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

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Leoš Janáček a brněnské paměťové instituce

100%
Procházková J.
Hudební věda (Musicology)
|
2013
|
vol. 50
|
issue 3-4
335-350
EN
This study deals with the heretofore unknown activity of Leoš Janáček at the two main museum institutes in Brno. It asserts that from ca. 1888 until the end of his life, Leoš Janáček was a member of the Brno Museum Association, and it also makes reference to previously unknown sources from scholarly literature to which he had access as a member of the association. A surprising discovery is that the composer’s participation in the German-Czech Moravian Museum Society from 1900 was connected with the creation of the first collection of Moravian composers’ manuscripts (1903) and with an attempt to obtain financial support from the Provincial Committee for a printed edition of works by Moravian composers. We thus get a more complete picture of Janáček’s interactions and contacts in the environment of the Czech and German intellectuals who surrounded him and of the composer’s involvement in professional activities.
2
Publication available in full text mode
Content available

Permanent Values and Variability in Janáček´s Opinions on National and Regional Identity in Relation to Music

100%
Procházková J.
Polski Rocznik Muzykologiczny
|
2021
|
vol. 19
134-146
PL
Leoš Janáček (1854–1928) jest jednym tych z kompozytorów, których twórczość pod wieloma względami była ściśle związana z aktualnymi wydarzeniami społecznymi, a jednocześnie niosła głębokie i ponadczasowe przesłanie etyczne. W działalności Janáčka, jako aktywnego artysty, pedagoga i organizatora, znalazły odzwierciedlenie zmiany w paradygmacie politycznym i kulturalnym, jakie na przestrzeni ponad sześciu dziesięcioleci rozprzestrzeniały się w krajach europejskich. Sam przeszedł interesującą drogę rozwoju wewnętrznego, co było wynikiem studiów, doświadczeń życiowych i artystycznych, a także empatii, dotyczącej nie tylko wąskiej przestrzeni indywidualnej, ale i szerszej - zbiorowej. Jego względna izolacja od oficjalnego establishmentu artystycznego w Pradze dała mu możliwość sformułowania oryginalnych poglądów na temat tożsamości europejskiej, narodowej i regionalnej. Obok rozmaitych form literackich jego podstawowym środkiem wyrazu była kompozycja muzyczna. W tym kontekście niniejszy artykuł jest próbą określenia podstawowych kierunków dynamicznej ewolucji Janáčka oraz tych parametrów, w obrębie których jego poglądy pozostały niezmienne.
EN
Leoš Janáček (1854–1928) was one of those composers whose work was in many respects closely connected with current social events and yet it carried a deep and timeless ethical message. Janáček’s activity as an artist, teacher and organiser reflected changes in the political and cultural paradigm disseminated in the European countries in the course of more than six decades. He himself went through an interesting inner development resulting from his studies, artistic and life experience, as well as his empathy related not only to his narrow individual but also a wider collective space. His relative isolation from the official artistic establishment of Prague gave him an opportunity to formulate his original views on the European, national, and regional identity. In addition to various literary forms, music composition remained his fundamental means of expression. In this context, this paper will attempt to define the basic directions in Janáček ́s dynamic evolution and the areas in which his key values and priorities remained constant.
3
Content available remote

Janáčkovy srbské folklorní inspirace: Zpěvy lidu srbského

100%
Procházková J.
Hudební věda (Musicology)
|
2011
|
vol. 48
|
issue 4
393-402
EN
This study is concerned with determining the previously unknown textual sources for Janáček’s lost chorus Ženich vnucený (The Enforced Bridegroom) from 1873, the composition of which testifies, as does that of his chorus Osudu neujdeš (You Cannot Escape Your Fate), to the composer’s interest at that time in South Slavic folklore. He took the texts for both pieces from the collection Zpěvy lidu srbského (Songs of the Serbian People) – Vol. I, Prague 1872 – in Czech translations by Siegfried Kapper (1821–1879), in which Kapper presented to the Czech public folk poetry from the collections of Vuk Stefanoviç Karadžiç (1787–1864). Kapper’s edition of the Czech translation was known also by Antonín Dvořák and Josef Suk, who used it in their vocal works composed to translations of Serbian folk texts.
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.