Konferencia a hatvanéves Tallián Tibor tiszteletére
Scherzo és „unheimlich” – mûfaj és érzület konstrukciója a hosszú 19. században 3. - 16. o
Péteri Lóránt abstract
Scherzo and the Unheimlich: The Construct of Genre and Feeling in the Long 19th Century
Lóránt Péteri

The psychological concept of the uncanny (“das Unheimliche” ) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First Wold War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzo (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.
Cantus vitae, cantus mortis : két posztromantikus kísérlet az összefoglalásra 17. - 27. o
Mesterházi Máté abstract
Cantus Vitae, Cantus Mortis
Two post-romantic attempts at résumé
Máté Mesterházi

Regrettable or not: musical re-discoveries are much more motivated by para-musical than by musical reasons. This is how in recent years the Dohnányi renaissance has started, and this is how the Pressburger/pozsonyi-Viennese, German-Hungarian educated Franz Schmidt (1874-1939) came into the range of vision of Hungarian musicologists. So much the more, Schmidt’s carreer had in many aspects a parallel development with that of Ernõ Dohnányi (1877-1960). After Peter Laki’s pivotal study, available in English as well as in Hungarian, focusing on the similar beginning of both composers’ carreer, and in the light of Tibor Tallián’s lecture, held in Vienna as well as in Budapest, discovering psycho-social-cultural roots of the Hungarian flavours of Schmidt’s opera Notre-Dame, the present lecture tries to compare the chef d’oeuvres of Schmidt and Dohnányi. Both the oratorio Das Buch mit sieben Siegeln (1938) and the symphonic cantata Cantus vitae (1941) were created in the same historic era, and there are many similarities between their social existences, historical receptions and their relations to the dilemma of tradition and modernity. With some outlook we can gain additional issues to the ideological problem of the post-romantic oratorio of the 20th century.
Új zenei repertoár Magyarországon (1956-1967) 29. - 36. o
Dalos Anna abstract
New Music Repertoire in Hungary (1956-1967)
Anna Dalos

It is a common assumption that Hungarian composers and musicians encountered the modern music of the post-World War II period only after 1956. In spite of this belief no one has yet examined what kind of modern music repertoire actually reached Hungary between 1956 and 1967. My study attempts to survey the compositions that were played, listened to, or analysed in Hungary, relying upon concert programs, the documents of the Archives of Hungarian Radio, the inventory of the Library of the Ferenc Liszt Academy of Music and material from private estates. Though these documents make it clear that a considerable amount of modern music reached Hungary at that time – for example the music of the ‘Darmstadt composers’: Boulez, Stockhausen, Nono, Pousseur; the works of Polish contemporaries: Lutos³awski, Penderecki; and that of the ‘postmodernist’ trend: Henze, Blacher, Zimmermann, Ginastera, Kagel, Schuller – the recollections of Hungarian composers, however, show that they did not study the entire repertoire, and were far more interested in a few pieces, such as Boulez’s Le marteau sans maître, Nono’s Il canto sospeso, Stockhausen’s Gesang der Jünglinge, Penderecki’s Hiroshima, and Lutos³awski’s Funeral Music.
Miserere d’après Palestrina : egy zenei idézet sorsa a Capella Sistinától Liszt zongoramûvéig 37. - 52. o
Domokos Zsuzsanna abstract
Miserere d’après Palestrina
A Music Citation from the Cappella Sistina to Liszt’s Piano Work
Domokos Zsuzsanna

The study tries to find the real author of the theme of the work Miserere d’après Palestrina, the 8th piece in the piano cycle by Liszt Harmonies Poétiques et Religieuses after the tradition of the Cappella Sistina. This Miserere theme is of importance for the Liszt researches not only due to its origin, but it is related to another fauxbourdon themes in the Liszt-ouvre, as well. Examining the elaboration of the theme from wider approaches we gain new aspects to the construction of the whole cycle and at the end we get at a special musical expression of Liszt used for the religioso character in his works from that time onwards.
Ad Magnificat, Hebdomada per Annum : egy g-tonalitású antifóna-sorozat a mediterrán Európában 53. - 63. o
Gilányi Gabriella abstract
Ad Magnificat, hebdomada per annum
G-Mode Antiphon-Series in Mediterranean Europe
Gabriella Gilányi

