Megemlkezs
Gombosi Ott (1902-1955) : egy tantvny visszaemlkezsei 253. - 262. o
Waldbauer Ivn
Tanulmny
Opera buffa-analzis - Javaslatok a magyar terminolgihoz 263. - 269. o
Tams Katalin abstract
Opera Buffa Analysis
Suggestions to the Hungarian Terminology
Katalin Tams

In recent years a new method of analysis has appeared in the English-language international opera buffa research: a method that bases on the characteristics of 18th-century operas instead of using the terminology and ideas of instrumental music. This study focuses on a very important detail of the method: the types of the opera buffa arias and makes an attempt to find the most suitable Hungarian technical terms to them.
Johann Baptist Henneberg-Emanuel Schikaneder-Szerelemhegyi Andrs: Csrgsapka 271. - 278. o
Gurmai va abstract
J. B. Henneberg – E. Schikaneder – A. Szerelemhegyi: Csrgsapka (Fool’s Cap)
va Gurmai

This article examines the cultural remains of the connections between the Hungarian professional dramatic art and the theater lead by Vienna in the early 19th century. The oldest musical score, which has turned up for not a long time in the Music Collection of the National Szchnyi Library, is the Csrgsapka from Johann Baptist Henneberg, translated by Andrs Szerelemhegyi and it was played from 1795 by the „Nemzeti Sznjtsz Trsasg”. The connections of this piece lead to Mozart’s composing circle, society of Schikaneder, the Theater auf der Wieden. Csrgsapka was the most popular and the mostly played piece of the Hungarian musical act, in its first 50 years.
A msik Ruzitska operja : Ruzitska Gyrgy-Christian Heyser: Alonso oder Die Wege des Verhngnisses 279. - 290. o
Nmeth G. Istvn abstract
An Opera by the Other Ruzitska
Gyrgy Ruzitska-Christian Heyser:
Alonso oder die Wege des Verhngnisses
Istvn Nmeth G.

In 1822 Jzsef Ruzitska wrote in Kolozsvr (Cluj) Bla futsa (Bela’s Flucht), generally considered to be the foundation of Hungarian national opera. A few years later, in 1828 in the same town, Gyrgy Ruzitska (born 1789 in Vienna, died 1869 in Kolozsvr) completed the opera Alonso which was intended for performance on the stage of the Stdtisches Theater in Pest. However the performance never took place because of the departure of the singer August Fischer, in spite of his contract.
Gyrgy Ruzitska’s Alonso, based on a libretto by the Transylvanian German author Christian Heyser, is a rescue opera which joins together the traditions of the Singspiel and opra comique, at the same time showing the melodic influence of the contemporary Italian opera composer Rossini. This paper presents a biography of the composer focusing on his production of musical stage works including the early Vienna period. The opera is presented mainly through the extracts employed in the overture, and rearranged by the composer according to a specific narrative strategy which, if compared with the libretto, suggests the dominance of human resoluteness and action versus a priori determined fate.
Nyregyhza mzenei emlkei a 19. szzadbl : Sznfy Gusztv s ms „kismesterek” mkdse Szabolcs megye krzetben 291. - 300. o
Papp Monika abstract
Kunstmusikalische Denkmler von Nyregyhza im 19. Jahrhundert
Das Wirken Gustav Sznfy’s und anderer „kleiner Meisters” im Gebiet des Komitats Szabolcs
Monika Papp

Das Theaterspiel, das auch der Verbreitung der ungarischen Sprache dienen sollte, spielte im Musikleben der Provinz im 19. Jahrhundert eine wichtige Rolle. Ein Teil der Theatergruppen war in seiner Zusammensetzung weniger fr die Auffhrung von Opern oder Dramen eingerichtet, sondern bemhte sich in erster Linie darum, das „neue Genre”, das „leichter verdauliche” Volkstck zielgerichteter einzusetzen. Infolge ihres stdtischen Bewutseins wnschten und produzierten die Stdte der Provinz selbst die Dorfromantik. Auf diese Weise konnte es geschehen, da der Vortrag eines Stckes und die Besiegung der damit verbundenen Schwierigkeiten beinahe zur patriotischen Pflicht wurde.
Die Stadt Nyregyhza verfgt vom 19. Jahrhundert an ber lebendige musikalische Traditionen, in denen das Theaterspiel einen bedeutenden Platz einnimmt. Diese Zeit kann nicht ohne die „kleinen Meister”, die sogenannten naturalistischen Musiker untersucht werden. Gusztv Sznfy, Komponist und Musiker in Nyregyhza, ist in verschiedener Hinsicht erwhnenswert. Er hat hervorragende Leistungen auf den Gebieten der Organisation des Konzertlebens, der musikalischen Sammlerarbeit, der Komposition und des Musikunterrichtes hervorgebracht. Zudem sind die Groen seiner Zeit auf ihn aufmerksam geworden. Neben brnyi hatte er Einflu auf Liszt, Erkel und Mosonyi. Auch sein einziges (lange Zeit verloren geglaubtes) Volkstck ”Zwei Vormnder” (Kt gym) (Text: Mr Jkai) ist ein gutes Beispiel fr das charakteristischste Moment der zeitgenssischen Theaterpraxis: das Auswachseln der Liedeinlagen. Dieser „Wechel” der Gattungen machten das Volkstck flexibel und erfolgreich, fhrten aber auch zu seinem relativ baldigen Verschwinden.
Joseffy Rafael s New York 301. - 311. o
Gyngysi Szilvia abstract
Raphael Joseffy and New York
Szilvia Gyngysi

