The increase of noise in man’s environment is a characteristic of aural human culture of the 20th century. Its subsequent involvement in artistic culture is a natural consequence of these processes. At its beginnings, noise, hisses, distortions, and various, originally non-musical, sounds came to be the means of expansion of potential aesthetic qualities of art. In the paper, the presence of noise elements as means of expression in the contemporary musical-dramatic genre is considered. Their aesthetic effects in alternative theatre are (...) analysed using examples of performances and workshops at the “Academic Prešov” festival. (shrink)

A review of Ivan Poledňák’s Hudba jako problém estetiky.

Článek rozvíjí ideu Wittgensteinovy filosofické gramatiky a na příkladě její aplikace v hudbě ukazuje, jak Wittgenstein využívá pojmu "přehledného znázornění" ve vymezení filosofie jako něčeho, co nemůže být smysluplně vyřčeno. The paper elaborates on Wittgenstein’s idea of philosophical grammar by transposing it to the field of music and demonstrating how the concept of “perspicuous representation” can be used in delimiting philosophy as something that cannot be meaningfully said.