Collection of Hungarian Folk Music VIII/A-B. Types of Folksongs 3

1996 ◽  
Vol 37 (2/4) ◽  
pp. 435
Author(s):  
Márta Bajcsay-Rudas ◽  
Lajos Vargyas ◽  
Mária Domokos ◽  
Marta Bajcsay-Rudas ◽  
Maria Domokos
Keyword(s):  
Folk Music ◽  
Hungarian Folk Music

Magyar Nepzene I. Hungarian Folk Music

1972 ◽  
Vol 4 ◽  
pp. 194
Author(s):  
Barbara Krader ◽  
Benjámin Rajeczky ◽  
Benjamin Rajeczky
Keyword(s):  
Folk Music ◽  
Hungarian Folk Music

Guide to Contemporary Hungarian Composers

Tempo ◽  
1957 ◽  
pp. 27-31
Author(s):  
John S. Weissmann
Keyword(s):  
String Quartet ◽  
Folk Music ◽  
Strong Influence ◽  
First World War ◽  
German Version ◽  
World War ◽  
Nineteen Twenties ◽  
New Objectivity ◽  
Hungarian Folk Music ◽  
First World

PÁL KADOSA (1905) represents the German tradition among his contemporaries, and in this regard he might be said to continue the course indicated by Weiner and Jemnitz. But whereas Weiner's music is anchored in the romantics and Jemnitz's in the expressionist school of Reger and Schoenberg, Kadosa's model was the music of the young German post-First-World-War school, of which Hindemith was the leading figure. Another factor contributing a great deal to the formation of his idiom was his being a practical musician, a pianist of considerable gifts. These two considerations, viz. Hindemith and the piano, inevitably dominate the instrumental character of his music as a whole. What distinguishes his work from that of the German father-figure is the strong influence of Hungarian folk-music in the rhythmic element of his music. It came via Bartók, since Kadosa did not take active part in folk-music-collecting. His mature personal style is predominantly contrapuntal, terse and detached to the point of austerity; and since he thinks in patterns of motivic figurations, it possesses marked rhythmic and dynamic power. The baroque revival of the nineteen-twenties and 'thirties—whose German version was associated with an impersonal “New Objectivity”—is reflected in his series of concertos—including four for the piano, two for the violin, one for the viola, and one for string-quartet and orchestra—precise, often epigrammatic in utterance, showing a kind of restrained and diffident lyricism that is so typical of Kadosa, and conceived in terms of brilliantly effective instrumental writing.

Szentirmay Elemer es a Magyar Nepzene [Elemer Szentirmay and Hungarian Folk Music]

1968 ◽  
Vol 12 (1) ◽  
pp. 156
Author(s):  
John Weissmann ◽  
Gyorgy Kerenyi
Keyword(s):  
Folk Music ◽  
Hungarian Folk Music

Hungarian Folk Music in the United States

1984 ◽  
Vol 28 (3) ◽  
pp. 586
Author(s):  
Balint Sarosi ◽  
Laszlo Kurti
Keyword(s):  
United States ◽  
Folk Music ◽  
The United States ◽  
Hungarian Folk Music

scholarly journals Transylvanian Folk Music in Zoltán Kodály's Compositions

2018 ◽  
Vol 59 (1-2) ◽  
pp. 55-60
Author(s):  
István Almási
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Essential Role ◽  
Folk Songs ◽  
Zoltan Kodaly ◽  
Musical Play ◽  
Mixed Voices ◽  
Voice And Piano ◽  
Hungarian Folk Music

Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.

scholarly journals In Bartók’s Footsteps A Folk Music Research Series Among Turkic People (1936–2019)

2020 ◽  
Vol 60 (1-4) ◽  
pp. 313-326
Author(s):  
János Sipos
Keyword(s):  
Folk Music ◽  
Field Research ◽  
Comparative Investigation ◽  
Theoretical Research ◽  
Current State ◽  
New Findings ◽  
Music Research ◽  
Traditional Songs ◽  
Hungarian Language ◽  
Hungarian Folk Music

The Hungarian language belongs to the Finno-Ugric linguistic family, but several pre-Conquest strata of Hungarian folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations. Investigations authenticated by fieldwork have also been ongoing to the present day, parallel to theoretical research. Initially, the main goal was to explore the eastern relations of Hungarian folk music, which gradually broadened into the areal research of the Volga-Kama-Belaya region. I further expanded this work to encompass the comparative investigation of Turkic-speaking groups living over the vast Eurasian territory. This paper provides a summary of the findings of this field research examining the folk music of Anatolian Turk, Azeri, Karachay, Kazakh, Turkmen, Uzbek and Kyrgyz people. I briefly describe the sources, the fieldwork, the methods of processing the collected material, and most interestingly, I summarize new findings. After providing an overview of traditional songs of several Turkic peoples, selected results are provided in three tables: 1) a grouping of Turkic folk-music repertoires; 2) Turkic parallels to Hungarian folk music styles; and 3) the current state of Turkic folk music research conducted by Hungarian scholars.

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