To see the other types of publications on this topic, follow the link: Music, hungarian.
Journal articles on the topic 'Music, hungarian'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Music, hungarian.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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
10
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.
Full textAbstract:
"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"
11
Hooker, Lynn. "Hungarian Heritage House. URL: http://heritagehouse.hu (English); http://www.hagyomanyokhaza.hu (Hungarian)." Yearbook for Traditional Music 40 (2008): 214–16. http://dx.doi.org/10.1017/s0740155800012546.
Full text
12
Kerékfy, Márton. "Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken." Studia Musicologica 57, no. 1-2 (June 2016): 35–47. http://dx.doi.org/10.1556/6.2016.57.1-2.3.
Full textAbstract:
Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.
13
Hooker, Lynn M. "The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century." Hungarian Cultural Studies 6 (January 12, 2014): 130–47. http://dx.doi.org/10.5195/ahea.2013.117.
Full textAbstract:
Music is one of the fields in which Hungary has distinguished itself around the world, and music education is an arena in which Hungarian methods have had a profound impact. The basic principles of Hungarian music-pedagogical methods, developed by Zoltán Kodály (1882–1967) and his disciples and thus known as the Kodály method, are systematic instruction in sight-singing using “movable-do” solfège and rhythmic syllables, with the ideal of developing music literacy in all children through high-quality music, mainly classical and folk repertoire for choirs. Another type of well-known Hungarian music, so-called “Gypsy music,” is specifically denied legitimacy both in Kodály’s writings and those of some of his students, for two reasons: much of it is primarily instrumental instead of vocal, and it is considered “bad.” Yet Romani (Gypsy) musicians from Hungary have also become famous internationally, some from quite a young age. The Rajkó Ensemble, established in 1952 as the Gypsy Orchestra of the Young Communists’ League, brought Hungarian and Hungarian-Gypsy music to over a hundred countries over the years. Interviews with Rajkó members, some conducted by the author and some previously published, reveal those musicians struggling to claim the legitimacy not only of their music but of their music pedagogy, implicitly comparing the Rajkó method to the Kodály method. After a brief discussion of the Kodály method and its history, this essay gives some examples of how that method has dealt with talented Romani youth in Hungary; compares the Kodály method to methods of teaching instrumental music in Roma communities and in the Rajkó Ensemble; and considers how American ideals of multicultural education challenge some of Kodály’s tenets.
14
Péter, Éva. "The Kodály Concept Within Hungarian Music Education in Transylvania." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (June 30, 2023): 175–84. http://dx.doi.org/10.24193/subbmusica.2023.1.10.
Full textAbstract:
"The present study focuses on the native Hungarian music education in Transylvania, tracing the principles and practical elements of the Kodály concept from kindergarten to higher education. It highlights the work of Transylvanian folk music researchers, composers and teachers who helped the Kodály concept to take root in Transylvanian Hungarian music culture through their compositions, theoretical writings, or practical activities. Evidence of this can be found in theoretical writings, compositions, curricula, textbooks, and song anthologies. Keywords: let music be for everyone, folk music-based vocal music education, folk music research, textbooks, song anthologies, curricula "
15
Csüllög, Judit. "The Proportion and Importance of Folk Music in Piano Method Volume 1 and 2." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 353–81. http://dx.doi.org/10.24193/subbmusica.2023.2.26.
Full textAbstract:
"The study focuses on the folk music aspect of Piano Method Volume 1 and 2, which are still widely used in Hungarian piano teaching. It examines the proportion and function of Hungarian folk songs in the volumes. It sheds light on folk songs appearing in different phases of piano teaching and their methodological possibilities of use. Keywords: Hungarian folk music, Piano Method, piano teaching, piano methodology"
16
Radócz, Miklós. "Wind Bands for Hungarian Community Music." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 90–97. http://dx.doi.org/10.37441/cejer/2021/3/1/9355.
Full textAbstract:
The scholarly study of community bands as music communities can be considered a relatively young trend even on an international level. Despite this fact, there is more and more research done on the potential effects they may have on society and music education. Our national literary records on wind bands, however, are mainly focused on their historical background and their legacy in the military. Thus, there is an insufficient amount of information provided on the aspects of sociology and pedagogy. Besides the literary comparison done in our research, we also study the resupply of our national bands in music schools, using available data from the the 2016/2017 Statistical Yearbook of Public Education. This paper serves mainly as a tool of problem identification, laying the groundwork for further researches done in this area.
