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1

RENESANCIA MÝTU V HUDOBNÝCH BALADÁCH TADEÁŠA SALVU

100%
Ščepán M.
Musicologica Slovaca
|
2020
|
vol. 11 (37)
|
issue 1
62 – 91
EN
This article addresses the relationship of myth and music, taking the example of musical ballads by the Slovak composer Tadeáš Salva (1937 – 1995). The early 20th century saw the appearance of a new phenomenon in art: the renaissance of myth. The problem of myth became the foundation of works by many researchers in a variety of scholarly disciplines. Claude Lévi-Strauss was the first who addressed this question in relation to music. For him, the essential methodological point of departure in the examination of myth is binary oppositions. In essence these correlate with the dualism which, according to Tadeáš Salva, is the basic characteristic of the ballad. Analysis of the balladic principle in the work of this composer consists of a description of the contrasting elements in a number of musical parameters. On this basis, an attempt is made to show the renaissance of myth in Salva’s music via the musical ballads, which in varying instrumentation represent the core of his original music.
2

BIOGRAFIA HUDOBNÉHO SKLADATEĽA TADEÁŠA SALVU

86%
Ščepán M.
Musicologica Slovaca
|
2016
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vol. 7 (33)
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issue 1
52 – 93
EN
This article summarises the results of the latest research focused on the biography of the Slovak composer Tadeáš Salva (1937–1995). Salva is regarded as one of the most important figures in Slovak music in the second half of the 20th century. The research draws upon hitherto unpublished works, verifying the existing facts and presenting new information on the composer’s life. Tadeáš Salva was born in the village of Lúčky, where he spent his childhood and derived his first musical inspirations. During his music studies in Žilina, Bratislava and Katowice, and following their conclusion, Salva worked in various positions in institutions in Dolný Kubín, Liptovský Hrádok, Martin, Košice, Bratislava and Nitra. He died at the age of 57 in circumstances which have never been clarified. He is buried in his native village, on the plot belonging to his work studio, close to the family home.
3

PRINCÍP BALADICKOSTI V DIELACH JÁNA LEVOSLAVA BELLU A TADEÁŠA SALVU

86%
Lengová J.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
issue 1
58 – 76
EN
This analysis of selected works on ballad poetry by Ján Levoslav Bella (1843 – 1936) and Tadeáš Salva (1937 – 1995) addresses structural-formal aspects, the relationship of texts and music, semantics, and musical symbolism. J. L. Bella composed three ballad songs for vocals and piano: Sehnsucht (ca. 1905) in German, Románc (ca. 1905) in Hungarian and Gajdoš Filúz (Filúz the Bagpiper, 1927) in Slovak. They are distinguished by a highly composed form, integrity of the vocal and instrumental components, and rich musical symbolism. T. Salva created the first Slovak television opera Margita a Besná (Margita and the Fury) for soprano, contralto, sixteen-voice mixed choir and a silent dancer (1971), on the model of a ballad by J. Botto. He worked freely with the musically arranged text, in the typical manner of literary adaptations. Salva used the technique of limited aleatory, sound blocks, and the timbral capacities of the human voice. The differentiated compositional approaches of both authors stem from their individual musical poetics, the different genre form, and the change of music-stylistic paradigm.
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