Pteri Lrnt

(12 találat)
# Cím Abstract Folyóirat Oldalszám
"A mi npnk az n npe, de az enym is..." : Kodly Zoltn, Kdr Jnos s a paternalista gondolkodsmd - 2013., 51. évf. 2. szám 121. - 141.o
"Isteni kockavetsek" : Mahler 2. szimfnija scherzjnak formjrl abs.
My forthcoming study on "Form, Meaning and Genre in the Scherzo of Mahler's Second Symphony" is going to be published in Studia Musicologica this year.
2009., 47. évf. 3. szám 283. - 295.o
A „szovjet zene” Magyarorszgon: Ilja Golovin Budapestre rkezik abs.
“Soviet Music” in Hungary. Ilya Golovin Reaches Budapest
Lrnt Pteri

Based on archival sources, this paper offers an examination of the reception of “Soviet Music” as a discoursive construct in Hungary after 1948. The Soviet music resolution 1948, by criticizing the foremost Soviet musicians and by demanding classicizing, folkloristic aesthetic tendencies in music, had a dysfunctional effect on Hungary and reinforced a feeling of superiority in Hungarian music. These developments were hardly the happiest way to prepare for a Soviet musical expansion into Hungary a few months later. Advocates of a cultural bloc underlined how Soviet institutions in their current form summarized the experience of socialist generations. To many, the music resolution appeared radical, a blank slate, which had to be fitted into this curious organic fiction. One of the attempts to place the Soviet music resolution in a new context, was through the curious medium of a theatratical performance.
The play Ilya Golovin, by Sergei Mihalkov was staged in Budapest in 1950, the year of its world premiere in the Soviet Union. It is set in the Soviet Union at the and of the 1940s. The protagonist is a celebrated Soviet composer, whose music has become formalist. Because of a criticism in Pravda Golovin sinks into a creative crisis. A year after he returns to the society. This paper analyses the subject matter of the play as a socialist-realist rite of passage comparing it with that of The Magic Flute. When the play reached Budapest, some Hungarian composers were taken by their experience and interpretation of it along a path similar to Golovin’s, and bore witness to this. So the conference on the production of Ilya Golovin organized by the Hungarian Composers’ Association and the Hungarian Drama and Cinema Association can be interpreted here as a secondary theatrical-ritual act.
2002., 40. évf. 2. szám 201. - 212.o
A Magyar Zene vtizedei : adalkok a folyirat els tven vnek trtnethez - 2011., 49. évf. 1. szám 99. - 115.o
A mrki s a tejesember : a "npi elem" Gustav Mahler 1. szimfnijnak III. ttelben abs.
The Marquis and the Dairyman: Allusions to “Folk Music” in the Third Movement of Mahler’s First Symphony
Lrnt Pteri

In this paper I wish to examine the limits within which allusions to folkloristic musical idioms in Mahler's music can be identified and interpreted.
While being born into a German-speaking Jewish family of one of the Nations of the Bohemian Crown that is Moravia, which belonged to the Austrian Empire, there was no question for Gustav Mahler that his activities as a composer would be realized within the framework of what he thought of as the 'universal' German musical culture. At the same time, even in the earliest surviving works of Mahler a key role is played by a musical difference from the Austro-German mainstream, namely, by turns of phrase behind which can be felt the influence of various popular or folkloristic practices of East Central Europe. Still, Mahler gave no clue to this musical difference, and never attached the latter to the aims of any national cultural politics. Hence Mahler's music threw into some confusion the reception of the time, fond of discussing music's national affiliation. The present study examines that phenomenon through the reception of the third movement of the First Symphony. Contemporary reviewers of the movement concurrently interpreted the 'otherness' of some musical elements as markers of a distinctively 'Hungarian', 'Jewish', or 'Slavic' musical tradition. Anti-semitic convictions and the construction of an 'eastern periphery' also played a role in the discourse. I study that discourse in the context of various strategies of Jewish identity which appeared at the turn of the 19th and 20th centuries, and also with regard to the early-20th-century debates on the conceptualization of 'Jewish music'.
I also wish to demonstrate that some recent scholarly studies of the movement seem to maintain, instead of critically examining, various national attributions of some musical materials of the movement. Still, art music's references to folk music or national popular music are not finalized facts. Passages of the third movement of Mahler's First Symphony which are widely regarded as quotations of or allusions to folk music are also apt to be interpreted in a different intertextual web in which their links to other symphonic or dramatic music can be revealed.
2010., 48. évf. 2. szám 149. - 160.o
Adalkok a hazai zenetudomnyi kutats intzmnytrtnethez (1947-1969) abs.
Contributions to the History of the Institution of Hungaryan Research in Musicology (1947-1969)
Lrnt Pteri