17
Miska, John. "Hungarian Art and Music in Canada." Hungarian Studies 19, no. 2 (December 2005): 319–25. http://dx.doi.org/10.1556/hstud.19.2005.2.10.
Full text
18
Vikárius, László. "Bartók’s Hungarian Musical Avant-Gardism." Theatron 15, no. 4 (2021): 54–61. http://dx.doi.org/10.55502/the.2021.4.54.
Full textAbstract:
According to Lajos Kassák’s recollections in 1961, Bartók found elements in his poetry that lay close to his own experiments in music. In a 1926 interview, however, in which he emphasized the closeness of his art to that of poet Endre Ady, Bartók unambiguously stated that the idea of Kassák and his circle to link his music with their journal was founded on a mistake. Was Bartók then really close to those few representatives of Hungarian avant-garde in the later 1910s when his art was enthusiastically propagated in the periodical MA [Today]? Bartók’s changing attitude to musical modernism and the meaning of a “Rembrantian concept,” almost casually mentioned in the same 1926 interview and obviously meant to refer to an idea markedly different from that of the so-called “activists,” are discussed in the essay with reference to the composer’s public and private writings as well as the stylistic development of his music especially between 1908 and 1926.
19
Bozó, Péter. "Theatrical landscape: Intersections between the reception of Wagner and Offenbach in nineteenth-century Budapest." Studia Musicologica 58, no. 3-4 (December 2017): 329–39. http://dx.doi.org/10.1556/6.2017.58.3-4.3.
Full textAbstract:
It is strange to find Wagner and Offenbach mentioned together at the time of their reception in nineteenth-century Budapest, and measured against each other in the Hungarian press. This study seeks to interpret that juxtaposition in terms of the system of theatrical institutions in Budapest at the time. Factors identified that concern directly the way Hungarians received the two stage composers are the multinational, multicultural character of theater life, the want of distinctions between genres, and the ongoing changes in the institutional system of the theater.
20
Dalos, Anna. "Ungarn lernt Ligeti kennen: persönliche Begegnungen und kompositorische Rezeption." Studia Musicologica 57, no. 1-2 (June 2016): 239–50. http://dx.doi.org/10.1556/6.2016.57.1-2.15.
Full textAbstract:
Hungarian composers in the past very rarely reflected on György Ligeti’s oeuvre. Concentrating on their own struggles with musical modernism and avant-garde after 1956, they considered Ligeti one of the most important Hungarian composers of their time, but didn’t really understand his concepts and techniques. My study aims at interpreting this misunderstanding through the analysis of orchestral works by Ligeti’s best Hungarian friend, András Szőllősy (1921–2007). For contemporary Hungarian musicians and critics, Szőllősy’s compositions represented the counterpart of the great émigré’s life work.
21
Malovic, Gojko. "Serbian perception of Hungarian cultural achievements between two World Wars." Zbornik Matice srpske za drustvene nauke, no. 149 (2014): 875–900. http://dx.doi.org/10.2298/zmsdn1449875m.
Full textAbstract:
Because of the conflict between the Hungarians and the Serbs in the World War I, several years after its end Serbian public did not put much effort into perceiving and forming impressions of Hungarian cultural achievements. Nonetheless, Yugoslav state institutions, primarily the Ministry of Education (also in charge of cultural affairs), paid close attention to developments in the domain of Hungarian cultural achievements. Serbian public gradually became more interested in Hungarian cultural achievements and contents. It was informed about Hungarian cultural achievements largely through articles in Hungarian newspapers and magazines, above all those specialized in cultural and artistic contents in Hungary, particularly in Budapest, covering the events in the following fields: literature, theater, music and singing, visual arts, film, and radio shows. The Yugoslav (Serbian) press also published articles on Hungarian cultural contents. Many recorded notes, findings, impressions and opinions-predominantly positive ones - of leading Serbian intellectuals, primarily writers, were preserved, which may be viewed as paradigmatic Serbian interpretations of many segments of Hungarian cultural and artistic events between the two world wars. There were many initiatives by Hungarian cultural figures, as well as by leading Serbian intellectuals, for a closer and more direct contact with Hungarian cultural achievements through visits and presentations of cultural contents by prominent Hungarian writers, actors and theater troupes, singers and choirs, visual artists and other Hungarian cultural and artistic groups in Serbian towns, foremost in Vojvodina, a significant number of which were carried out. Many Serbs became directly acquainted with Hungarian cultural contents and accomplishments between the two world wars by visiting numerous cultural events in Hungary, primarily in Budapest.
