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The Intersection of Culture, Music Theory Innovation, and Ethnomusicological Ideation in Leos Janacek's Piano Sonata 1. X. 1905.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Intersection of Culture, Music Theory Innovation, and Ethnomusicological Ideation in Leos Janacek's Piano Sonata 1. X. 1905./
Author:	Stehnova, Sarka.
Description:	1 online resource (95 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-11, Section: A.
Contained By:	Dissertations Abstracts International83-11A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29167641click for full text (PQDT)
ISBN:	9798438742913

The Intersection of Culture, Music Theory Innovation, and Ethnomusicological Ideation in Leos Janacek's Piano Sonata 1. X. 1905.
Stehnova, Sarka.

The Intersection of Culture, Music Theory Innovation, and Ethnomusicological Ideation in Leos Janacek's Piano Sonata 1. X. 1905. - 1 online resource (95 pages)

Source: Dissertations Abstracts International, Volume: 83-11, Section: A.

Thesis (D.M.A.)--The University of Nebraska - Lincoln, 2022.

Includes bibliographical references

Piano Sonata 1. X. 1905 highlights Leos Janacek's lifelong beliefs and goals. However, Janacek's most prominently considered works abroad are his orchestral pieces, such as Sinfonietta, Suite, and Taras Bulba and his operas, including Sarka, The Cunning Little Vixen, and Jenufa. This document takes a closer look at Janacek's life, writing endeavors, and composition techniques, and how these factors display the importance of Janacek's Piano Sonata. The first chapter discusses the composer's upbringing in Hukvaldy, the problematic translations of the word "Czech," and the underlying regions Czechs identify with, as well as Janacek's first formal music education in Brno. This document also looks at his transformation over the span of three years, from Praha (Prague), Leipzig, and Vienna, and how these cities influenced Janacek's writing, works, and politics. The second chapter introduces Janacek's critical writings, specifically his magazine, Hudebni Listy. It outlines the composer's relationship with the Beseda organization, pedagogical thinking, and aesthetic values. His hard work is evident, yet his quality did not always amount to success. Janacek's style of writing is analyzed in the third chapter via philosophies of Wilhelm Wundt, Hermann von Helmholtz, and Johann Friedrich Herbart. His obsessive use of precision is credited to the time measurement tool, Hipp's Chronoscope. Both discoveries merged with Janacek's unique approach to music theory and speech melody theory. Additionally, collecting Moravian and Slovak folk music distinguished Janacek from other Czech composers, and often lead to comparison with Bela Bartok. The final portion directly analyzes the Piano Sonata, which is influenced by the early 20th century political situation in Brno. Also examined is Janacek's dynamic writing, as well as his use of "scasovka" and "spletna," his two unique composing phenomena, with specific examples provided. Although the piano music of Leos Janacek seems modest compared to his larger body of work, this analysis suggests that his solo repertoire requires a mature pianist with a full dynamic range of coloring and sensitive pedaling.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798438742913Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

CzechIndex Terms--Genre/Form:

542853
Electronic books.

The Intersection of Culture, Music Theory Innovation, and Ethnomusicological Ideation in Leos Janacek's Piano Sonata 1. X. 1905.
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504 $a Includes bibliographical references
520 $a Piano Sonata 1. X. 1905 highlights Leos Janacek's lifelong beliefs and goals. However, Janacek's most prominently considered works abroad are his orchestral pieces, such as Sinfonietta, Suite, and Taras Bulba and his operas, including Sarka, The Cunning Little Vixen, and Jenufa. This document takes a closer look at Janacek's life, writing endeavors, and composition techniques, and how these factors display the importance of Janacek's Piano Sonata. The first chapter discusses the composer's upbringing in Hukvaldy, the problematic translations of the word "Czech," and the underlying regions Czechs identify with, as well as Janacek's first formal music education in Brno. This document also looks at his transformation over the span of three years, from Praha (Prague), Leipzig, and Vienna, and how these cities influenced Janacek's writing, works, and politics. The second chapter introduces Janacek's critical writings, specifically his magazine, Hudebni Listy. It outlines the composer's relationship with the Beseda organization, pedagogical thinking, and aesthetic values. His hard work is evident, yet his quality did not always amount to success. Janacek's style of writing is analyzed in the third chapter via philosophies of Wilhelm Wundt, Hermann von Helmholtz, and Johann Friedrich Herbart. His obsessive use of precision is credited to the time measurement tool, Hipp's Chronoscope. Both discoveries merged with Janacek's unique approach to music theory and speech melody theory. Additionally, collecting Moravian and Slovak folk music distinguished Janacek from other Czech composers, and often lead to comparison with Bela Bartok. The final portion directly analyzes the Piano Sonata, which is influenced by the early 20th century political situation in Brno. Also examined is Janacek's dynamic writing, as well as his use of "scasovka" and "spletna," his two unique composing phenomena, with specific examples provided. Although the piano music of Leos Janacek seems modest compared to his larger body of work, this analysis suggests that his solo repertoire requires a mature pianist with a full dynamic range of coloring and sensitive pedaling.
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653 $a Speech melodies
653 $a Spletna
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