Krpti Jnos

(62 találat)
# Cím Abstract Folyóirat Oldalszám
A pukcsong oroszlntnc zenei struktrja : jegyzetek egy koreai larcos jtkrl - 1992., 33. évf. 1. szám 48. - 55.o
Alternatv s modull tfoksg a japn zenben abs.
Alternating and Modulating Pentatony in Japanese Music
Jnos Krpti

According to Fumio Koizumi’s scale systematization, there are four basic types of Japanese five-tone scales consisting of either major second plus minor third (anhemiton) or minor second plus major third (hemiton). The two systems are not separated from each other, they are correlated by way of alternation or a kind of modulation. Alternation is a common practice in Japanese wind music called merikari, and modulation (mtabole) often occurs in folk performances and ritual music. Both kinds of pentatony can synchronically appear, sometimes with the effect of dissonance. This is a special kind of polyphony without vertical control. Music examples are taken from Nihon Min’yo Taikan (Corpus of Japanese Folk Songs) and Kagura: Japanese Ritual Music (CD published by J. Krpti).
2000., 38. évf. 4. szám 337. - 344.o
Amateraszu s Dmtr : egy japn grg mitolgiai prhuzamrl - 1990., 31. évf. 1. szám 20. - 28.o
Az „Egyetemes Zenetrtnet” nhny metodolgiai problmja (Kelet-Eurpa) - 1982., 23. évf. 3. szám 223. - 232.o
Az elhangols jelensge Bartk kompozcis technikjban - 1971., 12. évf. 2. szám 120. - 131.o
Azuma aszobi - szrakozs vagy rtus : megjegyzsek egy japn udvari mfaj rtelmezshez - 1987., 28. évf. 4. szám 393. - 397.o
Bartk Bla s a Kelet - 1964., 5. évf. 6. szám 581. - 593.o
Bartk s Schnberg (harmadik, befejez rsz) - 1964., 5. évf. 2. szám 130. - 142.o
Bartk s Schnberg : rszlet a szerz „Bartk Bla vonsngyesei” cm, a Zenemkiadnl sajt alatt lev knyvbl [els rsz] - 1963., 4. évf. 6. szám 563. - 585.o
Bartk s Schnberg [msodik rsz] - 1964., 5. évf. 1. szám 15. - 30.o
Bartk humora abs.
Humour in Bartk’s Music
Jnos Krpti

In Bartk’s oeuvre humour plays an important role, not only as an individual piece (e.g. Three burlesques) or movement (e.g. Burletta, String Quartet No. 6), but also as an episode in a larger instrumental composition (e.g. Allegretto indifferenza, String Quartet No. 5, V. movement). The study does not enumerate the humourous motifs, but examines the characteristics and musical means of Bartk’s humour. In spite of the Viennese masters, who created their musical jokes by surprise or combination of unrelated elements, Bartk’s jokes are manifested in grotesque and in sarcasm. His musical means are the distortion of melodic material by larger intervals, particular rhythmic patterns and semitonal shifting of certain structures.
2003., 41. évf. 3. szám 301. - 312.o
Bartk-analzis az cenon tl abs.
Bartk Analysis in America
Jnos Krpti

The study focuses on the American analytical approach to Bartk, particularly the books by Elliott Antokoletz (The Music of Bla Bartk: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley, Los Angeles, and London: University of California Press, 1984) and Paul Wilson (The Music of Bla Bartk. New Haven: Yale University Press, 1992).
Without underestimating the logic of the methods of the two above discussed American theorists and the validity of the musical phenomena and of the hidden or overt creative conceptions revealed in their work, the study concludes with two main critical remarks: (1) The title of both books The Music of Bla Bartk promises an all-embracing, complete picture of Bartk’s music. The result, however, is far from being so broad. (2) Both analyses concentrate on the pitch content, examining the peculiar tone-structure of a given work or detail (movement, section) identifying in them either the cells, or the sets understood in a narrower or wider sense. At the same time the authors completely disregard the several other but equally significant musical components of the works.
2004., 42. évf. 3-4. szám 387. - 414.o
Dallam, metrum s strfaszerkezet a kzp-marokki berber (imazighem) npzenben - 1960., 1. évf. 2. szám 169. - 188.o
Darius Milhaud emlkezete - 1974., 15. évf. 4. szám 379. - 381.o
Dodekafnia vagy tonalits? : jegyzetek Schnberg Napleon-djrl - 1974., 15. évf. 3. szám 276. - 298.o
Egy jellegzetes bartki tmatpus: a skla abs.
A Characteristic Theme Type of Bartk: The Scale
Jnos Krpti

Although the scale is an abstract and artificial melody, Bartk very often used it. I am presenting a list of nearly half hundred examples, all souverain themes occurring in important structural function. The inspiration might have come from three sources: themes of J. S. Bach and of Beethoven, furthermore folk songs. The scale themes are created by divisions of the octave by five, six, seven, eight and twelve degrees. The simple scale melody is frequently shaped by means of mistuning and asymmetry.

