Gyorskeresés

Cím	Abstract	Folyóirat	Oldalszám
A Negyvennégy duó elsõ rádió-elõadása	-	1980., 21. évf. 2. szám	197. - 200.o
A variáns fogalma az új zenében	-	1987., 28. évf. 1. szám	60. - 62.o
Az egyéni szempont	abs. The Individual Point of View András Wilheim This essay attempts to illustrate the formation and evolution of a modern, 20th-century style through the career of composer András Szõllõsy. 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 Szõllõsy’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.	2003., 41. évf. 1. szám	85. - 94.o
Cage és a haiku	abs. Cage and Haiku András Wilheim By exploring in Cage’s works a verse form used variedly by the composer and its forms and various transformations, this paper attempts to identify the role played by an extrinsic device or the illusions related thereto in the formation of music. How is it possible to convert rules and formal features into musical patterns that had previously applied to another type of material? Does it matter if a composer makes minor mistakes in the philological interpretation of the device or forms selected as a source? In the case of Cage – and this may also hold true for similar phenomena regarding other composers – haiku really seems to be a starting point only, a special way of pre-arranging the material, and its validity should not be originated from or contrasted with the traditions of haiku; it should be perceived that its justification lies in the works of Cage themselves. For Cage, Japanese verse forms (or rather what he makes of them) formed part of the toolbox just like other elements of his style – the fact that he referred to them with such emphasis does not owe its significance to composition technique but to poetics.	2003., 41. évf. 2. szám	209. - 218.o
Elfeledett Bartók- és Kodály-nyilatkozat 1923-ból	-	1980., 21. évf. 4. szám	428. - 429.o
Erik Satie gregorián parafrázisai	-	1982., 23. évf. 2. szám	191. - 198.o
Két Bartók-vázlat	-	1978., 19. évf. 4. szám	401. - 412.o
Liszt és a huszadik század	-	1986., 27. évf. 2. szám	115. - 125.o
Módszer és mû : elemzõ megjegyzések Webern Das Augenlicht címû kompozíciójához	-	1984., 25. évf. 4. szám	384. - 388.o
Tételsorrendek Bartók mûveiben	-	1984., 25. évf. 2. szám	210. - 214.o
*Rec.* Messiaen - elméletének tükrében : Olivier Messiaen: Traîté de rythme, de couleur et d’ornithologie	-	1999., 37. évf. 4. szám	431. - 436.o
A Magyar Zene új folyama elé	-	1998., 37. évf. 1. szám	3. - 4.o
[Zenetudományi elõadássorozat Rajeczky Benjamin tiszteletére]	-	1987., 28. évf. 1. szám	4. - 7.o

Cage and Haiku
András Wilheim

By exploring in Cage’s works a verse form used variedly by the composer and its forms and various transformations, this paper attempts to identify the role played by an extrinsic device or the illusions related thereto in the formation of music. How is it possible to convert rules and formal features into musical patterns that had previously applied to another type of material? Does it matter if a composer makes minor mistakes in the philological interpretation of the device or forms selected as a source? In the case of Cage – and this may also hold true for similar phenomena regarding other composers – haiku really seems to be a starting point only, a special way of pre-arranging the material, and its validity should not be originated from or contrasted with the traditions of haiku; it should be perceived that its justification lies in the works of Cage themselves. For Cage, Japanese verse forms (or rather what he makes of them) formed part of the toolbox just like other elements of his style – the fact that he referred to them with such emphasis does not owe its significance to composition technique but to poetics.

Wilheim András