{"id":696,"date":"2020-06-18T10:00:05","date_gmt":"2020-06-18T09:00:05","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=696"},"modified":"2020-06-18T10:05:24","modified_gmt":"2020-06-18T09:05:24","slug":"journal-czech-music-volume-18-no-2-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=696","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 18 No. 2 (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>The Beginnings of Dvo\u0159\u00e1k\u2019s Musical Education\u00a0<a href=\"#dvorak_education\">\u25ba<\/a><\/li><li>Tracking the Wrong Indians: A Case of Mistaken Identity\u00a0<a href=\"#dvorak_indians\">\u25ba\u00a0<\/a><\/li><li>The Dvo\u0159\u00e1k Myths in Spillville\u00a0<a href=\"#dvorak_spillville_myths\">\u25ba\u00a0<\/a><\/li><li>What\u2019s American about Dvo\u0159\u00e1k\u2019s \u2018American\u2019 Quartet and Quintet?\u00a0<a href=\"#american_quartet_quintet\">\u25ba\u00a0<\/a><\/li><li>On the Real Value of Yellow Journalism: James Creelman and Anton\u00edn Dvo\u0159\u00e1k\u00a0<a href=\"#dvorak_creelman\">\u25ba\u00a0<\/a><\/li><li>Dvo\u0159\u00e1k in a New Role\u00a0<a href=\"#dvorak_new_role\">\u25ba\u00a0<\/a><\/li><li>The Case against Bohuslav Martin\u016f\u00a0<a href=\"#martinu_against\">\u25ba\u00a0<\/a><\/li><li>The Case for Bohuslav Martin\u016f\u00a0<a href=\"#martinu_for\">\u25ba\u00a0<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvorak_education\"><\/a>The Beginnings of Dvo\u0159\u00e1k\u2019s Musical Education<br><small><em>by Jarmil Burghauser<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 32-52]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dvo\u0159\u00e1k\u2019s family background was a musical one. From an early age Anton\u00edn had violin and singing lessons. His move from Nelahozeves to the larger centre of Zlonice was largely in the interests of his musical education where, under Anton\u00edn Liehmann, he was taught the organ, piano, violin and basic elements of musical theory. Here too he copied orchestral scores, and made his first attempts at composing. Dvo\u0159\u00e1k then moved to \u010cesk\u00e1 Kamenice in order to learn the German he needed to be accepted at Prague Organ School, while continuing his general musical education. In Prague he would imbibe the broader Czech national influence from Smetana, and the wider European from, among others, Liszt and Wagner.<\/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=\"dvorak_indians\"><\/a>Tracking the Wrong Indians: A Case of Mistaken Identity<br><small><em>by Peter Alexander<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 52-64]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k was an eager multi-culturalist and during his stay in the United States took special interest in the music of two minorities: African Americans and native American Indians. While he had ample opportunities to hear the music of the former among the black students with whom he had contact at the American Conservatory, his contacts with an authentic American Indian musical culture are more problematic. He certainly heard live performances by groups of travelling Indians at Spillville, who combined the selling of dubious herbal remedies with spurious native music, with phony drum rhythms pounded out to satisfy gullible white stereotypes.<\/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=\"dvorak_spillville_myths\"><\/a>The Dvo\u0159\u00e1k Myths in Spillville<br><small><em>by Harvey Klevar and Paul Polansky<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 64-72]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br>Dvo\u0159\u00e1k\u2019s association with Spillville in 1893 gained for the village fame and respectability for its predominantly Czech inhabitants. From his stay many legends emerged, some offering genuine historical insights and others being mere fabrications. Thus of the twelve non-related families named Dvo\u0159\u00e1k in Spillville, several claimed to have family connections. There were also subsequent stories of Dvo\u0159\u00e1k being frequently drunk, of having regularly visited farms in the area for meals and accommodation, having played the organ in homes, and writing more works in the village than he did. All the myths contributed to making Spillville famous, and subsequent research which doubts these connections remains fiercely resented there.<\/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=\"american_quartet_quintet\"><\/a>What\u2019s American about Dvo\u0159\u00e1k\u2019s \u2018American\u2019 Quartet and Quintet?<br><small><em>by Hartmut Schick<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 72-83]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br>Whether or not the works composed by Dvo\u0159\u00e1k in the United States are really \u2018American\u2019 or remain more genuinely Bohemian in style, he still intended them to be the former. The American influence is more strongly evident in the works written in Spillville, the&nbsp;<em>Op. 96 Quartet<\/em>&nbsp;and&nbsp;<em>Op. 97 Quintet<\/em>, than in the&nbsp;<em>New World Symphony<\/em>, which is essentially of late romantic European derivation. The Spillville works conflict with traditional rules of European chamber music logic, exhibiting a pronouncedly programme element, emphasising relaxed outdoor charm rather than intensive thematic development. The melodies and rhythms used by Dvo\u0159\u00e1k, however, are not direct copies of indigenous American folk music, but an attempt to retain its spirit.