Kiss Gbor

(6 találat)
# Cím Abstract Folyóirat Oldalszám
„...Sok nehzsgem volt a msodik rondval.” : egy Bartk ttel genezise - 1992., 33. évf. 2. szám 213. - 224.o
Az intzmnyes gregorinkutats m?helyben - 2014., 52. évf. 4. szám 373. - 383.o
Az j sensus communis - Kodlytl Rajeczkyig abs.
Like others, Benjamin Rajeczky was strongly inspired by Kodly's thesis, formulated in 1933, about the relationship between folk music and music history. For himself, Rajeczky drew conclusions concerning possible connections between plainchant and folk music and the usefulness of studying them simultaneously. It was ten years later that he first commented on the desirability of linking the two areas, adjusting his argumentation explicitly to Kodly's ideas. Although direct references to Kodly were later omitted, several articles were published in the subsequent decades in which Rajeczky discussed essentially the same issue, trying to elaborate and extend it with further considerations and information. This paper is intended to give an overview and evaluation of this decades-long intellectual process, which though monothematic was nevertheless open to new developments in the history of domestic and international scholarship. In this outline the following questions, among others, will be discussed: to what extent Kodly's basic assumptions were rooted in the special characteristics of Hungarian music history and folk music tradition, or to what extent they can be regarded as independent and as postulates of general validity, and whether we can regard Rajecky's ideas about the connection of plainchant and folk music as a logical continuation of Kodly's thesis or rather as independent adaptations of them, partly under the influence of developments in international scholarship.
2010., 48. évf. 3. szám 317. - 327.o
De tonorum cognitione : tonlis vltozatok a kső kzpkori miserepertorban abs.
De tonorum cognitione
- tonal variants in late medieval repertory of the Mass
Gbor Kiss

One of the most exciting facet of medieval concepts about music are the efforts to rationalize, categorize and record the melodies. The employment of the system of modes caused serious difficulties to a melody repertory that was transmitted orally and was not developed under the rules of the 8th-mode system, defined only at a later stage. The desire for a categorization of the melodies became specially strong with the introduction of staff notation. The melodies or parts of melodies that did not fit in the system were qualified as extraordinary by contemporary theorists. Two methods were used to resolve such conflicts: the introduction of 'extra' tones on the one hand and the changing of the melodies on the other, adapting them in this way to the system. Some kind of interaction between musical memory, theoretical categorization and notation remained (continued) even in the late Middle Ages. In late medieval sources we can find a large number of tonally ambivalent melodies that were not referred to in the earlier treatises. Nevertheless, in these examples the same duality of spontaneous musical reproduction and rationalizing shows itself as can be observed in the theoretical writings mentioned above. In the alternative tonal classifications different decisions and preferences are concealed, concerning the perception and interpretation of the melodies. The inherited 'decisions' became generally fixed and preserved in the different local traditions, consequently these variants are useful means in the comparative examination of the sources and source groups. While some of the variants are only mere transpositions, in other cases the alternative classifications are connected to different and more individual versions of the same melody. The aim of this study is to present several types of tonal variants found primarily in late Central European sources for the Mass.
2009., 47. évf. 1. szám 61. - 72.o
Egy kompozcitrtneti paradigmavlts elzmnyei - a liturgikus formultl az ordinriumciklusig abs.
Vorstufen eines kompositionsgeschichtlichen Paradigmawechsels – von der liturgischen Formel zum Ordinariumzyklus
Gbor Kiss

Der Begriff des ordinarium missae stellt in den musikhistorischen Reflexionen das Symbol eines solchen kompositorischen Paradigmas dar, welches die mittelalterliche liturgische Einstimmigkeit und die mit der artistischen Mehrstimmigkeit zusammenhngende kompositionsgeschichtliche Entwicklung voneinander trennt. Aufgrund etlicher spteren Angaben und Beobachtungen der Fachliteratur erscheint es uns jedoch als notwendig, die Frage differenzierter stellen zu mssen, die einschlgigen Fakten, hauptschlich die auf dem Gebiet der Einstimmigkeit zum erneuten berdenken heranzuziehen. Im vorliegender Aufsatz wird versucht, jene, das Thema betreffende Ansichten einer eingehenden Textkritik zu unterwerfen, und diese mit den Besonderheiten der mittelalterlichen Tradition der einstimmigen Melodien des Meflordinariums, darunter mit eigenen Forschungsergebnissen zu konfrontieren. Anhand dieser berlegungen ist nicht allein die historisch primre Existenz des einstimmigen Ordinariumzyklus zu besttigen, sondern ebenso jene Tatsache, da dessen ideelle Grundlagen gleichsam in der mittelalterlichen Melodieberlieferung zu suchen sind.
2001., 39. évf. 2. szám 171. - 182.o
Ordinarium dallamok s az „rmai” krdskr abs.
Ordinary Melodies in the Context of the “Old Roman Chant” Question
Gbor Kiss

The author gives an overview of the Ordinary melodies in the Old Roman sources and tries to evaluate their repertory by using a wider range of Italian and, especially, Beneventan comparative sources. A survey of the melodies reveals a conspicuous paucity of items that appear as a stable element in the standard repertory. Moreover, the Old Roman melodies differ markedly from the later Ordinary repertories concerning their style, use of mode, melodic structure, etc. Their repertory does not show the same variety and heterogeneity that often characterize the repertory of later traditions or even that of a single source during the Middle Ages. On the contrary, the material gives the impression of a remarkable uniformity and consistency. In the use of such melodies the Old Roman sources share with other contemporary Italian sources. Apparently, this melodic thinking belongs to the musical practice and taste of the 11th-13th century Italian repertories. Since the archaic character and stylistic traits of this repertory differ sharply from those of the Gregorian Ordinary repertory, the question emerges whether the 11th-13th century Italian sources preserved a melodic tradition or melodic taste prior to the Carolingian period. Nevertheless, this layer of melodies completely disappears from later Italian sources, where they were obviously suppressed by new Ordinary melodies following a different melodic taste and aesthetic principle.
2004., 42. évf. 3-4. szám 251. - 278.o