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RENESANCIA MÝTU V HUDOBNÝCH BALADÁCH TADEÁŠA SALVU

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Ščepán M.
Musicologica Slovaca
|
2020
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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.
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BALADICKÉ TENDENCIE V OPERNÝCH DIELACH SLOVENSKÝCH SKLADATEĽOV 20. STOROČIA

100%
Ščepán M.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 2
109 - 131
EN
The notion of being balladic is primarily linked to the idea of an atmosphere that is the sum of tragic, dramatic, and lyrical elements. The piercing atmosphere of balladic poetry and prose inspired several composers, and the balladic phenomenon was gradually adopted not only into short vocal genres, but also into large vocal-instrumental ones, including operas. In the course of the twentieth century, several operas were composed in Slovakia, which may be termed balladic due to their specific features. This study focuses on six Slovak operas. It examines the main inspiration factors that led their composers to adopt balladic subjects. It also introduces the motifs in the original literary works that contribute to creating this phenomenon and discusses what interventions and deviations were made with respect to the original literary model while writing the opera libretto and in what way the composers worked while composing the music to achieve the set balladic character and the musical characterization of the characters and the plot.
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