Relevant bibliographies by topics / Music, hungarian

Contents

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

Academic literature on the topic 'Music, hungarian'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Music, hungarian"

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Dalos, Anna. "György Kurtág’s Hungarian identity and The Sayings of Péter Bornemisza (1963–1968)." Studia Musicologica 54, no. 3 (September 1, 2013): 319–30. http://dx.doi.org/10.1556/smus.54.2013.3.5.

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After the political and cultural seclusion of the 1950s young Hungarian composers turned to Western European new music. While learning contemporary compositional techniques they were searching for a new Hungarian identity in music. The musicological discourse about new Hungarian music concentrated on the ‘Hungarianness’ of their music too. Composers used Hungarian literary texts, and referred to Hungarian music culture with musical allusions. They inherited the idea of the combination of the up-to-date Western European compositional techniques with the old Hungarian tradition from Kodály and Bartók, i.e. they were aware of the primacy of tradition. György Kurtág’s (1926) concerto for soprano and piano, The Sayings of Péter Bornemisza (1963–1968) represented for Hungarian musicians the paradigmatic example of new Hungarian music, modern and traditional at the same time. It was based on an old Hungarian text from the 16th-century, like Kodály’s Psalmus Hungaricus (1923). The vocal part, however, refers to Webern’s melodic concept, the piano part follows Stockhausen’s piano writing, and Kurtág quotes neither Hungarian folk music nor old Hungarian art music. The paper investigates by means of musical analysis the question why contemporaries felt that Kurtág’s piece represents unambiguously a Hungarian identity. Kurtág — as well as his contemporaries — uses symbols, allusions connected to certain words and word-paintings while concentrating on the picturesque elements of music. The source of this compositional attitude is Kodály’s oeuvre, foremost the Psalmus Hungaricus. From this angle Kurtág’s The Sayings stands for the new-old Hungarian musical tradition.
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Chong, Angela A. "Elusive Kodály Part I: Searching for Hungarian Influences in US Preschool Music Education." Hungarian Cultural Studies 15 (July 19, 2022): 33–44. http://dx.doi.org/10.5195/ahea.2022.463.

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This paper is the first part of two articles exploring whether and how Hungarian music pedagogues have influenced early childhood music education in the United States. Using less-known publications and archived materials, this study moves beyond the well-documented history of the Hungarian pedagogue, Zoltán Kodály’s influence upon American general music education to focus on Kodály’s early childhood concepts, which form the backbone of the Hungarian philosophy of music education. Through the lives and work of the Hungarian and American music educators, Katinka Dániel, Katalin Forrai, Sister Lorna Zemke and Betsy Moll, I delineate a pedigree of distinguished female Kodály protégés professing a passion for Hungarian early childhood music pedagogy that did not mainstream into US preschools. In words spoken by and about these scholar-educators, my research locates the systemic and cultural factors contributing to the challenge of implementing Hungarian musical ideas in US preschools. To round out a description of the elusive Kodály influence on US early childhood music, this analysis also draws upon my own Los Angeles experience in searching for a quality Kodály education for my young toddlers.
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Sipos, János. "In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)." Studia Musicologica 60, no. 1-4 (October 21, 2020): 313–26. http://dx.doi.org/10.1556/6.2019.00015.

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The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.
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Lázár, Katalin. "The Collection of Hungarian Traditional Games." Folklore: Electronic Journal of Folklore 91 (December 2023): 215–22. http://dx.doi.org/10.7592/fejf2023.91.lazar.

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In the first half of the twentieth century, the collection of Hungarian traditional games was housed in the archives of the department of folk music of the Hungarian Academy of Sciences. Folk music researchers published the first volume of the Corpus Musicae Popularis Hungaricae I, with the title Children’s Games, containing 1,162 songs from traditional games. As Zoltán Kodály, world-famous folk musicologist, wrote in the preface of the volume, the publication of the volume marked the beginning of the work, not the end of it. Further work has verified this. The type system of traditional games was completed in the 1980s, and contained all kinds of games. It was developed on the basis of Hungarian traditional games although it is also suitable for systematising the traditional games of other European peoples. The article exemplifies a decades-long journey of a collection from an analogue format to a database.
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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.

