Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  avant-garde music
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Postmodern Music and its Future

100%
Rychter M.
Eidos. A Journal for Philosophy of Culture
|
2019
|
vol. 3
|
issue 3(9)
43-56
EN
The essay presents an attempt at characterizing contemporary music’s culture by identifying a dialectical tension between “modern” and “postmodern” currents in it. After initial considerations on the manifold usages of the term “postmodernism,” five composers’ approaches will be analyzed: John Cage, Philip Glass (and other minimalists), Bernhard Lang, Mauricio Kagel and Johannes Kreidler. However different they may be from one another, all these composers are being interpreted as undermining, in various ways, the practice and theoretical background of modernist avant-garde music.
2
Content available remote

Fysiologická hudba : z českých bojů o Novou hudbu let dvacátých

58%
Zapletal M., Vomáčka I.
Hudební věda (Musicology)
|
2020
|
vol. 57
|
issue 1
22-51
EN
There, an important role was played by the national aspect. Critics pertaining to the modernist generation believed physiological music to be quintessentially German: sharp-edged, hard, intellectual, élitist, asentimental, technicist, and therefore utterly unsuitable as a model for new Czech music whose essential tendency, as they saw it, was to appeal to “hearts and souls”, and consequently could develop solely along the lines of “psychological music”. In contrast to that, avant-garde projections concerning a new face of Czech music, which cropped up in the late 1920s (I. Krejčí, F. Bartoš, C. Blattný, E. F. Burian a.o.) would include as one of its prerequisites a physiological quality, in the sense of music which was set to immediately attack the human senses and stimulate the body to motion – i.e., a sense different from that outlined by Bekker.
CS
Kritici z generace moderny považovali fysiologickou hudbu za bytostně německou: ostrou, tvrdou, intelektuální, elitářskou, asentimentální, technicistní, a proto naprosto nepoužitelnou za vzor nové české hudby; ta podle nich esenciálně promlouvá „k srdcím a duším“, může se proto rozvíjet pouze jako hudba „psychologická“. Naproti tomu v avantgardních úvahách o nové podobě české hudby, které bujely později ve dvacátých letech (I. Krejčí, F. Bartoš, C. Blattný, E. F. Burian aj.), se vyskytoval požadavek fysiologičnosti ve smyslu hudby, která je schopna bezprostředně atakovat smysly a stimulovat tělo k pohybu – tedy ve smyslu odlišném od toho Bekkerova.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.