22
Dunnett, Roderic. "Amsterdam: Hungarian State Opera at Het Muziektheater in Szókolay's ‘Blood Wedding’." Tempo 59, no. 232 (April 2005): 77–78. http://dx.doi.org/10.1017/s0040298205230176.
Full textAbstract:
Blood Wedding is the first opera by the Hungarian composer Sándor Szókolay, (b.1931), who being three years older than Birtwistle and Maxwell Davies is, with Emil Petróvics (whose Kafka-like one-acter C'est la Guerre coexists with Blood Wedding in the Hungarian State Opera's regular repertoire), arguably the leading modernist among Hungarian opera composers.
23
Schneider, David. "Mad for Her Country: Melinda’s Insanity, the Puszta, and Nationalist Dramaturgy in Ferenc Erkel’s Bánk bán Act 3." Studia Musicologica 52, no. 1-4 (March 1, 2011): 47–64. http://dx.doi.org/10.1556/smus.52.2011.1-4.4.
Full textAbstract:
Framed by Béla Bartók’s criticism of Ferenc Erkel’s nationally inappropriate style in his polemic “On Hungarian Music,” this article examines, on the one hand, the overlap between the conventions of the bel canto Italian mad scene and the structure of verbunkos in Act 3, scene 1 of Erkel’s Bánk bán, and, on the other, the dramaturgical and national significance of Erkel’s particular mixture of such international and Hungarian traditions. In particular, I consider the seeming incongruence between the typically celebratory mood of the csárdás and its function as the cabaletta of Melinda’s mad scene as an expression of Hungarian national preoccupation with victimhood (propagated by such foundational national texts as Mihály Vörösmarty’s 1836 Szózat, which has served as Hungary’s “second national anthem”). Melinda’s mad scene takes place on the banks of the Tisza River on the Great Hungarian Plain, a location of central importance to Hungarian national identity. This environment, which Erkel and his librettist invented for the mad scene, reinforces Melinda’s tragic role as a symbol of the nation. With eye and ear attuned to Hungarian traditions on several different levels, a close reading of this scene demonstrates that even when Erkel works within well-worn traditions of the international opera stage, he does so in a manner specifically suited to the spirit of nineteenth-century Hungarian nationalism.
24
Okamoto, Yoshiko. "Béla Bartók’s controversy with Géza Molnár in 1911: As a member of the “Transitional generation”." Studia Musicologica 58, no. 2 (June 2017): 129–46. http://dx.doi.org/10.1556/6.2017.58.2.1.
Full textAbstract:
Béla Bartók’s “On Hungarian Music,” one of his controversial articles published in 1911, is known for criticizing Géza Molnár’s book, Theory of Hungarian Music (1904). However, it has not been mentioned that Molnár himself replied to Bartók’s article in the next volume of Aurora [Dawn] magazine, using exactly the same title as Bartók’s. While Bartók asserted that true Hungarian music had never existed before, Molnár, a musicologist in Budapest, bitterly criticized Bartók’s assertions from an academic perspective. This controversy over Hungarian music published in Aurora seemed quite crucial for understanding and relativizing Bartók’s position at that time. The historian Mary Gluck explained that several intellectuals, including György Lukács and Béla Balázs, had to depend on the older generation, both financially and philosophically, during that period. Using Gluck’s framework, this paper examines the genesis of Bartók’s article and the connection between him and the intellectuals in 1911, as well as to interpret this controversy. In conclusion, the controversy with Molnár, and plausible “defeat” in the field of musicology could be added to his list of challenges and setbacks before 1912, the year that saw Bartók’s temporal exit from public musical life.
25
Mike, Ádám. "The History of Secondary Music Education in Two Significant Institutions in Hungary up to the Middle of the 20th Century." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 63–77. http://dx.doi.org/10.24193/subbmusica.2020.2.04.
