Büky Virág

(5 találat)
# Cím Abstract Folyóirat Oldalszám
Bartók örökében : Pásztory Ditta, a "Bartók-interpretátor" - 2012., 50. évf. 3. szám 282. - 302.o
Bartók, avagy a nevelésrõl : primitivista eszközök Bartók zongorapedagógiai mûveiben abs.
Bartók, or on Education – Primitivist Tools in Bartók’s Piano Works for Pedagogical Purposes
Virág Büky

Bartók did not like to teach. He found teaching irksome and it was the lowest priority in Bartók’s hierarchy of professional activities. On the other hand, he taught piano for almost half a century and he composed a lot of works for pedagogical purposes, and beyond this he is generally remembered by his family and friends as someone who seized each opportunity to teach and educate in his own circle.
How could then his awkward relation to teaching, and the huge amount of his pedagogical works be explained?
In turn-of-the-century painting there existed a school whose representatives valued children’s art particularly highly basing their work mainly on it.
In the present article an attempt is made to answer the question whether there are any relationship between Bartók’s works for children and the works of such artists as Klee or Dubuffet, for whose oeuvre children’s art had an especial significance?
2005., 43. évf. 2. szám 133. - 139.o
Cunto de li cunti : egy népszerû 16. századi dal története abs.
Cunto de li cunti
The History of a Popular Song in the 16th Century
Virág Büky

The earliest sources of popular Italian vocal music make their appearance at the end of the 15th century. Within this repertoire, there is a group that is always well distinguished by its special dramatic character. These songs include short scenes, dialogues and monologues performed by stock characters familiar from the commedia dell’ arte.
During the 16th century this special songs type, variously designated as greghesca, tedesca, mascherata or moresca, finds its way into collections under the general title of Canzoni villanesce alla napolitana. Among the various genres published in these collections the vocal moresca was perhaps the most important.
The term moresca was known as early as the 14th century, and was used to mark a dance of exotic character, which often took the form of a stylized battle between Moors and Christians. Later, in the course of the 15-16th centuries the dance was performed in intermedii between the acts of courtly dramatic entertainments.
Similarly, the Moors, Lucia and Giorgia or Martina, are the protagonists the vocal moresca, of the topic of this article. Both its text and its music were significantly influenced by various other genres. The text, in which an amorous dialogue between Giorgia and Lucia takes place, has a language, which is a peculiar mixture of dialectal words derived from the lower, popular genres and learned idioms of courtly poetry. In a similar way, the music is a mixture of the elements coming from the villanesca, canzonetta and the peculiarities of the dance songs.
First, the present article lists all the genres, which has made their influence on either the text or the music of the vocal moresca. After this, an attempt is made to answer the intriguing question whether, beyond the similarity of the characters, there are other possible links between the moresca dance and the vocal moresca? Finally, striking similarities between Cunto de li cunti, a tale by Giambattista Basile (1634-1636), alluded to in the title, and the song type are discussed.
2002., 40. évf. 2. szám 129. - 145.o
Dittáé - az éjszaka zenéi - 2014., 52. évf. 2. szám 137. - 158.o
Rec. Pályakép : Bónis Ferenc: Élet-képek: Bartók Béla - 2007., 45. évf. 1. szám 105. - 109.o