A szerkeszt elszava 5. o
Pteri Judit abstract
Editor’s Note
Judit Pteri

Or rather, the New Editor's Note — namely, this short introduction owes its topical¬ity to the fact that Andrs Szkely, editor of Magyar Zene for 11 years from Vol. 1998/ 99 until 2009 has now, as he turns 80, passed on the baton. His care and dedication has meant that the journal always appeared in print both punctually and to a consistently high standard — maintaining that quality will be an immense challenge.
Even though the main profile and overall direction of Magyar Zene will remain unchanged, this year will see some operative, content-related and structural changes, as well as a revamped cover page. To ensure the widest possible scope of information and outlook an editorial board and an advisory board comprising the most eminent representatives of musicology has been set up. Members of the latter team include foreign and expatriate Hungarian music historians too. Another sign of our attempt to strengthen the international presence of Magyar Zene is that on the one hand we shall attempt to publish or review even more papers with Hungarian relevance from foreign authors; and on the other hand, draw the attention of foreign researchers to the efforts of their Hungarian colleagues working in the same field (which is why we also print the contents page in English and are endeavouring to increase the extent of our English abstracts). We also plan to boost the number of papers on other arts, as well as from the borderline areas of musicology.
The most important content-related change will be a regular, separate column dedicated to presenting to our readers parts of as yet unpublished papers written by professors and students at the Liszt Ferenc Academy of Music (dissertations, theses or seminar papers written in the Department of Musicology), with the aim of giving deserving young colleagues a first publication opportunity. The new column will be entitled "Work in Progress"; and in the first issue, commemorating the 200th anniversary of Schumann's birth, a paper is being published by a student studying in Budapest under a scholarship from the Department of Music¬ology. This year will be rich in anniversaries and we plan to celebrate the work of Mahler, Dohnnyi, and of course Ferenc Erkel, who was born in the same year as Schumann.
As before, the backbone of Magyar Zene will be formed by transcripts of lectures from the latest conference of the Hungarian Musicological Society, which was held in October 2009 under the title "Folk Music and Music History". Some of the 10-minute lectures given at the "celebration conference" held on the occasion of the 60th birthday of Sndor Kovcs, the head of the Department of Musicology, will be published in the "Short Contributions" column dedicated to short pieces.
Finally, let me mention one more aspiration which we feel is important: we would like to publish as many papers as possible on an unduly neglected topic: contemporary Hungarian music.
Tanulmny
Az sszehasonlt npzenetudomny tndklse s lehanyatlsa 7. - 19. o
Dobszay Lszl abstract
The Rise and Fall of Comparative Ethnomusicology
Lszl Dobszay

Comparative musicology, a discipline that took root at the beginning of the 20th zentury had a great impact on the study of folk music in the 1950s and could reinforce the links between folk music and music history research. The works of Walter Wiora played an important role in the process, but Hungarian researchers, such as Zoltn Kodly, Bence Szabolcsi, Benjamin Rajeczky, Lajos Vargyas and others have also contributed to this synthesis. The promising developments came to a halt after the 1970s. This article investigates the reasons of this „rise and fall”.
Hemiola-jelensg a Fldkzi-tenger trsgben 20. - 30. o
Krpti Jnos abstract
Hemiola Phenomenon in the Mediterranean Area
Jnos Krpti

In the North-African Arab and Berber folk music - as proved by Bartk's Algerian and my Moroccan collection - the hemiola rhythm plays an important role. There are similar results in Spanish, Greek and Turkish folk music research. Although hemiola is present in the European Renaissance and Early-Baroque art music too, as typical examples can be quoted from Josquin to Monteverdi. Its acceptable explanation is that the „one and a half” ratio of the ancient Greek rhythmic theory, realized in the additive cumulation of 2 and 3 units, could be naturally rooted in both folk and composed musical praxis. The rhythmic course “perturbed” by hemiola has been a favourite tool in the music of later eras, and in the 20th century it became starting point for Gyrgy Ligeti in his polyrhythmic Etudes for Piano.
Egzotikum s depresszi - rtelmezsek s flrertelmezsek a magyaros stlus kapcsn 33. - 47. o
Richter Pl abstract
Exoticism and Depression – Interpretations and Misinterpretations in Connection with the Style Hongrois
Pl Richter

