Některá specifika brněnského hudebního života ve 2. polovině 20. století aneb existovala brněnská kompoziční škola?

Vol.48,No.1(2013)

Jindřiška Bártová

https://doi.org/10.5817/MB2013-1-3

Stable URL (handle):
http://hdl.handle.net/11222.digilib/128910

• Abstract
• References
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Abstract

Brno became a center of musical culture in the late 19th century thanks to versatile activities of Leoš Janáček. His disciples, however, not establish its activities, the efforts of their teachers did not understand. The situation changed after the World War II, when composers in Brno tried to experience and use contemporary compositional techniques, especially dodecaphony and the New music. They were mostly members of Group A. This group disappeared in the 1970s and the attention then focused on her former member Miloslav Ištvan. Ištvan followed Janáček and Webern in his compositional method "montage of isolated sound elements in music." Concentrated around like-minded colleagues and pupils at the end of the 1970s, group Camerata Brno was established, which was known in professional circles as "the Brno compositional school".

Keywords:
Brno; Leoš Janáček; composers; Group A; Miloslav Ištvan; Camerata Brno; Brno compositional school

Pages:
15–22

References

BÁRTOVÁ, Jindřiška. Miloslav Ištvan. Brno, JAMU 1997.

BEK, Josef. 40 let tvorby současných českých skladatelů. Opus musicum, 1985, 19, s. 161–162.

DRLÍKOVÁ, Eva. O rehumanizaci soudobého hudebního jazyka (rozhovor s M. Ištvanem). Opus musicum, 1979, 11, s. 116.

FUKAČ, Jiří. Janáčkovská kontinuita? Hudební rozhledy, 1968, 21, s. 113–116.

HAVLÍK, Jaromír. Česká symfonie 1945–1980. Praha, 1989, s. 238.

IŠTVAN, Miloslav. Metoda montáže izolovaných prvků v hudbě. Brno, 1973.

NOVÁK, Vítězslav. O sobě a o jiných. Praha, 1970.

PETRŽELKA, Vilém. Hudební život brněnský. Hudební revue, 1919, s. 281.

VIČAR, Jan. Skladatelská generace sedmdesátých let. Názory a orientace. Opus musicum, 1983, 17, č. 4, s. 106.

ZÍTEK, Ota. Janáček dramatik. Listy Hudební matice, 1924, 4, č. 1, s. 8–11.

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