{"id":680,"date":"2020-06-17T17:17:28","date_gmt":"2020-06-17T16:17:28","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=680"},"modified":"2020-06-17T17:38:18","modified_gmt":"2020-06-17T16:38:18","slug":"journal-czech-music-volume-16-no-1-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=680","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 16 No. 1 (Abstract)"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a id=\"top_of_page\"><\/a>Contents of this page<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"#eben_contemporary\">The Situation of Contemporary Music and My Own Approach Today (Petr Eben)&nbsp;<\/a><\/li><li><a href=\"#brno_contemporary\">Contemporary Music in Brno<\/a><\/li><li><a href=\"#bohemian_musicians_britain\">The Music and Musicians of Bohemia in Great Britain in the Second Half of the Eighteenth and the Early Nineteenth Centuries<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"eben_contemporary\"><\/a>The Situation of Contemporary Music and My Own Approach Today<br><small><em>by Petr Eben<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 16, No.1 (1990), pp. 7\u2009\u2013\u20099]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Symptomatic of the crisis in contemporary music has been a multitude of diverging styles. The \u2018de-railing\u2019 of music from its social background has been evident in the loss of its liturgical, humanitarian, romanticist and nationalist functions, to be replaced by individualism, composers isolating themselves from tradition and their fellow human beings. Breaking out of this situation involves a return to the spiritual functions of music, and a recognition of art\u2019s purpose in serving humanity. Only certain musicians of countries such as Czechoslovakia and England meet Eben\u2019s criterion of being able to write attractive modern music for children.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"brno_contemporary\"><\/a>Contemporary Music in Brno<br><small><em>by Alena N\u011bmcov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 16, No.1 (1990), pp. 10\u2009\u2013\u200915]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Unlike Dvo\u0159\u00e1k in Prague, Jan\u00e1\u010dek did not initiate an indigenous \u2018school\u2019 of composition in Brno. Two of his pupils, however, Vil\u00e9m Petr\u017eelka and Jaroslav Kvapil, became the first teachers of composition at Brno Academy after World War II. During the 1950s and 1960s a wide diversity of musical styles developed among a new generation of composers, finding inspiration in the music of Jan\u00e1\u010dek and Bart\u00f3k, and in other influences such as the neo-classicism of Martin\u016f and Stravinsky, elements of jazz, and modern compositional techniques acquired, for example, from Darmstadt. The most important Moravian musical personality of his time was Miloslav I\u0161tvan, particularly influenced by Jan\u00e1\u010dek and Bartok and their creative approach to folklore.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"bohemian_musicians_britain\"><\/a>The Music and Musicians of Bohemia in Great Britain in the Second Half of the Eighteenth and the Early Nineteenth Centuries<br><small><em>by Graham Melville-Mason<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 16, No.1 (1990), pp. 16\u2009\u2013\u200922]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Between 1740\u2009\u2013\u20091815 there was a sharp increase in musical traffic from Bohemia and Moravia to Great Britain. Among the performers welcomed were virtuoso horn players such as Stich, while from the 1780s works by Dussek, Jirovec, Ko\u017eeluch, Myslive\u010dek, Pichl, Richter, R\u00f6ssler, Stamic, and Va\u0148hal appeared frequently in London concert programmes and elsewhere. The music of Johann and Karl Stamic and Va\u0148hal was heard in Edinburgh before that of Haydn. The Scottish publisher George Thompson enlisted Ko\u017eeluch and Hummel to compose settings of Scottish folk songs. The popularity in Great Britain of music from the Czech lands in this period thus anticipated that of Dvo\u0159\u00e1k and Jan\u00e1\u010dek a century later.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page The Situation of Contemporary Music and My Own Approach Today (Petr Eben)&nbsp; Contemporary Music in Brno The Music and Musicians of Bohemia in Great Britain in the Second Half of the Eighteenth and the Early Nineteenth Centuries The Situation of Contemporary Music and My Own Approach Todayby Petr Eben[Czech Music: Journal &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=680\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 16 No. 1 (Abstract)<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-680","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=680"}],"version-history":[{"count":2,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/680\/revisions"}],"predecessor-version":[{"id":682,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/680\/revisions\/682"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}