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The Hidden Unity

An Experimental View on Aesthetics and Semiotics of Music in the Czech Milieu

Jarmila Doubravova

This book is based on the results of about forty years of work with one type of analysis of musical communication. It offers an elucidation of the meaning of music as, in addition to other factors, a fictive action and refers to the context of the intrapersonal, interpersonal and social aspects of communication. It does so against the background of the nearly unknown century-long history of Czech experimental aesthetics. At the same time it provides insights into a field of the humanities in the totalitarian era by referring to the roots of the method in the context of semiotics, aesthetics and cybernetics in the 1960s.
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8 Notes and references

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(1) See Česká kultura na přelomu 50. a 60. let (Czech Culture at the End of the 1950s and the Beginning of the 1960s); City Gallery Prague, 1992; also Ohniska znovuzrození (The Focal Points of Rebirth); City Gallery Prague, 1994. See further the anthology Nové cesty hudby (New ways of music), Vol. 1 and Vol. 2; see also Vladimír Lébl’s study on electronic music.

(2) Mention should also be made of the anthology Kybernetika ve společenských vědách (Cybernetics in Social Sciences). Prague: Academia 1965.

(3) The collective monography ‘Otáz(ni)ky hudobnej sémiotiky a estetiky’ (Questions/ Interrogations of Musical Semiotics and Aesthetics) was devoted to the personality of Peter Faltin in the first decade of the new millenium.

(4) The author of this text wrote her postgraduate thesis for A. Sychra which also contained an experimental section. What brought her together with F. Knobloch was his interest in the publication Česká Orffova škola (The Czech Orff-Schulwerk) written by the Czech composers Ilja Hurník and Petr Eben, which F. Knobloch wanted to use for therapeutic purposes.

(5) The mathematician Otakar Zich (1908-1984) was the brother of Jaroslav Zich (1912-2001), the music theoretician and aesthetician. They were the sons of Otakar Zich (1879-1934) who was a professor at Charles University, a psychologist and an aesthetician (the author of Aesthetics of Dramatic Art, 1935), and a composer as well.

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