Relevant bibliographies by topics / Janáček

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Janáček'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Janáček"

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Weiss, Jernej. "The Transcription of the Correspondence between Leoš Janáček (1854-1928) and Emerik Beran (1868-1940)." Musicological Annual 42, no. 1 (December 1, 2006): 147–64. http://dx.doi.org/10.4312/mz.42.1.147-164.

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Among the twenty-one preserved letters from Janáček to Beran, written during 1890 and 1928 in Czech, eight of Janáček’s letters and eight of Janáček’s postcards have been preserved, in addition to five official letters written during Beran’s pedagogical work at the Organ School in Brno. Among twenty-one of Beran’s letters to Janáček, written during 1914 and 1928 also in Czech, we can find eight of Beran’s letters and thirteen of Beran’s postcards, where in three of them, the place or time are not exactly given.
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Matthews, David. "Deal Festival: Pavel Novák." Tempo 58, no. 227 (January 2004): 59–60. http://dx.doi.org/10.1017/s0040298204250057.

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In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Procession to Iona for piano quintet (1995); St Mary Variations for piano quartet (2000) – and have played them in Britain and abroad. Novák's teacher, Miloslav IÎtvan, was a pupil of Janáček's pupil Jaroslav Kvapil, and Novák, more than any other composer in Moravia, seems the true inheritor of the Janáček tradition. That tradition remains a vital force in Brno, partly because Janáček is the most local of composers and his music still, and in a vital way, haunts his home town with its Janáček Academy (where Novak studied), and the Janáček Theatre (where Novak played the oboe for a number of years in the opera orchestra) at which Janáček's operas are performed as nowhere else, players and singers alike attuned to the Moravian dialect; partly through the continuing vitality of Moravian folksong, whose spirit and melodic contours inform Novák's music as they did Janáček's.
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Mark, Christopher. "Janáček." Nineteenth-Century Music Review 6, no. 2 (November 2009): 159–61. http://dx.doi.org/10.1017/s1479409800003232.

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Zvara, Vladimír. "Leoš Janáček und die „slawische Katharsis“." Studia Musicologica 52, no. 1-4 (March 1, 2011): 219–30. http://dx.doi.org/10.1556/smus.52.2011.1-4.17.

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The expression “Slavic catharsis” was coined by Vladimír Helfert. The characterology of Slavic operatic figures may be obsolete, but his thoughts remain an interesting contribution to the history of the use of the Greek concept. Helfert intended to grasp the musico-dramatical idiom of Janáček’s operas where the element of “catharsis” is omnipresent. The work of Janáček suggests a new definition of “catharsis” in operatic music: more than a mere purification, it is to be understood as an insight in hidden truth.
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Wingfield, Paul. "Janáček's speech-melody theory in concept and practice." Cambridge Opera Journal 4, no. 3 (November 1992): 281–301. http://dx.doi.org/10.1017/s0954586700003803.

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No aspect of Janáček's operas has been publicised more widely than their alleged use of ‘speech melodies’. Indeed, most commentators now assume the a priori existence of speech melodies in the composer's operas. However, only John Tyrrell has explored the matter in depth, and many basic questions about Janáček's speech-melody theory and practice remain unanswered. What follows is an attempt to investigate in detail one of the most prominent, and most misrepresented, issues of Janáček opera analysis. A brief initial digression into the principal characteristics of spoken Czech is unavoidable.
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Procházková, Jarmila. "Permanent Values and Variability in Janáček´s Opinions on National and Regional Identity in Relation to Music." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 134–46. http://dx.doi.org/10.2478/prm-2021-0006.

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Abstract Leoš Janáček (1854–1928) was one of those composers whose work was in many respects closely connected with current social events and yet it carried a deep and timeless ethical message. Janáček’s activity as an artist, teacher and organiser reflected changes in the political and cultural paradigm disseminated in the European countries in the course of more than six decades. He himself went through an interesting inner development resulting from his studies, artistic and life experience, as well as his empathy related not only to his narrow individual but also a wider collective space. His relative isolation from the official artistic establishment of Prague gave him an opportunity to formulate his original views on the European, national, and regional identity. In addition to various literary forms, music composition remained his fundamental means of expression. In this context, this paper will attempt to define the basic directions in Janáček´s dynamic evolution and the areas in which his key values and priorities remained constant.
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McKee, David. "Jenůfa. Leoš Janáček." Opera Quarterly 7, no. 4 (1990): 185–87. http://dx.doi.org/10.1093/oq/7.4.185.

