Tari Lujza

(24 találat)
# Cím Abstract Folyóirat Oldalszám
"Szles az Isonz vize..." : Az els? vilghbor s a npzenekutats - 2015., 53. évf. 1. szám 95. - 114.o
A jaj-nta krds - 1985., 26. évf. 2. szám 148. - 200.o
A tgabb krnyezet - a cignyzens Debrecen - 1996., 36. évf. 2. szám 154. - 170.o
Bartha Dnes, a 18-19. szzad magyar zenjnek kutatja abs.
Dnes Bartha, Researcher of 18th and 19th Century Hungarian Music
Lujza Tari

Researching Hungarian singing-poems between the 18th and 19th century meant primary importance of Dnes Bartha’s career. His outstanding work on this topic is his book on dm Plczi Horvth’s song collection of the turn of the 18th and 19th century (published 1953, co-written by literature historian Jzsef Kiss).
Among Plczi’s hand written notes (in primitive writing) we find many songs of old Hungarian music, item songs of German origin and instrumental versions of songs as well. The determining of melodies and the differences in rhythms from the defective transcriptions, and discovery of variants from Hungarian and European art- and folk music shows the excellence and wide knowledge of Bartha. The author of this study, being a former student of his, displays the actuality of Bartha’s achievements in the topics of Hungarian and German song, and verbunkos music.
2009., 47. évf. 2. szám 193. - 210.o
Egy kzjtk dallam - 1981., 22. évf. 3. szám 285. - 302.o
Egynisg s kzssg Kodly Zoltn kt kszoni-szkely eladjnl - 1983., 24. évf. 2. szám 145. - 187.o
Kt npszoks-dallamunk s eurpai kapcsolataik - 1982., 23. évf. 2. szám 146. - 161.o
Kodly hangszeres gyjtse - 1978., 19. évf. 2. szám 184. - 196.o
Kodly Intermezzja trijnak forrsa - 1986., 27. évf. 3. szám 294. - 311.o
Kodly Zoltn jelentsge a hangszeres npzenekutatsban - 1984., 25. évf. 3. szám 281. - 300.o
Kodly Zoltn, az egykori Mohi s a rgi magyar mdalok abs.
Zoltn Kodly, the Former Village of Mohi and Old Hungarian Art-song in Folk Music
Lujza Tari

The topic of this study is the folk music collection from the former village of Mohi (from Hungary's old Bars county), written on the occasion of the 125th birthday of Zoltn Kodly. This village is one of the most important places in the life of the composer, because Kodly used eight folksongs from here as source-material for his works. Among these the most popular folksong in Hungary is: Hej, a mohi hegy bornak, which was found also in other villages in different variants.
His collections were made in 1912 and in 1914. Singers and instrumentalists were interwiewed. The village (and the whole county) after WWI. went to (Czecho)Slovakia.
The author describes the history of the collections, and shows different samples (sound recordings and transcriptions) of the old Hungarian art songs which were present in a great number in the folk tradition of Mohi. Kodly's collection is very valuable. This is the only single folk musical material because the village no longer exists. In its place there is now a nuclear power-station.
2007., 45. évf. 4. szám 357. - 372.o
Lajtha Lszl hangszeres npzenegyjtsei: 1911-1963 - 1992., 33. évf. 2. szám 141. - 190.o
Lajtha Lszl, a palc hangszeres zene kutatja - 1993., 34. évf. 1. szám 60. - 84.o
Nhny sz az „Alla turca”-rl a bcsi klasszikus mesterektl G. Verdiig - 1990., 31. évf. 2. szám 165. - 174.o
Palc menyasszonyksr - bukovinai menyasszonykikr - 1987., 28. évf. 1. szám 26. - 33.o
Rajeczky Benjamin, a npzenetuds abs.
Benjamin Rajeczky (11 November 1901 – 1 July 1989) the Ethnomusicologist
Lujza Tari

