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Academic literature on the topic 'Hungarian War songs'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Hungarian War songs"

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Juhász, Katalin. "WWI-Period Hungarian Soldiers’ Songs on Battles with Russian Enem." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 112–37. http://dx.doi.org/10.15407/slavicworld2022.21.112.

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Traditional wartime songs of soldiers and recruits have become especially popular during Russia’s nowaday armed aggression against Ukraine. In the Hungarian folk-song space, there have been functioning long-running folk soldier songs, in which the Russian army attacks Hungarians. Those songs are often included in the programmes of modern folk bands and performers. They were already found in the folklore of the anti-Habsburg movement led by Lajos Kossuth in 1848–1849, however, there are obviously also a lot of them among the works on the First World War, in particular about events on the territ

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Granville, Johanna. "“Ask for Bread, not Peace”." East European Politics and Societies: and Cultures 24, no. 4 (2010): 543–71. http://dx.doi.org/10.1177/0888325410376790.

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In contrast to restless students in Bucharest, Cluj, Iasi, Timiş oara, and other cities, who tried to organize rallies calling for government reforms in the fall of 1956 but failed, Romanian workers and peasants expressed their feelings about the revolution in nearby Hungary by going on feverish shopping sprees; stockpiling food staples; writing anonymous leaflets and graffiti; spreading rumors; and engaging in arson, vandalism, and physical brawls. The Hungarian crisis aroused in some citizens fears of a World War III, for others a war over Transylvania, and for still others a Hungarian-style

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Hois, Eva. "Bernhard Paumgartner und Felix Petyrek: Zwei Mitarbeiter der Musikhistorischen Zentrale beim k. u. k. Kriegsministerium (1916–1918)." Studia Musicologica 49, no. 3-4 (2008): 459–69. http://dx.doi.org/10.1556/smus.49.2008.3-4.11.

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A special chapter of research into the history of folk music in the time of the Austrian-Hungarian Monarchy was the Musikhistorische Zentrale (Music History Department) at the imperial royal Ministry of War. It was established during World War I, modelled on the Austrian Volksliedunternehmen (today Volksliedwerk). The Musikhistorische Zentrale wanted to collect all the soldiers’ songs, fanfares, military music, soldiers’ sayings, customs, jokes, letters and their expressions which are of historical and cultural significance. Bernhard Paumgartner (1887–1971), a musician and lawyer, had the idea

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Szalay, Olga. "Zur Sammlung der Soldatenlieder von Bartók und Kodály, erstellt 1918 im Auftrag des k. u. k. Kriegsministeriums." Studia Musicologica 50, no. 1-2 (2009): 99–134. http://dx.doi.org/10.1556/smus.50.2009.1-2.6.

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In the last years of World War I, Béla Bartók and Zoltán Kodály compiled a folksong selection One Hundred Hungarian Soldiers’ Songs from their own collections, requested by the Centre for Music History of the Monarchy’s War Ministry in Vienna. The collapse after the war interrupted the publication already in press. Parts of the song collection Kodály asked back in 1921 were returned in 1940 through diplomatic intervention. Later the manuscript was lost, but some parts have been found in the Kodály estate recently. However, the tunes are still latent; not even Kodály knew in his last years wher

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Radyszewśkyi, Rostyslaw. "Węgiersko-polskie dialogi w twórczości Lwa Węglińskiego." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (2022): 327–40. http://dx.doi.org/10.1556/060.2020.00026.

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Artykuł dotyczy twórczości Lwa Węglińskiego (1827–1905), poety z pogranicza polsko-ukraińskiego, który wydał 6 zbiorów w języku ukraińskim pisanych alfabetem łacińskim i 7 książek w języku polskim, w których dominował materiał oparty o reminiscencje z historii i kultury różnych narodów, a także przekłady poezji i folkloru ludowego. Zbiór Snopek z niw słowiańskich i obcych (1885) jest w całości poświęcony przekładom z folkloru słowiańskiego: są w nim zawarte ukraińskie (42), morawskie (69), węgierskie – „obce pole” (21), niemieckie (60) pieśni ludowe. We wstępie Lew Węgliński określił pieśni wę

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Mushketyk, L. "IMAGE OF LAYOSH KOSHUT IN THE SLAV FOLKLORE TRADITIONAL." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 209–22. http://dx.doi.org/10.17721/2075-437x.2020.36.17.

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The question of historicism, historical authenticity of folklore works has long been of interest to researchers, since oral history not only complements historical sources, but often presents a mixed interpretation of events and characters. In their own way, the people also interpreted the events of the Hungarian liberation revolution of 1848-1849 under the leadership of Layosh Koshut against the Hapsburg dynasty, combined with such a pressing issue for peasants as the abolition of the serfdom. The slavic folklore about Layosh Koshut is represented by folk songs and legends, and reproduces the

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Janeček, Petr. "Prague ghostlore of the late 19th century. Suburban ghosts between moral panic and vernacular spectacle." Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, no. 11 (January 9, 2023): 11–29. http://dx.doi.org/10.17345/elop202211-29.