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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.
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GÖK, Emre, and İsmet DOĞAN. "COMPILATION WORKS OF BELA BARTOK IN ANATOLIA." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 113–30. http://dx.doi.org/10.46291/zfwt/140206.

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Composer and ethnomusicologist Bela Bartok, who came to Turkey in 1936 in order to hold conferences and studies on Turkish folk music, researched.both the relationship between Turkish folk music and Hungarian folk melodies and the roots of the similarities between the music of the two countries, which are thought to come from the same root and got interesting and valuable information. He made field studies in certain regions of Turkey, compiled the folk songs in the areas he worked, notated the songs which he compiled and then classified these folk songs. In addition to her field work, she also worked with important musicians such as Ahmet Adnan Saygun, Necil Kazım Akses, Ulvi Cemal Erkin, whom we know as Turkish fives today. Throughout all his studies in Anatolia, he said that there were both similarities and differences between Turkish and Hungarian folk music, but he argued that the two musical cultures emerged from the same root. One of the most important theses he defended was that he said that Hungarian music culture was a clear Turkish music culture and that the motifs in Turkish melodies were seen in Hungarian music. Keywords: Bela Bartok, Turkish folk music, Hungarian folk music, Cultural transfers and similarities, Pentatonic
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Frigyesi, Judit, Balint Sarosi, Gyorgy Martin, and Janos Manga. "Folk Music. Hungarian Musical Idiom." Ethnomusicology 35, no. 3 (1991): 428. http://dx.doi.org/10.2307/851976.

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Ujvári, Hedvig. "Before The Wooden Prince: Károly Szabados's Ballet Vióra (1891) in the Context of the History of Hungarian Ballet." Studia Musicologica 63, no. 1-2 (December 9, 2022): 111–29. http://dx.doi.org/10.1556/6.2022.00004.

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AbstractFollowing the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.”1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage.2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.
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Galingging, Kamaluddin, Ance Juliet Panggabean, Junita Batubara, and Chris Riveldi Wesley Purba. "KAJIAN STRUKTUR DAN BENTUK MUSIK PIANO “HUNGARIAN RHAPSODY NO. 2” BY FRANS LISZT DIMAINKAN OLEH YANNI TAN." Panggung 32, no. 4 (January 5, 2023): 503. http://dx.doi.org/10.26742/panggung.v32i4.2299.

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Penelitian ini berjudul Kajian Struktur dan Bentuk Musik Piano “Hungarian Rhapsodyno. 2” by Frans Liszt Dimainkan Oleh Yanni Tan. Metode dasar yang akan diterapkan di dalam penelitian ini adalah metode deskriptif kualitatif. Selain itu metode pendekatan yang dilakukan metode kepustakaan sehingga ditemukan dan dihasilkan Kajian Struktur dan Bentuk Musik Piano “Hungarian Rhapsodyno. 2” by Frans Liszt Dimainkan Oleh Yanni Tan.. Melalui Kajian Struktur dan Bentuk Musik Piano “Hungarian Rhapsodyno. 2” by Frans Liszt Dimainkan Oleh Yanni Tan. yang terkenal dengan ciri khas musik rhapsodynya, mengenai bentuk dan pola strukturnya serta bagian-bagian yang terdapat dalam konstruksi musiknya, bagian awal, bagian kelanjutan, bagian komplikasi dan bagian resolusi. Selain elemen kesesuaian musiknya dengan narasi , Musik Piano “Hungarian Rhapsody no 2” By Frans Lisz. yang cemerlang dalam masanya. Dengan penggunaan tingkat akor (progressi harmoni) dan permainan solois serta tempo menjadikan Rhapsody ini lebih cemerlang pada masanya. Kata Kunci: Rhapsody, Composition Structure, Piano Music, Franz Liszt
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Csüllög, Judit, and Krisztina Várady. "Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 143–72. http://dx.doi.org/10.24193/subbmusica.2020.2.11.