Some Gregorian sources of Italian origin preserve a special antiphon-series in their medieval office. This group of Magnificat-antiphons is situated in the vespers of the per annum section, the part of the office without any special feast or important occasion. Using a new series in the most archaic segment of the Roman Office seems to be rather strange. Is it a special Mediterranean usage? My study tries to reveal the musical origin of this rare chant-group by means of old antiphonals mainly from Italy, then to follow the spread of the series in Europe.
„Históriai hangversenyek” és „önképzés igen szép sikerrel” : zenetörténet-oktatás, zenetörténeti hangversenyek, önképzõkör a Nemzeti Zenede utolsó 30 évében 65. - 78. o
Solymosi Tari Emõke abstract
“Historical Concerts” and “Highly Successful Self-Education”
Music history teaching, early music concerts and self-education groups over the last three decades at the National Music Conservatory (Budapest)
Emõke Tari Solymosi

Based on recent research into the 1919-1949 period of the Budapest National Music Conservatory, this study aims to answer the following questions: 1. How can the teaching of music history at the institute in this period be characterized? 2. What kind of early music concerts were organized by the Conservatory? How did the F. Liszt Youth Circle contribute to the students’ knowledge of music history?
In The academic year 1919-20, when the Conservatory was nationalized, the new directors (Béla Diósy, Emil Haraszti and Aurél Kern) formulated a new policy on music history teaching. A recently found document provides information about the high quality of music history teaching then: one of professor János Hammerschlag’s students made shorthand notes of his lectures of 1936-37.
In the early music concerts organized by the National Conservatory in the 1920s a number of Renaissance and Baroque compositions were performed for the first time in Hungary. The pieces, the scores and even the instruments were chosen with care and expertise. These concerts preceded the spread of the authentic performing practice of early music decades. Several premieres of pieces demanding a huge performing apparatus were linked to the National Conservatory and these events had music historical significance. A selection of quotations proves that the concerts of the Conservatory were greeted with enthusiasm by the public and experts, and were well received by the press.
The Ferenc Liszt Youth Circle promoted students’ knowledge of music history by unifying theory and practice. The circle held 42 sessions between 1921 and 1924. At the meetings teachers and students gave presentations on different topics (from the musical connections in Greek mythology to contemporary Hungarian composers) and the pieces analyzed were also performed.
Bartók anatóliai gyûjtésének egy siratója és annak zenei háttere 79. - 91. o
Sipos János abstract
A Lament from Bartók’s Anatolian Collection and its Musical Background
János Sipos

Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America and in 1991 in Turkey.
How do Bartók’s conclusions stand the test in the light of an examination of larger Turkish material? I have investigated this question in four of my books, and detailed analysis points way beyond the scope of a single paper. This time I deal with a single melody, the lament No.51 of Bartók’s collection and with its larger Anatolian, Hungarian and other connections.
Can this melody be an important link between important Hungarian and Anatolian folk music layers? If so, why did Bartók not realize this? Does Bartók’s incredibly detailed method of transcription have any practical benefit in ethnomusicological research? Is the unique intonation of certain tones in the Anatolian and Hungarian lament accidental or is there a consistent system? Can we find the musical form represented by this Turkish lament in the folk music of other Turkic and non-Turkic people, if yes what kind of conclusion can be drawn?
To try to find an answer to some of these question I use the melodies and results of my Turkish, Azeri, Karachay-Balkar, Kazakh, Mongolian and Kyrgyz research of more then 7000 songs.
Sostakovicz Albert zborói orgonista folyamodványa II. Rákóczi Ferenc fejedelemhez 93. - 98. o
Király Péter; Mészáros Kálmán
Akinek nem térkép ama táj... : László Ferenc: Bartók markában. Tanulmányok és cikkek (1981-2005) 99. - 104. o
Vikárius László
Pályakép : Bónis Ferenc: Élet-képek: Bartók Béla 105. - 109. o
Büky Virág