Sports, sexuality, collectivism: Vilém Petrželka’s string quartet The Relay (1927)

ZAPLETAL, Miloš. Sports, sexuality, collectivism: Vilém Petrželka’s string quartet The Relay (1927). In KeeleMAC (Music Analysis Conference) 2015. 2015.

Základní údaje

Originální název

Sports, sexuality, collectivism: Vilém Petrželka’s string quartet The Relay (1927)

Autoři

ZAPLETAL, Miloš

Vydání

KeeleMAC (Music Analysis Conference) 2015, 2015

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Další údaje

Jazyk

angličtina

Typ výsledku

Konferenční abstrakt

Obor

Umění, architektura, kulturní dědictví

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ne

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

The Relay; Petrželka; Wolker; music avant-garde; carnivalesque;

Příznaky

Mezinárodní význam

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Anotace

V originále

The paper deals with semantic (semio-pragmatic) analysis of one of the most significant works of the Czech interwar avant-garde music – Štafeta [The Relay], a Schoenbergian string quartet by Leoš Janáček’s pupil Vilém Petrželka. The composition is likely to be included in the temporary wave of compositions reflecting and representing sports, such as Honegger’s Rugby, Half-time, La Bagarre by Bohuslav Martinů, Start and Stadion by Pavel Bořkovec and others. The temporary ontological status of The Relay was basically determined by three main imaginative factors – sports, collectivism and unbounded sexuality – which were strongly bounded in temporary social discourses. Just like in other temporary "sport compositions" (Bateman 2009), mainly the motional aspect of sport is represented here, using motorial music structures and other convenient methods of the late 19th century programmatic music. Structure of this composition contains intensive and extensive semantic impulses: The intensive one relates to structural regularization by the dominant of "running model" and principle of rhythmic ostinato; the extensive one refers to public relay races, carnival feasts (Bakhtin – Gurevich) of recycling of the collective national body of the First Czechoslovak Republic. According to these factors, the composition tended to be read as an ideological impetus to faith in collective "new men".