Relevant bibliographies by topics / Hungarian dance

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Hungarian dance'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Hungarian dance"

1

Janku, Anna. "The Role of Informants and Archive Films in the Hungarian Folk Dance Revival Movement<sup></sup>." Musicological Annual 61, no. 1 (2025): 61–77. https://doi.org/10.4312/mz.61.1.61-77.

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The Hungarian táncház [dance house] movement revolutionised the revival of traditional folk dances in urban contexts. This study examines the role of adatközlők [informants], master–disciple relationships, and archival film recordings as reference sources in the transmission and reconstruction of traditional dances within the Hungarian folk dance revival.
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Fogle, Emily. "Hungarian Dance." American String Teacher 42, no. 4 (1992): 52–53. http://dx.doi.org/10.1177/000313139204200422.

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Kun, Attila. "The Hungarian Dance Theatre Education." Tánc és Nevelés 2, no. 2 (2021): 101–13. http://dx.doi.org/10.46819/tn.2.2.101-113.

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The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.
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Brum Kagyerják, Patricia Alejandra. "The Vision of Hungarian Folk Dance in the Diaspora : Folk Dance Teaching Methodology Work Plan for the Uruguayan Tündérkert Folk Dance Ensemble." Tánc és Nevelés 4, no. 2 (2023): 113–33. http://dx.doi.org/10.46819/tn.4.2.113-133.

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How can Hungarian folk dance education be implemented in the Hungarian diaspora communities in South America, particularly in Uruguay, with goal-oriented and development-focused results? Following linguistic assimilation, Hungarian folk dance is one of the most important pillars keeping the Hungarian community in Uruguay alive. In order for Hungarian identity to continue to remain thrive in Uruguay, conscious development in the field of dance education is essential. The work plan presented in this study aims to help dance teachers efficiently and accurately organize, plan, and deliver dance cl
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KOVÁCS, ÖRS. "HUNGARIAN ELEKTRA." Macedón Tudományos és Kulturális Közlemények 6, no. 2 (2023): 2–10. http://dx.doi.org/10.56309/zjkscp83.

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Absztrakt A balkáni lánctánckultúra különleges helyet foglal el a tradíciót kiváló művészi tehetséggel feldolgozó, iskolaalapító koreográfusok életművében. Ennek egyik legszebb példája Novák Ferenc Magyar Elektra című filmalkotása. A Magyar Elektra kivételes lehetőséget biztosított Fülöp Viktornak, a kivételes balett-táncosnak. A szerepet megtestesítő Fülöp Viktor a mű leglényegesebb aspektusát később figyelemre méltó tisztasággal fogalmazta meg: „A folklór számomra olyan, mint egy gyönyörű terebélyes fa, amelynek a gyökere jó mélyen a földben található, s ami onnan kinő, az is földszagú, tehá
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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.

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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual con
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Yu, Yang. "VOICE, CONTEXT, LANGUAGE - THE DEVELOPMENT OF HUNGARIAN MUSIC FROM DANCE TO MUSIC: A STUDY OF HUNGARIAN MUSIC FOCUSING ON "CHARDASHI"." Scientific heritage, no. 125 (November 23, 2023): 8–11. https://doi.org/10.5281/zenodo.10199717.

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Chardash (Hungarian: Cs á rd á s, Cz á rd á s, pronounced char'dash, derived from cs á rda, meaning inn), also known as Chardash, Chardash, Chardash, Chardash, Chardash, Chardash, Chardash, is a Hungarian folk dance. Originating from the Mazars and Gypsies. Chaldash originated from verbunkos in the 18th century and was originally a dance music used by Hungarian army conscripts. Its characteristic is the variation of rhythm: slow and fast. Start with a slow pace (class ú) and end with a fast pace (friss). There are also other types of rhythm changes, called ritka cs á rd á s, s ü r ü cs á rd á
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Pávai, István. "Zoltán Kodály and Hungarian Dance." Studia Musicologica 62, no. 3-4 (2022): 309–26. http://dx.doi.org/10.1556/6.2021.00020.

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Abstract In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochor
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Nemes, Robert. "The Politics of the Dance Floor: Culture and Civil Society in Nineteenth-Century Hungary." Slavic Review 60, no. 4 (2001): 802–23. http://dx.doi.org/10.2307/2697496.

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The nineteenth-century Hungarian dance floor provides an invaluable tool for mapping the contours of both an emerging civil society and the political practices of Hungarian nationalism. During the 1840s, consciously “national” costumes, music, dances, and language became de rigueur in all areas of social life, and especially on die dance floor. Because associations and newspapers linked such cultural practices to opposition politics, these balls allowed a large number of men and women usually excluded from public life to display their patriotism and political allegiances. In this way, the diff
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.