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"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"
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Dissertations / Theses on the topic "Music, hungarian"

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Webster, Joshua. "Creating and Performing New Australian Works on the Hungarian Concert Cimbalom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/614.

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This thesis explores the creation and performance of five new Western Australian works for the Hungarian concert cimbalom. These include four solo works, and one duet, which were scored, analysed, performed, and recorded. This thesis is in two parts: this exegetical component, which details the background, development, and findings of the research, including the scores created, and the manual that was developed for composers’ use; and a practical component, which is an active representation of the research, included as video recordings. To assist the composition of the new works, a manual was developed for the composers’ use. This manual began with archival research into the extant literature, and was supplemented with my research and the findings from the collaboration process. The developments pertained to the areas of techniques, mallet selection, preparation, and compositional approach. The manual was a valuable tool throughout the creation and development of the works and remains a work in progress. A practice-led research framework was central to the project, allowing reflection both in-action and on-action. The project is divided into three areas: the development of a manual as a tool for composers; collaboration with composers on the creation of new works; and performance and recording of the new works. The practical component of the research includes studio recordings of four of the works, and a live performance of the fifth. These performances demonstrate both the creative outcomes of the project in the form of the works, and the research findings through the use of extended techniques and compositional approach. The exegetical component contains contextual information about the current cimbalom practices in Australia. As my interaction with the research was subjective in nature, I give extensive information about my musical background, and the bodies of knowledge I drew upon in the process. This provides a context for my interaction with the research, and an understanding of my methodological approach.
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Ciarla, Luca. "Maurice Ravel's "Tzigane": A link between theclassical and the Hungarian-Gypsy traditions." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279995.

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In writing Tzigane, Maurice Ravel went beyond the mere imitation of an exotic style composing a piece that closely resembles in form, technique, and even timbre the gypsy works with which he was familiar. In addition to drawing on the Hungarian-Gypsy tradition, Ravel brought his own mastery into that world. These insights suggest to me that knowledge of the Hungarian-Gypsy violin tradition can lead to a more informed and expressive performance of Tzigane.
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Cockell, James Edward. "Schenkerism and the Hungarian oral tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ34305.pdf.

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Vinci, Teresa. "Performance practice in Hungarian folk music and its relationship to the Style Hongrois." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2265.

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This study investigates style and performance practice within the oral traditions of Hungarian folk music, and explores intersections with the nineteenth-century idiom style hongrois. Interviews, lessons, and workshops were undertaken as part of a practice-based immersive research experience, and comparisons with the style hongrois made via analysis of scores and recordings of Jeno Hubay (1858-1937). The research strives towards an ‘Historically Informed Performance’ specific to these styles, and explores how they can inform each other. Findings are presented through a dissertation and a CD recording “Never Far Away…” comprising the researcher’s violin performance as leader of an Hungarian folk band.
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Hillinger, Steven. "Tibor Idrányi – Lost and Found: The rediscovery of a forgotten composer and his music." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21874.

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Tibor Idrányi (1896–1974) was a well-known and much-admired Hungarian composer. He studied at the Royal National Academy of Music in Budapest under Zoltán Kodály. Today, however, his music has been forgotten. I discovered the music of Idrányi in 1992 in Budapest. The daughter-in-law of the composer had found numerous compositions in the attic of her home, which she offered to me. Looking over these compositions, I knew that I had found something very significant and worthy of preservation and wider dissemination. The purpose of my research is: - to examine the life and surviving music of Idrányi, asking: Who was Idrányi? What did he compose? What is his significance today? - to locate and catalogue all Idrányi’s extant compositions and sketches, along with any references to works which have been lost. - to focus on Idrányi’s orchestral music and create a critical edition with a scholarly apparatus for his composition Szimfonikus előjátek (Symphonic Prelude) Op.32 (1941). - to present this work in public performance. In addition to studying all available information and documentation owned by the Idrányi family, I have conducted extensive searches to retrieve as much information about the composer and his life as is still extant, including undertaking an interview with his daughter-in-law. The story of his life along with his compositions, painting and his standing as a violinist reveal a multifaceted and fascinating figure, who lived through an extraordinary period in Hungarian and European history. It is my hope that my research will lead to Idrányi’s music being performed and heard, taking its place in the wider musical canon.
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Wu, Siyu. "Harmonic and Rhythmic Transformation in Ligeti's Harpsichord Compositions: A Comparative Analysis of Continuum, Hungarian Rock and Passacaglia Ungherese." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595470695585872.