One of the most talented Hungarian pianist students of Franz Liszt was Raphael Joseffy (1852-1915). He studied at Moscheles in Leipzig, at C. Tausig in Berlin and from 1869 in Weimar, under direction of Franz Liszt. From the early 1870’s he settled in Vienna. Allover europe gave successful concerts, which were documented in the contemporary musical periodicals in Hungary and in abroad too.
After his farewell-concert in Budapest (12 March, 1879) Joseffy’s artistic carrier continued in the United States of America. Beside his pianist success he became famous as piano teacher as well. He taught in the National Conservatory in New York (the director was A. Dvoak) and played important role in the American music-education.
More over he was active as composer too. He was composing probably before 1895. The works to be found in Hungary in Budapest and in America in New York. The pieces are mainly for piano and there are own compositions, transcriptions of Liszt’s and Chopin’s works and works among them, which were edited, revised and fingered by Joseffy.
Hunyad megyei adatkzlk Budapesten : Bartk Bla 1914-es eladsa 313. - 326. o
Pvai Rka abstract
Invited Performers from Hunyad County in Budapest
Bartk’s 1914 dissertation
Rka Pvai

Bla Bartk’s presentation held on 18th March, 1914 is considered a crucial moment in the history of Hungarian folk music researches. As the second part of the dissertation illustrated by folklore performers invited from Hunyad county (Romania), Bartk presented the procedures of making a phonograph and a gramophone recording, futhermore pointing to the differences in the sound quality of the two different recording technologies.
According to the present bibliography on this subject, a merely obscure image can be created about the preparatory works and the course of Bartk’s dissertation. The present essay concentrates its view on the possible answers to the unclarified parts of the issue. The author treats with primary importance the contents of the gramophone records and the phonograph cylinders, as well as the problems rosen around the publishing of the recorded tunes and the material collected during the December of 1913. However, among the initial questions to which this essay searches the answers, some may remain forever without explanation.
„A mlypont nneplye” : Pilinszky s a zene 327. - 338. o
Szab Balzs abstract
»Das Fest des Tiefpunktes«
Pilinszky und die Musik
Balzs Szab

Die Abhandlung hat der Zweck, um die eigenartige Verbindung, die den Dichter Jnos Pilinszky (1921-1981) zu der Musik knpfte, aus einem besonderen Geschichtspunkt zu interpretieren.
Die Elemente, die Pilinszky’s dichterische Welt errichten, sind miteinander aufs engste verbunden. Deshalb versucht die folgende Abhandlung auf Grund von den ber Bach geschriebenen musikalischen Schriften und Interviews Pilinszky’s den Gedankengang zusammenstellen, der nicht nur seine musikalische Denkweise charakterisiert, sondern die Grundprinzipien, die seine Weltanschauung und seine Lyrik bestimmen, auch demonstrieren kann.

Zenetudomny s llektan: egymsra tekintve 339. - 354. o
Stach Lszl abstract
Musicology and Psychology: A Mutual Regard
Lszl Stach

The aim of this paper is to discuss connections between musical analysis and modern approaches in the psychology of music.
First, it presents a contemporary theory of musical meanings (Jaakko Erkkil, 1997). Erkkil’s theory explains our understanding of music by the psychicalcognitive functioning of three levels of musical understanding.
The second part of the paper focuses on the cognitive level of the musical understanding of a listener of music. Cognitive meanings typically emerge from active or passive musical experience: they result from the fulfilment or unfulfilment of momentary expectations about the continuation of music. Musical experience is guided by unconsciously learned rules about musical styles (musical „languages”). The author shows how this conception fits with modern theories of musical analysis.
The author of the paper argues for the use in musical analysis of a well-known theoretical distinction-derived from generative linguistics-between cognitive competence (the intended, „ideal” form of the music, derived from the notion of linguistic competence) and performance (the version actually played, derived from linguistic performance). This dichotomy may well be exploited in ethnomusicological research.
The article concludes with a general overview of leading current topics in the cognitive psychology of music.
The article is dedicated to the memory of the Hungarian musicologist and aesthetician Jnos Marthy (1925-2001).
Recenzi
Egy hinyz lncszem : Pterfy Jen zenekritiki (sszelltotta, a szveget gondozta s a jegyzeteket rta Wilheim Andrs) 355. - 360. o
Csengery Kristf
„Mit jtszik a np hangszerein?” : Tari Lujza: Kodly Zoltn, a hangszeres npzene kutatja 361. - 362. o
Breuer Jnos
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