Köszöntõ 115. - 116. o
Csengery Adrienne
Balatonföldvár 1999
Tradíció és jelen szintézise Veress Sándor Passacaglia Concertantéjában : utószó Veress kompozíciójának koncert-elõadásához 117. - 126. o
Berlász Melinda abstract
Synthesis of Tradition and the Present in Sándor Veress’s Passacaglia Concertante
Epilogue to a concert performance of Veress’s composition
Melinda Berlász

The Passacaglia Concertante, for oboe and String instruments by Sándor 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, László Hadady has also chosen it as a piece in his programme.
Az amerikai minimálzene hatása az Új Zenei Stúdió zeneszerzõire az 1970-es és 80-as években 127. - 139. o
Szitha Tünde abstract
The Influence of American Minimal-Music on the Composers of the New Music Studio in the Years 1970-80
Tünde 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 Új Zenei Stúdió (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, Zoltán Jeney, László Sáry and László 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 Új Zenei Stúdió 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 Zoltán Jeney, László Sáry and László Vidovszky, with special emphasis on the characteristics of the musical forms, rhythmic structures and sounds that they use.
Kodály nyomdokain? : az énekkar a 20. századi magyar zeneszerzésben és zenei életben 141. - 149. o
Ittzés Mihály abstract
In the Footsteps of Kodály?
The Chorus in 20th Century Hungarian Music and Musical Life
Mihály Ittzés

The reform of Hungarian music education and the choir movement were based on Kodály’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 Kodály reforms.
A „Párt” zenei bizottságának határozatai a Zenemûvészeti Fõiskoláról 151. - 160. o
Breuer János abstract
Beschlüsse des Musikkomitees des “Partei” über die Musikhochschule für Musik (1948-49)
János Breuer

Der Musikkomitee der Ungarischer Kommunistischen Partei bestand 1945-1950. Trug zur Vorbereitung der Machtübernahme auf dem Gebiet des Kulturlebens wesentlich bei. War 1948 in Sachen der Musikkultur gewissermaßen Staat in Statt. Die aufsichtsgebliebene Sitzungsprotokolle beweisen den Willen zur aggressiven Umgestaltung der Fr. Liszt Hochschule für Musik, mit besonderer Hinsicht auf die Einstellung der Lehrtätigkeit der Lehrstuhls für Kirchenmusik als Träger antimarxistischer Ideologie.
Adalékok a hazai zenetudományi kutatás intézménytörténetéhez (1947-1969) 161. - 191. o
Péteri Lóránt abstract
Contributions to the History of the Institution of Hungaryan Research in Musicology (1947-1969)
Lóránt Péteri

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 Zoltán Kodály 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 Kodály’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 Bartók because of the political relevance of the latter. (Another part of the legacy is preserved in New York.) Established in 1961 the Bartók Archives were in fact a multifunctional musicological institute – and since 1969 it has been included in its name as well.
[Király Péter tanulmányához (Magyar Zene 2000/1 szám)] 192. o
Az elfelejtett szimfónia 193. - 204. o
Kaczmarczyk Adrienne abstract
Die vergessene Symphonie
Adrienne Kaczmarczyk

Die Studie beschäftigt sich mit den kompositorischen Fragen der Revolutionssymphonie und mit den Gründen des Aufgebens des Plans von ungefähr zwei Jahrzehnten (1830-1853). Die Untersuchung ihrer drei verschiedenen Konzeptionen beweist, daß es Beethoven’s 9. Symphonie war, die für Liszt als Vorbild diente, und daß er dabei Auflösung jener Probleme suchte, wie die Gattung der sogenannten Ode-Symphonie fortgesetzt werden kann. Obwohl er beim Komponieren der Revolutionssymphonie keine genügende Auflösung gefunden hat, kann die Entstehungsgeschichte der Symphonie zum besseren Verständnis des Ursprungs der Programmsymphonie-Konzeption von Liszt ebenso wie seines Weimarer symphonischen Stils in allgemeinen verhelfen.
A sündisznó: befejezett és befejezetlen töredékek (Ford. Tarnóczi Gabriella, Róna Annamária, Mikes Éva) 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