Szabolcsi Bence s a magyar zenelet diskurzusai (1948-1956) 3. - 48. o
Pteri Lrnt
»Staccato vons?« : kottakp s jelentse 49. - 62. o
Somfai Lszl abstract
”Staccato Stroke?” – Sign and Subtext
Lszl Somfai

Speculating on the intended meaning of stroke and/or dot in the articulation of 18th-century notation (cf. Ex. 1: 1-2, 5, 11), the study focuses not on the often-discussed treatises but on autograph notation and its presumed message for the musician of the time. The combined use of the word staccato plus strokes indicated above the notes in J. Haydn’s and W. A. Mozart’s string parts (Ex. 2) is a meaningful starting point: it suggests that the word indicated the so-called staccato bow stroke whereas the strokes not so much shortness but an equal accentuation of notes, in spite of the 18th-century traditions of Betonung. In general in J. S. Bach’s notation a series of dots also indicate equal accentuation (Ex. 2: 2-3, 5, 7-8). Occasionally, in an ouverture, its meaning is: play the rhythm as written (4); or an individual dot: don’t embellish the note (6). The modern typography of notation (according to which the stroke belongs to the note side, not the stem side) weakens the clear meaning of a stroke in the autograph given above the staves of two hands as an overall accent (Ex. 4). Mozart’s differentiation between stroke and dots (Ex. 5) in a string part may represent a refined notation of the two detached bow strokes (described among others by Quantz): the one lifting the bow, the other executed on the string. Finally, thirty-three examples taken from J. Michael Haydn’s autographs show a surprisingly conscious differentiation between stroke and dot (Ex. 6). Among others he used the stroke to point to the accented measure in two-bar or four-bar phrases (14, 17-18, 20-22).
»Kodly-dominns?« : egy j rtelmezs 63. - 74. o
Dalos Anna abstract
The Kodly-dominant?
A new interpretation
Anna Dalos

The concept of the Kodly-dominant was introduced into the theoretical literature by Ern Lendvai when writing about Kodly’s oeuvre (in Lendvai’s book on Bartk’s and Kodly’s system of harmony, 1975). Although Lendvai sharply observed that this type of chord appears many times in Kodly’s compositions, he did not mention its belonging to the family of the augmented sixth chord. This paper attempts to demonstrate that Kodly 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 –, Kodly 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 (Kodly’s String quartet No. 1., Te Deum of Budavr, Mditation) verify, that the family of the augmented sixth chord did not function as a possibility of further expansion of the functional system, as Ern Lendvai conceptualized, but played the role of alienation from it. In this respect Kodly – and this seems now easy to prove – belonged to a tradition which is characterized by such names as Schubert, Wagner, Schoenberg and Debussy.
16-17. szzadi udvari zennk kutatsnak problematikjrl 75. - 84. o
Kirly Pter abstract
Some Problems in 16-17th Century Hungarian Court Music Research
Peter Kirly

This study underlines the need for extensive research an the court music of Hungary. In particular there is a need for further research on the court music of the high nobility, which (with the exception of the famous Esterhzy family) has not yet become a subject of thorough musicological research. In this short general survey, based on the present state of knowledge, the author draws attention to some features of musical life in residences of the Hungarian aristocracy, first of all to the notably frequent employment of foreign musicians. They came mainly from southern Germanic lands (Vienna here played a noteworthy transmitting role), others were from Italy or Poland. A few musicians from other neighbouring countries or territories are also documented. Their role and influence is briefly discussed. Difficulties concerning their identification are also observed, as well as problems caused by the sparseness of available data on their earlier or later careers abroad. The mixed international make-up of court music ensembles contradicts previous views about the solely Hungarian character of the music in residences of the high nobility in Hungary.
Az egyni szempont 85. - 94. o
Wilheim Andrs abstract
The Individual Point of View
Andrs Wilheim

This essay attempts to illustrate the formation and evolution of a modern, 20th-century style through the career of composer Andrs Szllsy. This style is candidly attached to deliberately selected traditions and the individual point of view, which comprises an original arrangement of previously known stylistic elements and features originating from various sources, and emerges from the organic interdependence and mutuality of works. There is a novel classicistic attitude to be observed in Szllsy’s compositions which could even seem surprisingly anachronistic at the time it first appeared in the 1970’s. In retrospect, however, it is obvious that its radical gesture was not without peers in its own generation – what is more, several of its features heralded the prevailing eclectic styles of the end of the 20th century.

Jegyzetlapok Szllsy Andrsrl 95. - 103. o
Breuer Jnos abstract
Notizen ber Andrs Szllsy
Jnos Breuer

Der Adressant als Redakteur, frher Rezensent des in Clausenburg (Kolozsvr – Siebenbrgen) zwischen 1936-1943 in 50 000 Exemplaren gedruckten Taschenbuch ungarischer Volkslieder. Die Ttigkeit von Andrs Szllsy, Musikreferent des Ministerium fr Kultur zwischen 1946-1950, mit Akzent auf seine Bemhungen zur Revitalisierung des ungarischen Musikverlagswesens. Die Rolle von Szllsy in eines nicht gegrndeten Musikwissenschaftlichen Instituts (1948) und einer gleichnamigen existenten Organisation an der Franz Liszt Hochschule fr Musik (1950-1952).

Btori Mria
Elads az Erkel Operakiads els kteteinek sajtbemutatjn 105. - 111. o
Dolinszky Mikls abstract
Address Given at the Press Introduction of the First Volumes of the Edition of Erkel’s Operas
Mikls Dolinszky

Btori Mria (1840) was one of the first romantic national operas in Eastern-Europe. Contrary to the widely held belief, contemporary critics expressed their appreciation even after the premiere of Erkel’s two other operas that had been played with prolonged success, and Erkel himself even quoted from this piece in the score of Bnk Bn. Nonetheless, Btori Mria was definitively removed from the repertoire of the Hungarian National Theatre in 1860. This was due to the ever increasing radicalism of the demand for national music on the one hand, and to the change of taste that ensued from Wagner and Offenbach coming to the fore in Hungary on the other. Even so, the work fulfilled its mission: it proved that a national language was compatible with international musical idioms and the typical plots of opera as a genre.
A hiteles Erkel-kp fel : Erkel Ferenc: Btori Mria (kzr. Dolinszky Mikls s Szacsvai-Kim Katalin) 113. - 119. o
Kaczmarczyk Adrienne
Hangokkal krlvve : Pap Jnos: Hang - ember - hang 121. - 123. o
Ujhzy Lszl