In: Musicologica Slovaca , vol. 6, no. 2
Jana Lengová 
Detaily:
Rok, strany: 2015, 176 - 192
Kľúčové slová:
Slovakia, 19th century, piano, quadrille, mazurka, csardas, waltz, polka, functionality, aesthetic autonomy
Typ článku: 1 Štúdie
O článku:
Te dance phenomenon was one of the sources of inspiration for piano composers active
in the second half of the 19th century in Slovakia. Dance forms were composed with both
a utilitarian and an aesthetic function, or there could be a fluent transition between those
two poles. Te dance genre was associated with salon music and with the employment of
technical virtuosity. Among the favourite dances in society, the quadrille, mazurka, csardas,
waltz and polka were particularly loved. A speciality was the so-called Slovak quadrilles
composed especially in the 1850s – 1870s, using Slovak folk songs. Te dance genre evoked
a response from such composers as Jozef Rizner, Ján Egry, Emil Kovárcz, Leopold Dušinský,
Maximilián Hudec, Ján Levoslav Bella, Štefan Fajnor, Ignác Boldiš, and many others. Te
paper examines the range of representation of individual dance forms and their musical
style characterisation, as well as the relationship between functionality and their musical
style characterisation, as well as the relationship between functionality and autonomy in this work.
Te dance phenomenon was one of the sources of inspiration for piano composers active
in the second half of the 19th century in Slovakia. Dance forms were composed with both
a utilitarian and an aesthetic function, or there could be a fluent transition between those
two poles. Te dance genre was associated with salon music and with the employment of
technical virtuosity. Among the favourite dances in society, the quadrille, mazurka, csardas,
waltz and polka were particularly loved. A speciality was the so-called Slovak quadrilles
composed especially in the 1850s – 1870s, using Slovak folk songs. Te dance genre evoked
a response from such composers as Jozef Rizner, Ján Egry, Emil Kovárcz, Leopold Dušinský,
Maximilián Hudec, Ján Levoslav Bella, Štefan Fajnor, Ignác Boldiš, and many others. Te
paper examines the range of representation of individual dance forms and their musical
style characterisation, as well as the relationship between functionality and their musical
style characterisation, as well as the relationship between functionality and autonomy in this work.
Ako citovať:
ISO 690:
Lengová, J. 2015. Tanečný žáner a klavírna hudba na Slovensku v druhej polovici 19. storočia. In Musicologica Slovaca , vol. 6, no.2, pp. 176-192. 1338-2594.
APA:
Lengová, J. (2015). Tanečný žáner a klavírna hudba na Slovensku v druhej polovici 19. storočia. Musicologica Slovaca , 6(2), 176-192. 1338-2594.