Pražské hudební světy:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Univ. Karlova, Nakl. Karolinum
2013
|
| Ausgabe: | Vyd. 1. |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Prague soundscape(s) |
| Beschreibung: | 303 S. Ill., Notenbeisp. |
| ISBN: | 9788024624846 |
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Datensatz im Suchindex
| _version_ | 1811041373972856832 |
|---|---|
| adam_text |
ОВЅАИ
Kapitola i
/
Naslouchat hudbě města
7
Naslouchat hudbě města
8
Psát o hudbě města, konkrétně Prahy
17
Kapitola
2 /
Hudba a identita
25
Hudba a identita
26
Mýtus romské hudby v dnešní Praze
30
Hlasová malba Feng-yim Song
49
Nowruz dvakrát jinak
54
„Etnická" hudba pro zábavu
62
Ukrajinský ples Malanka
70
Re
rufest 74
Co to znamená?
83
Kapitola
3 /
Hudba a společenská stratifikace
87
Antonín Dvořák: Rusalka
88
Alan Lomax o hudbě jako indikátoru společenské komplexity
99
Věc Makropulos jako sémiotická zkušenost
106
Lucidni
sny pana Williama Heerleina Lindleyho
119
Kapitola
4 /
Hudba a rebelie
133
Benefest vol.
1 134
Face Tigers a Stillknox
141
Rock'n'rollový
rebel
144
Michel
Maffesoli o městských nomádech
152
Tom Stoppard: Rock'n'Roll 155
Kapitola
5 /
Hudba
j ako
zboží
159
Film Mňága
-
Happy End
160
Hudba jako zboží/byznys
163
Creative
Commons
171
Veřejný seminář Rady Českého rozhlasu o hudební dramaturgii ČRo
1 173
Děti ráje
-
kolektivní paměť jako byznys
181
Theodor
Adorno
o populární hudbě a jejím fetišovém charakteru
185
Jak vyhrát hitparádu
189
Procházka po Královské cestě
194
Prague
Castle Concert Pearls of Czech and World Classical Music
199
Kapitola
6 /
Elektronická taneční hudba
203
Elektronická taneční hudba
204
Loss
tekenos v klubu
Cross
209
Historie elektronické taneční hudby
214
Freeparty Andělka
217
Syllabus
-
psychedelic trance and broken beatz
224
Judith
Beckerová o hudbě a transu
234
Rozvázat pouta zvyku
237
Kapitola
7 /
Hudba a spiritualita
243
Harinám v pražských ulicích: trans(cendence) a hudba
244
Svatováclavské slavnosti
264
Thomas
Turino
o hudbě jako způsobu společenského života
276
Gospel Workshop
279
Summary. Prague
soundscape(s)
292
Bibliografìe
297
SUMMARY
PRAGUE
SOUNDSCAPEÍS)
Zuzana Jurková
Prague
Soundscapes
is about the music in Prague listened to through ethno-
musicological ears. From our point of view, ethnomusicology is more or less
synonymous with musical anthropology and thus we seek the answer to that
WHY in human society
-
in its behavior, values, and relationships. However,
as is often the case in science, there isn't one universal theory or even one uni¬
versal concept clarifying what exactly music is. What is basic is that, from the
ethnomusicological perspective, it is not only sound, but also
-
actually pri¬
marily
-
the people who produce and listen to it and the way they produce and
listen to it. It is the world around sound. The musical world.
Imagining it is not always completely simple and thus we begin with theo¬
retical considerations which try to clarify our perspective. In the second part of
the first chapter, then, we describe how we wrote this book. Each of the follow¬
ing six chapters is connected to one anthropological phenomenon which we
are convinced is related to the shape of music. And actually these connections
are the main theme of our book.
Prague and its soundscapes do not yet appear in clear contours, as a clearly
profiled model. So our writing is also more a looking around the topic and that
is why it is more an examination of the topic; it is similar to the groping of blind
men trying to know and describe an elephant. The topics by which we are try¬
ing to introduce Prague
-
an elephant
-
definitely do not represent systematic
categories (because we are unable to provide such profound systematicness).
At the same time, it is not a random
("aleatorie")
choice of topics (although
even such a choice would show something substantial). We set a few criteria.
As mentioned above, our intention is to show music in Prague through the eyes
and ears of an ethnomusicologist. That is why we tried, on one hand, to capture
events which are at home here and, at the same time, those in which, at least
from our perspective, musical language and a musical event are very explicable
through the cultural values of the community. The third criterion was a cer¬
tain diversity regarding presented styles as well as discussed topics in order
to show Prague as multidimensional as possible. However, it is clear from the
following pages that none of the topics is isolated, just as no music
-
whether
we think about its language or an event
-
is untouched in today's Prague by
293
what is happening around. This is exactly the interlocking that ascertained that
we, groping blind men, are touching the same elephant. And that, with enough
patience, contours will appear more and more clearly.
