Richter Pl

(13 találat)
# Cím Abstract Folyóirat Oldalszám
800 dallam a „paprkosrban” : a Bartk-rend beosztatlan tmlapjai abs.
800 Melodies in the “Waste-Paper Basket”
Non Classified Sheets in the Bartk-System
Pl Richter

On the WEB site of the Institute for Musicology of the Hungarian Academy of Sciences (www.zti.hu) one of the ON-LINE databases contains the Bartk-System. One can study and search over 13,000 sheets containing transcriptions of folk tunes. The search system is based on three identifiers: system numbers given by Bartk as a result of a systematization process, inventory numbers on the verso side of the sheets, and text incipits. The first page of the database informs us about the structure of the Bartk-System, and describes classes A, B, and C as well as their subclasses. The whole material can be filtered into subclasses, and within them into number of syllables. However, there are about 800 sheets, which seem not to be classified, because they did not get system numbers from Bartk, and they can be searched only by inventory numbers or text incipits, if they have one. However, inventory numbers do not reflect the actual order of the sheets, which is why they are not suitable for localizing data. Sheets without a system number could be found in the database by chance if only their inventory numbers were known. In short, they are in the virtual “waste-paper basket” of the computerized system. The article describes the Bartk-System from this aspect, gives examples for the different groups in it, and presents ideas that may help to improve the database by making sheets without system numbers available and researchable similarly to classified data (with system numbers).

2005., 43. évf. 2. szám 141. - 153.o
A "konszonns gesz" abs.
The Consonant Gb
Pl Richter

In Kodly’s choral works without folk music background, the text usually has an influence on the melody and harmony structure. However, in his choral arrange¬ments of folk songs melody patterns esentially determine the harmonies. Each melody style, mode, and tonality (not only major-minor) can call into existence its own harmonies, which create repulsions and attractions. There are common harmonies from a formal point of view, they have a wide range relationships, and they can be used in various interpretations. As a composer Kodly was interested in the influence of partial tones, and he took them into consideration in part writing, particularly of choral works. An investigation of the choral works for 2, and 3 voices for children’s, and female choirs revealed that apart from the functio¬nal relationships of classical music, harmonies were assigned independent grounds, especially the minor seventh in Kodly’s compositions. Minor seventh harmonies were important to Kodly because of their ability to relate to different modes, and tonal systems. An obvious example is the use of the tones in the pentatonic system in Hungarian folk music, and its framing interval of minor seventh.
2008., 46. évf. 3. szám 275. - 284.o
A npi harmonizlstl a npdalok harmonizlsig - 2013., 51. évf. 4. szám 369. - 383.o
Bitematikus stratgik szonta formj ttelekben abs.
The Bithematic Strategies of Sonata Form Movements
Pl Richter

Since formal analysis has been primarily focused on sonata form movements and cycles, each age has been faced with the dichotomy and contradictory nature of formal models and the individual examples of forms. A movement may comply with the requirements of sonata form from a formal point of view, but the dimension of parts and the hierarchy of themes inferred from the structural model do not correspond to musical processes governed by other principles. The sonata principle owed its popularity for over 150 years of musical composition to its special flexibility and adaptability to various musical thoughts. According to contemporary conviction there is no single formula to describe all the pieces related to the sonata principle due to the number, diversity and various musical styles of the pieces. This article shows various bithematic strategies of sonata form movements. Although the analytical literature discusses bithematic structure sonata form in connection with double themes and motifs in the first thematic groups of Brahms symphonies, the concept allows for an interpretation in a broader sense as well. Bithematicism may be achieved in different ways depending on where the second theme is introduced in the movement. And as it is demonstrated, this does not mean an exclusiveness of themes in the movement but a distinct role in the musical process. The two themes may be related by motifs but are distinctly independent and perceivable in sound. A second theme interpreted in the above way may appear in three parts of the movement: in the development, in the tonic section directly following the first theme, or in the second group in another key. It follows from this that themes may be related by motifs but are distinctly independent and perceivable in sound. A movement: in the tonic section directly following the first theme, in the secondary or second group in another key, or in the development. These three cases mentioned above are discussed in detail.

