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  1. 2 Musicologica Slovaca

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  1. 1 Štúň M.

  2. 1 Ščepán M.

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  1. 1 2024

  2. 1 2015

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1

CHARAKTERISTICKÉ TÓNOVÉ MNOŽINY AKO ZJEDNOCUJÚCI ELEMENT KLAVÍRNYCH IMPRESIÍ TADEÁŠA SALVU

100%
Štúň M.
Musicologica Slovaca
|
2024
|
vol. 15 (41)
|
issue 1
29 – 61
EN
The set of miniatures Piano Impressions by Tadeáš Salva (1937 – 1995) was composed during a short period of the composer’s inspiration by Schönberg’s atonality. The presented paper examines the harmonic frame of the work based on set analysis. The analysis demonstrated the use of specific pitch-class sets, which the composer developed and applied in a variety of vertical and horizontal forms. Pc-sets 3-5, 3-8 and 3-9 are used in the work both as constituents of higher supersets and also as separate harmonic units, in their own way substituting traditional consonant triads. Together with the set 2-1 (semitone interval) and 3-11 (major/minor triad) they form the harmonic basis of the work. The study deals with the application of their specific forms (transposition and inversion) and examines the validity of the hypothesis about their unifying function of the composition as a cycle.
2

BÁSNE ZO ZBIERKY NOX ET SOLITUDO IVANA KRASKA V PIESŇOVEJ LYRIKE TROCH SLOVENSKÝCH HUDOBNÝCH TVORCOV

86%
Ščepán M.
Musicologica Slovaca
|
2015
|
vol. 6 (32)
|
issue 2
307 – 320
EN
Ivan Krasko (1876 – 1958), own name Ján Botto, is regarded as the leading figure of literary modernism in Slovakia. His poems have been set to music by several Slovak composers, with most of these adapted poems being taken from Krasko’s best-known collection, Nox et solitudo (1909). Tis work was drawn upon by composers from different 20th century generations, ranging from the older generation of composers, through the adherents of musical modernism, to the representatives of New Music. The aim of the paper is to present Krasko’s poetry in works for vocals and piano by Mikuláš Schneider-Trnavský (1881 – 1958), Eugen Suchoň (1908 – 1993) and Tadeáš Salva (1937 – 1995), highlighting the genesis of the works studied, their status in the context of these composers’ work, and their artistic significance, using semantic-structural analysis.
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