2005., 43. évf. 3. szám 247. - 257.o
Elmlet s gyakorlat eltrse a japn buddhista nekben - 1982., 23. évf. 2. szám 115. - 119.o
Eurpn kvl hatsok a nyugati zenben - 1972., 13. évf. 3. szám 241. - 251.o
Hangszeres dramaturgia Szllsy Andrs mveiben abs.
Dramatic Aspect of Andrs Szllsy’s Instrumental Compositions
Jnos Krpti

Although the organising principle in Szllsy’s works is mainly musical (limited serialism, linear polyphony), musical architecture is not pre-determined, but a living and dramatic structure. This dramatic sense should not be understood as something that is capable of expression in words, but rather as a psychological process, summed up in three types: dramatic discourse (monologue, dialogue), dramatic process (increase, decrease), and dramatic motion (using kinetic energy).
2002., 40. évf. 4. szám 365. - 379.o
Hemiola-jelensg a Fldkzi-tenger trsgben abs.
Hemiola Phenomenon in the Mediterranean Area
Jnos Krpti

In the North-African Arab and Berber folk music - as proved by Bartk's Algerian and my Moroccan collection - the hemiola rhythm plays an important role. There are similar results in Spanish, Greek and Turkish folk music research. Although hemiola is present in the European Renaissance and Early-Baroque art music too, as typical examples can be quoted from Josquin to Monteverdi. Its acceptable explanation is that the „one and a half” ratio of the ancient Greek rhythmic theory, realized in the additive cumulation of 2 and 3 units, could be naturally rooted in both folk and composed musical praxis. The rhythmic course “perturbed” by hemiola has been a favourite tool in the music of later eras, and in the 20th century it became starting point for Gyrgy Ligeti in his polyrhythmic Etudes for Piano.
2010., 48. évf. 1. szám 20. - 30.o
Jellemz trekvsek a fiatal magyar zeneszerznemzedk alkotsaiban - 1968., 9. évf. 3. szám 231. - 236.o
Kelet-Eurpa zenetrtnetnek sajtossgai : eltanulmny a Nemzetkzi Zenei Tancs s az UNESCO kzs gondozsban kszl egyetemes zenetrtnethez - 1984., 25. évf. 4. szám 399. - 417.o
Kurtg Gyrgy: Bornemissza Pter mondsai – Concerto szoprn hangra s zongorra, Op. 7. : gondolatok a szveg, zene s szerkezet kapcsolatrl - 1974., 15. évf. 2. szám 115. - 133.o
Liszt Ferenc Chickering-zongori - 1984., 25. évf. 3. szám 226. - 235.o
Mirt Miracle Haydn 96., D-dr szimfnija? abs.
Why Haydn's D Major Symphony No. 96 is a "Miracle"?
Jnos Krpti

One of the most important issue of Dnes Bartha's scholarly output is the fact that he consequently fighted against a petrified, up to now living theory of Adolf Bernhard Marx. Summing up Bartha's statement, those structures defined by Marx "dreiteilige Liedform" are, as a matter of fact, either "dreiteilig", nor "Liedform". The second movement of the Symphony in D major - although it does not figure among Bartha's examples - a brilliant model of the actual four-part structure, opposed to the three-part dogma. Further examples are provided how well the term enjambement introduced by Bartha serve the orientation in musical structures. And finally - presenting some analitical remarks about splendid economy, harmonic audacity and rich use of solo instruments of the symphony - , I try to prove that the erroneously attributed nickname "Miracle" can be really justified from musical side.
2008., 46. évf. 4. szám 367. - 373.o
Mtoszkutats s zenetudomny - 1985., 26. évf. 1. szám 29. - 35.o
Monolg, dialg s drmai tkzs Bartk hangszeres mveiben - 1998., 37. évf. 1. szám 55. - 68.o
Npzene s tizenktfoksg Bartk zenjben - 1969., 10. évf. 1. szám 21. - 35.o
Organolgiai tnyek s mtoszok : Bartha Dnes „Jnoshidai kettsspjnak” jraolvassa utn - 1989., 30. évf. 1. szám 3. - 24.o
Performansz-tpusok a sint valls szertartsaiban abs.
Performance Typology in Japanese Shinto Ritual Kagura
Jnos Krpti