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McKee, David. "Osud. Leoš Janáček." Opera Quarterly 9, no. 2 (1992): 156–59. http://dx.doi.org/10.1093/oq/9.2.156.

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Dumitriu, Leonard. "Speech melodies and “pinning down” the present in essays by Leoš Janáček and Milan Kundera." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 82–92. http://dx.doi.org/10.2478/ajm-2022-0006.

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Abstract I ask myself the question: can those who compose music be called interpreters? Not of their own work but of the sonorities they imagine while writing. When composers take over (note on staves or record with technical means) sonorities from the environment, which they then use in their works, are they or not interpreters, in the sense of translating what they hear? Should we only mention Vivaldi and Haydn or, closer to us, Messiaen and Stockhausen, composers of all times have used, translated, interpreted the sounds of nature in their works. That is what the Czech Leoš Janáček does also, only that, by registering ambiental sonorities, he has a further goal, unlike the others: pinning down the present time. This idea is revolutionary in music, so it has drawn many researchers’ attention. A privilege of music, interpretation wears in literature the coat of exegesis. A great contemporary thinker, Milan Kundera is the author of the essay Testaments betrayed, in which he compares literature with music, having as references, among other writers, Hemingway and Kafka, which he joins with the great composers Stravinsky and Janáček. Fascinated by his fellow citizen’s musical-ontological concept, he dedicates the fifth part of the study to him, entitled Á la recherche du présent perdu. The study presents the way in which Janáček pins down the past in an own essay, Smetanova dcera (Smetana’s daughter), where he uses his renowned nápěvky mluvy (speech melodies). The result is amazing: through the daughter’s voice, one seems to hear the father, the great Bedřich Smetana’s voice in a fragment of life resurrected after time has passed. Kundera asks questions and formulates answers, interpreting, translating Janáček’s concept. This work does not interpret, but brings to the knowledge of the interested musicians aspects which, although belonging to renowned Czech intellectuals, enrich and embellish the spirituality of the world.
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Steinmetz, Karel. "Miloš Štědroň: Můj Janáček : k osmdesátinám muzikologa a skladatele." Musicologica Brunensia, no. 1 (2022): 5–16. http://dx.doi.org/10.5817/mb2022-1-1.

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The study explains how research on Janáček was enriched by Miloš Štědroň, an important musicologist and composer and one of the most important music scientists of today, dealing with the work of Leoš Janáček. Other Štědroň's activities in the field of scientific and artistic work which have lasted for almost sixty years, are recalled as well.
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Dissertations / Theses on the topic "Janáček"

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Vaňáč, David. "Leoš Janáček -operní dílo." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96825.

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This master´s thesis refers about life and work of Leoš Janáček and also on the other hand about his music works. Janáček´s whole life is also mentioned for better understanding of him, his personality and his own music. Leoš janáček´s opera performances are viewed there in three ways - in the view of circumstancesof its origin, in the view of its content and in the view of enumeration of scenic cast of singers during the appearance of his performances in Brno and Prague.
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Kružík, Robert. "Leoš Janáček : Glagolská mše." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-253708.

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Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.
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Kyovská, Šerých Mlada. "Leoš Janáček - operní tvorba." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-358375.

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This thesis addresses two principal operas by composer, Leoš Janáček. These are Jenůfa (1903) and The Cunning Little Vixen (1923). The author’s inspiration sources and the method of processing the selected subject are introduced herein. In both operas, L. Janáček is also the author of the libretto, which forms a link between these pieces. The information is drawn from ample Janáček literature and, of course, from music papers. The direction’s point of view is based upon the gained information regarding the pieces and upon the examination of some performance interpretations. With this thesis, I have verified that a thorough familiarity with the work is an absolute necessity for one’s own direction intention. It leads to realize the fact that one can create various interpretations of one piece when having a deep and stable understanding of it.
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Jiříková, Linda. "Leoš Janáček: Káťa Kabanová - kostýmní výprava." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78667.

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Klecker, Jakub. "L. Janáček: Svita z opery Příhody lišky Bystroušky." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78849.

