‘My Soul Is Filled with Songs’: Josefina Brdlíková as a Song Composer

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F24%3A00588566" target="_blank" >RIV/68378033:_____/24:00588566 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.routledge.com/Women-in-Nineteenth-Century-Czech-Musical-Culture-Apostles-of-a-Brighter-Future/Bunzel-Campo-Bowen/p/book/9781032206592" target="_blank" >https://www.routledge.com/Women-in-Nineteenth-Century-Czech-Musical-Culture-Apostles-of-a-Brighter-Future/Bunzel-Campo-Bowen/p/book/9781032206592</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.4324/9781003264606-15" target="_blank" >10.4324/9781003264606-15</a>

Jazyk výsledku

angličtina

Název v původním jazyce

‘My Soul Is Filled with Songs’: Josefina Brdlíková as a Song Composer

Popis výsledku v původním jazyce

Contrary to most of her female contemporaries, Josefina Brdlíková (1843–1910) is acknowledged in international musicology through an entry in Oxford Music Online. Several aspects surface in the article: Brdlíková’s contemporary reputation as a singer, her compositional activities, her strong affinity for music and literature, her modern approach to creative women, and her network including well-regarded poets of the time. Besides this, Brdlíková was acknowledged during her own time as a patroness of music and musical life, especially during her residency in Počátky, c. 140 kilometres south of Prague. She moved from Prague to Počátky after her marriage to Jan Brdlík in 1865, and she lived there until her husband’s death in 1899, upon which she returned to Prague. In Počátky, she directed the Women’s Singing Association (Dámský zpěvácký spolek) and materially supported musical life. Despite (or because of) Brdlíková’s diverse cultural involvement as a musical administrator and educator, this essay is devoted to her creative and intellectual musical outputs, more specifically her songs. After a brief contextualisation, I offer close readings of the Vrchlický setting “V duši mé jest plno písní” (vol. I, no. 3) and the three Krásnohorská settings “Příchod jara” (vol. VI, no. 1), “Připlulo jaro” (vol. VI, no. 3), and “Dobrou noc!” (vol. VI, no. 4). I demonstrate that, although Brdlíková’s engagement with composition was amateurish in nature, her works warrant closer study on account of their diverse aesthetics with a view to both piano accompaniment and the relationship between music and text, their contemporary reception, especially in relation to issues centring on gender and cultural identity, and the rich artistic and socio-cultural networks reflected in these songs.

Název v anglickém jazyce

‘My Soul Is Filled with Songs’: Josefina Brdlíková as a Song Composer

Popis výsledku anglicky

Contrary to most of her female contemporaries, Josefina Brdlíková (1843–1910) is acknowledged in international musicology through an entry in Oxford Music Online. Several aspects surface in the article: Brdlíková’s contemporary reputation as a singer, her compositional activities, her strong affinity for music and literature, her modern approach to creative women, and her network including well-regarded poets of the time. Besides this, Brdlíková was acknowledged during her own time as a patroness of music and musical life, especially during her residency in Počátky, c. 140 kilometres south of Prague. She moved from Prague to Počátky after her marriage to Jan Brdlík in 1865, and she lived there until her husband’s death in 1899, upon which she returned to Prague. In Počátky, she directed the Women’s Singing Association (Dámský zpěvácký spolek) and materially supported musical life. Despite (or because of) Brdlíková’s diverse cultural involvement as a musical administrator and educator, this essay is devoted to her creative and intellectual musical outputs, more specifically her songs. After a brief contextualisation, I offer close readings of the Vrchlický setting “V duši mé jest plno písní” (vol. I, no. 3) and the three Krásnohorská settings “Příchod jara” (vol. VI, no. 1), “Připlulo jaro” (vol. VI, no. 3), and “Dobrou noc!” (vol. VI, no. 4). I demonstrate that, although Brdlíková’s engagement with composition was amateurish in nature, her works warrant closer study on account of their diverse aesthetics with a view to both piano accompaniment and the relationship between music and text, their contemporary reception, especially in relation to issues centring on gender and cultural identity, and the rich artistic and socio-cultural networks reflected in these songs.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

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

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2024

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

Women in Nineteenth-Century Czech Musical Culture. Apostles of a Brighter Future

ISBN

978-1-032-20659-2

Počet stran výsledku

18

Strana od-do

173-190

Počet stran knihy

251

Název nakladatele

Routledge

Místo vydání

Abingdon

Kód UT WoS kapitoly

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