<\/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=\"dvorak_creelman\"><\/a>On the Real Value of Yellow Journalism: James Creelman and Anton\u00edn Dvo\u0159\u00e1k<br><small><em>by Michael Beckerman<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 83-100]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The New York journalist James Creelman was the likely source of the dubious claim that indigenous Negro melodies would form the foundation for a new national school of American music. Creelman was the probable writer of the article \u2018On the Real Value of Negro Melodies\u2019, attributed to Dvo\u0159\u00e1k himself. In this there were significant references and images similar to those in other Creelman articles. His quality as an interviewer may also help to explain the unusually detailed and candid statements on Negro melodies from the composer. On the other hand, Creelman\u2019s account of the genesis of the&nbsp;<em>New World Symphony<\/em>, claiming it was written in Spillville, was obviously inaccurate.<\/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=\"dvorak_new_role\"><\/a>Dvo\u0159\u00e1k in a New Role<br><small><em>by John Clapham and Graham Melville-Mason<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 100-126]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k\u2019s stay in the United States coincided with a period of severe economic depression and industrial unrest. This in turn had an impact on musical benefactors such as Mrs. Thurber, who had just offered Dvo\u0159\u00e1k a contract as nominal Director of the National Conservatory of Music in New York. Her insolvency for some time led to Dvo\u0159\u00e1k\u2019s salary being paid irregularly, affecting his own financial situation. None the less, he contributed through a major concert to the New York Herald\u2019s appeal for donations towards a national clothing fund to help the destitute. Much was made in the newspaper of Dvo\u0159\u00e1k\u2019s initiative, which also cast some reflected glory on Mrs. Thurber, the Herald itself, and the National Conservatory.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\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=\"martinu_against\"><\/a>The Case against Bohuslav Martin\u016f<br><small><em>by Michael Henderson<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 127-133]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martin\u016f is accused of following loosely just about every musical fashion of his day. Various Martin\u016f works of his Paris period are thus compared unfavourably with compositions by Stravinsky, Bartok and Honegger, seeing him as a seagull coming in to feed on the virgin soil turned over by more original composers of his time. Isolated works like the \u2018magical\u2019&nbsp;<em>Julietta<\/em>&nbsp;and the&nbsp;<em>Concerto for Flute and Violin<\/em>&nbsp;are more positively judged. Other promising works are viewed as flawed by anticlimactic final movements. The major works of Martin\u016f\u2019s American period are also dismissed as \u2018the great seagull following the tractor\u2019. Martin\u016f is finally compared with Berlioz, in composing music characterised by \u2018spontaneity, the unexpected and rhythmic vitality at the expense of structure and workmanship\u2019.<\/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=\"martinu_for\"><\/a>The Case for Bohuslav Martin\u016f<br><small><em>by Michael Henderson<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 18, No.2 (1994), pp. 133-145]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Far from being merely eclectic, Martin\u016f is shown to have influenced composers such as Honegger and Frank Martin rather than the reverse. Indeed, the presence of eclecticism, drawing here on a fascinating range of sources, is regarded as a strength. Some of the academic disapproval stems from the sheer size of his output, and also the fact that early recordings excluded many of Martin\u016f\u2019s masterpieces. Criticism also has not taken account of the political and personal contexts in which Martin\u016f\u2019s best music was written, cruelly cut off as he was from his homeland by the events of 1938 and 1948, saddened by the early deaths of friends, and the murder of Czech musicians by the Nazis. It was in response that the composer wrote some of his defiant and noble later works, touching the heart of, among others, Shostakovich.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page The Beginnings of Dvo\u0159\u00e1k\u2019s Musical Education\u00a0\u25ba Tracking the Wrong Indians: A Case of Mistaken Identity\u00a0\u25ba\u00a0 The Dvo\u0159\u00e1k Myths in Spillville\u00a0\u25ba\u00a0 What\u2019s American about Dvo\u0159\u00e1k\u2019s \u2018American\u2019 Quartet and Quintet?\u00a0\u25ba\u00a0 On the Real Value of Yellow Journalism: James Creelman and Anton\u00edn Dvo\u0159\u00e1k\u00a0\u25ba\u00a0 Dvo\u0159\u00e1k in a New Role\u00a0\u25ba\u00a0 The Case against Bohuslav Martin\u016f\u00a0\u25ba\u00a0 The &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=696\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 18 No. 2 (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-696","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\/696","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=696"}],"version-history":[{"count":2,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/696\/revisions"}],"predecessor-version":[{"id":698,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/696\/revisions\/698"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=696"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}