Druh

C - Kapitola v odborné knize

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

2020

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

Microtonal Music in Central and Eastern Europe : Historical Outlines and Current Practices

ISBN

9789610603115

Počet stran výsledku

15

Strana od-do

245-259

Počet stran knihy

345

Název nakladatele

Ljubljana University Press, Faculty of Arts

Místo vydání

Ljubljana

Kód UT WoS kapitoly

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