2001., 39. évf. 2. szám 151. - 170.o
Egzotikum s depresszi - rtelmezsek s flrertelmezsek a magyaros stlus kapcsn abs.
Exoticism and Depression – Interpretations and Misinterpretations in Connection with the Style Hongrois
Pl Richter

The book The Style Hongrois in the Music of Western Europe by Jonathan Bellman was published 17 years ago. It is about the nature, origin, and use of the style hongrois in the 18th-and 19th century music of Western Europe. Bellman’s work is the only, and the first sustained study on this topic, and is well-known, often cited in the literature, first of all in the English language literature. But Hungarian musicologists have not declared their opinions yet. They have written reviews neither in English, nor in Hungarian. Partly to remedy this omission, and partly connecting to the anniversaries of Joseph Haydn, Ferenc Erkel, and Franz Liszt, it pays to confront Bellman’s arguments and data with the arguments of Hungarian scholars (ethnomusicologists and music historians), and with the facts of Hungarian history, and of different sources from the 18th-19th centuries. The research accomplishments of the last 10-15 years make it necessary to open new pages in the discourse of style hongrois.
2010., 48. évf. 1. szám 33. - 47.o
Magyar nyelv nekek 17-18. szzadi plos kziratokban abs.
Songs with Hungarian Words in 17th and 18th Century Paulite Manuscripts
Pl Richter

The present study examines 17th and 18th century Paulist music; the music of the order founded in Hungary in 1250, and explores the hymn repertoire of the Baroque and early Classicism through the study of a hymn-book (H-Bu A130). This material had been regarded as being of lesser value by Hungarian musicologists although the deep-rooted Hungarian translations of the original Latin text of some of the hymns and their concordance with Franciscan manuscripts suggest a wide-spread use. The Hungarian words to the hymns also reveal that the song repertoire alien to the Hungarian tradition belongs to the very group of 18th century church music from which those providing the musical part of the service – even if under poor conditions – could choose and spread hymns which were considered modern by contemporaries. Hungarian folksongs and melodies rooted in the folk tradition were not foreign to the Paulist practice, however, the Paulist monk Gbor Koncz closed his songbook with Christmas carols which were in wide use in Hungarian folk tradition. This study draws an accurate and authentic picture of the way the Paulist tradition influenced the retentiveness of Catholic communities and the way communal singing and a reinforcement of folk traditions increased the appeal of Catholic beliefs.
2004., 42. évf. 1. szám 27. - 36.o
Magyar nyelv nekek ferences kziratokban - 1999., 37. évf. 3. szám 285. - 298.o
Napja Isten haragjnak : Egy temetsi nek rsos emlkei s nphagyomnyban l vltozatai abs.
Dies irae – Written Sources and Folk Variants of a Funeral Hymn
Pl Richter

Already in 1933, Zoltn Kodly directed researcher’s attention to the close connection between folk music and the history of music. He said, that only ethnographical experience and ethnographical knowledge gave the necessary warmth for infusing life into the historical data of music. It means, with the help of folk music, we can study the music of earlier times in its vitality, and the music of the centuries is no longer lifeless notations on paper, on the one hand. With the help of folk music we can recover data lost from the historical sources, on the other hand. This study shows a Dies irae example from the 17th century (notated by Johannes Kajoni, a franciscan monk from Transylvania, in 1667) to illustrate the manifold relationship between folk melodies and historical data.
2006., 44. évf. 3. szám 263. - 277.o
Vallomsok letutak metszspontjban : az imdott nalak Schumann s Brahms mvszetben abs.
Declarations in the Intersection of Paths
The Adored Female Figure in the Music of Schumann and Brahms
Pl Richter

Was Clara described by tones in the music of Schumann and Brahms? Did the composers declare their love in music? Was it enough for them to cipher Clara's name in motifs, or did they use a more complex way to express their emotions? Looking for the answers different theories confront each other (eg. the results of the studies of Eric Sams and John Daverio) and biographical data and information from correspondence are considered, completed by several analyses of works.

2007., 45. évf. 4. szám 397. - 409.o
Rec. "Csupa krds s talny" : A Dek-Szentes kzirat - 2014., 52. évf. 2. szám 228. - 231.o
Rec. Gyorsrs s fonogrf : Seb Ferenc: Vikr Bla npzenei gyjtemnye - 2008., 46. évf. 3. szám 343. - 346.o
Rec. Istvnffy Benedek - harmadszor : Benedek Istvnffy: Offertories, Saint Benedict Mass - 2003., 41. évf. 4. szám 499. - 502.o
Rec. Taln mgsem marad torz : megjelent Bartk Bla npzenei rendjnek msodik ktete - 2008., 46. évf. 1. szám 109. - 112.o