Dalos Anna

(17 találat)
# Cím Abstract Folyóirat Oldalszám
»Kodály-domináns?« : egy új értelmezés abs.
The Kodály-dominant?
A new interpretation
Anna Dalos

The concept of the Kodály-dominant was introduced into the theoretical literature by Ernõ Lendvai when writing about Kodály’s oeuvre (in Lendvai’s book on Bartók’s and Kodály’s system of harmony, 1975). Although Lendvai sharply observed that this type of chord appears many times in Kodály’s compositions, he did not mention its belonging to the family of the augmented sixth chord. This paper attempts to demonstrate that Kodály interpreted the chord as a subdominant and not as a dominant. In the most significant source of his theory on harmony, the lecture notes of his pupil, Irma Bors, between 1935 and 1938 – a source that has not been dealt with as yet –, Kodály gives a detailed explanation of the augmented sixth chords, and characterizes them as typically subdominant chords. Moreover, it is obvious that he uses the chord in his compositions in the place of the subdominant chord: the music examples of this paper (Kodály’s String quartet No. 1., Te Deum of Budavár, Méditation) verify, that the family of the augmented sixth chord did not function as a possibility of further expansion of the functional system, as Ernõ Lendvai conceptualized, but played the role of alienation from it. In this respect Kodály – and this seems now easy to prove – belonged to a tradition which is characterized by such names as Schubert, Wagner, Schoenberg and Debussy.
2003., 41. évf. 1. szám 63. - 74.o
„Folklorisztikus nemzeti klasszicizmus” - egy fogalom elméleti forrásairól abs.
Folkloristic National Classicism – About the Theoretical Sources of a Concept
Anna Dalos

The stylistic mainstream of Hungarian music from the late 1930’s to the 1950’s was defined from the 1960’s by Hungarian musicology as folkloristic national classicism. The present study makes an attempt to explore the sources of the concept’s formation. Though from the 1960’s it was connected with Zoltán Kodály’s name and compositions, it seems probable from his essays written in the 1930’s that he took a dim view of the stylistic concept. Most likely it was Bence Szabolcsi, Aladár Tóth, Antal Molnár and András Szõllõsy, the first theorists of Kodály’s music, who, referring to Ferruccio Busoni’s Junge Klassizität from 1920, shaped the concept. The most important role in its formation was played by Antal Molnár, who devoted seven studies and books to the interpretation of the new music between 1917 and 1947. In his writings he argued that this kind of classicism would be born in the future, and regarded Bartók and Kodály as the forerunners of the new style. The main features of Molnár’s folkloristic national classicism are diatonic harmony, melodic style, new counterpoint and ethics.
2002., 40. évf. 2. szám 191. - 199.o
A "Harmincasok" és az új zenei fordulat (1957-1967) - 2011., 49. évf. 3. szám 339. - 352.o
Az ifjú Bartók Kodály-képe abs.
The Young Bartók’s Kodály-Portrait
Anna Dalos

In the Bartók-article of the new MGG László Somfai refers to the determining role that Zoltán Kodály played in the development of Bartók’s mature style. Bartók literature has stressed the decisive influence Kodály had on Bartók, and made creative relationship the subject of analysis from the point of view of folk music research methodology and their shared experience of Debussy. Rather less examined, however, was the question of how and to what extent Kodály’s compositions (written between 1906 and 1911) and aesthetic beliefs, affected those of in the years in whis his style was crystallizing. The lack of attention that the topic attractive might be a consequence of the limited information we are having about the young Kodály’s poetics. Drawing on Bartók’s first writings about Kodály, and on other documents pertaining to their relationship, in addition to the sources of Kodály’s Weltanschauung and aesthetics at this time, I have tried to turn my attention towards the characteristics which Bartók could have met in his friend’s compositional workshop and which may have impacted on the development of his later poetics (the ideal of progressive composition and of the experimental creative behaviour, or the compositional utilizing of personal motivs, for instance). This study also tries to point at the cyclic construction between the two oeuvres by analyzing the movements and the cyclic construction of Bartók’s 14 Bagatells (1908) and Kodály’s Zongoramuzsika (1909).
2005., 43. évf. 4. szám 375. - 386.o
Az Improvizációktól a Csongor és Tündéig : Bozay Attila experimentális korszaka (1971-1984) - 2014., 52. évf. 4. szám 453. - 460.o
Kodály és a zenetörténet abs.
Kodály and Music History
Anna Dalos

The 20th century witnessed many composers turning to music of earlier ages, and some seeking the possibility of drawing afresh on their own musical past in their compositions too. One of the first writers on Zoltán Kodály, Bence Szabolcsi, argued that Kodály’s recourse to history was an attempt to compensate for missing links in Hungarian music history. The study here is based on analysis of Kodály’s compositions (Háry János, Dances of Galanta, Peacock Variations, Te Deum of Budavár, Huszt) and writings in order to illuminate the way that the citing of historical styles served as a device for evaluating the nation’s history, and for critiquing its present and future. The study marks out two turning points in Kodály’s oeuvre in this context. First, after 1920 when Kodály used music history to redefine Hungarianess, and second, after his neoromantic turn in 1936 when he looked at romanticism as a way out of the cul-de-sac he perceived in the contemporary situation.
2008., 46. évf. 1. szám 71. - 92.o
Kodály Zoltán: A fúga mûvészete : a Concerto neoklasszicizmusáról abs.
Zoltán Kodály’s Art of Fugue
About the neo-classicism of the Concerto for Orchestra
Anna Dalos