Full textAbstract:
"When it comes to the exploration of history of theoretical classes in Hungarian secondary education, it's indispensable to learn about the structure, operation and formation process of conservatoire, the type of institution, which was formed in the 19th century. This study is intended to briefly present the Hungarian institutionalized music education and, after that, to describe the first hundred years of the two significant school of the conservatory institution-system in detail: the National Music School and the Debrecen Music School. In the study we demonstrate the background of formation, the operation, the structure and the eminent leaders of the institutions mentioned above and highlight their transformation in the different education policy systems. Keywords: Music Education in Hungary, National Music School, Debrecen Music School"
26
HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (March 2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.
Full textAbstract:
AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradition. Drawing on media sources and on fieldwork in Hungary and Romania, I examine how authenticity and ‘Gypsiness’ are presented and controlled by the scholars, musicians, and administrators who lead the táncház movement, in particular in the context of camps and workshops dedicated to Hungarian folk music and dance. Organizers often erect clear boundaries of status, genre, and gender roles through such events, which, among other things, address the anxiety raised by Rom musicians’ power in liminal spaces. In addition, I look at how Rom musicians both negotiate with the táncház’s aesthetic of authenticity and challenge it musically. Finally, I discuss how musicians and the crowds that gather to hear and dance to their music together create a carnival atmosphere, breaking down some of the boundaries that organizers work so hard to create. Throughout, I demonstrate that liminality is an extraordinarily pertinent lens through which to view Roma participation in the Hungarian folk music scene.
27
Erdely, Stephen, Bela Bartok, Sandor Kovacs, and Ferenc Sebo. "Hungarian Folk Songs. Complete Collection." Yearbook for Traditional Music 26 (1994): 128. http://dx.doi.org/10.2307/768251.
Full text
28
Dreisziger, Nándor F. "A Hungarian Patriot in American Exile: Béla Bartók and Émigré Politics." Journal of the Royal Musical Association 130, no. 2 (2005): 283–301. http://dx.doi.org/10.1093/jrma/fki013.
Full textAbstract:
Béla Bartók was an intensely private man who avoided politics throughout most of his life. At the same time he was so passionately devoted to his Hungarian nation that, even during the difficult years of his American exile, he felt compelled to become involved in pro-Hungarian activities. At one point he accepted the leadership of an organization that had started out as a political lobby and a base for a possible Hungarian government-in-exile.
29
Domokos, Mária. "Hungarian Folk Music from Moldavia and Bukovina." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 1 (February 1, 2003): 121–30. http://dx.doi.org/10.1556/smus.44.2003.1-2.12.
Full text
30
Keszeg, Anna. "Media nostalgia in contemporary Hungarian pop music." Hungarian Studies 31, no. 2 (December 2017): 223–34. http://dx.doi.org/10.1556/044.2017.32.1.8.
Full text
31
Tőkés, Gyöngyvér Erika. "The Third-level Digital Divide among Elderly Hungarians in Romania." Acta Ethnographica Hungarica 66, no. 1 (April 11, 2022): 241–59. http://dx.doi.org/10.1556/022.2021.00005.
Full textAbstract:
Abstract The aim of the present study is to examine the characteristics of the third-level digital divide among elderly Hungarians (over 65 years of age) in Romania. The third level of digital divide indicates the emergence of digital habits in the Bourdieusian sense, which provide real benefits in different areas of everyday life. Hungarian elderly people in Romania are clearly lagging in terms of the third-level digital divide. The explanation for this is partly to be found in the limits imposed by the characteristics of their age and partly in their socio-economic situation. Elderly Hungarian people in Romania tenaciously adhere to their usual ways of life and previously established daily habits, and their repertoire does not integrate the use of digital technology. The results obtained in this study of elderly Hungarians in Romania are in line with the research results of digital inequalities, according to which there is a relationship between the degree of digital competence, the structure and usefulness of digital activities, and inequalities according to the traditional dimensions of social stratification (economic, cultural, individual).
32
Bartalis, Izabella. "Primary School Extracurricular Music Activities in Covasna and Harghita Counties." Central European Journal of Educational Research 3, no. 1 (April 30, 2021): 36–46. http://dx.doi.org/10.37441/cejer/2021/3/1/9349.