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Szabó, Zsolt. "Dr. Gusztáv Höna : his performance and pedagogical career and contributions to the development of the Hungarian trombone school." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3201.

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Parsons, John Lewis. "Stylistic change in violin performance 1900-1960 : with special reference to recordings of the Hungarian violin school." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55396/.

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This thesis describes and analyses stylistic change in violin performance (c. 1900-1960) by examining the so-called Hungarian violin school as an exemplar of stylistic change in this period. The thesis uses examples from both written and recorded sources to examine shifts in the use of expressive fingering, vibrato and flexibility of rhythm and tempo. The sources used include: performing editions; treatises; and recordings. In respect of the study of stylistic change, the thesis argues that recordings provide a valuable research resource for assessing the theoretical use of expressive devices, as well as the prominence, character and actual application in performance of such devices. The thesis focuses on the relationship between a player's formal training and the cultural-aesthetic influences to which he/she was subsequently exposed, and also considers the relationship between performing theory and performing practice. Chapter one explores nineteenth-century French and German antecedents to the Hungarian school, before discussing the syllabus and pedagogy of Jeno Hubay in Budapest. The cheaper concludes with a case study of the changing approaches to technique and expression of Hubay's pupil, Josef Szigeti. Chapters two, three and four concentrate on the expressive devices used in the performances of violinists in the twentieth century: chapter two explores fingering; chapter three concerns vibrato; and chapter four addresses rhythm and tempo. The thesis shows that, in the case of the Hungarian school, players retained aspects of their initial training, but that other influences played a more decisive role in their evolution as mature artists. The thesis concludes by arguing that recorded sources have a vital and significant contribution to make to the field of twentieth-century performance practice.
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Koter, Darja. "Slovenian Music and National Identity within the Austro-Hungarian Monarchy at the Beginning of the 20th Century." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21227.

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Slovenian identity took shape under cultural, political and economic circumstances that in uenced Western European civilization at its furthest eastern border. Since the 6th century, ancestors of present day Slovenes inhabited the territory of the Eastern Alps, bordering on the Pannonian plains and, in the south, on the Adriatic sea. The decisive elements of Slovenian identity were global historical processes: Christianization, the emergence of historical countries, the Reformation, the Counter-Reformation and the Catholic renewal, the forming of the Austrian monarchy, the enlightenment, romanticism, the rise of nationalism and liberalism, the development of modern democracy. Historical turning points such as Napoleon's Illyrian Provinces, the 1848 'spring of nations', World Wars I and II, and the collapse of Yugoslavia also made an impact on identity formation. These processes affected national consciousness as well as the concept of nation.
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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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Books on the topic "Music, hungarian"

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

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Sárosi, Bálint. Folk music: Hungarian musical idiom. [Budapest]: Corvina, 1986.

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Kodály, Zoltán. Folk music of Hungary. New York: Da Capo Press, 1987.

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

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Szilárd, Biernaczky, ed. Contemporary Hungarian composers of choral works. Budapest: Kórusok Országos Tanácsa, 1988.

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Imre, Harangozó, and Kővári Réka, eds. Etelközi fohászok: Válogatás a moldvai magyarság vallásos népköltészetének kincstárából. Újkígyós: Ipolyi Arnold Népfőiskola, 2005.

