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„Trocha jen vody nás dělí!“ O ubíhání, úběžníku, o navigaci

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Kordík P.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 29
67-86
EN
The topic of our deliberation is resonance as an issue of understanding ourselves and the world, — an understanding that is undoubtedly related to speech. Resonance, as an issue, opened by senses in the world; an issue opening for senses and in the world; resonance as a matter of senses, whose sensorium commune is the body: becoming of the body (the body-becoming), therefore always a question of identity and difference (identifying and identified, marking and marked, differentiating and differentiated). The subject of our deliberation is the undulation that shapes cannot be represented by the shape of the wave or by the sum of individual shapes of the waves (any confirmation, reassuring of My-self in a shape or by a shape is always seriously threatened by the disintegration of Me). So, if Eastern thought says “the shape is empty”, besides the philosopher of being and existence, besides the phenomenologist, besides the metaphysician, besides the philosopher of the body, besides the philosopher of significance, in our reflection we also recognize the philosopher of emptiness.
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Prostá píseň – umění kompozice Miloslava Kabeláče Šest ukolébavek (1956)

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Kordík P.
Hudební věda (Musicology)
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2009
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vol. 46
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issue 3
277-308
EN
The study A Simple Song - The Art of Composition. Miloslav Kabelac's Six Lullabies (1956) focuses in particular on the solo vocal part of this composition which is based on folk poetry and scored for alto solo, small female choir and instrumental ensemble. The author begins by explaining the two principal reasons behind the composer's choice of text - its meaning and its structure. The study offers detailed analysis of the musical form, the use of rhythmic structure and the melodic attributes of the vocal line. Step by step, the author reveals the cyclic plan of the six songs; the extension of the multi-directional composition into a unique space: the six autonomous lyric moments, the interior continuous undulating, the arch-like span, and the open-ended cycle line of flight. The writer's interest in French phenomenology is present here.
3
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Mezi hudbou a slovem. Mezi tajemstvím a tichem. Eufemias Mysterion pro soprán a komorní orchestr na řecká slova op. 50 Miloslava Kabeláče

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Kordík P.
Hudební věda (Musicology)
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2007
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vol. 44
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issue 3-4
307-345
EN
The article analyses Miloslav Kabelac's op. 50 (1965), the first of the series of his most mature works. In some way, words play an essential role in all these works by introducing great humanistic and philosophical subjects. Words represent substance sui generis, and enter the composition as an autonomous form (contact with such substance matures the long thought compositional concepts, together with Kabelac's tectonically combinatory thinking). The analysis of op. 50 focuses in detail on the key relationship between music and words. It seems that the space, in which both components meet is in the form of a litany. In its juxtaposition with bi-polar format conception (based on two contrasting sound platforms - drama and reconciliation), and with regards to the title of the composition 'Eufemias Mysterion' (The Mystery of Silence), it could be seen as a specific type of expression, a ritual and an initiation of space.
4

Ukolébavka v prostoru – prostor v ukolébavce. Miloslava Kabeláče Šest ukolébavek (1956)

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Kordík P.
Hudební věda (Musicology)
|
2009
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vol. 46
|
issue 4
393-417
EN
The study 'A Lullaby in a Space - the Space in the Lullaby. Miloslav Kabelac's Six Lullabies (1956)' is a follow-up to an earlier one (published in the previous issue). The author focuses in particular on the accompaniment structure (flute, bass clarinet, strings and small female choir), which is completely extracted from material in the solo vocal line. There is a wide range of variation, from the use of only one tone to the expansion of melodic cells from the original vocal line. The composer creates different sound textures ranging from a rhythmic pedal on a single tone to different polyphonic combinations. Sound textures trace two principal planes: one of reciprocal stratification of the sounds layers which are more or less independent and the other, where all layers are in a harmony. They exist, not in isolation from each other, but grow organically from one another.
5
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„Nerozlišuji v tvorbě věci drobné a velké“

100%
Kordík P.
Slovo a smysl - Word & Sense
|
2016
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vol. 13
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issue 26
26-53
EN
This study yields an analysis of one of the most distinctive compositions from the composer Miloslav Kabeláč (1908–1970) for children’s choir and piano — Blue Sky (1950). One’s attention focuses above all on the vocal sound, on the elemental musical morphology and its impulses, which on the one hand stands the load-bearing constructions of Kabeláč’s compositions (which are built upon continuous planes and musical units), and on the other hand, these elements shape and define each individual song. Kabeláč outlines Hrubín’s verse (from the collection Blue Sky, 1948, which uses pictures from Josef Čapek) through the elemental nature of monorhythmic structures and in a more or less unvarying vocal space. Despite this, however, each song has its own specific traits and pronounced character. The elements of play, which this analysis will attempt to express and within which are found various deep dimensions of Kabeláč’s conception of the work as a whole, are mutually related structures of joking, playful puns through lyrics or vice versa through more dramatic position to a decidedly contemplative position, an expression of the naturalness of the world of children followed by a return to the world of adults.
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