Bartók as Man of Letters

Tempo ◽  
1972 ◽  
pp. 10-16
Author(s):  
Benjamin Suchoff
Keyword(s):  
Folk Music ◽  
Art Music ◽  
Musical Instruments ◽  
Bela Bartok ◽  
Educational Institutions ◽  
Zoltan Kodaly

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.

Collection of Hungarian Folk Music Established by Bela Bartok and Zoltan Kodaly. 10th Types of Folksongs

1998 ◽  
Vol 39 (2/4) ◽  
pp. 443
Author(s):  
Lujza Tari ◽  
Bela Bartok ◽  
Zoltan Kodaly ◽  
Katalin Paksa
Keyword(s):  
Folk Music ◽  
Bela Bartok ◽  
Zoltan Kodaly ◽  
Hungarian Folk Music

scholarly journals The Harmonization of Folk Songs in Kodály’s Workshop

2020 ◽  
Vol 60 (1-4) ◽  
pp. 265-279
Author(s):  
Pál Richter
Keyword(s):  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
Bela Bartok ◽  
Western Music ◽  
Zoltan Kodaly ◽  
Depth Analysis ◽  
Folk Song Arrangements

When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.

scholarly journals Folklorism and Classical Tradition in László Lajtha's Late String Quartets

2018 ◽  
Vol 59 (3-4) ◽  
pp. 323-344
Author(s):  
Viktória Ozsvárt
Keyword(s):  
Music Theory ◽  
Folk Music ◽  
String Quartets ◽  
Technical Skill ◽  
Bela Bartok ◽  
Composition Analysis ◽  
Zoltan Kodaly ◽  
Composing Process ◽  
Music Collection ◽  
The Aesthetic

Abstract The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic statement. This article analyzes two works by the Hungarian composer and ethnomusicologist László Lajtha (1892–1963): his string quartets nos. 7 and 10 completed in the early 1950s. Through these two quartets I attempt to fathom the aesthetic, ideological and personal motives behind Lajtha's use of folk material in classical composition. Analysis of the composing process involved and the reception the two works received reveal the manifold scope that folk music brings as a source of inspiration.

Bernhard Paumgartner und Felix Petyrek: Zwei Mitarbeiter der Musikhistorischen Zentrale beim k. u. k. Kriegsministerium (1916–1918)

2008 ◽  
Vol 49 (3-4) ◽  
pp. 459-469
Author(s):  
Eva Hois
Keyword(s):  
World War I ◽  
Folk Music ◽  
Music Teacher ◽  
Bela Bartok ◽  
Cultural Significance ◽  
World War ◽  
Zoltan Kodaly ◽  
History Of ◽  
History Department

A special chapter of research into the history of folk music in the time of the Austrian-Hungarian Monarchy was the Musikhistorische Zentrale (Music History Department) at the imperial royal Ministry of War. It was established during World War I, modelled on the Austrian Volksliedunternehmen (today Volksliedwerk). The Musikhistorische Zentrale wanted to collect all the soldiers’ songs, fanfares, military music, soldiers’ sayings, customs, jokes, letters and their expressions which are of historical and cultural significance. Bernhard Paumgartner (1887–1971), a musician and lawyer, had the idea of collecting this material. After the war, he became well known as the director of the Mozarteum in Salzburg, as conductor, music researcher and member of the Salzburger Festspiele. Under Paumgartner’s direction, notable individuals were involved in the compilation of Musikhistorische Zentrale. One of these men was the student of composition and musicology Felix Petyrek (1892–1951), who was dedicated to folk music all over his life as composer as well as researcher and music teacher. Other important collaborators for the Hungarian part on the collection were Zoltán Kodály and Béla Bartók.

“Bartók always called me Latin”: The Influence of Béla Bartók on László Lajtha's life and art

2007 ◽  
Vol 48 (1-2) ◽  
pp. 215-223 ◽  
Author(s):  
Emőke Tari Solymosi
Keyword(s):  
Folk Music ◽  
Film Music ◽  
Hungarian Academy ◽  
Compositional Style ◽  
Bela Bartok ◽  
Mutual Respect ◽  
French Academy ◽  
Latin Culture

Abstract Bartók's influence on his outstanding Hungarian contemporary, László Lajtha (1892–1963) remains as yet largely unresearched. Lajtha studied with Bartók at the Royal Hungarian Academy of Music and went on to become a composer, folk music researcher, versatile teacher, international cultural ambassador, and member of the French Academy. The two men's friendship and mutual respect lasted throughout Bartók's life. Among the leading musicians of the time, it was Bartók who first expressed his high opinion of the younger composer's talent. Bartók's influence can be observed in almost every field of Lajtha's work. For example, it was Bartók who recommended that Lajtha choose Paris as the place to complete his studies, which fostered in turn Lajtha's orientation toward Latin culture. Following in Bartók's footsteps, Lajtha became one of the greatest folk music collectors and researchers in Hungary, and this music also exerted a significant effect on his compositional style. Bartók recommended that the director Georg Hoellering commission Lajtha to write film music, which became an important new genre for the latter. A large number of documents — especially the unpublished letters from László Lajtha to John S. Weissmann, one of his former students — offer proof that Bartók's inspiration and practical assistance were of paramount importance to the development of Lajtha's career, oeuvre, and aesthetics.