Full textAbstract:
Arts education, including music teaching (Dohány, 2010) in elementary schools is getting less and less importance in our present day education system, accordingly we find quite relevant to investigate the situation of music teaching in Romania among the Hungarian minority educationís elementary classes. This present study would like to map the extracurricular fields of music teaching in Covasna and Harghita counties in Hungarian classes through a questionnaire research made among teachers. Our objective is to investigate extracurricular musical education in elementary classes, where we would like to find out what kind of musical activities exist in this area and how intensively do pupils take part in these activities. The self-made questionnaire was sent out online in Covasna and Harghita counties, based on the teachers ‘database at the end of January in 2020. 78 elementary school teachers took part in this research. All the collected data was processed with the help of a statistical data analysing software, examining the descriptive statistical indicators. The analysis shows that few elementary class students take part in extracurricular activities.Romanian music pedagogy research do not extend to Hungarian minority classes, thus we see it important to investigate the extracurricular activities in counties where Hungarian minorities live.
33
Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
Full textAbstract:
The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
34
Chong, Angela A. "Elusive Kodály, Part II: The Hungarian Foundations of the Baby-Toddler Music Industry in the US." Hungarian Cultural Studies 15 (July 19, 2022): 45–61. http://dx.doi.org/10.5195/ahea.2022.464.
Full textAbstract:
This article is the second part of a study investigating how Hungarians have influenced early childhood music education in the United States. In Part One, Chong documented the lesser-known histories of four Hungarian and American female scholar-educators who promoted the early childhood concepts at the heart of Zoltán Kodály's approach to music education. In this study, she traces Kodály’s footprints to private, stand-alone baby-toddler music classes in the US. In the 2000’s, baby-toddler music enrichment exploded in popularity as the children’s activity industry became one of the fastest growing sectors of the US market. Only a handful of local programs are explicitly Kodály-based, such as Sing, Play, Move!, at Holy Names University’s Kodály Center. Chong’s search in the Los Angeles area for quality Kodály instruction for her toddlers led to highly lucrative major US providers of baby-toddler music such as Music Together and Kindermusik. These programs share Kodály pedagogical practices, such as that of singing folk music in the children’s mother tongue, but map histories without reference to Hungary and attribute their approaches to American men not known as Kodály protégés. This paper explores whether the impressive profits and musical excellence of these programs can rightly be attributed to Kodály.
35
Giménez-Rodríguez, Francisco J. "De Falla's Hungarian Success: A háromszögletű kalap (1928)." Studia Musicologica 59, no. 3-4 (December 2018): 309–21. http://dx.doi.org/10.1556/6.2018.59.3-4.4.
Full textAbstract:
Abstract In this study, I examine a hitherto completely unknown subject: the Hungarian reception of Manuel de Falla's ballet pantomime, El sombrero de tres picos (The three-cornered hat). As I point out, the story of the piece began well before Falla composed his music: Alarcón's novel was published in a Hungarian translation just two decades after the Spanish original. In the first decades of the twentieth century, the Budapest Opera House (Magyar Állami Operaház) and Municipal Theatre (Városi Színház) developed intensive opera, theatre, and ballet seasons, in association with the main European capitals during the first decades of the twentieth century. De Falla's ballet was premiered in Budapest in 1927 by Diaghilev's Russian Ballet, in the Municipal Theatre under the Hungarian title A háromszögletű kalap. The piece had such success that it had to be repeated three times. What is more, a Hungarian production was premiered in the Budapest Opera House one year later and this production continued until 1963, delivering a total of 75 performances. The sources (among others the handwritten performing scores) of this latter production preserved in the National Széchényi Library and in the Archives of the Hungarian State Opera House reveal an intense work of choreographic adaptation, along with careful design of staging, costumes, lightning, and scenery effects, all accomplished by great international personalities to make this very Spanish ballet understandable to the Magyar audience. Falla's work also found a significant support in the press, highlighting both the plot's universality and the expressiveness of his music, which had made it a Hungarian success.
36
Domokos, Mária, and Katalin Paksa. "The Hungarian folk song in the 18th century." Studia Musicologica 49, no. 1-2 (March 1, 2008): 105–25. http://dx.doi.org/10.1556/smus.49.2008.1-2.6.
Full textAbstract:
In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.
