Millenniumi esztend
A Capella Sistina tradcijnak hatsa Liszt egyhzzenei mveire 355. - 374. o
Domokos Zsuzsa abstract
The Musical Traditions of the Cappella Sistina Reflected in Liszt’s Church Music
Zsuzsanna Domokos

This study deals with the influence of Palestrina’s music on the repertory performed at the Cappella Sistina during the nineteenth century, and especially its relationship to individual Liszt compositions. Several of the letters Liszt wrote in the 1860s show how deeply he was impressed by performances at the Sistina most probably with the hope to become its director. According to Liszt’s plan the Missa choralis ought to have been performed in the Cappella or in St. Peter Basilica, and have borne a dedication to the Pope. The compositions performed in Liszt’s time at the Cappella were brief, more (rather than less) homophonic, more easily performed and more easily understood by listeners. Liszt’s Missa choralis and his motets must have been composed with these criteria in mind. The study analyses and makes comparisons between the compositions of the Cappella’s 19th century composers and that of Liszt in respect to the most characteristic features of the Cappella’s compositional methods. The comparisons suggest that much of the church music Liszt wrote during the 1860s correspond in certain significant ways to the compositional ideals and practices of the Sistina’s composers, without remaining subject to their control.
Wolfgang Ebner s Wendelin Hueber levele Esterhzy Lszlnak : adalkok az Esterhzy-zenetrtnet egy kevsb ismert idszakhoz 375. - 381. o
Kirly Pter abstract
A Letter by Wolfgang Ebner and Wendelin Hueber to Lszl Esterhzy
some Data for a Lesser Known Period of the Music of the Esterhzys
Pter Kirly

His study presents a letter written on 22. October 1651 by the Vienna court organist, W. Ebner, and W. Hueber, organist at St. Stephen’s Cathedral, to the Hungarian aristocrat Lszl Esterhzy. In their short reply they promised Esterhzy, who had summoned them, to appear at a given date, exactly as Esterhzy requested. The author also outlines in the article the available data on Lszl Esterhzy’s musicians during the years 1645-1652, while he was head of the Esterhzy-family.
Tanulmny
Kurtg Gyrgy Hommage à R. Sch. (op. 15d) cm mvnek genealgijrl (Ford. Halsz Pter) 383. - 394. o
Sallis, Friedemann abstract
The Genealogy of Gyrgy Kurtg’s Hommage à R. Sch. op. 15d
Friedemann Sallis

The gestation period of Gyrgy Kurtg’s Hommage à R. Sch. Op. 15d covers a period of approximately fifteen years (1975-1990). Using sketches and drafts conserved in the Kurtg Collection of the Paul Sacher Foundation, this paper seeks to examine how compositional style and technique change over time and how these changes effected the composer’s work concept. Over the past thirty years, sketch studies have opened up new avenues of research, promising wider knowledge of compositional processes and providing insights into the genesis of specific works. Nonetheless, they also render problematic our ability to circumscribe work identity. Rather than focusing on the finite nature of the completed composition as it appears in the published score, the study of sketch material sets the work in a compositional process, revealing not only sources but also half-realised possibilities and unrealised potential. For all the problems it brings to the study of music, such an approach seems particularly apt for a better understanding of Hommage à R. Sch., which appears to emerge out of a network of both complementary and contradictory tendencies.
Kzpkori hber kziratok zenei vonatkozs illusztrcii 395. - 416. o
Borg Andrs abstract
Musikbezge der Illustrationen mittelalterlicher hebrischer Manuskripte
Andrs Borg

Eine bedeutende Anzahl von Bildern in den Illustrationen mittelalterlicher hebrischer Handschriften hat musikalische Bezge. Die abgebildeten Musikinstrumente sind teils die in der Bibel erwhnten, teils zeitgenssische, manchmal sind es auch reine Phantasiegerte. Die Instrumente unterscheiden sich nicht von denen in christlichen Manuskripten, aber die Anlsse des Musizierens differieren. Grundthemen der Miniaturen sind Festtagsbruche, biblish-historische Ereignisse und Personen. Da nicht selten auch nichtjdische Miniatoren an der Ausschmckung hebrischer Bcher beteiligt waren, ist die Unterscheidung der Herkunft mancher Illustrationen oft nur an der Darstellung kleiner Details, die von tatschlicher Kenntnis jdisch-religisen Lebens zeugen, mglich. Die Abhandlung vermerkt die innerhalb der hebrischen Buchmalerei nachweisbaren Abweichungen, die auf die Eigenarten der sephardischen und der aschkenasischen Bildkunst zurckgehen.
Es wird auch die Frage nach dem Grund der bereinstimmung der Darstellungsweise hufig illustrierter Themen errtert. Fr die hebrischen Manuskripte fehlt – im Unterschied zu den christlichen Handschriften – bis jetzt eine umfassende Analyse der musikalischen Elemente.
Der Aufsatz ist die Zusammenfassung einer ersten diesbezglichen wissenschaftlichen Arbeit.
Zenei gyakorlat, zeneelmleti gondolkods, interdiszciplinris s interkulturlis zenekutats 417. - 424. o
Keuler Jen abstract
Musical Practice and Theory in Relation to the Interdisciplinary and Intercultural Research in Musicology
Jen Keuler