Was ist "echte" ungarische Volksmusik?

2021 ◽  
Vol 61 (1) ◽  
pp. 16-25
Author(s):  
Bálint Sárosi
Keyword(s):  
Bela Bartok ◽  
Zoltan Kodaly

Schon Béla Bartók und Zoltán Kodály haben versucht, das ungarische Volk musikalisch zu "erziehen", indem sie dem Volk nur besonders ausgewählte Lieder darboten. Doch dieser Versuch blieb, wie auch spätere, erfolglos, da das Volk die Volkslieder nur zur Entspannung und Unterhaltung gebraucht. Dies findet es insbesondere in der Zigeunermusik, die auch echte ungarische Volksmusik ist. Ungarische Volksmusik kennt man seit langer Zeit überall auf der Welt durch die Zigeunermusik, die ihre Ursprünge in Ungarn im 15. Jahrhundert hat. bms online (Mano Eßwein)  

An Analytical Study of the Folk Musical Instruments of Meghalaya

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai
Keyword(s):  
20Th Century ◽  
Folk Music ◽  
Analytical Study ◽  
Musical Instrument ◽  
Folk Songs ◽  
Musical Instruments ◽  
Indian State ◽  
Material Benefits ◽  
Local Materials ◽  
Over Time

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

Landmarks in the Study of Improvisation

2014 ◽  
Author(s):  
Bruno Nettl
Keyword(s):  
Middle East ◽  
Folk Music ◽  
Research Study ◽  
Art Music ◽  
Jazz Improvisation ◽  
Single Model ◽  
Oral Transmission ◽  
Western Art ◽  
Music Making ◽  
History Of

Historically, research on improvisation has been related to the discovery of non-Western musics, folk music, and jazz, and has depended on the development of recording techniques for its principal kinds of data. The concept of improvisation is not unitary, but includes many vastly different kinds of un-notated music-making, which casts some doubt on the efficacy of the term itself. In the history of Western art music, improvisation was originally ignored or seen as craft rather than art, but since ca. 1980 it has occupied increased attention. The association of improvisation with oral transmission has sometimes been misunderstood. The most successful standard research study has been the comparison of performances based on a single model, for example, raga in India, maqam and dastgah in the Middle East, or a series of chord changes or a tune in jazz. Improvisation as a concept—for example, as a metaphor of freedom—has been important in recent research.

Shimian Maifu Ambush on All Sides, a pipa piece shu calligraphy, one category of the literati’s self-cultivation and entertainment shu konghou angular harp Si silk, a category of ancient classification for musical instruments Sichuan Yangqin a local singing narrative genre in Sichuan Province sihu four-string bowed lute suona conical oboe tan plucking, a category of folk classification for musical instruments, meaning plucked instruments taoxun pottery ocarina taozhong pottery bell Tianjin Minjian Yinyue The great meeting of folk music in Tianjin City Shenghui tongbo brass cymbals Tu earth, a category of ancient classification for musical instruments Wenban Shi’er Qü Twelve civil short pieces, a collection of pipa pieces edited by Yang Yinliu and Cao Anhe in 1943 wenqü civil pieces wenzi pu character notation wo konghou half-tube plucked zither with frets on the soundboard wuqü martial pieces xiao vertical bamboo flute, similar to ancient chiba xianghege song, accompanied by instruments xiqin bowed lute xun egg or ball shaped wind instrument, comparable to ocarina yangqin dulcimer yanyue banquet music in the court Yayin Ji Collection of elegant music edited by Yang Yinliu in 1923–1929 yayue ceremonial court music yazheng zither yü a type of ancient sheng, mouth organ yü (different Chinese scraped wooden block character) yunluo small gong chime zheng bridged zither

2012 ◽  
pp. 34-34
Keyword(s):  
Folk Music ◽  
Sichuan Province ◽  
Musical Instruments ◽  
Folk Classification ◽  
Wooden Block ◽  
Wind Instrument ◽  
Tianjin City ◽  
Court Music ◽  
Bamboo Flute
Sign in / Sign up

Export Citation Format

Share Document