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Karel Janeček − a leading figure in Czech music theory and pedagogy: his theoretical writings from the 1930s and 1940s

Identifikátory výsledku

  • Kód výsledku v IS VaVaI

    <a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51110%2F21%3AN0000169" target="_blank" >RIV/61384984:51110/21:N0000169 - isvavai.cz</a>

  • Výsledek na webu

    <a href="https://www.gmth.de/zeitschrift/artikel/1155.aspx" target="_blank" >https://www.gmth.de/zeitschrift/artikel/1155.aspx</a>

  • DOI - Digital Object Identifier

    <a href="http://dx.doi.org/10.31751/1155" target="_blank" >10.31751/1155</a>

Alternativní jazyky

  • Jazyk výsledku

    angličtina

  • Název v původním jazyce

    Karel Janeček − a leading figure in Czech music theory and pedagogy: his theoretical writings from the 1930s and 1940s

  • Popis výsledku v původním jazyce

    The study deals with two little-known areas of Janeček's theoretical activity. First of all, there are early studies from the 1930s, a period in which he was teaching at the Music School in Plzeň. At this time, Janeček began to focus on the issue of modern harmony, and most of these articles are preparatory work for his first monograph, Modern Harmony, completed in 1949. Janeček created an original systematics of harmonic material using as few as two and as many as twelve notes in an equal-tempered system. Its classification and determination of dissonant or consonant characteristics apply to both the chords of traditional Classical-Romantic music and to modern music of the twentieth century. At this time, he also devoted himself to the analysis of Bedřich Smetana's music. In these analyses we find the beginnings of his completely original concept of musical tectonics. Janeček thus created a new subdiscipline and analytical method (tectonic analysis).The second topic of the study is a critical analysis of Janeček's completely unknown textbook Kontrapunkt (Counterpoint), which was created in the 1940s and was intended mainly for conservatory students. Unfortunately, the text remained unfinished, but testifies to his original approach to teaching counterpoint. Janeček's main concern was to explain the essence of individual contrapuntal techniques, focusing on their practical application. Therefore, he limited the historical aspect and applied his specific analytical and compositional method to explain the basics of vocal counterpoint.

  • Název v anglickém jazyce

    Karel Janeček − a leading figure in Czech music theory and pedagogy: his theoretical writings from the 1930s and 1940s

  • Popis výsledku anglicky

    The study deals with two little-known areas of Janeček's theoretical activity. First of all, there are early studies from the 1930s, a period in which he was teaching at the Music School in Plzeň. At this time, Janeček began to focus on the issue of modern harmony, and most of these articles are preparatory work for his first monograph, Modern Harmony, completed in 1949. Janeček created an original systematics of harmonic material using as few as two and as many as twelve notes in an equal-tempered system. Its classification and determination of dissonant or consonant characteristics apply to both the chords of traditional Classical-Romantic music and to modern music of the twentieth century. At this time, he also devoted himself to the analysis of Bedřich Smetana's music. In these analyses we find the beginnings of his completely original concept of musical tectonics. Janeček thus created a new subdiscipline and analytical method (tectonic analysis).The second topic of the study is a critical analysis of Janeček's completely unknown textbook Kontrapunkt (Counterpoint), which was created in the 1940s and was intended mainly for conservatory students. Unfortunately, the text remained unfinished, but testifies to his original approach to teaching counterpoint. Janeček's main concern was to explain the essence of individual contrapuntal techniques, focusing on their practical application. Therefore, he limited the historical aspect and applied his specific analytical and compositional method to explain the basics of vocal counterpoint.

Klasifikace

  • Druh

    J<sub>ost</sub> - Ostatní články v recenzovaných periodicích

  • CEP obor

  • OECD FORD obor

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

Návaznosti výsledku

  • Projekt

  • Návaznosti

    I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Ostatní

  • Rok uplatnění

    2021

  • Kód důvěrnosti údajů

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

Údaje specifické pro druh výsledku

  • Název periodika

    Zeitschrift der Gesellschaft für Musiktheorie

  • ISSN

    1862-6742

  • e-ISSN

    1862-6742

  • Svazek periodika

    18

  • Číslo periodika v rámci svazku

    2

  • Stát vydavatele periodika

    DE - Spolková republika Německo

  • Počet stran výsledku

    14

  • Strana od-do

    123-148

  • Kód UT WoS článku

  • EID výsledku v databázi Scopus