37
Laslavíková, Jana. "Between province and metropolis. The opera repertoire of the Pressburger Stadttheater in the late nineteenth century." Studia Musicologica 58, no. 3-4 (December 2017): 363–77. http://dx.doi.org/10.1556/6.2017.58.3-4.5.
Full textAbstract:
The establishment and development of the Municipal Theater in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theater was built by the rising stratum of Pressburg townsmen, based on a requirement of the Hungarian government. The theater was in the possession of the town that rented it to theater directors and their German and Hungarian companies. The theater had a primacy among provincial theaters in Hungary. This was mainly due to the vicinity of Vienna and the efforts to resemble the metropolis, notably by the local patriotism of Pressburg inhabitants who wanted their locality to be regarded as a leading Hungarian town. The opera performances and their reception in the newspapers demonstrate the history of culture of the town, mentalities and collective identifications of its citizens, and last but not least the history of culture of Central Europe.
38
Laskai, Anna. "Ernő Dohnányi's Library and Music Collection." Studia Musicologica 59, no. 1-2 (June 2018): 99–208. http://dx.doi.org/10.1556/6.2018.59.1-2.8.
Full textAbstract:
It is not an easy task to reconstruct the library and music collection of a composer, whose homes – from Hungary through some European cities and South America to the United States – cannot be counted on the fingers of both hands. This paper investigates the story of Ernő Dohnányi's music collection and music library: summarizes the stages of Dohnányi's life, where he stayed for a longer period of time, therefore makes it possible to round up a considerable library and also discusses the lists, which give account of the items of the composer's books and scores. These lists preserved about the content of Dohnányi's previous Hungarian books and music collections of the Széher út villa, the music collection on Városmajor utca (the house of Dohnányi's sister), and about the library and music collection of the Dohnányis' Tallahassee home. The author of this paper could use the items of Dohnányi's books and scores, which the composer possessed in the final decade of his lifetime, too. At present, these documents, Dohnányi's American Estate is in the care of the Archives for 20th–21st Century Hungarian Music of the Institute for Musicology, Research Centre for Humanities of the Hungarian Academy of Sciences, Budapest. Beside the lists, the correspondence between Dohnányi and his sister, Mici, also contains information about the story of Dohnányi's libraries and music collections. This overview follows Dohnányi's collection even during the American years when he wanted to receive volumes of his former library, and understandably wanted to establish as rich a library as he had in his previous homes.
39
Richter, Pál. "Die Musik der ungarischen Pauliner im 17.–18. Jahrhundert." Studia Musicologica 51, no. 3-4 (September 1, 2010): 405–18. http://dx.doi.org/10.1556/smus.51.2010.3-4.11.
Full textAbstract:
After the Turkish domination three monastic orders, the Jesuits, the Franciscans, and the order of the Hermits of St. Paul took major part at reconstruction, re-Catholicizing, and education in Hungary. Since the Paulines, as the sole order founded in Hungary, used the liturgy of Esztergom from the beginning of the 14th century, researches on 17–18th century music of the order focused mainly on mediaeval relics: survival of plain chant and the so-called Hungarian notation. Information about the musical life and the music of Paulines can be combined from two types of sources: from inventories, diaries, historia domus of dissolved monasteries, and from musical manuscripts (choir-books, organ-books) written and used by Pauline monks. The song repertoire (hymns) of the Baroque and early Classic era had been regarded of lesser value by Hungarian musicologists although Hungarian translations of some of the songs and their concordance with Franciscan manuscripts suggest a widespread use. Hungarian folksongs and melodies rooted in the folk tradition were not foreign to the Pauline practice: P. Gábor Koncz closed his songbook with Christmas carols which were in wide use in Hungarian folk tradition. Some polyphonic pieces also belong to the accurate and authentic picture of Pauline tradition of the 17–18th century. This polyphony requires no professional singers, it is a very simple, folk-like homophony in pastoral manner appropriate to education at schools.
40
Baalbaki, Ioana. "From ethnomusicologist to composer. Sándor Veress and the Moldavian Collection." Artes. Journal of Musicology 22, no. 1 (March 1, 2020): 245–61. http://dx.doi.org/10.2478/ajm-2020-0014.
