|
Jaroslav Volek (15 July 1923, Trenčín – 23 February 1989, Prague) was a Czech musicologist, semiotician who developed a theory of modal music. His theory included ideas of poly-modality and alteration of notes that he called "flex," which result in what he called the system of flexible diatonics. He applied this theory to the work of Béla Bartók and Leoš Janáček. He wrote ''General Theory of Art'' based on semiotic concepts in 1968. During his life he was blacklisted by the authorities of the communist soviet dominated government of Czechoslovakia, who seldom allowed publication of his work. The result is a scarcity of biographical material that is contemporaneous from his homeland, with more available in German translation, or published in English after his death. Late in his life he was allowed to travel, and was a guest at American University during the 1980s. He is particularly cited in relation to the works of 20th-century European composers, because his theory directly confronts the relationship between melodies based on speech and modal sources, with the classical music harmonic tradition of tonality. ==Summary of Volek's musical theory== :A ''flection'' is a momentary substitution of the tone that "represents," in the beginning of a musical piece or phrase, a particular note of the scale with another one pitched about a halftone lower or higher. Both tones are equivalent according to their position in the mode, i.e., in a diatonic mode they both have a diatonic character (therefore we speak here about the "diatonic flexion"). There is no chromaticism in such a microchange: both pitches represent notes in the current mode. Diatonic flexions appear also—and more frequently—in "full-modal" sections, intensifying the modal climate of the piece. Jaroslav Volek ''New Forms of Modality in Leoš Janáček's Song Cycle "The Diary of One who Vanished"'', p. 37. Translated by Jan Vičar () 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jaroslav Volek」の詳細全文を読む スポンサード リンク
|