Ujfalussy József, a Zenetudományi Intézet osztályvezetõje 3. - 9. o
Berlász Melinda abstract
József Ujfalussy, Department Head of the Institute for Musicology of the Hungarian Academy of Sciences
Melinda Berlász

This paper was read at the Musicology Conference held to commemorate the 80th birthday of József Ujfalussy. - Between 1966 and 1995 Ujfalussy was a department head of the Institute for Musicology of the Hungarian Academy of Sciences. Between 1974 and 1980 he was the director of the Institute. He trained and educated several generations of musicologists, initiated and accomplished several large-scale scientific schemes that would affect the course of many decades to come. He played a significant part in the establishment of the Institute itself. He was the author of two excellent works of the earliest literature on Bartók and edited a complex casebook on the Hungarian Council Republic. He also intiated several large-scale scientific studies and the Budapest concert repertory of the Institute, comprising tens of thousands of records. He laid the foundations of the formal concept of the forthcoming volume of Hungarian Music History dealing with the 20th century. The author of the article, a long-time colleague of József Ujfalussy congratulates him on his 80th birthday.
Donald F. Tovey elemzései és a „précis-writing” 11. - 17. o
Somfai László abstract
Donald F. Tovey’s Analyses and the „Précis-Writing”
László Somfai

In Hungary Tovey’s writings are all but unknown. This paper, originally presented at a conference saluting to the outstanding Hungarian music theorist József Ujfalussy, campaigns to incorporate Tovey’s essays into the canon of analytical reading in this country. An introduction, discussing the controversial reception of his approach in recent American and British literature, is followed by critical comments on the editions and texts by Tovey.
Újabb adatok az aquincumi orgona (Kr. U. 228) mûködésének kérdéséhez 19. - 26. o
Kaba Melinda abstract
New Information on How the Aquincum Organ (228 A. D.) Worked
Melinda Kaba

The Aquincum organ was discovered in 1931 during the foundation works of a building from the debris layer of the cellar of a house that had been destroyed by fire in ancient times. From the bronze parts that survived either intact of with minor scratches (with the exception of the pipes that had sustained severe damage) the excavator, Lajos Nagy and architect János Kalmár prepared the plans of a working reconstruction of the original organ. The model was built by Angster, an organ manufacturing company in Pécs, Hungary. Based on several independent studies and his own research, Werner Wacker-Mayer had a new, diatonic model built in his own factory in Stuttgart, Germany in 1969.
As an important part of the instrument (that could have proved the function of the air pumped into the pipes and of the air tank that is responsible for the even flow of the air) had been destroyed, two researchers, János Minárovics in Budapest and Jenõ Szonntagh in the USA came to the conclusion on the basis of their tests, research and experiments carried out independently of each other that the bellshaped pnigeus, a fragment that had earlier been believed to have been the lip of a bronze dish had actually been part of the hydraulic organ.
The Aquincum organ is still the only organ surviving from Roman times. According to the inscription of the bronze plaque, which lay intact on the surface at the time the excavation began the instrument was bestowed to the collegium centonariorum (the firefighters’ command) by Gaius Iulius Viatorinus in 228 A. D.
During the excavations of the organ the stone coffin of an ancient singer and organ player, Aelia Sabina was unearthed. In the heart-stirring epitaph her husband commemorated his beloved wife who in all likelihood used to play this instrument.
Népdalok a kazak sztyeppe két végérõl. 1. rész 27. - 56. o
Sipos János abstract
Kazakh Folksongs from the Two Edges of the Steppe
János Sipos