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My diploma work focuses on several interesting aspects of the Janáček-SUITE from the opera The cunning vixen. In the first chapters we can learn about the origins of the whole opera. The suite is analyzed from the historical point of view as a musical form that developed and changed in each typical period in some way. The core of my work builds upon the analysis of three versions of the piece ? the ones of Talich, Jílek and Mackerras, which together with Jílek´s version respects Janáček´s original. Talich on the contrary embarks in a new instrumentation which becomes a different composition. I can see the differencies between the particular scores especially in the field of thematic material, the orchestra-cast, part and also in tectonic, metric, dynamic and movement field. Important parts are shown in several picture examples. Lastly I present three records for comparison that I try to describe from a musical reviewer´s point of view.
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Blahunek, Václav. "Leoš Janáček: Symfonietta, geneza a interpretační problémy díla." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78850.

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Genesis and interpretative problems of the Sinfonietta by Leoš Janáček. This graduation these in the first part describes last creative period of Leoš Janáček in relation to Sinfonietta. View is sighted particulary on military environment and Janáček´s contacts and inspirations by military music. The second part solves some interpretative problems of Janáček´s Sinfonietta, especially tempo, sound proportional,rhythmical and aesthetical diffuculties. The latest chapter comparisons twelve different recordings of the Sinfonietta performed by Czech and abroad orchestras and describes interpretative conceptions of twelve outstanding condurctors.
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Easey, Jonathan Norman. "Pentachordal configurations in two late works by Leoš Janáček." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43639.

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Modern research on the work of Leoš Janáček is often focused on elements that are explored in Janáček’s own theoretical writing: techniques of text-setting, speech rhythm, organicism, and narration. This scholarly preponderance is important, because it brings Janáček’s own work in music theory to the fore, but it has also become prohibitive because Janáček’s theories have drawn scholars’ attention away from more focused, detailed analysis of his music. This study represents a refocusing of the analytical lens. In it I examine the pitch materials of two of Janáček’s works from the 1920s: the first movement of String Quartet no. 1 and an aria from Z Mrtveho Domu (From the House of the Dead). My examinations show that Janáček, in addition to being in the vanguard of developments in text-setting and speech rhythm, was also innovative in his deployment of pitch collections and his manipulation of standard tonal procedures. Indeed, my examination aims to show that Janáček’s use of pitch collections itself represents a skillful manipulation of tonality. By isolating and reflecting on the properties of particular intervals and groups of intervals, Janáček is able to craft his own unique brand of tonality that eschews many of the characteristics and hierarchies of standard practice. In the quartet we see Janáček developing motivic material based on a pentachord formed by the motives of the opening bars. This pentachord and its intervallic subsets have interesting properties which Janáček then illustrates through the motives’ deployment in the movement. The tonal allusions in the piece are all drawn from triadic relationships contained in the pentachord and its derivations. In the opera aria Janáček utilizes pentatonicism to establish a juxtaposition of semitones and perfect fifths – the only two intervals that can generate the totality of twelve-tone pitch space. Because both of these intervals generate pitch spaces which utilize all of the twelve pitch classes, they share a unique isomorphism which emerges from Janáček’s deployment of pentatonic pitch collections and which is explored here from both analytical and theoretical perspectives.
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Mikeš, Jan. "Leoš Janáček: Kvarteto II "Listy důvěrné", dílo a interpretace." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78726.

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Second string quartet was written in the highest creative period of Janáček´s output. It was written 1928 few month before composer´s death. It describes feelings and passion of love to Kamila Stösslová ( Janáček´s gerlfriend). First interpret of this work was The Maravian quartet.Second string quartet belongs to the best of works of 20. century written for string quartet.It accomplishes principles of modality, folk elements, tectonic etc.It wasn´t published until 1938. Smetana, Janáček and Vlach quartets are our chief ensembles. We can admire their interpretative art from fifties of 20.century. My work also compares recordings of Smetana quartet from 1976, vlach quartet from 1969 and Janáček quartet from 1963.These recordings are demonstrations of high interpretative art of our prominent quartet ensembles. Smetana quartet stand out at excellent interplay, tuning, intonation, sence for whole buiding of phrases, Janáček quartet at compactness of the sound, elaborations of details, long sites and Vlach quartet at accomplished sensibility for colours of sound and mood.
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Karásek, Jan. "Leoš Janáček, Její pastorkyňa v pražské a plzeňské inscenaci s důrazem na roli Kostelničky." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253770.