Although Zoltán Kodály’s name has frequently been associated with trends in 20th-century neo-classicism, his oeuvre has never yet been examined in detail from this perspective. This is certainly the case for the Concerto for Orchestra (1939/1940), which in terms of its Bachian quotations, fugue and characteristically Baroque rhythmic types is the paradigmatic work of Kodály’s neo-classicism. This study attempts to reinterpret the form of the piece with the support of Kodály’s sketches, and strives to clarify the role of baroque elements and quotations in the composition. I draw on theories of stylistic history (specifically the Baroque) of the German art historian Heinrich Wölfflin, whose university lectures were heard by the young Kodály in Berlin, in 1906. Part of my argument is that Kodály implanted Wölfflinian characteristics of the Baroque style in his Concerto. I also suggest, however, that his intention was not merely to establish a Hungarian Baroque music (as argued by Szebolcsi). His Concerto also reflects his conception of folk music, which he conceived as bearing an archaeology of centuries of music. In this respect he created a stylistic synthesis, in which various historical-stylistic layers – folk music, Baroque elements, Classical forms, national romanticism, impressionism and new Hungarian music – appear simultaneously.
2004., 42. évf. 3-4. szám 367. - 386.o
Kurtág magyar identitása és a Bornemisza Péter mondásai : (1963-1968) - 2013., 51. évf. 2. szám 142. - 153.o
Kurtág, az elemezhetetlen : Analitikus utak az első, avantgárd korszak értelmezéséhez (1957-1962) - 2012., 50. évf. 1. szám 91. - 107.o
Miért éppen Jeppesen? : Kodály és az ellenpont-tankönyvek abs.
Why Jeppesen?
Kodály and the counterpoint text books
Anna Dalos

It is a well-know fact in Hungarian musicological literature that Zoltán Kodály (1882-1967) laid stress upon teaching Palestrina-style in his composition-classes. His pupils unanimously remember Kodály’s high regard for Knud Jeppesen’s books. This study makes an attempt to sketch out-with the help of Kodály’s readings on Palestrina style, his annotations in these readings, the correspondence between Kodály and Jeppesen and the composer’s own writings-the motives which made Kodály read about Palestrina’s Counterpoint and also Jeppesen’s theories on the subject.
2000., 38. évf. 1. szám 5. - 26.o
Szervánszky Endre elmaradt forradalma (1959-1977) - 2014., 52. évf. 1. szám 17. - 27.o
Új zenei repertoár Magyarországon (1956-1967) abs.
New Music Repertoire in Hungary (1956-1967)
Anna Dalos

It is a common assumption that Hungarian composers and musicians encountered the modern music of the post-World War II period only after 1956. In spite of this belief no one has yet examined what kind of modern music repertoire actually reached Hungary between 1956 and 1967. My study attempts to survey the compositions that were played, listened to, or analysed in Hungary, relying upon concert programs, the documents of the Archives of Hungarian Radio, the inventory of the Library of the Ferenc Liszt Academy of Music and material from private estates. Though these documents make it clear that a considerable amount of modern music reached Hungary at that time – for example the music of the ‘Darmstadt composers’: Boulez, Stockhausen, Nono, Pousseur; the works of Polish contemporaries: Lutos³awski, Penderecki; and that of the ‘postmodernist’ trend: Henze, Blacher, Zimmermann, Ginastera, Kagel, Schuller – the recollections of Hungarian composers, however, show that they did not study the entire repertoire, and were far more interested in a few pieces, such as Boulez’s Le marteau sans maître, Nono’s Il canto sospeso, Stockhausen’s Gesang der Jünglinge, Penderecki’s Hiroshima, and Lutos³awski’s Funeral Music.
2007., 45. évf. 1. szám 29. - 36.o
Una rapsodia ungherese : új zene és hagyomány Durkó Zsolt mûvészetében (1965-1972) abs.
Una Rapsodia Ungherese
New Music and Tradition in Zsolt Durkó’s Art (1965-1972)
Anna Dalos

During the 1920s Bence Szabolcsi developed the theory that Zoltán Kodály - relying on folk music and the residua of Hungarian music - filled in the missing links of Hungarian music history with his compositions. Kodály never confirmed Szabolcsi's theory, but it had a significant impact on the thinking of several generations of Hungarian composers Zsolt Durkó, on returning from Petrassi's masterclass in Rome in 1963, brought back new ideas from western Europe, and his 1964 compositions Organismi and Psicogramma made him the leading figure of the Hungarian musical avant-garde. But one year later he turned back to the Hungarian tradition with his orchestral composition Una rapsodia ungherese, and with this act he affected the contemporary musical discourse significantly, re-affirming the historical tendencies displayed by Kodály. My paper attempts to reveal what kind of considerations led Durkó to his neo-conservative turn. I analyse Durkós compositions from Una rapsodia ungherese to Burial Speech (1972) and suggest that the genre of the folk lament functioned as both a technical and poetical starting-point in his shaping of free and fixed structures.
2010., 48. évf. 2. szám 215. - 224.o
Rec. A bikapárti zenekritikus : Kroó György írásai az Élet és Irodalomban (1964-1996) - 2012., 50. évf. 2. szám 230. - 235.o
Rec. Kodály Zoltán - levelei tükrében : Zoltán Kodály: Letters in English, French, German, Italian, Latin (Közreadja: Legánÿ Dezsõ, Legánÿ Dénes) - 2005., 43. évf. 2. szám 232. - 236.o
Rec. Mit tehetünk Viski Jánosért? : Fancsali János: Viski János fiatalkori évei - 1999., 37. évf. 4. szám 437. - 439.o
Válasz Tusa Erzsébetnek - 2004., 42. évf. 2. szám 219. - 223.o