A MUSICO-DRAMATIC LABORATORY

Chapter:

CHAPTER 7 Social Validation

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

Rhythms like these pervade Janáček’s later operas, in vocal and instrumental parts alike. Indeed, the orchestral part, which provides the essential continuity in these declamatory works, consists largely of ostinatos drawn from key vocal phrases (along with leitmotifs of a more conventional kind). It is sometimes wrongly assumed that these ostinatos are drawn directly from life, by way of the composer’s speech-tunelet notebooks. Rather, they are drawn from the librettos, as mediated by the composer’s own imagined speech. Kat’a Kabanová, the first opera wholly conceived after Jenůfa’s Prague premiere, was the great laboratory of Janáček’s maximalist technique.

Citation (MLA):

Richard Taruskin. "Chapter 7 Social Validation." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007010.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 7 Social Validation. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007010.xml

Citation (Chicago):

Richard Taruskin. "Chapter 7 Social Validation." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-007010.xml