Semantic Impulses in Vilém Petrželka's Song Cycle The Relay (Štafeta)

ZAPLETAL, Miloš. Semantic Impulses in Vilém Petrželka's Song Cycle The Relay (Štafeta). In Pavel Haas Study Day. 2016.

Základní údaje

Originální název

Semantic Impulses in Vilém Petrželka's Song Cycle The Relay (Štafeta)

Název anglicky

Semantic Impulses in Vilém Petrželka's Song Cycle The Relay (Štafeta)

Autoři

ZAPLETAL, Miloš

Vydání

Pavel Haas Study Day, 2016

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Další údaje

Typ výsledku

Konferenční abstrakt

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ne

Klíčová slova anglicky

Petrželka; Relay; Wolker; string quartet; Czech avant-garde; Janáček's students; semantic analysis; musical hermeneutics;

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Anotace

V originále

The “implied reading” (to employ Iser’s conception) or historical content of Štafeta [The Relay] (1927), a song cycle for voice and string quartet by Janáček’s pupil Vilém Petrželka (1889–1967), was basically determined by two main imaginative factors, sports and collectivism, which were strongly bounded together in temporary social discourses. Just like in other temporary “sport compositions” (Bateman), 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, which function as the two conceptual patterns in the very basis of the process of creation and also reading of the cycle. The intensive one relates to structural regularization by the dominant of “running model” (Čurda) and principle of rhythmic ostinato. The extensive one refers to public relay races, carnival feasts (Bakhtin) 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 man”.

Anglicky

The “implied reading” (to employ Iser’s conception) or historical content of Štafeta [The Relay] (1927), a song cycle for voice and string quartet by Janáček’s pupil Vilém Petrželka (1889–1967), was basically determined by two main imaginative factors, sports and collectivism, which were strongly bounded together in temporary social discourses. Just like in other temporary “sport compositions” (Bateman), 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, which function as the two conceptual patterns in the very basis of the process of creation and also reading of the cycle. The intensive one relates to structural regularization by the dominant of “running model” (Čurda) and principle of rhythmic ostinato. The extensive one refers to public relay races, carnival feasts (Bakhtin) 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 man”.