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    In the mid-1870s, a wave of popular urban hauntings in public spaces swept across Europe. These included sightings of the Park Ghost in Sheffield in 1873 and the Westminster Christ Church Ghost in London in 1874. In early December 1874, probably the most famous Czech ghost, the Podskalí Apparition (Podskalské strašidlo), was born. This haunting was followed by that of similar but less popular ghosts that appeared in industrial, working-class Prague neighborhoods in 1876 and 1907, respectively. This paper analyzes newspaper articles from this period about these ap

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Đozić, Adib. "Identity and shame – How it seems from Bosniaks perspective. A contribution to the understanding of some characteristics of the national consciousness among Bosniaks." Historijski pogledi 4, no. 5 (2021): 258–88. http://dx.doi.org/10.52259/historijskipogledi.2021.4.5.258.

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The relationship between identity and national consciousness is one of the important issues, not only, of the sociology of identity but of the overall opinion of the social sciences. This scientific question has been insufficiently researched in the sociological thought of Bosnia and Herzegovina, and with this paper we are trying to actualize it. Aware of theoretical-methodological and conceptual-logical difficulties related to the research problem, we considered that in the first part of the paper we make some theoretical-methodological notes on the problems in studying this phenomenon, in or

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Bakó, Endre. "Élmény és világkép az első világháború magyar költészetében." Studia Litteraria 54, no. 3-4 (2015). http://dx.doi.org/10.37415/studia/2015/54/4172.

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Taking stance regarding the question of war was the “litmus paper” of the test of patriotism. Whoever was against war was a defeatist, moreover, a traitor. The conservative, folk-national group – with a few exceptions - was on the side of war, while the generation producing “new songs for new times” (Endre Ady, Mihály Babits, Dezső Kosztolányi, Margit Kaffka, Ernő Szép, Menyhért Lengyel, Ákos Dutka, Árpád Tóth, etc.) was, apart from some initial hesitation, on the side of peace. The full scale of production cannot be measured; we are talking about tens of thousands of work. One of the main cha

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Arany, János. "„Kimegyek a doberdói harctérre”." Studia Litteraria 54, no. 3-4 (2015). http://dx.doi.org/10.37415/studia/2015/54/4176.

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Folk music – just like any other work of art – bears the historical imprint of the age when it was born. World War military poetry is the last manifestation of the song creating imagination of Hungarian folk culture. Due to cultural history, we have a particularly colourful and nuanced image of the effects of the “Great War” on Hungarian folk music. It is a unique coincidence – both of historical and academic importance – that the significance of folk music and its research was recognized by the whole continent just a decade before the outbreak of the war, that there were two outstanding resea

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Books on the topic "Hungarian War songs"

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Die Musikhistorische Zentrale - ein Kultur- und Zeitdokument ersten Ranges: Die Soldatenliedersammlung beim k. u. k. Kriegsministerium im Ersten Weltkrieg : Geschichte - Dokumente - Lieder. Heeresgeschichtliches Museum, 2012.

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Johansen, Bruce, and Adebowale Akande, eds. Nationalism: Past as Prologue. Nova Science Publishers, Inc., 2021. http://dx.doi.org/10.52305/aief3847.

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Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living t

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Book chapters on the topic "Hungarian War songs"

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Kalavszky, Zsófia. "Metamorphoses of the Ukrainian Song “Їkhav Kozak beyond the Danube”:Was the German Translation by Wilhelm Kuchelbecker Familiar to the Hungarian Count Poet Ferenc Teleki?" In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.15.

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In my essay I trace how – by which means and through what channels – the Ukrainian song «Ĭхав козак за Дунай» (Kozak was riding beyond the Danube) reached Europe at the beginning of the nineteenth-century and then by the means of German mediation, sprang out onto Hungarian territories. In the German language area, it spread essentially as a folk song. Translated (or rather transcribed) into German by Christopher Tidge, the Ukrainian song reached the Kingdom of Hungary most likely together with the troops that took part in the Napoleon wars. At the same time, another version of the song circula

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Suchoff, Benjamin. "The Genesis of Bartók’s Musical Language." In Bartók Perspectives. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0008.

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Abstract When Bela Bartók entered the Budapest Academy of Music at the turn of the century, Hungary was in the throes of a new national movement for independence from Austria. He therefore decided that his contribution to the cause would be the creation of a specifically Hungarian style of composition, and he sought inspiration in Hungarian popular art song, known as magyar nóta, that is, Hungarian tune or national melody, which was then considered to be the true Hungarian folk music. During the nineteenth century, a large number of such melodies had been composed by amateur musicians of the e

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Fosler-Lussier, Danielle. "Beyond the Folk Song: Or, What Was Hungarian Socialist Realist Music?" In Music DividedBartok's Legacy in Cold War Culture. University of California Press, 2007. http://dx.doi.org/10.1525/california/9780520249653.003.0005.

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Davis, Susan G. "The Stranger." In Dirty Jokes and Bawdy Songs. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0002.

