Mezi řádem a chaosem: příspěvek k principu Hábova hudebního myšlení
| Title in English | Between Order And Chaos: On the Rationale Behind Haba's Musical Thought |
|---|---|
| Authors | |
| Year of publication | 2004 |
| Type | Article in Periodical |
| Magazine / Source | Slovenská hudba |
| MU Faculty or unit | |
| Citation | |
| Field | Art, architecture, cultural heritage |
| Keywords | Alois Hába; Arnold Schoenberg; Athematicism |
| Description | Comparing selected statements of Arnold Schoenberg and Alois Hába, I treat the issue of artistic production. The phrase itself, Musik der Freiheit, which is typically used in connection with Hába's oeuvre or Schoenberg's early atonal works, already suggests to the disinterested reader certain taxonomy. Works thus composed are usually associated with creative model, which is quite dependet on the free will of the composer; in the worst case, this represents an accidental or chaotic process, where the origin of a composition is not determined by a set of given criteria and parts are freely associated with each other. In contrast to Scgoenberg, Hába attepmts to contravene this convention with his commentary on the primary theoretical reflections that precede a composer's works. With regard for the creative process, I try to defend the concept of two distinct models: Hába's formula develops from his sound imagination (Klangvorstellung) and theoretical bases (theoretische Grundlagen) to his own creation (Schaffen); Schoenberg approaches composition from the initial subconscious creation to theoretical reflection. Both of these models, at first blush so different from each other, are nevertheless connected by a common theme: both composers emphasize the notion of free creation. |