Full textAbstract:
AbstractAs a student of Zoltán Kodály and Béla Bartók, but also a close collaborator of László Lajtha at the Hungarian Ethnographic Museum in Budapest, and later of Béla Bartók at Folk Department of the Hungarian Academy of Science, Sándor Veress followed the path of his masters regarding the relation with folklore music. In 1930, he undertook an expedition in Moldavia, Romania, to collect music from the Csángó population, a small Hungarian speaking community, of catholic faith, living in the east of the Carpathian Mountains. In the seven villages he has visited, he collected, with the help of the phonograph, 138 folk songs on 57 wax cylinders, taking in the same time around 60 pictures and documenting the whole expedition in a journal. Following this journey, during the 30’s, Sándor Veress not only transcribed and analyzed the entire material, but also selected some of the melodies and used them as theme for his own choir arrangements and chamber music compositions.
41
Pócs, Éva. "The Hungarian táltos and the shamanism of pagan Hungarians. Questions and hypotheses." Acta Ethnographica Hungarica 63, no. 1 (June 2018): 149–96. http://dx.doi.org/10.1556/022.2018.63.1.9.
Full text
42
Fazekas, Gergely. "‘Unhealthy’ and ‘ugly’ music or a ‘compass pointing towards a purer art of superior quality’? The early reception of Debussy in Hungary (1900–1918)." Studia Musicologica 49, no. 3-4 (September 1, 2008): 321–39. http://dx.doi.org/10.1556/smus.49.2008.3-4.6.
Full textAbstract:
It is sufficiently well documented how Kodály and Bartók discovered the music of Claude Debussy in 1907, albeit Debussy’s music was not unknown in Hungary at least since the first performance of his String Quartet in the autumn of 1905. The present essay gives a survey of Debussy’s early critical reception in the Hungarian press from the first Budapest performances of his works until the obituaries of 1918; Debussy’s visit to Budapest at the beginning of December 1910 is discussed in detail. Though the majority of the press was not really open to Debussy’s new music, there were some supporters and knowledgeable enthusiasts of his art right from the beginning; moreover, the Royal Hungarian Opera House was going to première Pelléas et Mélisande as early as the 1908–1909 season but for unknown reasons this was postponed until 1926. By the end of the first decade of the 20th century, Debussy was acclaimed in Hungary as one of the most important composers of new music, though the lasting value of his art was then open to doubt. But his aesthetics was considered a model by the representatives of new Hungarian music and their devotees; as Kodály put it in 1918, ‘his compass points towards a purer art of superior quality’.
43
Grymes, James. "“Dohnányi was not—and could not have possibly been—a war criminal” the Hungarian defense of Ernő Dohnányi, 1945–1949." Studia Musicologica 54, no. 3 (September 1, 2013): 301–17. http://dx.doi.org/10.1556/smus.54.2013.3.4.
Full textAbstract:
In the years following World War II, Ernő Dohnányi was falsely accused of being a war criminal. Although scholars have assumed that this smear campaign was the result of a conspiracy by the entire Hungarian musical community, this widely accepted belief overlooks a number of prominent Hungarian musicians who consistently came to Dohnányi’s defense. In 1945, Zoltán Kodály led a delegation of musicians from the Franz Liszt Academy of Music who convinced the Hungarian Minister of Justice to remove Dohnányi’s name from an unofficial list of war criminals. In the following year, Kodály and Ede Zathureczky, who had succeeded Dohnányi as the Director General of the Liszt Academy, wrote letters to the US military government in support of Dohnányi’s rehabilitation. Finally, in 1949, Zathureczky obtained confirmation from the Ministry of Justice that the investigation of Dohnányi had been terminated—a message that Kodály himself communicated to Dohnányi. Drawing on documents from the Liszt Academy archives and the Dohnányi estate, this article chronicles the previously unknown Hungarian defense of Ernő Dohnányi.
44
Rodríguez-Lorenzo, Gloria A. "The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí." Studia Musicologica 60, no. 1-4 (October 21, 2020): 243–62. http://dx.doi.org/10.1556/6.2019.00012.
Full textAbstract:
The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.
45
MAYES, CATHERINE. "RECONSIDERING AN EARLY EXOTICISM: VIENNESE ADAPTATIONS OF HUNGARIAN-GYPSY MUSIC AROUND 1800." Eighteenth Century Music 6, no. 2 (August 3, 2009): 161–81. http://dx.doi.org/10.1017/s1478570609990066.