Besides a certain representativeness, appropriateness (homogeneity of
musical style and its cultural context) and diversity, we targeted one more
goal. In addition to Prague musical events themselves, we also intend to intro¬
duce ethnomusicology
-
a discipline which aims to understand people through
music and music through people. Individual topics provided the occasion to
introduce various theoretical concepts which are, in the history of (musical)
anthropology, of different degrees of importance, but, in our opinion, relevant
to a given soundscape.
We step into the Prague soundscape as anthropology and ethnomusicol¬
ogy used to do, that is to say, by focusing on "those others." However, this is
not because we would consider the worlds of minorities and foreigners more
interesting or more important than the others. But here it is possible to ob¬
serve several basic phenomena that will also be important for other chapters.
As for the material concerning Romani/Gypsy music, it is clear that the mu¬
sical "world" arises through some sort of negotiation between musicians and
listeners (whom
Lévi-Strauss
calls the "silent performers"). And here it is also
apparent how musical language reflects those "negotiated" cultural values.
In the second part of the chapter we focus on recent migrants. We concen¬
trate on the fact that their musical productions testify to attempts to join the
new environment. And because what I/we belong to is an important compo¬
nent of personality we come close to the term "identity," that is, to the deep
question of what music can express about who we are.
The next three chapters are interconnected. The first of them deals with
music in relation to social stratification and the specialization connect¬
ed to it. If Prague tries to (re)present itself by means of music (and mainly
at the beginning of our research we were surprised at how little takes place
in comparison to other metropolises), then it is through art music. The sim¬
plest explanation seems to be the emphasis on the presentation of Prague as
primarily a historic city. The ideal intersection of this representativeness of
art music and the emphasis on nationhood, which is always so present in the
Prague space, can be, for example, a performance of the opera
Rusalka
by
An¬
tonín
Dvořák
(that Dvorak who
-
at least in the Czech imagination
-
conquered
the New World, and a recording of his symphony even reached the moon, as the
Czech media enjoy repeating) in the National Theater on National Avenue in
the very center of the city at the most prestigious address. Here one can view
the musical style of the opera genre through Lomax's cantometrics method: it
almost perfectly corresponds to its characteristics of a stratified and special¬
ized society. Although today cantometrics is considered mainly as some kind of
294
historical curiosity, it would be a pity to disregard it, especially in connection
to a topic that refers so much to history.
An accompanying feature of social stratification is usually specialization.
While, until the beginning of the 20th century, in art music this specialization
was manifested mainly in the sphere of interpretation, starting about
1920
the
specialization also turns to the area of reception of art. "Modern" or "contempo¬
rary" art music becomes
-
because of its still unaccepted concepts
-
a preserve
of specialists. The central figure in the introduction of these new concepts was
John Cage. A beautiful illustration of the use of Cage's "new" approach to music,
new sounds and emphasis on the specificity of place can be the "site-specific
performance" of The Lucid Dreams of Mr. William
Heerlein Lindley
in the former
sewage treatment plant in
Bubeneč.
A few dozen attendees confirm the "spe-
cialness" of such an event.
The second topic, the topic of music and rebellion is closely connected
to the previous one through Turner's theory of communitas as a mode of so¬
cial existence, complementary to a common stratified society. The theory of
communitas can very easily be applied to the most famous phenomenon in the
history of Czech musical rebellion, the group The Plastic People of the Universe.
In the texts of the speaker of the group, Ivan
"Magor" Jirous,
can be found the
concept of the underground as its own special world existing apart from estab¬
lished society with a different internal charge, a different esthetic and consequently
also a different ethic.1 Esthetics understandably correspond to a peculiar musical
language; ethics, among others, with social humiliation and a certain local ex¬
clusion which can even be seen in today's
punkers'
events in the
Modrá Vopice
Club or on the
Parukářka
hill.
One everlasting question is related to musical rebellion: How rebellious is
music if it keeps features of rebellious musical style, but fills stadiums with
listeners
-
members of that very system against which the music protests (and
here and there even with its representatives)? If (thanks to the functioning sys¬
tem) it fills the bank accounts of its performers? Quietly and from a very official
and non-rebellious place
-
the New Scene of the National Theater
-
Tom Stop-
pard answers this question with his play Rock 'n Roll. A play which is, among
other things, about the Plastic People of the Universe, a play in which not only
in Prague performances, but also in premieres abroad, the Plastics play "live."