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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique syste
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Dissertations / Theses on the topic "Hungarian dance"

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Balacon, Maira. "Style hongrois features in Brahms's Hungarian dances a musical construction of a fictionalized Gypsy "Other" /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1123166536.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.<br>Title from electronic thesis title page (viewed Feb. 25, 2006). Includes abstract. Keywords: Musical Exoticism; Brahms; style hongrois; Gypsy Other; Hungarian Dances. Includes bibliographical references.
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Balacon, Maira. "Style Hongrois Features in Brahms’s Hungarian Dances: A Musical Construction of a Fictionalized Gypsy “Other”." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123166536.

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Pethö-Vernet, Csilla. "La représentation de la musique hongroise en France au XIXe siècle entre apparence et réalité." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040225.

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La réception et la représentation de la musique hongroise en France au XIXe siècle est un sujet méconnu et non traité dans la littérature musicologique. La thèse ici présentée a l’ambition de combler ce manque. Elle s’organise autour de deux axes principaux. Le premier est l’étude critique des textes qui présentent la musique hongroise et l’art des orchestres tziganes ayant propagé ce corpus sous divers aspects. Le deuxième est l’analyse musicale et stylistique proprement dite, où l’on se questionne sur le fonctionnement de la représentation d’une « magyarité », voire d’une « tziganité », en m
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Vansteenburg, Jessica. "Understanding folk dance and Gypsy style in selected pieces for clarinet and piano by 20th century Hungarian composers an interpretive guide /." 2009. http://proquest.umi.com/pqdweb?did=1923173201&sid=2&Fmt=2&clientId=14215&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.<br>Title from title screen (site viewed February 25, 2010). PDF text: xi, 116 p. : music ; 658 K. UMI publication number: AAT 3380449. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Books on the topic "Hungarian dance"

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Neeme, Jarvi, and London Symphony Orchestra, eds. Hungarian dances: (orchestral). Brilliant Classics, 2008.

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(Pianist), Moreno Hector, and Capelli Norberto, eds. Hungarian dances, piano 4-hands. Brilliant Classics, 2008.

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Johannes, Brahms. Hungarian dances: For violoncello and piano. Masters Music Publications, 1997.

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Varpu, Luukola, Saha Hannu, and Kansanmusiikki-instituutti (Kaustinen Finland), eds. Explorations in Finnish and Hungarian Folk music and dance research. Folk Music Institute, 1994.

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Takács, András. Az országos népművészeti fesztiválok ötven éve. Csernadok Dunaszerdahelyi Területi Választmányok, 2007.

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Felföldi, László, and András Gombos. A népművészet táncos mesterei. Európai Folklór Központ, 2001.

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György, Martin. Mátyás István 'Mundruc': Egy kalotaszegi táncos egyéniségvizsgálata. Mezőgazda, 2004.

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Marián, Réthei Prikkel. A magyar táncznyelv: Nyelvészeti és néprajzi tanulmány. s.n., 1990.

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Csanaky, Eleonóra. Az Ifjú Szivek 50 éve. AB-ART, 2005.

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Pethő, Ildikó. Pördülő szoknya, dobogó csizma: Néptáctevékenység az óvodában és az általános iskola I-IV. osztályában : útmutató óvoda-pedagógusoknak, tanítóknak. Mentor, 2011.

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Book chapters on the topic "Hungarian dance"

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Shay, Anthony. "Proper Peasants: Hungarian Ethno Identity Dance." In Folk Dance and the Creation of National Identities. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-23336-4_3.

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Kürti, László. "Dance Populism: The Potato Principle and the New Hungarian Dance Craze." In Cycles of Hatred and Rage. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14416-6_8.

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Kay, Kirsty. "Csángó Space and Time in the Hungarian Táncház Revival." In Cultural Memory and Popular Dance. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_9.

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Felföldi, László. "Réthei Prikkel Marián (1871–1925), Pioneer of Hungarian Folk Dance Research." In Pathways in Early European Ethnomusicology. Böhlau Verlag Wien, 2024. http://dx.doi.org/10.7767/9783205219187.83.

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Mayes, Catherine. "Dancing the Ungarischer." In Hungarian Dances and Musical Life in Eighteenth-Century Vienna. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197805763.003.0005.

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Abstract Hungarian dances for keyboard were owned by the imperial family and advertised in Viennese newspapers, suggesting that playing them provided a point of cultural contact across classes. Contemporary sources suggest that these dances lent themselves to accompanying simple contredanses in private, domestic gatherings. Descriptions of social dancing in Hungary may have informed these contredanses, imbuing them with distinctive movements and manners. Social contredanses, however, differed greatly from the aristocracy’s extravagant presentational contredanses. The somatic enjoyment of Hunga
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"Hungary On Hungarian dance." In Europe Dancing. Routledge, 2002. http://dx.doi.org/10.4324/9780203448717-10.