The ceremony of Shint religion named kagura, accompanied by music and dancing, has a thousand year old tradition. Departing from the classification stamped by the name of Prof. Yasuji Honda, I am proposing a more distinctive classification according to types of the performance, supported by musical structures as well. As an issue of my research, I am proposing a new classification based upon the place and persons where and by whome kagura is performed, and upon the use or non-use of masks. Considering these criteria, we get three basic classes: (1) court kagura, a ritual with dance, without mask, (2) shrine kagura performed in or in front of a shrine, without mask and/or with mask and dance, (3) stage kagura, a ritual play with mask and dance.
2009., 47. évf. 1. szám 15. - 32.o
Tiszta s elhangolt struktrk Bartk zenjben - 1996., 36. évf. 2. szám 129. - 140.o
Rec. Kro Gyrgy: Bartk Bla sznpadi mvei - 1963., 4. évf. 1. szám 98. - 100.o
Rec. j irny a Bartk-kutatsban : Vikrius Lszl: Modell s inspirci Bartk zenei gondolkodsban. A hats jelensgnek rtelmezshez - 1999., 37. évf. 4. szám 423. - 430.o
Rec. Ujfalussy Jzsef: Bartk Bla. I-II. ktet - 1966., 7. évf. 3. szám 300. - 302.o
Rec. Zenetrtnet - konferenciatrtnet : Speaking of Music: Music conferences, 1835-1966. - 2005., 43. évf. 2. szám 229. - 231.o
Rec. Balassa Sndor: Requiem Kassk Lajosrt, op. 15. - 1972., 13. évf. 1. szám 43. - 48.o
Rec. Durk Zsolt: II. vonsngyes - 1971., 12. évf. 3. szám 282. - 288.o
Rec. Durk Zsolt: Ikonogrfia No. 2. : szl krtre s kamaraegyttesre - 1972., 13. évf. 4. szám 402. - 408.o
Rec. Kadosa Pl: Ngy dal Nelly Sachs verseire op. 68 - 1973., 14. évf. 2. szám 202. - 206.o
Rec. Kalmr Lszl: nek - 1973., 14. évf. 4. szám 401. - 405.o
Rec. Kocsr Mikls: Repliche - 1972., 13. évf. 2. szám 190. - 194.o
Rec. Lng Istvn: Arckp bellrl - 1972., 13. évf. 1. szám 38. - 42.o
Rec. Lng Istvn: Hrom mondat a Rme s Jlibl - 1972., 13. évf. 2. szám 180. - 186.o
Rec. Maros Rudolf: Consorts – fvstsre - 1971., 12. évf. 3. szám 290. - 292.o
Rec. Maros Rudolf: Jegyzetek (Notices) - 1974., 15. évf. 1. szám 90. - 95.o
Rec. Mihly Andrs: III. szimfnia - 1962., 3. évf. 6. szám 633. - 635.o
Rec. Mihly Andrs: Monodia - 1972., 13. évf. 4. szám 408. - 413.o
Rec. Papp Lajos: Cimbalomts - 1973., 14. évf. 3. szám 321. - 323.o
Rec. Srai Tibor: Zene 45 hrra - 1973., 14. évf. 2. szám 206. - 213.o
Rec. Srkzy Istvn: Concerto grosso - 1972., 13. évf. 2. szám 187. - 190.o
Rec. Sry Lszl: Catacoustics 2 zongorra - 1971., 12. évf. 3. szám 292. - 296.o
Rec. Soproni Jzsef: IV. vonsngyes - 1973., 14. évf. 4. szám 406. - 411.o
Rec. Szllsy Andrs: IV. concerto - 1971., 12. évf. 3. szám 288. - 290.o
Rec. Szllsy Andrs: Sonorita - 1976., 17. évf. 2. szám 213. - 224.o
Rec. Szllsy Andrs: Trasfigurazioni, per orchestra - 1973., 14. évf. 3. szám 309. - 321.o
A XL. vfolyam el - 2002., 40. évf. 1. szám 3. - 5.o
Helyreigazts s bocsnatkrs : utsz a Vikrius Lszl knyvrl rt recenzihoz - 2000., 38. évf. 1. szám 109.o
ICTM-konferencia Hirosimban - 2000., 38. évf. 1. szám 97. - 100.o
Ujfalussy Jzsef kszntse 80. szletsnapjn - 2000., 38. évf. 1. szám 3. - 4.o
A Bartk-zene forrsainl : Muzsiks Bartk Album - 1999., 37. évf. 3. szám 323. - 328.o
Fiatal zeneszerzk s zenetudsok tallkozja Ohridban - 1967., 8. évf. 1. szám 71. - 76.o
Kelet s nyugat ’64 : zenetudomnyi konferencia j Delhiben - 1964., 5. évf. 3. szám 308. - 313.o