The ambiguity of Czechness in music and musical historiography
| Autoři | |
|---|---|
| Rok publikování | 2015 |
| Druh | Konferenční abstrakty |
| Fakulta / Pracoviště MU | |
| Citace | |
| Popis | The paper partially answers the question, what is and especially what was – under certain sociocultural circumstances – recognized as the Czechness in music. Particularly, I focus on the discourses of Czech musical historiography and aesthetics of the early 20th century and examines the main conceptual topoi and also explicit definitions which could help us understand what was largely – and ambiguously enough – felt and perceived as “Czech” sound, compositional procedures, musical contents, but also as “Czechness” of the composers. In the discourse analysis itself, I have come from “metahistorical” approach which was originally developed for the purpose of analyzing historiographical concepts of the 19th by H. White. Its application in the analysis of musicological discourses has been already suggested by several essays of Music and text (1992) edited by S. P. Scher's and by other contributions of the “new musicology”, but it has not been applied to the field of Czech music and musicology yet. |
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