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Felföldi, László. "7. Reception of Nineteenth-Century Couple Dances in Hungary." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.07.

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Felföldi (Hungary) offers a broad survey of the Hungarian dance repertoire as it stood when the round dances began to spread into Hungary from neighbouring countries, and how they were met as a foreign influence that the ethnochoreologists did not engage with. He continues by presenting a catalogue that samples the variety of the rich Hungarian sources, which are currently unavailable in other languages. Describing the sociocultural and political context that nourished the substantial resistance to round dances in Hungary, Felföldi discusses the appearance of Csárdás as an alternative national
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Mayes, Catherine. "Staging Hungary at the Habsburg Court." In Hungarian Dances and Musical Life in Eighteenth-Century Vienna. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197805763.003.0002.

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Abstract The eighteenth-century Habsburg court and its theaters staged diverging representations of Hungary in music and dance. The inclusion of Hungarians among a host of rustic characters in pantomime ballets of mid-century supports the influential theory of Western Europe’s “invention” of Eastern Europe as its less civilized complement during the Enlightenment. But when members of the Russian royal family visited the Viennese court in 1781, Hungary’s nobility presented itself in an elegant light through its performance of Hungarian national dances, claiming cultural and political power and
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Mayes, Catherine. "Introduction: Cross-Cultural Encounters in Music and Dance." In Hungarian Dances and Musical Life in Eighteenth-Century Vienna. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197805763.003.0001.

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Abstract The introduction offers an overview of the book and positions it with respect to existing scholarship. As a social history, Hungarian Dances and Musical Life in Eighteenth-Century Vienna departs significantly from previous investigations of Viennese—and more broadly Western European—engagement with Hungarian music in the late eighteenth and nineteenth centuries. The book turns away from the composer-centric approach that has driven studies of the “style hongrois,” instead investigating music and dance as quotidian activities in which individuals and communities engage. Among the quest
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"THE DELIVERY OF THE AUSTRO - HUNGARIAN ULTIMATUM." In Dance of the Furies. Harvard University Press, 2011. http://dx.doi.org/10.2307/j.ctt2jbxpk.6.

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Conference papers on the topic "Hungarian dance"

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Ribeiro, Estela, and Carlos Eduardo Thomaz. "A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.

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It is possible to reveal whether a subject received musical training through the neural activation patterns induced in response to music listening. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram electrodes signals. Our experiments results, with 13 musicians and 12 non-musicians who listened the song Hungarian Dance No 5 from Johannes Brahms, have shown that is possible to differentiate musicians and non-musicians with high classification accuracy (88%). Given this multivariate statistical framework, it h
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Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.

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In June, 1965, two young researchers arrived in Addis Ababa at the invitation of Emperor Haile Selassie. The purpose of György Martin (folk dance researcher) and Bálint Sárosi’s (folk music researcher) journey was to examine and explore traditional Ethiopian folklore. They were members of the Folk Music Research Group of the Hungarian Academy of Sciences, whose head was Kodály at that time. From their home institution they had received internationally renowned knowledge and expertise in folk music research, thus they wished to be among the first to explore Ethiopian folklore. Thus, one of the
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Reports on the topic "Hungarian dance"

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Cvijić, Srdjan, Maja Bjeloš, Luka Šterić, Marko Drajić, and Ivana Ranković. Balkan Csárdás: Hungarian Foreign Policy Dance. Belgrade Centre for Security Policy, 2023. http://dx.doi.org/10.55042/gzwk7404.

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As part of the overall focus on the democratic backsliding in Hungary since Viktor Orbán’s Fidesz reassumed power in 2010, numerous international observers have expressed concern regarding increasing Hungarian influence in the Western Balkans. Specifically, many fear that through intensified meddling in Western Balkan affairs, Orbán’s Hungary would spread its illiberal influence throughout the region and subsequently undermine broader EU policy. In 2019, the process leading to the appointment of Olivér Várhelyi (a Hungarian diplomat close to Orbán) to the position of the European Commissioner
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Cvijic, Srdjan, Maja Bjelos, Ivana Rankovic, Luka Steric, and Marko Drajic. Balkan Csárdás: Hungarian Foreign Policy Dance. Belgrade Centre for Security Policy, 2023. http://dx.doi.org/10.55042/wkpz9702.

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U sklopu sveukupnog bavljenja demokratskim nazadovanjem u Mađarskoj otkako je stranka Viktora Orbana, Fides, ponovo preuzela vlast 2010. godine, brojni međunarodni posmatrači izrazili su zabrinutost zbog povećanja uticaja Mađarske na Zapadnom Balkanu. Ovaj rad je jedan od tek nekoliko sveobuhvatnih pokušaja da se objasne mađarska politika i njena uključenost u Zapadni Balkan.
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