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Books on the topic 'Hungarian dance'

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

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1

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

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2

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

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3

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

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4

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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5

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

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6

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

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7

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

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8

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

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9

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

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10

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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11

Badacsonyi, Nóra, and Katalin T. Nagy. GÉM // GAMEkapocs: Művek az Antal-Lusztig-gyűjteményből képzőművészeti, irodalmi, zenei és táncművészeti párhuzamokkal és reflexiókkal = GEM // GAMEclip : works from the Antal-Lusztig Collection with parallels and reflections from art, literature, music and dance. Déri Múzeum-Modem Modern és Kortárs Művészeti Központ, 2017.

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12

Storey, Rita. Line dancing. Sea to Sea Publications, 2006.

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13

Martin, György. Hungarian folk dances. 2nd ed. Puski, 1988.

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14

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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15

1265-1321, Dante Alighieri, ed. Dante pokla ma. MMA Kiadó, 2022.

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16

Pávai, István, and Dániel Lipták. Amerre én járok: Tanulmányok a 70 éves Pávai István tiszteletére. Bölcsészettudományi Kutatóközpont Zenetudományi Intézet, Eötvös Loránd Kutatási Hálozat, 2021.

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17

István, Pávai. Az erdélyi és a moldvai Magyarság népi tánczenéje. Teleki László Alapítvány, 1993.

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18

Draskóczy, Eszter. "Quella terra che 'l Danubio riga": Dante in Ungheria. Aracne, 2021.

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19

András, Takács. Csallóközi néptáncok. Kalligram, 2000.

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20

Tamás, Margit. Táncalkalmak, táncszokások, táncrend Lövétén. Püski, 2001.

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21

Latham, Lynne, and Laura Netzel. Hungarian Dance Op. 51. Alfred Publishing Company, Incorporated, 2020.

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22

Hungarian Dances. Hodder & Stoughton Ltd, 2008.

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23

Hungarian Dances. Hodder & Stoughton, 2008.

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24

Hungarian dances. Charnwood, 2009.

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25

Hungarian Dance No. 5: Sheet. Alfred Publishing Company, Incorporated, 1996.

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26

Hungarian Dance No. 5: Conductor Score. Alfred Publishing Company, Incorporated, 1991.

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27

Brahms, Johannes. Hungarian Dances: Piano Solo (Schirmer's Library of Musical Classics). G. Schirmer, Inc., 1994.

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28

GALLI, Roberto. Hungarian Dance N. 5: Ensemble Percussion Seven. Independently Published, 2018.

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29

Hungarian Dance No. 5: Conductor Score & Parts. Alfred Publishing Company, Incorporated, 1990.

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30

Brahms, Johannes. Hungarian Dance Number 2 Elementary Piano Sheet Music. Lulu Press, Inc., 2015.

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31

Taylor, Mary N. Movement of the People: Hungarian Folk Dance, Populism, and Citizenship. Indiana University Press, 2021.

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32

Taylor, Mary N. Movement of the People: Hungarian Folk Dance, Populism, and Citizenship. Indiana University Press, 2021.

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33

Taylor, Mary N. Movement of the People: Hungarian Folk Dance, Populism, and Citizenship. Indiana University Press, 2021.

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34

Taylor, Mary N. Movement of the People: Hungarian Folk Dance, Populism, and Citizenship. Indiana University Press, 2021.

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35

Weiner, Leo. Peregi Verbunk Op. 40 for Violin, Viola or Clarinet and Piano: Hungarian Dance English, German and Hungarian. Editio Musica Budapest, 2003.

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36

Hungarian Dance No. 5: Xylophone/Marimba Solo with Piano - Grade 3. Leonard Corporation, Hal, 1989.

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37

Hungarian Dance No. 5 for String Quartet: Conductor Score and Parts. Alfred Publishing Company, Incorporated, 2020.

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38

Quigley, Colin. The Hungarian Dance House Movement and Revival of Transylvanian String Band Music. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199765034.013.025.

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39

Hungarian Dances [21], for Piano 4-Hands, WoO 1 -Hungarian Dance in F Major-Brahms, Johannes: Hungarian Dances,Piano 4-Hands,in G Minor,Brahms Johannes,Orchestral Music,Symphonies,classical Music,Piano Music,Most Beautiful Classical Piano. Independently Published, 2022.

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40

Mayes, Catherine. Hungarian Dances and Musical Life in Eighteenth-Century Vienna. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197805763.001.0001.

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Abstract Eighteenth-century accounts of Vienna portray the city as one of the most ethnically and culturally diverse in Europe, yet most scholarship about Viennese music at that time focuses on Haydn, Mozart, and Beethoven, painting a disproportionately Austro-German picture of the Habsburg capital’s musical life. Hungarian Dances and Musical Life in Eighteenth-Century Vienna is a social history of a unique facet of the city’s diversity, illuminating how it shaped everyday experiences, individual and collective identities, and boundaries of belonging from approximately 1750 to 1810. Each chapt
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41

Lange, Barbara Rose. Local Identity, World Music 2.0, and Electronic Dance Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0009.

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Chapter 8 discusses the orientation of Central European musicians to aesthetics, production technologies, and distribution networks of the turn of the millennium that are collectively termed world music 2.0, arguing that study of local information flow enriches the overall notion of world music 2.0. The chapter reviews how electronic dance music (EDM) became a key component of the millennial sound world and of world music 2.0 in Central Europe. The chapter then describes musicians who continue to think locally as they merge sensibilities: the Slovak duo Longital developed a futurist aesthetic;
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42

Lange, Barbara Rose. “Good Old Days”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0002.

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Chapter 1 explores how musicians and dancers in the Hungarian folk revival have reflected on the social costs of masculinity in Hungary. It describes how in the 1990s and 2000s, Central European men were in crisis, as multiple conflicting masculinities emerged. The chapter explains how contradictions of masculinity already present in the region’s history and society had unfolded in the Hungarian folk revival of the 1970s. The chapter details how at the turn of the new millennium, Hungarian artists used folk music and dance to reflect on themselves as men. It details how some of these artists a
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43

Hungarian Dances. Creative Media Partners, LLC, 2022.

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44

Viski, Karoly. Hungarian Dances. Franklin Classics Trade Press, 2018.

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45

Viski, Karoly. Hungarian Dances. Franklin Classics, 2018.

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46

Viski, Karoly. Hungarian Dances. Franklin Classics Trade Press, 2018.

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47

Viski, Karoly. Hungarian Dances. Franklin Classics, 2018.

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48

Hungarian Dances. Creative Media Partners, LLC, 2022.

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49

Hungarian Folk Dances. Corvina Books, 1989.

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50

Jocque, Beau. 1995 Neptune Plaza Concert Series collection. 1995.

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