Pavel Haas as a Film Music Composer

k 2017

Pavel Haas as a Film Music Composer

KLEMENTOVÁ, Romana

Základní údaje

Originální název

Pavel Haas as a Film Music Composer

Název česky

Pavel Haas jakožto skladatel filmové hudby

Autoři

KLEMENTOVÁ, Romana

Vydání

Music and the Moving Image 2017, NYU Steinhardt, 26.-28. 5. 2017, New York, 2017

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60405 Studies on Film, Radio and Television

Stát vydavatele

Spojené státy

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/17:00099931

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

Pavel Haas; skladatel; filmová hudba

Klíčová slova anglicky

Pavel Haas; composer; film music

Štítky

rivok

Příznaky

Mezinárodní význam

Změněno: 9. 5. 2018 10:24, doc. PhDr. Martin Flašar, Ph.D.

Anotace

V originále

The composer Pavel Haas (1899-1944) was born in the family of a Jewish merchant in Brno (now the Czech Republic). In this town he also studied in the class of Leoš Janáček. The influence of his teacher is completely evident in Haas´s sense of musical shortcut and his warm relationship with Moravian folk songs. In his compositional work Haas focused mainly on the orchestral, chamber and vocal pieces. In my paper I would like to talk about his music for film which the musicologists have completely neglected so far. I am going to analyze the Haas´s way of composing in three film scores: Život je pes (1933), Mazlíček (1934) and Kvočna (1937). A logical question appears: who asked Pavel Haas and gave him the opportunity to compose the film scores? It was his brother Hugo Haas, who became famous as an actor and a film director in Prague Barrandov studios in 1930s, as well as later in Hollywood where he fled to from the Nazzis. What I consider exceptional is the fact, that all the Haas´s manuscripts of film scores have been completely preserved, including the handwritten notes both in the scores and in the scripts. This sources enable us to make a complete picture of his way of composing as the gradual process, thanks to which we don´t have to rely on the final product, the film alone, only. I am going to specify typical structural elements of music in individual scores including the alternative versions, that is the harmonic-melodic as well as the formal structure of each score, which we can compare with works of Haas´s contemporaries. Unfortunately, we can only speculate how Haas´s compositional work would progress. His was killed shortly after his transport to the concentration camp in Auschwitz.

Návaznosti

MUNI/A/1055/2016, interní kód MU

Název: Výzkumné sondy k dějinám hudební kultury na Moravě, především v Brně, část IV.

Investor: Masarykova univerzita, Výzkumné sondy k dějinám hudební kultury na Moravě, především v Brně, část IV., DO R. 2020_Kategorie A - Specifický výzkum - Studentské výzkumné projekty

Citovat

KLEMENTOVÁ, Romana. Pavel Haas as a Film Music Composer. In Music and the Moving Image 2017, NYU Steinhardt, 26.-28. 5. 2017, New York. 2017.

@proceedings{1407234,
   author = {Klementová, Romana},
   booktitle = {Music and the Moving Image 2017, NYU Steinhardt, 26.-28. 5. 2017, New York},
   keywords = {Pavel Haas; composer; film music},
   language = {eng},
   title = {Pavel Haas as a Film Music Composer},
   url = {https://steinhardt.nyu.edu/music/composition/scoring/conference},
   year = {2017}
}

TY  - CONF
ID  - 1407234
AU  - Klementová, Romana
PY  - 2017
TI  - Pavel Haas as a Film Music Composer
KW  - Pavel Haas
KW  - composer
KW  - film music
UR  - https://steinhardt.nyu.edu/music/composition/scoring/conference
L2  - https://steinhardt.nyu.edu/music/composition/scoring/conference
N2  - The composer Pavel Haas (1899-1944) was born in the family of a Jewish merchant in Brno (now the Czech Republic). In this town he also studied in the class of Leoš Janáček. The influence of his teacher is completely evident in Haas´s sense of musical shortcut and his warm relationship with Moravian folk songs. In his compositional work Haas focused mainly on the orchestral, chamber and vocal pieces. In my paper I would like to talk about his music for film which the musicologists have completely neglected so far. I am going to analyze the Haas´s way of composing in three film scores: Život je pes (1933), Mazlíček (1934) and Kvočna (1937). A logical question appears: who asked Pavel Haas and gave him the opportunity to compose the film scores? It was his brother Hugo Haas, who became famous as an actor and a film director in Prague Barrandov studios in 1930s, as well as later in Hollywood where he fled to from the Nazzis. What I consider exceptional is the fact, that all the Haas´s manuscripts of film scores have been completely preserved, including the handwritten notes both in the scores and in the scripts. This sources enable us to make a complete picture of his way of composing as the gradual process, thanks to which we don´t have to rely on the final product, the film alone, only. I am going to specify typical structural elements of music in individual scores including the alternative versions, that is the harmonic-melodic as well as the formal structure of each score, which we can compare with works of Haas´s contemporaries. Unfortunately, we can only speculate how Haas´s compositional work would progress. His was killed shortly after his transport to the concentration camp in Auschwitz.
ER  -

KLEMENTOVÁ, Romana. Pavel Haas as a Film Music Composer. In \textit{Music and the Moving Image 2017, NYU Steinhardt, 26.-28. 5. 2017, New York}. 2017.

Přehled o publikaci