38. évfolyam / 1. szám (2000)

Why Jeppesen?
Kodály and the counterpoint text books
Anna Dalos

It is a well-know fact in Hungarian musicological literature that Zoltán Kodály (1882-1967) laid stress upon teaching Palestrina-style in his composition-classes. His pupils unanimously remember Kodály’s high regard for Knud Jeppesen’s books. This study makes an attempt to sketch out-with the help of Kodály’s readings on Palestrina style, his annotations in these readings, the correspondence between Kodály and Jeppesen and the composer’s own writings-the motives which made Kodály read about Palestrina’s Counterpoint and also Jeppesen’s theories on the subject.

The “Miserere” Tradition of the Cappella Sistina, Mirrored in Liszt’s Oeuvre
Zsuzsa Domokos

The Miserere, Psalm 50, had a particular place in the liturgy of the Officium Tenebrarum in the week before Easter. For those present at the ceremonies of the Cappella Sistina its performance remained a lasting experience not only for its particular qualities, but especially for the entire artistic and liturgical effect, evoked by the dramaturgy of the events. This Miserere-experience in the Cappella Sistina led Liszt to find a special musical interpretation of death, whose characteristics would be its funeral character, a theme based on repetition in the low register and a dramatic, restrained, concise musical expression in such works as À la Chapelle Sixtine, Miserere d’après Palestrina, Il Penseroso, Pensée des Morts. This special musical expression of the tragedy of death was built on an already known and used technique of chant-setting, namely the falsobordone.

Research into Musical System Planes and System Levels
Jenõ Keuler

Systematic musicology makes its scientific investigations in co-operation with many different sciences, since music functions as a complex system. Each domain of research investigates some plane and level of this complex system. Regarding the harmonization of research work and integration of scientific results, laws revealed by the universal theory of systems may be useful for systematic musicology.
In examining of the transmission, music as a system functioning in the connection of sounds and man by way of effects and information the most important task is to reveal what the necessary and sufficient conditions are for the sounding processes, and for the human mental state to qualify sound processes as music.
From this point of view the following areas of research work may be considered as significant:
1. Research of the pictorial appearance of sound phenomena. Revealing the system of the sounding features of sound quality. (Empiric and psychoacoustic examinations of pitch, timbre, volume, duration, spaciousness and their interrelations.)
2. Research of the immediate (sensorial) effect of sound phenomena. Revealing the dependence of effects and/or effect changes upon the sounding features of sound quality and their changes. (Empirical and psycho-physiological examinations.)
3. Research of human perception listening to sound processes under conditions of diverse strategies of perception. (Objective observation, subjective feeling of effects and tensions.)
4. Research into the influence of the orderliness of sounding features and effecting properties of sounds on perceptual strategies and experiences. Examination of the role of sound systems and rhythm systems.
5. Research of the diverse levels of decoding processes during perception of sound events or musical happening, in respect of pragmatics, syntax and semantics.
6. Research work examining active music making, as a process of operations made on sound features, sound effects, time durations, kinds of order, decoding actions and experiences.
The paper presents concrete examples for the research areas treated above. Questions are solved regarding how interrelations of system-theoretical concepts such as system-element-structure-function relate to music-theoretical notions. Lessons are drawn from empiric research enlightening the connections of sounding features and effecting properties of sounds. Problems of perception and perceptual strategies are discussed from the view-point of musical theory and semiotics. Proposals are made for interdisciplinary investigations on the basis of questions formerly searched empirically.

Musikleben der pester serviten Kirche Szent Anna im 18. Jahrhundert
Klára Várhidi-Renner

Nach der Zurückeroberung von Buda (1686) begann sich das Musikleben in der wichtigsten Kirche von Pest und im Servitenkonvent nur langsam wieder zu entwickeln. Der Historia domus und den Rechnungsbüchern der St. Anna Kirche ist diese langsame Entwicklung zu entnehmen. An den besonderen Serviten-Festen wirkten die Musiker der interstädtischen Kirche und die eigenen Musiker der Servitenkirche zusammen mit. Von den Dirigenten des Chors ist besonders R. P. Mathias Maria Haertner hervorzuheben, der um die Mitte des 18. Jahrhunderts nicht nur als Organist, sondern auch als Komponist tätig war. Die musikalischen Beziehungen zwischen den Musikern der Servitenkirche und der innenstädtischen Kirche beruhten auf Gegenseitigkeit. Im Chor der Serviten treffen wir auf Ferdinand Rainer, Josephus Ernestus Pospischl, Jacobus Radl (Raichl) und Alois Cibulka, die eigentlich Musiker der innerstädtischen Hauptkirche waren. Ab Mitte des 18. Jahrhunderts nimmt die mehrstimmige Musik einen immer wichtigeren Platz ein. Die bedeutendsten, für den Chor der Servitenkirche komponierten Werke sind unter anderem: die Offentorien, Arien, Salve Regina und Litanien von Haertner, die Missa pastorella von Andreas Binder, Motteto von Pancratius Huber und das Offertorium von Joseph Bengraf.

Unknown or Negleted Keyboard-Music Sources from the 17th Century
Péter Király

This article presents a survey of neglected as well as recently discovered sources from the territory of historical Hungary, mostly notated in so called new German organ tablature: - Transcription of a lute piece into organ tablature (Budapest, National Library) – A fragment of tablature, consisting of three pieces: a fragmentary anonymous piece as well as intabulations of works by Orlando di Lasso and Annibale Padovano (Budapest, Hungarian Academy of Sciences) – A magnificent Italian keyboard and guitar manuscript, every page written with a different combination of colours. This source originated in Italy, and arrived in Hungary probably through the modern antiques trade. (Budapest, Hungarian Academy of Sciences) – Fragment of an organ tablature with 14 pieces: dances (one based on a piece by Valintin Hausmann, others showing concordances with some Eastern European sources), an intabulation of a song by Hans Leo Haßler, a Fuga and three German choral[e]s. (Romania, Braºov, Black Church) – A letter by a Transylvanian organist to his colleague consisting of a piece without title (Romania, Cluj, State Archives) – Printed music editions, which also have a handwritten transcription of some of the parts into organ tablature.
The tablatures presented in this study, together with the ones already better known listed at the beginning of the article, help us to obtain a better balanced picture regarding the dissemination of organ tablature in historical Hungary during the 17th century. Now we have not only the several tablatures from the former Upper-Hungary (today Slovakia) to rely on, but also an increased number of sources from Transylvania (today part of Romania). It seems that organ tablature was much more in use in Hungary among musicians and musical amateurs, than was supposed by earlier musicological research.