The book The Style Hongrois in the Music of Western Europe by Jonathan Bellman was published 17 years ago. It is about the nature, origin, and use of the style hongrois in the 18th-and 19th century music of Western Europe. Bellman’s work is the only, and the first sustained study on this topic, and is well-known, often cited in the literature, first of all in the English language literature. But Hungarian musicologists have not declared their opinions yet. They have written reviews neither in English, nor in Hungarian. Partly to remedy this omission, and partly connecting to the anniversaries of Joseph Haydn, Ferenc Erkel, and Franz Liszt, it pays to confront Bellman’s arguments and data with the arguments of Hungarian scholars (ethnomusicologists and music historians), and with the facts of Hungarian history, and of different sources from the 18th-19th centuries. The research accomplishments of the last 10-15 years make it necessary to open new pages in the discourse of style hongrois.
Bartk egy zenei ponjrl : az 5. kvartett Allegretto con indifferenza epizdjnak rtelmezshez 49. - 58. o
Vikrius Lszl abstract
On a Bartkian Joke
Interpreting the Allegretto con indifferenza Episode in the Fifth String Quartet
Lszl Vikrius

An unexpected, ironic or sarcastic turn appears in several compositions by Bartk; if in multi-movement works, then it tends to appear before the final section of last movement. An especially memorable example is the Allegretto con indifferenza episode inserted in the recapitulation section in the finale of the Fifth String Quartet (1934). Jnos Krpti interpreted the passage both thematically - within the last movement - and as a “key” to Bartk's tonality, polytonality and what he labelled “mistuning”. The sketches of the piece (in Peter Bartk's private collection) show how carefully the composer planned and polished the joke to achieve maximum effect. When interpreting the joke, the article raises the possibility of Schoenberg's similar ironic quote of ”O du lieber Augustin” in the second, Scherzo, movement of his Second String Quartet in F-sharp minor (1908) being either a “model” or a “reference”. A reinvestigation of Bartk's acquaintance with Schoenberg's music provides so far neglected evidence that he participated at the Salzburg Chamber Music Festival in August 1922 where Schoenberg's piece was also performed. In his seminal lecture, “The Influence of Peasant Music on Modern Music” (1931), Bartk himself seems to call attention to this parallel mentioning “O du lieber Augustin” as a typical example of German song that requires the alteration of simple tonic and dominant accompanying harmonies as opposed to East-European folksong that make unconventional settings possible. The Allegretto con indifferenza episode, while “revealing” how easily polytonality can be created, might also be regarded as a musical “commentary” to his verbal criticism of a mistakenly conventional approach to peasant songs.
Documenta
Rvsz Dorrit bibliogrfija 59. - 64. o
abstract
Bibliography of Dorrit Rvsz
[Antal Boronkay, Virg Bky]

The backbone of the life's work of Dorris Rvsz was her career with Editio Musica Budapest Music Publishers. The bibliography contains only works published under her name and the books translated, published or edited by her for Editio Musica Budapest, and does not mention the almost five hundred other books that appeared under her guidance. She was responsible for the publishing plan and also for deciding what books readers including fledgling music students, professional musicians and seasoned musicologists should learn and gather information from. Her intellectual openness, levelheadedness and up-do-date knowledge of international music literature resulted in a plethora of books right from the 1960s in topics ranging from musical public life, music pedagogy, music history, music theory, pop and Gregorian, jazz and folk music to facsimiles and a great variety of other publications. She worked together with the most renowned Hungarian music historians whose papers were regularly published by Editio Musica Budapest. At the same time, using Bookseller and other news sources and also her connections with the most distinguished university publishers she could pick the most relevant and possibly the best foreign books, whose translations were also made under her professional and linguistic supervision. Not many can match the service she did to Hungarian music culture.
In the Preface to the Bibliography her life's work is applauded by music historian Antal Boronkay, the present managing director and former editor of Editio Musica Budapest, a close colleague of Rvsz for many decades.
Kzlemny
C. P. E. Bach "C-F-E-B-A-C-H" fughettja 65. - 68. o
Komls Katalin abstract
“C-F-E-B-A-C-H” Fughetta by C. P. E. Bach
Katalin Komls