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In my dissertation, I deal in detail with the opera Jenufa from the composer Leos Janacek and the librettist Gabriela Preissova. In the chapter the fourth and the fifth, I aim my interest to elaboration of this opera in the Theatre J. K. Tyl in Pilsen and in the National Theatre in Prague. In next chapters, I reworked my personal interview with one of the czech leading opera singer Eva Urbanová, which performed in many productions as main character Kostelnicka. I would like to convey deep experience of Urbanova's understanding of the character and of Janacek at all for the readers of this dissertation. At the end of my dissertation, I summarize Pilsen and Prague production with the conclusion that Prague production is much better not only in directing treatment but also in the music cast.
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Bek, Josef, and Mikuláš Bek. "Der Weg eines Brünners von Prag nach Wien: Janáčeks Její pastorkyňa im Lichte der Korrespondenz zwischen der Universal Edition Wien und dem Komponisten in den Jahren 1916 - 1918." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15965.

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Die Herausgabe von 62 Briefen der Universal Edition an soll also diesen vorbereitenden Prozess der Anerkennung Janáčeks in der Nachkriegszeit beleuchten sowie die Transformation von Janáčeks Werk. Diese Seite der Korrespondenz wird hier zum ersten Mal veröffentlicht.
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Books on the topic "Janáček"

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Janáček. Boston: Northeastern University Press, 2002.

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Leoš Janáček. Arles: Actes sud, 2005.

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Wingfield, Paul, ed. Janáček Studies. Cambridge: Cambridge University Press, 2006. http://dx.doi.org/10.1017/cbo9780511482052.

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Můj Janáček. Brno: Atlantis, 2004.

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Leoš Janáček. 2nd ed. Praha: Academia, 1997.

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Janáček, Leoš. Janáček - Newmarch correspondence. Rockville, Md: Kabel Publishers, 1986.

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Janáček beyond the borders. Rochester, NY: University of Rochester Press, 2009.

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Pulcini, Franco. Janáček: Vita, opere, scritti. Firenze: Passigli Editori, 1993.

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Katz, Derek. Janáček beyond the borders. Rochester, NY: University of Rochester Press, 2009.

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Vogel, Jaroslav. Leoš Janáček: A biography. 3rd ed. Praha: Academia, 1997.

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Book chapters on the topic "Janáček"

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Paclt, Jaromír. "Janáček, Leoš." In Metzler Komponisten Lexikon, 374–78. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_151.

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Zimmermann, Reiner, and Ingeborg Allihn. "Leoš Janáček." In Kammermusikführer, 320–27. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_64.

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Peter, Wolf Dieter. "Leoš Janáček." In Oper im 20. Jahrhundert, 476–93. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03796-1_19.

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Saremba, Meinhard. "Janáček, Leoš, [Leo (Eugen)]." In Komponisten Lexikon, 292–98. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_152.

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Unseld, Melanie. "Die Sache Makropulos von Leoš Janáček." In »Man töte dieses Weib!«, 240–67. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02737-5_16.

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Lambert, Patrick. "Leoš Janáček and T. G. Masaryk." In T. G. MASARYK (1850–1937), 200–228. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20576-9_13.

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Pleskalová, Jana. "Jméno Jan v průběhu 12.–21. století na území dnešní České republiky." In Filosofie jako životní cesta, 146–52. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-9.

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The author investigates the first name Jan (John), its modifications and usage on the territory of today’s Czech Republic. On the basis of rich anthroponymic sources she has proved that the name Jan has belonged among the most frequently used names in the Czech lands since the 12th century and has kept this status to the present day. Numerous hypocoristic modifications of this name have served the purpose of distinguishing individuals bearing the same official name. Today, they still exist as both surnames (Janáček, Janda) and hypocoristic forms of first names (Jenda, Honzík) used in informal contexts
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Hinrichsen, Hans-Joachim, and Ivana Rentsch. "Dur/Moll und der tschechische Folklorismus. Smetana, Dvořák, Janáček und Martinů." In Dur versus Moll, 333–56. Wien: Böhlau Verlag, 2020. http://dx.doi.org/10.7788/9783412518110.333.

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Botstein, Leon. "The Cultural Politics of Language and Music: Max Brod and Leoš Janáček." In Janacek and His World, edited by Michael Beckerman, 13–54. Princeton: Princeton University Press, 2003. http://dx.doi.org/10.1515/9781400832095-003.

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Klos, Richard. "APPENDIX II: Civil Court in Brno: Janáček ν. Janáčková, no.3 Ne 393/28, praes. 9 September 1928." In Intimate Letters, 374–77. Princeton: Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863686.374.

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Conference papers on the topic "Janáček"

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Vlková, Markéta. "Between science and art: The speech melodies of Leoš Janáček." In Fourth International Workshop on the History of Speech Communication Research (HSCR 2021). ISCA: ISCA, 2021. http://dx.doi.org/10.21437/hscr.2021-3.

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