Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai

2020 ◽  
Vol 65 (2) ◽  
pp. 143-172
Author(s):  
Judit Csüllög ◽  
Krisztina Várady
Keyword(s):  
Cross Section ◽  
Folk Music ◽  
Associate Professor ◽  
Musical Analysis ◽  
Musical Language ◽  
Piano Works ◽  
Music Department ◽  
Strongly Connected ◽  
Hungarian Folk Music

"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"

Piano works by composers from the Republic of Moldova: genre and modal-tonal relationships with musical folklore

2020 ◽  
Vol 61 (12) ◽  
pp. 74-77
Author(s):  
Inna Alimovna Khatipova ◽  
Keyword(s):  
Folk Music ◽  
Piano Music ◽  
Folk Songs ◽  
Primary Sources ◽  
Musical Language ◽  
Correct Treatment ◽  
Musical Education ◽  
Republic Of Moldova ◽  
Piano Works ◽  
The Republic

In the article, the author analyzes some piano pieces written by the composers of the Republic of Moldova from the standpoint of determining how genre peculiarities and musical language elements of Moldavian folk songs and folk dances are reflected in them. In this light, an analysis of miniatures by Gh.Neaga, A.Starcea, C.Rusnac, and other Moldavian composers, which are a part of pedagogical repertoire in the country’s musical education institutions, is performed. The purpose of this article is to elucidate various forms of manifestation of national groundedness in the creations of Moldavian composers, the ways in which these forms evolved, and to characterize the evolution of the composers’ attitude towards the folk base of musical material. An examination of folk elements in the musical language of autochthonous piano pieces allows one to elucidate the national specificities of piano music by the composers of the Republic of Moldova, its originality and artistic uniqueness. The author shows conclusively that a familiarity with folk primary sources and a skillful modeling of their elements assists in creating a correct treatment of the piece performed. Key words: Moldavian composers, piano music, cantilena character, virtuoso character, Moldavian folk music genres, folk modes

Bartók’s Slovak folksong arrangements and their relationship to Stravinsky’s Les noces

2012 ◽  
Vol 53 (1-3) ◽  
pp. 311-322
Author(s):  
Nobuhiro Ito
Keyword(s):  
Folk Music ◽  
Vocal Music ◽  
Formal Concept ◽  
Left Behind ◽  
Mixed Choir ◽  
Strongly Connected ◽  
Textual Content ◽  
Hungarian Folk Music ◽  
The Relationship ◽  
Point Of Reference

Bartók left behind over 300 folksong arrangements. In the field of vocal music, three series are based on Slovak folksongs: Five Slovak Folksongs for male choir (1917, BB 77), Four Slovak Folksongs for mixed choir and piano (1917, BB 78) and Village Scenes (1924, 1926, BB 87). The series are strongly connected among themselves in terms of textual content, formal concept, and treatment of folk melodies. In Village Scenes, Stravinsky’s influence is unmistakable. Not only was Bartók “influenced” by Stravinsky but he also imitated and even “quoted” Les Noces (1923). The article examines the relationship between the two works using Bartók’s 1928 essay Hungarian Folk Music and New Hungarian Music as a point of reference.

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

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

scholarly journals Experiencing Folk Music in Children

2020 ◽  
Vol 22 ◽  
Author(s):  
Konstanca Zalar
Keyword(s):  
Folk Music ◽  
Social Role ◽  
Symbolic Play ◽  
Musical Language ◽  
Musical Culture ◽  
Music Making ◽  
Slovene Language ◽  
Social Competences ◽  
Phenomenological Case Study

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristic of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyones life and it also represents an important part of childrens life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how do children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how does the symbolic play on the basis of communication in musical language work out. The most natural way to bridge the gap between learning songs and experiencing individual musical expression in a manner of folk music in children seems to be a creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in a symbolic play with folk music elements in the improvisational mode. Key words: folk music; improvisation; music language; music making

Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 287-294
Author(s):  
Botond SZOCS
Keyword(s):  
Heinrich Schenker ◽  
Musical Analysis ◽  
Musical Language ◽  
Transformational Grammar ◽  
Verbal Language ◽  
Noam Chomsky ◽  
Musical Discourse ◽  
Linguistic Categories ◽  
New Perspective ◽  
Structural Levels

The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.

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.

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