The verbalisation of music involves many perils. Musicologists have surmounted those perils by creating suitable concepts and metaphors and by adopting specialised terminology from other scholarly disciplines. The development of scholarly terminology in musicology goes together with the attempt to find the most adequate means for description and characterisation of musical language. One way of doing so is to regard the current of musical sound, flowing in time, as a means of expressing changes of force, tension, quiet or disquiet. This quality of music may be compared to the idea of a dynamised current of sound, in which the listener is able directly to perceive changes of forces, tensions, kinesis and stasis. These changes are conveyed by relationships: harmonic, melodic-formal structural relationships, and also relationships of sound, metre and rhythm, texture, and register.
In the following article I present text-sound works of Jaromír Typlt on the background of one of the most interesting phenomena in contemporary Czech culture, which is audio art. Reflection on audio art and sound poetry is an introduction to writer's works. His textes and compositions from borderland of arts, especially so-called zmutovaná autorská čtení and a cycle Audio, which raises issue of sound, hearing and their connections with literature also are analyzed in this article.
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