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Collage as the Principle of Mythological Thinking and Postmodern Music

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Kozel D.

Hudební věda (Musicology)

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2018

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vol. 55

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issue 2

181-192

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The term neo-mythologism can be used as an interpretative approach to reflect the new 20th-century music paradigm, which helps to explain changes in the understanding of basic structural elements of myth and music. The study identifies certain possible correlations between mythological thinking and music by analysing the concept of collage (bricolage). The underlying theoretical concept employed is Claude Lévi-Strauss’ structural anthropology as proposed in La Pensée Sauvage (1962). Collage is viewed as a manifestation of neo-mythologism and as a narrative in the postmodern musical discourse, which is accompanied by changes in the understanding of the essence of the musical matter and compositional techniques of composers. The compositional treatment of several different layers of the musical structure within a musical collage with a view to conveying a new meaning is in principle akin to how meaning is generated in mythological thinking through the combination of various materials.

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Iluzivnost jako kvaziargumentační postup: Barthes, Kundera a Flammarion : Literatura jako niterná vzpomínka na to, co jsme nezažili

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Češka J.

Česká literatura (Czech Literature)

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2012

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vol. 60

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issue 1

3-25

EN

2_Apart from Kundera and Barthes, I look at the work of Camille Flammarion, from the same point of view. His work concerns the line dividing life and death and also life and afterlife. The reason for choosing Flammarion was the duality of his position, as a celebrated scientist as his time, who also wrote 'academic' pieces about the afterlife. He wrote his quasi-scholarly works on a purely literary ground plan, even if he insisted that he was writing a report that had nothing to do with literature. This example demonstrates just how convincing literature can be when lacking a recognizable literary form. This may lead us to question whether literature (in its concealed illusory form) is the very principle of madness or vice versa.

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“So you want to write a gugue?” in post-Rudolphine times, or Michael Maier’s warning to musicians in Atalanta fugiens (1617):

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Desmet M., Vomáčka I.

Hudební věda (Musicology)

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2020

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vol. 57

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issue 4

562-566

EN

In Michael Maier’s celebrated book of alchemical emblems, Atalanta fugiens, each one of the fifty emblems is associated with a musical fugue. The race between Atalanta and her lover Hippomenes, the victory of Hippomenes thanks to three golden apples provided by the goddess Venus, the punishment of the two lovers by the same Venus… are episodes of a narrative which seems omnipresent in each fugue, the three parts of which are named “Atalanta”, “Hippomenes” and “apples”. It has been, however, seldom remarked that the symbolic reading of the Greek myth, on the model of an “ascension, misconduct and fall” progression, enters into dissonance with the alchemical interpretation of the same narrative given by the author himself, conceived this time on the basis of a dynamics of “heat” leading to red incandescence and to the most successful completion of an alchemical experiment. The consequences of this dissonance between a moral and a performative interpretation can prove fruitful when applied to an actual musical rendition of the fugues, calling for a renewed approach to the book by musicians.

CS

Ve slavné knize alchymických symbolů od Michaela Maiera, Atalanta fugiens, je každý z padesáti symbolů přiřazen k nějaké hudební fuze. Atalantin závod s jejím milencem Hippomenem, Hippomenovo vítězství díky třem zlatým jablkům od bohyně Venuše, a Venušino potrestání obou milenců – jednotlivé epizody známého příběhu se promítají do každé z třídílných fug, jejichž části jsou pojmenované „Atalanta“, „Hippomenes“ a „jablka“. Jen málokde ovšem najdeme poukaz na to, že symbolická interpretace řeckého mýtu prostřednictvím posloupnosti „vzestup – selhání – pád“ neodpovídá alchymickému výkladu daného příběhu, jak ho podává sám autor, který v něm vychází z „horké“ dynamiky, jejímž produktem je rudé vyzařování a výsledné zdárné dokončení alchymického experimentu. Důsledků tohoto rozporu mezi morální a performativní interpretací lze využít při jeho aplikaci v reálném hudebním provedení těchto fug, z čehož plyne výzva hudebníkům k revizi dosavadního přístupu k této knize.

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1 Češka J.

Collage as the Principle of Mythological Thinking and Postmodern Music

Iluzivnost jako kvaziargumentační postup: Barthes, Kundera a Flammarion : Literatura jako niterná vzpomínka na to, co jsme nezažili

“So you want to write a gugue?” in post-Rudolphine times, or Michael Maier’s warning to musicians in Atalanta fugiens (1617):