There is an unpublished manuscript in the Brussels Conservatory, called Miscellanea Musica (B Bc 5895), which contains various compositional sketches, contrapuntal studies, thoroughbass exercises, and modulation and chord-progression schemes by Carl Philipp Emanuel Bach. In this material we find a short five-part fughetta, written on a theme made from the initials of the “initialized” name [Filippo] of the composer. The analysis of this special little piece is the subject of the essay.
Filmzeners - szabadon: Hllering s Lajtha 69. - 73. o
Solymosi Tari Emke abstract
Writing Music for Film – Freely: Hoellering and Lajtha
Emke Tari Solymosi

This short presentation explores one of the most neglected fields in Lajtha research: the composer's film music. It focuses particularly on his collaboration with the Austrian director Georg Hllering (George Hoellering, 1897-1980), providing new information based on research done in London and Budapest. An examination of their three joint films (Hortobgy, 1936; Murder in the Cathedral, 1951; Shapes and Forms, 1949), as well as letters and other documents proves that Lajtha enjoyed the mutual respect of the director and the writer, and thus was ensured complete artistic freedom in his work with them. Lajtha's film music is not merely illustrative program music, but can stand on its own artistic merit, and as such represents an important part of the Lajtha-oeuvre.

Furulyk a nagyszebeni mzeumban 74. - 83. o
Bali Jnos abstract
Recorders in the Sibiu Museum
Jnos Bali

In the collection of the historical section of the National Brukenthal Museum in Sibiu, Romania (old German name Hermannstadt, Hungarian name Nagyszeben) there are seven Renaissance woodwind instruments. Alongside a bass crumhorn and two shawms we find four recorders: two bassets, a bass, and a great bass. They were publicized together with photographs by Dr. Martha Bruckner in 1941 in the proceedings of the Sibiu Museum, however, they have remained unknown to modern organology; it was worth giving a more precise description in the light of recent musicological researches.
These recorders are significant for several reasons: firstly, to my knowledge, they are the only surviving historical recorders in Transylvania. Secondly, they are among the few old recorders about which we have written contemporary documents. Lastly, a comparison of them with other instruments bearing the same master's mark leads to valuable conclusions.
Three of the Sibiu recorders belonged to a set, and on the basis of their maker's mark (HIER•S•), technical details and manufacturing we could place this set in between the famous HIE•S and HIER S• sets - now in the Vienna Kunsthistorisches Museum - reinforcing the hypothesis that all these instruments were made by the same maker (who could be the Italian Hieronymus Bassano, one of the most famous figures in the history of the recorder).
The fourth recorder is marked with a letter “W” and a crown. The set to which it belonged probably contained a bass with extension: curiously the fragments of the typical key of this bass survived on the bass of the HIER•S• set, as a comparison of the keys with a bass recorder now in Vienna shows. The same “W-and-crown” marks are on the Sibiu and Prague shawms; all these instruments could be of south-German origin.
Mhelytanulmny
Novellk mennyei terjengssge: Schumann mveinek intertextulis rtelmezsi lehetsgei 84. - 103. o
Nakahara Yusuke abstract
The Heavenly Length of Short Novels
Interpretative Possibilities of Intertextuality in Schumann’s Works
Yusuke Nakahara

The study deals with the interpretational possibility of some early piano works by Robert Schumann. His attitude both as critic and composer may allow us to use imagination on his work and therefore we can find „heavenly length” in his works as well as in the novels by Jean Paul. The study is primarily concerned with intertextuality, which Schumann often used, and tries to analyze the strategy of its usage. It is important to know where these intertextualities are localized within the composition and in what way they are different from the original. Differences in tonality and/or melodic structure, or the lack of difference can be equally telling. By concerning ourselves with these points, we can read deeply his works and thus become a „secret listener” of him.
Recenzi
Bepillants egy kivteles elme rapszodikus s csapong gondolataiba : Gyrgy Ligeti: Gesammelte Schriften, hrsg. von Monika Lichtenfeld 104. - 108. o
Kerkfy Mrton
Egy kolozsvri npzenekutat vlogatott rsai : Almsi Istvn: A npzene jegyben 109. - 112. o
Paksa Katalin
A 2009. vi, XLVII. vfolyam tartalomjegyzke 113. - 115. o
Close