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

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Zoltán, Kodály. Folk music of Hungary. New York: Da Capo Press, 1987.

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Paksa, Katalin. Magyar népzenekutatás a 19. században =: Hungarian folk music research in the nineteenth century. Budapest: MTA Zenetudományi Intézet, 1988.

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Willson, Rachel Beckles. Ligeti, Kurtág, and Hungarian music during the Cold War. Cambridge, UK: Cambridge University Press, 2007.

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Book chapters on the topic "Music, hungarian"

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Kiss, Anna, Csaba Sulyok, and Zalán Bodó. "Region Prediction from Hungarian Folk Music Using Convolutional Neural Networks." In Artificial Neural Networks and Machine Learning – ICANN 2019: Text and Time Series, 581–94. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30490-4_47.

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Nagy, Dániel. "Between Tradition and Modernity, East and West—Bartók’s Musicological Reception and the Narratives of Hungarian Identity." In Music as Cultural Heritage and Novelty, 289–311. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11146-4_14.

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Baotić-Rustanbegović, Andrea. "The Presentation of the Habsburg Dynasty in Bosnia and Herzegovina under the Austro-Hungarian Rule 1878–1918: The Case of Public Monuments." In Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur/ Representing the Habsburg-Lorraine Dynasty in Music, Visual Media and Architecture. 1618–1918, 166–88. Wien: Böhlau Verlag, 2017. http://dx.doi.org/10.7767/9783205207153.166.

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Hooker, Lynn M. "Writing Hungarian Music." In Redefining Hungarian Music from Liszt to Bartók, 154–229. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199739592.003.0004.

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Krisztina, Lajosi. "Folk-music : Hungarian." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngvc3z56hwsr5gimow6rhcuf.

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"Note on Hungarian Pronunciation." In Music Divided, XXI—XXII. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933392-003.

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"Hungarian Counterpoint:." In Zoltan Kodaly's World of Music, 153–66. University of California Press, 2020. http://dx.doi.org/10.2307/j.ctv153k6bd.17.

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"12. Hungarian Counterpoint." In Zoltan Kodaly's World of Music, 153–66. University of California Press, 2020. http://dx.doi.org/10.1525/9780520971608-015.

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Stevens, Halsey. "The Dramatic Music." In The Life and Music of Béla Bartók, 285–304. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163497.003.0010.

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Abstract I the nationalist ferment of the 1840’s, the Hungarian public was ready to greet with acclaim any art-work that embodied the political philosophies of the time. Ferenc Erkel took advantage of the Hungarian state of mind to produce in the early years of that decade his operas Báthori Mária and Hunyadi L á szló, which laid the foundations for a national lyric theater. Their immediate success was somewhat clouded by the dark years following the collapse of the 1848 revolution and the exile of Kossuth, but Hunyadi L á szló in particular retained a place in the repertory. Erkel’s later operas, B á nk B á n and others, though still performed, never attained a comparable success.
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Hooker, Lynn M. "Rhapsody on Hungarian Themes." In Redefining Hungarian Music from Liszt to Bartók, 18–45. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199739592.003.0001.

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Conference papers on the topic "Music, hungarian"

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Dombi, Józsefné. "Musical Traditions and New Music in Educational Context." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-3.

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The topic of the presentation is the traditions of Hungarian elementary music schools. In this school type, music is taught in a higher number of lessons from the first to the eighth grade, in the lower primary years (from the first to the fourth grade) 4+2, later 3+2 lessons a week, the +2 refers to choir practice. The material is traditionally based on folk music, music eras, and the works of Kodály and Bartók. The presentation collects the works of Kodály and Bartók, taught in the eighth grade, and other significant pieces. New music is represented by Miklós Kocsár’s piano pieces and choir pieces.
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van der Smissen, Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.
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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. Brno: 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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Bolya, Mátyás. "A BTK Zenetudományi Intézet digitális archívum koncepciója az oktatás és a tudomány szolgálatában." In Networkshop. HUNGARNET Egyesület, 2021. http://dx.doi.org/10.31915/nws.2021.13.

