Ksznt 115. - 116. o
Csengery Adrienne
Balatonfldvr 1999
Tradci s jelen szintzise Veress Sndor Passacaglia Concertantjban : utsz Veress kompozcijnak koncert-eladshoz 117. - 126. o
Berlsz Melinda abstract
Synthesis of Tradition and the Present in Sndor Veress’s Passacaglia Concertante
Epilogue to a concert performance of Veress’s composition
Melinda Berlsz

The Passacaglia Concertante, for oboe and String instruments by Sndor Veress, is of special importance among his other works composed in the 1960s. The synthesis of the form of two baroque compositional genres: the passacaglia and the concerto have provided him a basis for a stylistic change. Building upon a foundation with the baroque traditional elements of structure, while being consciously attached to the eastern roots of his own compositional style, Veress was successful in joining the newest tendencies of western stylistic components (i. e. dodecaphony) with the elements characteristic of his earlier works. It is the special synthesis of eastern and western traditions which distinguishes the Passacaglia concertante first of all. After the wonderful performances in Hungary by Heinz Holliger, new for the first time, an outstanding Hungarian oboist, Lszl Hadady has also chosen it as a piece in his programme.
Az amerikai minimlzene hatsa az j Zenei Stdi zeneszerzire az 1970-es s 80-as vekben 127. - 139. o
Szitha Tnde abstract
The Influence of American Minimal-Music on the Composers of the New Music Studio in the Years 1970-80
Tnde Szitha

In the history of Hungarian music after the second World War, keeping an eye on overseas trends and an immediate processing of internationally perceptible stylistic novelties appeared for the first time in the attitude of composers of the j Zenei Stdi (New Musical Studio). This group of composers and performing artists intensively studied the new trends of Europe and America and for a long time they were the only musicians who – as a sort of contemporary musical workshop – thought it was important to propagate new works that were only available from foreign sources. From 1975 onwards the rich concert repertoire of the ensemble included compositions by La Monte Young, Steve Reich, Philip Glass, Terry Riley and Frederic Rzewsky and this was when some characteristic stylistic features appeared in the works of the three founding composers, Zoltn Jeney, Lszl Sry and Lszl Vidovszky and indicated the influence of the experience gained from minimal music. However, if we evaluate the effects of foreign music realistically, then it is obvious that the radical novelty for this group of musicians was not the appearance of minimal music but the trends created by the Darmstadt group and the music of Christian Wolff and John Cage immediately before. As these examples shook the very roots of everything the composers of the j Zenei Stdi had learnt during their College Academy years about the relation to traditions, basic compositional tasks, musical forms, genres, sound and timing, the inspiration that resulted from minimal music was only of secondary importance and – as indicated by their works – merely indirect. By means of a few short how the inspiration of minimal and repetitive musical elements became an individual and freely deployed means of composition in the works of Zoltn Jeney, Lszl Sry and Lszl Vidovszky, with special emphasis on the characteristics of the musical forms, rhythmic structures and sounds that they use.
Kodly nyomdokain? : az nekkar a 20. szzadi magyar zeneszerzsben s zenei letben 141. - 149. o
Ittzs Mihly abstract
In the Footsteps of Kodly?
The Chorus in 20th Century Hungarian Music and Musical Life
Mihly Ittzs

The reform of Hungarian music education and the choir movement were based on Kodly’s initiatives from the mid-20s. The German Liedertafel oriented practice and spirit was exchanged for the new folk music-based Hungarian music and the European renaissance a capella repertoire. The Singing Youth movement was organised from 1934. In the amateur choir movement more and more male choirs were reorganised as mixed choirs.
After World War II, especially in the 50s communist cultural policy gave a strongly political face to the choral movement and repertoire. In the 60s a wide gap appeared between the avant-garde and average demand and possibilities. During the past two decades many composers have returned to the earlier tradition of composition techniques.
The successes of Hungarian choirs at international competitions represent the great development based on the Kodly reforms.
Dokumentum
A „Prt” zenei bizottsgnak hatrozatai a Zenemvszeti Fiskolrl 151. - 160. o
Breuer Jnos abstract
Beschlsse des Musikkomitees des “Partei” ber die Musikhochschule fr Musik (1948-49)
Jnos Breuer

Der Musikkomitee der Ungarischer Kommunistischen Partei bestand 1945-1950. Trug zur Vorbereitung der Machtbernahme auf dem Gebiet des Kulturlebens wesentlich bei. War 1948 in Sachen der Musikkultur gewissermaen Staat in Statt. Die aufsichtsgebliebene Sitzungsprotokolle beweisen den Willen zur aggressiven Umgestaltung der Fr. Liszt Hochschule fr Musik, mit besonderer Hinsicht auf die Einstellung der Lehrttigkeit der Lehrstuhls fr Kirchenmusik als Trger antimarxistischer Ideologie.
Adalkok a hazai zenetudomnyi kutats intzmnytrtnethez (1947-1969) 161. - 191. o
Pteri Lrnt abstract
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.
Helyreigazts
[Kirly Pter tanulmnyhoz (Magyar Zene 2000/1 szm)] 192. o
Az elfelejtett szimfnia 193. - 204. o
Kaczmarczyk Adrienne abstract
Die vergessene Symphonie
Adrienne Kaczmarczyk

Die Studie beschftigt sich mit den kompositorischen Fragen der Revolutionssymphonie und mit den Grnden des Aufgebens des Plans von ungefhr zwei Jahrzehnten (1830-1853). Die Untersuchung ihrer drei verschiedenen Konzeptionen beweist, da es Beethoven’s 9. Symphonie war, die fr Liszt als Vorbild diente, und da er dabei Auflsung jener Probleme suchte, wie die Gattung der sogenannten Ode-Symphonie fortgesetzt werden kann. Obwohl er beim Komponieren der Revolutionssymphonie keine gengende Auflsung gefunden hat, kann die Entstehungsgeschichte der Symphonie zum besseren Verstndnis des Ursprungs der Programmsymphonie-Konzeption von Liszt ebenso wie seines Weimarer symphonischen Stils in allgemeinen verhelfen.
A sndiszn: befejezett s befejezetlen tredkek (Ford. Tarnczi Gabriella, Rna Annamria, Mikes va) 205. - 221. o
Kramer, Richard abstract
The Hedgehog: of Fragments Finished and Unfinished
Richard Kramer

Reprinted from 19th Century Music Vol. 21 No. 2 Issue: Fall 1997 pp. 134-148.
Abstracts 222. - 224. o
Close