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KRESÁNKOVA KONCEPCIA „HUDOBNÉHO MYSLENIA“ A MOŽNOSTI JEJ VYUŽITIA PRI REFLEXII HUDBY 20. STOROČIA

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Štefková M.

Musicologica Slovaca

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2013

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vol. 4 (30)

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issue 2

246 – 264

EN

Kresánek’s trilogy Fundamentals of Musical Thinking (1977), Tonality (1982) and Tectonics (1994) is based on an original conception of musical thinking. He understands the basis and development of musical thinking as a cooperation of three components: sonoristics, dynamism and thematics. For clariﬁcation of Kresánek’s ideas, the author points to parallel ideas in the concept of musical thinking of Hans Heinrich Eggebrecht. Taking as her foundation Kresánek’s theory of an analogy between the phylogenetic development of the musical thinking of mankind and the ontogenetic development of musical thinking in the individual, the author presents a conception of the cycle Musica ricercata (1951 – 1953) by György Ligeti. Based on an extreme reduction of the material, Ligeti’s work represents a noteworthy compositional concept, whose poetics “copies” the evolution of musical thinking.

2

BALADA G MOL E. H. GRIEGA V KONTEXTE VÝVOJA KLAVÍRNEJ BALADY

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Štefková M.

Musicologica Slovaca

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2013

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vol. 4 (30)

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issue 1

33 – 57

EN

This paper aims to highlight certain features of the use of the ballad genre and poetics in music, with particular reference to the piano literature of the 19th century. Based on a definition of epic, lyrical and dramatic poetics in literature, their analogies in the field of music have been also indicated. After the close consideration of the genesis and formation of the piano ballad genre, attention is focused on the Ballade in G minor op. 24 by the Norwegian composer Edvard Hagerup Grieg, which represents a distinctive synthesis of two types: the virtuoso piano ballad and the ballad inspired by literature. Typical of the latter, apart from its inspiration by a particular source of folk provenance, is the use of folklore elements for the purpose of idealising a certain ethnic group and nationality. Based on analysis of Grieg’s work, the author demonstrates the use of epic, lyrical and dramatic poetics in music and the methods by which the composer integrates folklore idiom within their context, as well as the specifically musical strategies by which he seeks to evoke the ballad character and the tragic rupture at the work’s conclusion.

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VÝZNAM KLAVÍRNEJ ŠKOLY JOHANNA NEPOMUKA HUMMELA PRE VÝVIN ESTETICKÝCH IDEÁLOV KLAVÍRNEJ INTERPRETÁCIE V 19. STOROČÍ

100%

Štefková M.

Musicologica Slovaca

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2012

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vol. 3 (29)

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issue 2

216 - 253

EN

The author focuses attention on the importance of the piano textbook Anweisung zum PianoForte-Spiel by Johann Nepomuk Hummel (1828). Associating himself with the bel canto technique and Mozart’s poetics, Hummel enriched the repertoire with pianistic ﬁgures and created a speciﬁc lyric-cantabile idiomatic, which had a marked inﬂuence on the generation of early romantics. The author deﬁnes the status of Hummel ś textbooks in the ﬁeld of the 18th - the 19th century. Particular attention is devoted to comparison with Franz Paul Rigler, from whom Hummel borrowed a number of examples, and also to comparing the performance ideals of Hummel and Beethoven, which became the basis for the paradigm of a new aesthetic ideal of piano playing, represented by Fryderyk Chopin and Franz Liszt. While Hummel gave essential stimuli to Chopin, Liszt took his inspiration rather from the poetics of Beethoven.

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1 2012

KRESÁNKOVA KONCEPCIA „HUDOBNÉHO MYSLENIA“ A MOŽNOSTI JEJ VYUŽITIA PRI REFLEXII HUDBY 20. STOROČIA

BALADA G MOL E. H. GRIEGA V KONTEXTE VÝVOJA KLAVÍRNEJ BALADY

VÝZNAM KLAVÍRNEJ ŠKOLY JOHANNA NEPOMUKA HUMMELA PRE VÝVIN ESTETICKÝCH IDEÁLOV KLAVÍRNEJ INTERPRETÁCIE V 19. STOROČÍ