Full textAbstract:
ABSTRACTWesternized Hungarian-Gypsy music (or the so-called style hongrois) has invariably been described as exotic. Although such a characterization is appropriate for later nineteenth-century compositions, I argue that it is inadequate for many of the earliest Viennese adaptations of Hungarian-Gypsy music. I focus in particular on representative examples from the sphere of Hausmusik, in which early adaptations were most numerous, yet which has received the least scholarly attention. Although these adaptations evoke a foreign place and foreign people through their descriptive titles, they are not, in most instances, exotic in style.
46
Ito, Nobuhiro. "Bartók’s Slovak folksong arrangements and their relationship to Stravinsky’s Les noces." Studia Musicologica 53, no. 1-3 (September 1, 2012): 311–22. http://dx.doi.org/10.1556/smus.53.2012.1-3.21.
Full textAbstract:
Bartók left behind over 300 folksong arrangements. In the field of vocal music, three series are based on Slovak folksongs: Five Slovak Folksongs for male choir (1917, BB 77), Four Slovak Folksongs for mixed choir and piano (1917, BB 78) and Village Scenes (1924, 1926, BB 87). The series are strongly connected among themselves in terms of textual content, formal concept, and treatment of folk melodies. In Village Scenes, Stravinsky’s influence is unmistakable. Not only was Bartók “influenced” by Stravinsky but he also imitated and even “quoted” Les Noces (1923). The article examines the relationship between the two works using Bartók’s 1928 essay Hungarian Folk Music and New Hungarian Music as a point of reference.
47
Szerzô, Katalin. "Ödön Mihalovich: Toldi szerelme (Toldis Liebe). Eine ungarische Oper vom Ende des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 85–94. http://dx.doi.org/10.1556/smus.52.2011.1-4.6.
Full textAbstract:
On 18 March 1893 the opera Toldi by Ödön (Edmund von) Mihalovich (1842–1929) was premiered at the Royal Hungarian Opera House in Budapest. Three month later Ferenc Erkel, founder and single most important composer of the Hungarian national opera died. One of the funeral speeches at his burial was held by Mihalovich. This gesture was meant as a symbolic mounting of the guard on the national operatic scene. However, Toldi, written on a libretto based on Toldi szerelme (Toldi’s Love), the middle epic of János Arany’s Toldi trilogy, proved to be unsuccesful. It was staged again as Toldi’s Love in 1895 after a thorough revision. One cannot overlook the fact that in the newly composed third act Mihalovich wanted to write the loyalist counterpart of the conflictuous third act in Erkel’s Bánk bán. The paper discusses the question whether the first and only opera on a Hungarian text by the solid Wagnerite Mihalovich could at the time fulfil the official national expectations and become the representative national opera of the Millennium, that is, the Thousand Year Jubilee of the Carpathian Basin’s conquest by the Hungarian tribes, celebrated in 1896.
48
Dalos, Anna. "Parlando Rubato György Kurtág and Hungarian Folk Music." Studia Musicologica 60, no. 1-4 (October 21, 2020): 115–27. http://dx.doi.org/10.1556/6.2019.00006.
Full textAbstract:
This study focuses on the use of the parlando rubato style of Hungarian folk music in György Kurtág’s compositions. Kurtág applies the terms parlando, rubato,and molto rubato several times, and these designations always refer to a clearly defined meaning in his compositions, connected to “Hungarianness” and sexuality. This study aims to reveal these meanings, aided by Kurtág’s compositional sketches and notes preserved in the Paul Sacher Foundation in Basel, as well as through analysis of vocal works such as the Four Songs (op. 11), S. K. –Remembrance Noise (op. 12), Attila József Fragments (op. 20), Seven Songs (op. 22), Eight Choruses (op. 23), Kafka Fragments (op. 24), and Three Old Inscriptions (op. 25).
49
Tari, Lujza. "Musical Instruments and Music in Hungarian Folk Tales." Studia Musicologica Academiae Scientiarum Hungaricae 34, no. 1/2 (1992): 81. http://dx.doi.org/10.2307/902362.
Full text
50
Sarosi, Balint. "Everyday Hungarian Music in Pest-Buda around 1870." Studia Musicologica Academiae Scientiarum Hungaricae 40, no. 4 (1999): 325. http://dx.doi.org/10.2307/902502.
Full text