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Gershon Legman was born to poor Hungarian-Romanian immigrants in Scranton, Pennsylvania, in 1917. This chapter lays out the origins of his interest in collecting erotica and folklore and connects his scholarly beginnings to his childhood and early education. Gershon grew up in the intensely pious world of Orthodox Judaism and was, his parents felt, destined to be a rabbi. His childhood was spent in the study of words and texts. As a boy, he chafed at the prudery of his domineering father, and as an adolescent he was appalled by the American censorship regime that kept accurate sex and birth co

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Kárpati, János. "Bartók in North Africa: A Unique Fieldwork and Its Impact on His Music." In Bartók Perspectives. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125627.003.0012.

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Abstract It is perhaps well known how Bartok eventually extended his trips to collect folk music in the territory of Greater Hungary, from the central Hungarian population to the Slovaks in the north and Romanians in the east.1 It is uncertain when he decided to extend his fieldwork to non-European regions. His intention to undertake a North African trip begins with his correspondence of 1911. On July 9, his letter to Mrs. Janos Bu itia from Munich states that he was en route to Paris, “in order to study Arab folk songs.”2 During his stay in Paris, July 11–23, he wrote to his wife, Marta, that

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Horváth, Attila. "The Golden Bull of 1222 and the historical constitution." In Publications of the Institute of Hungarian Research. Institute of Hungarian Research; Szent István Király Museum, 2022. http://dx.doi.org/10.53644/mki.kas.2022.153.

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András II (1205-1235) imposed new taxes to be able to support his lavish lifestyle, but he mostly outsourced the collection of these taxes. To increase the number of his allies despite the general discontent, the king gave away royal estates one after another. In response to the protests of the royal servants and the lords on Imre’s side, András II issued the Golden Bull of 1222, in which he promised to abide by the law and to abandon his lavish lifestyle. The Golden Bull was named after the pendant seal that authenticated the charter. From the time of King Béla II onwards, the king used a gol

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Stevens, Halsey. "The Vocal Music." In The Life and Music of Béla Bartók. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163497.003.0005.

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Abstract In Contrast to his compatriot Zoltán Kodály, Bartók was essentially an instrumental composer, and his comparatively meager list of vocal compositions, though produced throughout his career, is of slighter significance than his work in other fields. Aside from the opera Duke Bluebeard’s Castle, which must be considered a dramatic rather than a vocal work, there are several published groups of original songs, the Cantata profane for double chorus, tenor and baritone soli, and orchestra, and a number of small choral works based upon or inspired by Hungarian folksong. All the rest, whethe

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Tomelleri, Vittorio Springfield, and Alessio Giordano. "La poesia Dodoj [Додой] di Xetægkaty Leuany fyrt K’osta Censura, edizione e tradizione orale, con commento linguistico e traduzioni." In Eurasiatica. Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-550-6/006.

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Among the texts which were censured by the first editor and therefore not included in the first edition of Chetagurov’s collection Ossetian Harp (1899), a prominent place is held by the poem Dodoj. This composition became soon a ‘revolutionary’ song, it was very spread beyond the boundaries of Ossetia. During the Great War a Danish scholar, Arthur Christensen, and a Hungarian one, Bernát Munkácsi, had the opportunity to work with Ossetic war prisoners. The result of their fieldwork was a collection of different texts and tales. Curiously, in both publications, which were carried out independen

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Sozina, Elena. "On the Border of Cultures and Peoples: the Case of the Komi writer Callistrat Zhakov." In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.05.

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The essay examines the work of Kailstrat Zhakov (1866–1926), a Komi writer, philosopher, and a scholar of the so-called Silver Age in the Russian literary history. He was the author of an original philosophical study of limitism as well as a Komi literary epos “Biarmia”and other works. For Zhakov, the problem of personal, social, national, and ethnocultural identity was relevant at all stages of his literary career; all his life, he was trying to cross boundaries between peoples and cultures, albeit aware of his own liminality and mediality. The chapter discusses the identity problem discussed

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Higgins, Peter M. "The Nature of Nets." In Nets, Puzzles, and Postmen. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199218424.003.0003.

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Abstract In this chapter you will be introduced to an array of different kinds of questions that concern general networks that are not just trees but in which cycles and multiple edges are permitted between nodes. At first inspection the problems and queries may not seem to be about networks but the underlying network comes to life as a natural model of the situation in each case. But first we look a little more closely at the reasons why nets are becoming more noticed. ‘I’ ve danced with a man, who has danced with a girl, who has danced with the Prince of Wales!’ The idea of this was enough t

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Conference papers on the topic "Hungarian War songs"

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Svobodová, Zdeňka, and Michaela Šilhavíková. "Současný stav hudebního vzdělávání v Maďarsku a Nizozemsku a postoje tamních učitelů k lidové písni (výsledky 1. výzkumné sondy)." In Musica viva in schola. Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-10.

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This paper looks at research on music teachers’ attitudes towards folk songs. The investigation of the Department of Music, Faculty of Education, Masaryk University in Brno began by looking at the situation in the Czech Republic and was subsequently extended to a broader European context. Our analysis compares the first results obtained in Hungary and the Netherlands, emphasizing the current state of cultural and social change and its impact on teaching folk songs in schools. In addition to the above, it also presents the current position of folklore in contemporary Hungarian and Dutch society

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