Researches of Benjamin Rajeczky prominent personality of the Hungarian musicology cover Gregorian chant and folk music. The long list of his books and studies, the publications he edited and the reviews he wrote provide conclusive evidence of the wide range of his interests in both spheres.
The present study attempts to give a comprehensive picture of Rajeczky’s ethnomusicological activity on the occasion of 100th anniversary of his birth.
The author – who had the fortune to be almost like a member in the Rajeczky family since her childhood – in this framework describes the main phases of his activities namely such as his studies, the beginning of his career, folk music fieldworks, folk music transcriptions. On the basis of facts the main lines of the ethnomusicological life-work she presents the editor of folk musik recordings and source editions, the polymath of ethnomusicology, and research organizer of Hungarian and international studies. The study contains a full catalogue of ethnomusicological literature of this extremely versatile, morally impeccable Master, the Cistercian monk and musicologist.
2001., 39. évf. 3. szám 235. - 260.o
Schweizerlied abs.
Lujza Tari

This study focuses on a special literary and musical genre, the folksong verse known as the „Schweizerlied”, from its first appearance at the end of the 18th century to the similarly-titled songs of Franz Schubert. J. G. Herder published in 1778 the text of a Swiss folksong (a ballad) under the title Ein Schweizerliedchen. Herder wrote enthusiastically about the melody of the poem, which was first published with melody by J. F. Reichardt in 1781, and again in 1782.
This folksong is the basis of Beethoven's op. 34 piano variations in F major, „6 leichte Variationen ber ein Schweitzelied” (WoO 64, 1798). The seven movements of Beethoven's piece correspond to the seven stanzas of the poem, and the music precisely follows the story of the ballad. Zoltn Kodly, in his study entitled A magyar npzene (1937), drew attention to the fact that the basic melody of Beethoven's piano piece is identical with a Hungarian folk tune. Kodly established that the Hungarian folksong's melody was probably of German origin. The author of the present study emphasizes that following Herder, in literature Goethe, Schiller, A. von Arnim and others created a fashion for poems of the Schweizerlied type, while Beethoven's piece served as a model for Schweizerlied titled musical arrangements and the composition of new Swiss „folksongs”. This type of composition in itself became important to the Swiss people, for whom it is now undoubtedly their representative folksong.
The study reveals that in fact Swiss folksong melody became assimilated into Hungarian folk music, with various texts. In the music of the German-speaking peoples, at the end of the 18th century the folksong, from the point of view of both its melodic structure (AA5BAv) and its subject-matter, was a novelty. The melody of the song may have been introduced to Gyergy basin (after 1918, Romania) at the turn of the 18th-19th century by German immigrants from different places and ethnic groups, who brought it with them as a new song from their homeland; but of course it may also have spread by some other route.
2010., 48. évf. 2. szám 225. - 236.o
Strfaelv tmaptkezsek s motvikus periodizls a hangszeres npzenben - 1984., 25. évf. 1. szám 73. - 91.o
jabb adatok Plczi Horvth dm dalaihoz - 1989., 30. évf. 1. szám 25. - 40.o
Weiner Le mveinek npzenei forrsai - 1985., 26. évf. 3. szám 238. - 248.o
Rec. Aszobik, taikok s mikk : Krpti Jnos: Tnc a mennyei barlang eltt. Zene s mtosz a japn ritulis hagyomnyban (A kagura) - 2000., 38. évf. 1. szám 101. - 108.o
Rec. Gottfried Habenicht: Die Volksliedsammlung Linster (1933/34) aus Hatzfeld im Banat - 1989., 30. évf. 1. szám 110. - 112.o
Rec. Hagyomny s jjszlets : Folk Song Tradition, Revival and Re-Creation (ed. by Ian Russel and David Atkinson) - 2005., 43. évf. 3. szám 355. - 360.o
Takcs Jen kszntse - 1977., 18. évf. 4. szám 387. - 401.o