A Study on the Application of the “Vocal Melody” Theory in Janáček’s Piano Works

Rongchen Xi

doi:10.70711/cle.v2i4.5634

A Study on the Application of the “Vocal Melody” Theory in Janáček’s Piano Works

Rongchen Xi

Abstract

This study examines the use of Leoš Janáček’s “vocal melody” theory in his piano works, focusing on Piano Sonata 1.X.1905 and On an Overgrown Path. Drawing from the rhythms and intonations of Czech speech, Janáček transformed language patterns into musical forms, creating melodies that mirror the natural flow and emotional depth of spoken language. Through specific examples, the paper highlights how Janáček’s innovative approach integrates speech-like rhythms and phrasing, enriching his music with expressive power and cultural identity.

Keywords

Janach; Vocal melody; Piano works; Language melody; Emotional expression

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[1] Here I heard the main patterns of folk songs of the Gypsies living in the Czech Republic (mainly Bohemia).

[2] Bohumir Stedron, Leos Janacek-Letters and Reminders, Prague, 1955, p. 73.

[3] Little á rni Svet, vol. 1. 1928, quoted in Ian Horsbrugh, Leo Jan á 6ek (New York: Charles Scribner’s Sons, 1981), pp. 50-51.

[4] Michael Beckerman Jan á cek as theorist [M]. Pendragon Press, Copyright, 1994, p. 49.

[5] John Tyrrell. Leosjan á cek: K á t’a Kabanov á [M]. Published by Cambridge University News Syndicate, 1982.

[6] John Tyrrell. Jan á cek and the speed-Melody myth [J]. In the Music Times, 1970: Vol 111. No 1530.

[7] Paul Victor Christiansen. The Voice of the Soul: The Concept of Melody in Leos Janacek’s Speech [M]. University of California, 2002.

DOI: http://dx.doi.org/10.70711/cle.v2i4.5634

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A Study on the Application of the “Vocal Melody” Theory in Janáček’s Piano Works

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