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The article introduces a unique Hungarian folklore database. Its design and operation were implemented within the framework of the new digital archive conception of the Institute for Musicology. This concept seeks to keep pace with the development of digital technology. I will briefly present aspects along which our strategy was developed, assessing how the database can be utilized in the fields of education and research. Hungarian folk music research, marked by the names of Bartók and Kodály, has a very strong tradition. Huge amounts of valuable material have been accumulated. Effects of this tradition are strongly felt even today. The connection between the archival background, folk music education and the performing arts is very strong. We are currently converting the heritage of our greatest researchers into digital knowledge. Results of this approach effect many areas of culture, creating an extremely complex system embedded in the communication space. Thorough knowledge of the context is essential to be able to design effective online systems.
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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 most exciting and productive expeditions of Hungarian folklore research to Africa began. As virtually nothing was available about Ethiopian folklore in Hungary at that time, their journey amounted to an academic leap of faith. At the beginning they had no idea of the richness of the archaic dance and music culture that they would encounter. Without any knowledge of the place and the material that awaited them in Ethiopia, their only support were the 70 years of experience crystalized in the methodology of Hungarian folk music research and the tools of contemporary documentation. While, some cultural exchange between the two countries followed their journey to Ethiopia for a few years, the collection’s material slowly became forgotten. During their journey they kept detailed notes and records, but also made audio and video recordings, photographs, and bought instruments. They returned home all together with approximately 3200 meters of silent video recordings, 30 strips of audio tape and 1000 photographs. Processing the Ethiopian collection meant a new challenge for the team, since the collection itself took place more than five decades ago. We had to learn and understand a methodology that relied on the technology of the time and transfer it to a modern software environment. After digitalization we created a data structure and based on the available records and notes we made a full-scale collection reconstruction, fine-tuning the data and creating cross-references. Thus, we got a meta-data structure that could be placed to the software environment, developed by the Polyphony Project, which is capable of fulfilling online publication purposes as well as assisting research. Behind the scenes of a website that is accessible to everybody, there is a diverse database system that complies with the most rigorous of scientific standards and handles significantly more considerations that what is visible from the displayed elements. How much more is a digital reconstruction of fieldwork than the digitization of analog material? How can the information that can be extracted be maximized five decades later? How can all this be linked to a digital archive concept? The article will seek answers to these questions.
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Петренко, Татьяна. "ЭСТЕТИКА Б. БАРТОКА И ЕЕ ЗНАЧЕНИЕ ДЛЯ КОМПОЗИТОРСКОЙ ШКОЛЫ УЗБЕКИСТАНА." In Proceedings of the XXIX International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25052021/7566.

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The ingenious Hungarian composer-innovator B. Bartok in his work solved the super task – the creation of a national musical art based on the active interaction of composer creativity and folk music. This is consistent with the goals of young national composer schools. That is why the work of B. Bartok has such a great influence. In the Central Asian region, interest in the work of the composer appeared in the 1970-1980s. Bartok’s influence is observed in two main aspects – the level of ideas and the use of specific techniques. Moreover, it is especially valuable that Uzbek composers rethink Bartok's innovations in a national spirit.
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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 has also been possible to highlight the most expressive and discriminant changes in the participants brain according to the acoustic features extracted from the audio.
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Nyilasi, Zoltán. "Can the Hungarian state be sued?" In MultiScience - XXXII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2018. http://dx.doi.org/10.26649/musci.2018.052.

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Bajzát, Tünde. "International Students’ Preconceptions of Hungarian Culture." In MultiScience - XXXI. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2017. http://dx.doi.org/10.26649/musci.2017.128.

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Kiss-Kondás, Eszter. "Hungarian Land Auctions in the Mirror of New Regulations." In MultiScience - XXX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2016. http://dx.doi.org/10.26649/musci.2016.128.

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