Music-theoretical rules are not objective laws. Some music-theoretical problems (e.g. effect of tone system or enharmonic phenomena) may be based on deterministic connections. Diverse sound features require diverse generative time for springing into existence. Unrevealed deterministic connections should be investigated by means of exact sciences to give new viewpoints for the makers of cognitive models.
Npdalok a kazak sztyeppe kt vgrl. 4. (befejez) rsz : a kt kazak terlet zenjnek sszehasonltsa 425. - 440. o
Sipos Jnos abstract
Kazakh Folksongs from the Two Edges of the Steppe, 4
Jnos Sipos

These four articles are to serve as a comprehensive study on the folk music of two Kazakh ethnic groups, one living on the eastern shore of the Caspian See and the other living some 3000 km apart to the East, in Bayan lgiz, West Mongolia. In the first article I wrote about the antecedents of my expeditions, described the collecting trip to south-west Kazakhstan and began to characterize the Kazakh musical styles. In the second article we made acquaintances with the remaining south-western Kazakh folk music styles and types, and with their connections to the folk music of other Turkic peoples and the Hungarian. In the third article one can read about the folk music of the Kazakh minority living in Mongolia.
In the last article I try to give a comparison between the music of the two Kazakh groups mentioned above. Whenever possible, analogies or contacts with the musical styles of other Turkic peoples living elsewhere and with the Hungarians are also pointed out.
An English book based on these articles was published by the Academian Publishing House under the title Jnos Sipos, Kazakh Folksongs from the Two Edges of the Steppe with a CD supplement (www.akkrt.hu).
Dokumentum
Hrom korabeli kltemny Liszt Ferenchez 441. - 449. o
Lszl Ferenc abstract
Drei zeitgenssische Gedichte an Franz Liszt
Ferenc Lszl

Anllich der groen Konzertreise, welche Liszt durch das Banat, Siebenbrgen, die Walachei, Moldau und Bukowina bis Istambul und die Ukraine fhrte (1846-1847), wurden laut Presseberichten des fteren Gelegenheitsgedichte lokaler Autoren dem Publikum verteilt, von welchen bis jetzt nur drei rumnische Beispiele verffentlicht worden sind. Im Beitrag wird diese Begleiterscheinung der Tournee mit drei unbekannten Stcken illustriert. Zwei davon sind anonym und verewigen deutsch bzw. ungarish Liszts Besuch vom 28.11.1846 im Musikverein von Klausenburg (Kolozsvr, Cluj), das dritte ist ein undatiertes Werk des vielsitigen ungarischen Klausenburger Diplomjuristen und Schriftstellers Gyrgy Urhzy (1823-1873). Die Gedichte sind bezeichnend sowohl fr die allgemeine Verherrlichung des „Klavierknigs“, als auch fr das Niveau der literatischen Kultur der siebenbrgischen Stadt im Vormrz.
Rszletek naplmbl [Az angol pap-szerz tallkozsa Liszt Ferenccel Rmban; Paul Merrick bevezetjvel]. (Ford. Kldos Zsolt) 451. - 464. o
Haweis, Hugh Reginald abstract
A Leaf from My Diary
Hugh Reginald Haweis

Hungarian translation of Hugh Reginald Haweis’ (1838-1901) book: My Musical Life (London: 1886).
Recenzi
Kodly Zoltn nagyszalontai gyjtse (sajt al rendezte s szerkesztette Szalay Olga s Rudasn Bajcsay Mrta) 465. - 467. o
Esze Lszl
A 2001. vi XXXIX. vfolyam tartalomjegyzke 468. - 469. o
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