Abstract
No aspect of Janáček's operas has been publicised more widely than their alleged use of ‘speech melodies’. Indeed, most commentators now assume thea prioriexistence of speech melodies in the composer's operas. However, only John Tyrrell has explored the matter in depth, and many basic questions about Janáček's speech-melody theory and practice remain unanswered. What follows is an attempt to investigate in detail one of the most prominent, and most misrepresented, issues of Janáček opera analysis. A brief initial digression into the principal characteristics of spoken Czech is unavoidable.
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