It is this last question which introduces the next chapter, which discusses
the commodification of music, that is, a process by which music becomes
primarily goods intended for earning money. We begin the chapter with
Petr
1
Jirous
2008:7.
295
Zelenka's
entertaining (and mildly frightening) film
"Mňága:
Happy End." This
opens the key topics of the chapter: the influence of money (financial corpora¬
tions as are seen not only in the film but also in reality) both on the inhabitants
of that world and on the shape of the music. The functioning of such a world is
possible because of the new life philosophy of man (and also the understanding
of music) as well as specific mechanisms connected with the dissemination
of music. Part of it was described in the '30s and '40s by
Theodor
Adorno
and,
a half century later, the musicians of the KLF band made fun of them. Our
snapshots confirm that these mechanisms are resistant to all ridicule
-
at least
temporarily.
The variable which is the basis of the sixth chapter is technology, concrete¬
ly electronically generated sound, which substantially changed the shape of
music in many ways. From all of the forms of electronic music we choose two
genres of electronic dance music
(EDU/l),
freetekno and psytrance. In them we
show two forms of an attempt to escape from that commercial reality described
in the preceding chapter and to establish a non-commercial, non-anonymous,
"free" world. A world created in closest symbiosis with technology
-
a sort of
musical realization of Appadurai's technoscape. In connection with this attempt
to escape, and also as a little bridge to the following chapter, we acquaint the
reader with Judith Becker's book Deep Listeners, which is a very complex and
unconventional way of dealing with the relations of music, emotion and trance.
The connection of music to spirituality, which is the subject of the 7th
chapter, would be possible to discuss from many angles. We open it with a
harinam, a procession of devotees of Hare Krishna through Prague. This event
(by way of an unexpected link through techno music in
a
videoclip
about the
Prague Krishnas) connects this chapter to the preceding one. In addition, we
can notice in the harinam several phenomena which are otherwise unusual in
the Czech environment: objectivistic understanding of the effect of music, a
public presentation of spirituality.
On the musical occasions of the autumn St. Wenceslas Festival we show the
dichotomy of "specialization" vs. generality (laity) which in today's Christian
context to a certain extent overlaps with the concept of "music as art" vs. "mu¬
sic as spiritual practice." The activity around a gospel workshop again opens
wide another dichotomy connected with the performance of music, that is, (in
the words of Thomas
Turino)
the participants vs. presentation model. The way
of performing music reveals the prevalent reasons why music actually sounds
the way it does. In addition there is here
-
mainly at a closing concert
-
a very
evident snowballing of meanings or relabeling of the musical genre. And along
with this changing of the meaning for musicians and the public the shape also
changes. The eternal musical metamorphosis.
296
Although we did not create a sufficiently systematic theoretical model for
the description of Prague musical worlds and the musical world of Prague,
through the exposition of topics chosen on the basis of various criteria a few
basic features emerged. The first of them is the blurring of various borders (in
the concept of music, in style/genre, in the concept of musical sound.). This
is a consequence of the merging of individual worlds or influences that cross
the worlds, which is an unavoidable situation in a city
-
dense and dynamic
-
environment. It also justifies our concept of Prague as, to a certain extent, an
integrated whole which we look at from various perspectives.
A second significant finding is that new "worlds" arise through the attempt
of the inhabitants to separate
-
whether as a supporter of "new" music, which
uses the language of concrete sounds until now unused; as an aggressively
shouting punk rebel protesting against the system; as a dancer at a techno
party, escaping from the world of commerce, anonymity and limits to his own
autonomous world created in symbiosis with technology; or as a participant in
a Krishna procession trying, with the singing of mantras, to extricate himself
from this ephemeral world. From this perspective musical events of the new
immigrants are the picture of a dynamic process in which its actors are looking
for the shape of their own world. All of this corresponds well to the findings
of a number of ethnomusicologists that music strengthens group identity by
fostering internal values as well as separating them from the surroundings. |
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| title_auth | Pražské hudební světy |
| title_exact_search | Pražské hudební světy |
| title_full | Pražské hudební světy Zuzana Jurková ... |
| title_fullStr | Pražské hudební světy Zuzana Jurková ... |
| title_full_unstemmed | Pražské hudební světy Zuzana Jurková ... |
| title_short | Pražské hudební světy |
| title_sort | prazske hudebni svety |
| topic | Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Musikleben Prag |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027323659&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027323659&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT jurkovazuzana prazskehudebnisvety |