Based on archival sources, this paper offers a chronological history of the establishment of the main institutions of Hungarian research in musicology (including some unsuccessful plans) up to 1969. Before the Second World War musicology did not have any research institutions of its own in Hungary. After the unconcealed communist takeover (1948) the majority of the important musicologists were considered ideological enemies by the representatives of cultural policy. From 1951 the new strategy of the government was to win Zoltn Kodly and Bence Szabolcsi over while musicologists were thought to be a company of old-fashioned intellectuals in general. In 1951-1953 the newly established institutions (Committee of Musicology; Department of Musicology; Folk-Music Research Group) came under Szabolcsi’s and Kodly’s leadership. But by this period a general research institute of musicology had not been set up. After many plans and partly professional, partly political disputes it was a happy idea to connect the issues of the institute and the legacy of Bartk because of the political relevance of the latter. (Another part of the legacy is preserved in New York.) Established in 1961 the Bartk Archives were in fact a multifunctional musicological institute – and since 1969 it has been included in its name as well.
2000., 38. évf. 2. szám 161. - 191.o
Az j zenr?l szl kzbeszd s a zenepolitika sszefggsei az 1960-as vek els? felnek Magyarorszgn : Mihly Andrs 3. szimfnijnak fogadtatsa - 2014., 52. évf. 2. szám 161. - 174.o
Scherzo s „unheimlich” – mfaj s rzlet konstrukcija a hossz 19. szzadban abs.
Scherzo and the Unheimlich: The Construct of Genre and Feeling in the Long 19th Century
Lrnt Pteri

The psychological concept of the uncanny (“das Unheimliche” ) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First Wold War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzo (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.
2007., 45. évf. 1. szám 3. - 16.o
Szabolcsi Bence s a magyar zenelet diskurzusai (1948-1956) - 2003., 41. évf. 1. szám 3. - 48.o
Szabolcsi Bence s a magyar zenelet diskurzusai (1948-1956) [II. rsz] abs.
Bence Szabolcsi and the Discourse of Hungarian Musical Life 1948-56
Lrnt Pterfi

Based on archival and press sources and on the writings of Bence Szabolcsi, this paper raises and discusses questions pertinent to talking and writing on music as a part of a doctrinally determined discourse. In Hungarian musical life, there were two main ideologies to possess the public discourse after the unconcealed communist takeover (1948): Zoltn Kodly’s concept on the hand, and the late Stalinist (Zhdanovian) aesthetics on the other. One of the purposes of his paper is to reveal the different feasible strategies of the participants of the discourse on music after 1948. In doing so, the author focuses on the case of Bence Szabolcsi (1899-1973).
Szabolcsi, the historian of music was a follower of Kodly’s scholarly idea about the combination of folk music and musical historiography and he accepted his master’s aesthetic called folkloristic national classicism. He was also inspired by Wilhelm Dilthey’s Geistesgeschichte, which earned him a dubious reputation in communist political circles after 1948. Nevertheless his earlier view of ‘art music’ as based on folk and popular genres was accommodated in post-Zhdanovian musical thinking. In the first years following the communist takeover Szabolcsi’s status was ambiguous, but by 1951, as the president of the Hungarian Musicians’ Association, and as the head of the newly established musicological institutions, he had become a figurehead of the country’s Stalinist musical life.
Part 1 offers an explanation of how the “sovietization” of Hungarian musicology resulted in apparently much less change and upheaval than the the introduction of communist rule in other cultural and intellectual areas. It seems, that the relative stability and continuity of the musicological field rested to a great extent on overlapping aesthetic and academic-educational agendas of the most powerful professional personalities of the field and of the cultural-political management of high Stalinism. However the conspicuous strength of Szabolcsi and Kodly was also due to their central positions in the informal networks of Hungarian musical life.
Analysing Szabolcsi’s writings from the 1950s, Part 2 reveals the different ways in which the writing of music history can be instrumental in the affirmation of a politically established canon. Part 3 focuses on Szabolcsi’s direct statements on contemporary Hungarian composition, and examines some of his historical studies as an indirect contribution to the debates surrounding it.
2003., 41. évf. 2. szám 237. - 256.o
Rec. „Benssges szakmzs” : Krpti Jnos (szerk.): Szllsy Andrs - 2006., 44. évf. 1. szám 115. - 119.o
Rec. „Magyar rond” : Dalos Anna: Forma, harmnia, ellenpont: Vzlatok Kodly Zoltn potikjhoz - 2008., 46. évf. 3. szám 325. - 330.o