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Scientific Journal

postmodernism

Scott Walker, Postmodern Tendencies of His Poetics and Works

· · Musicologica 1/2016, Rock Pop Jazz

The author is dealing with six key words tied with a topic, which demonstrates indisputable importance of Scott Walker for world of music. One of them is conceptualism in the aesthetics of rock music as well as function and interaction of such terms as the relationship of the composer and the work, intertextuality, intersections of pop and classical music, intermediality and aesthetics of ugliness. The author presents in the character of Scott Walker the largest musical “chameleon” in the history of popular music; singer, composer pop, rock, classical and avant-garde music, composer of film music, song writer and poet who gives an exemplary work of progressiveness and syncretism in major artistic universe by his more than fifty years of musical career. With his personality and work we can demonstrate an example of the incoming “new” type of artist, dissatisfied, doubtful and unseized. His roots are based on popular culture; from times, even before the digital world of the mid-sixties, where the reflections of the composer and his work are moved to today’s fluid time. The chameleon is an animal that adapts to the environment by camouflaging; choosing different colors, but Walker tones changes his art eminently freely, freshly and unexpectedly. This study will talk about a story of courage, listening the voices of muses as well as insight of media and ability to articulate the deepest portions of the human being of the author and the recipient as well as inside the medium through which the dialogue between the two sides are pending.

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Jazz Inspirations in the 20th Century Classical Slovak Music – the Music of Alexander Moyzes and His Successors

· · Musicologica 1/2014, Rock Pop Jazz, Contemporary Music

The generation of Slovak composers known as Slovak Musical Modernism, who emerged in the late 1920s and during the 1930s, adopted a concept of creative synthesis of the national sources (especially inspirations from folk music) with the influences of European impressionist and expressionist music. One of the Slovak Musical Modernism composers was Alexander Moyzes (1906-1984). The jazz elements that appeared in his early compositions were an exceptional impulse and response to the avant-garde musical milieu of the 1920s’ Prague, where Moyzes studied. However, such compositions met with sharp objections from the music critics in Bratislava. This not only turned Moyzes away from using jazz elements for the rest of his compositional career, but was also followed by their long-term absence in Slovak music for stylistic and political reasons. Although a short revival occurred when some of Slovak Music’s avant-garde emerged in the 1960s (Jozef Malovec and Tadeáš Salva, for example), jazz did not become a legitimately accepted source of new creative projects until the next generation of postmodern composers in the last quarter of the 20th century. Its shaping personalities, such as Peter Martinček, Norbert Bodnár and Peter Breiner, erased the traditional and conventional boundaries between the musical genres in contemporary Slovak music.

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