What business does a Hungarian ethnomusicologist have in the Kazakh steppe?
Since the culture of the Hungarians settling in the Carpathian Basin displayed strong Turkic influences, it is quite justified to presume that Hungarian folk music also incorporated significant Turkic effects or layers. Let us remember a beautiful phrase by Bence Szabolcsi: The Hungarians are the outermost branch spreading from the age-old tree of the great Asian musical culture rooted in the souls of a variety of peoples living from China through Central Asia to the Black Sea… (Szabolcsi 1934). It is no wonder that researching the eastern elements in Hungarian folk music has a great tradition. At the very beginning of this process such great names can be encountered as those of Béla Bartók and Zoltán Kodály.
As is known, the Chuvash, Tatar, Bashkir, Kazakh, Turkmen, Azeri and Anatolian Turkish people (listing the great ethnic units from north to south) live in the western part of the immense Turkic language bloc. There have been Hungarian attempts to explore the music of the Turkic peoples living on this vast crescent. In the northern area László Vikár collected a significant material of Chuvash, Tatar and Bashkir tunes. Down in the south, Béla Bartók’s collection in Turkey in 1936, aimed at the comparative exploration of Anatolian folk music, launched the work, joined in 1987-93 by my Anatolian collection.
The Kazakh expeditions were part of a this comprehensive project. I have succeeded in conducting several field researches among Kazakhs with support from the British Royal Academy’s Stein-Arnold Fund as well as the Soros Foundation. As a result, I have gained an insight into the music of Mongolian Kazakhs and other Kazakh people who moved to Turkmenistan and then moved back to southwest Kazakhstan in recent decades.
These four studies in the Magyar Zene are to afford a comprehensive glimpse of the folk music of these two Kazakh ethnic groups living some 3000 km apart. Besides presenting the material systematized and proportionately with the characteristics, I also try to give a comparison between the musics of the two groups. Whenever possible, analogies or contacts with the musical styles of other Turkic peoples living elsewhere and with the Hungarians are also pointed out. In the present study I give an account about the antecedents of the Kazakh expeditions, and I begin to make known the south-west Kazakh folk song types.
Finally I drow attention to the fact, that this material will be published in 2001 by the Academian Publishing House under the title: János Sipos, Kazakh Folksongs from the Two End of the Steppe, with a CD-attachement
Narrativitás-elméletek és az elektroakusztikus zene 57. - 64. o
Grabócz Márta abstract
Narrativity and Electroacoustic Music
Márta Grabócz

This article, finished in 1988, was also published in English and in French (see references in 1st note), It presents the hypothesis that the autonomy, the dominance of new sounds, new sonorities – controlled by the most recent technology – might recreate a belief in narratives and “reason” in the framework of musical composition. In other words: the new sound objects (“objects sonores”) may incite the composer to search for a strory, to return to the narrative type of discourse, in spite of the actual post-modern, “anti-narrative” cultural environment.
Four types of narrative commonly found in electroacoustic music are described. The first two types have the characteristics described by Eero Tarasti in reference to Greimas: the use of descriptive or discoursive musical gentes of past centuries, often called “program music”; and the fragmentation and destruction of traditional narrative forms (see works of Risset, Chion, Subotnick, Reibel, Parmegiani). The third type of new narration uses natural, anthropological or scientific models in the deep structure. (See works of F.-B. Mâche, M. Stroppa, C. Miereanu, K. Saariaho.) The fourth type of contemporary narration is generated in the interaction of space, time and timbre, and also by the juxtaposition of different types of “sonorely filled spaces.” (See works of Risset, Stroppa, Mâche, Bayle.)
A Riedlek Sopronban: hangszerépítõk négy generációja (Ford. Székely András) 65. - 83. o
Fontana Gát Eszter abstract
The Riedl-Family in Sopron: Four Generations of Musical Instrument Makers
Eszter Fontana Gát

Four generations of the Riedl family of brass instruments makers are discussed, based on documents in family possession and interviews with members of the Riedl family in Hungary and Germany. The saga of this family helps us to understand the circumstances which lead to the migration of many instrument makers from the Bohemian Graslitz to the South and to other countries. Documentation of the lives of Riedl family members and of the history and trdition of musical instrument making in Central Europe is offered. – This paper was published by kind permission of the author and the publisher.
Wolfgang Ebner levelei Batthyány Ádámnak (1643-1650) 85. - 99. o
Király Péter abstract
The Letters of Wolfgang Ebner to Ádám Batthyány (1643-1650)
Péter Király

This article presents nine letters from the imperial court organist Wolfgang Ebner (1612-1665) to the Hungarian Count, Ádám Batthyány (1610-1659). The letters, written between 1643-1650 (already briefly referred in Magyarország zenetörténete, vol. II. Ed. Kornél Bárdos, Budapest: 1990, p. 116-117.) show that Ebner became well acquainted with Batthyány. They obviously knew each other prior to Spring 1643. Ebner acted in Vienna as a kind of musical agent for the Count: he helped him to get a spinet repaired as well as to acquire a portative organ and he also acted as an intermediary in an unsuccessful attempt to engage an organist who had previously served General Missling (= Myslík?). Ebner also played for Batthyány during the Count’s stay in Vienna in February 1644. The surviving letters obviously represent only part of their correspondence. According to the letters the musician regularly received wine (as payment?), which Ebner always asked for in his German letters with a few words in broken Hungarian.
Zeneszemiotikai szeminárium Helsinkiben és Tallinban 101. - 102. o
Mikusi Balázs
Liszt 2000 : egy levélgyûjtemény és egy tanulmánykötet Hamburger Klára szerkesztésében 103. - 107. o
Kaczmarczyk Adrienne
Gábry György emlékére : (1927. április 23. - 1998. július 4.) 109. - 110. o
Fontana Gát Eszter
[Breuer János cikkéhez (Magyar Zene 2000/4 szám)] 111. o