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)  

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.

Béla Balázs: The Face of Cinema

October ◽  
2014 ◽  
Vol 148 ◽  
pp. 53-62 ◽  
Author(s):  
Noël Carroll
Keyword(s):  
Walter Benjamin ◽  
Max Weber ◽  
Bela Bartok ◽  
Georg Simmel ◽  
Zoltan Kodaly ◽  
Karl Mannheim ◽  
Sergei Eisenstein ◽  
Michael Curtiz ◽  
The Face ◽  
Gyorgy Lukacs

Herbert Bauer, known to the world as Béla Balázs (1894–1949), led the sort of life about which contemporary intellectuals might fantasize. He knew everyone and he did everything. Born in Hungary, he included György Lukács, Karl Mannheim, Arnold Hauser, Béla Bartók, and Zoltán Kodály in his circle, among others. He knew the filmmakers Alexander Korda and Michael Curtiz before their names were Anglicized. He studied with Georg Simmel and met Max Weber. As time went on, he came, so it seems, to know virtually every major European intellectual—Stefan Zweig, Robert Musil, Walter Benjamin, Sergei Eisenstein, Erwin Piscator, and on and on. He lived in the midst of a universe of conversation that dazzles us as we look back enviously upon it.

scholarly journals From ethnomusicologist to composer. Sándor Veress and the Moldavian Collection

2020 ◽  
Vol 22 (1) ◽  
pp. 245-261
Author(s):  
Ioana Baalbaki
Keyword(s):  
Chamber Music ◽  
Hungarian Academy ◽  
Folk Songs ◽  
Bela Bartok ◽  
Carpathian Mountains ◽  
Zoltan Kodaly ◽  
Catholic Faith

AbstractAs a student of Zoltán Kodály and Béla Bartók, but also a close collaborator of László Lajtha at the Hungarian Ethnographic Museum in Budapest, and later of Béla Bartók at Folk Department of the Hungarian Academy of Science, Sándor Veress followed the path of his masters regarding the relation with folklore music. In 1930, he undertook an expedition in Moldavia, Romania, to collect music from the Csángó population, a small Hungarian speaking community, of catholic faith, living in the east of the Carpathian Mountains. In the seven villages he has visited, he collected, with the help of the phonograph, 138 folk songs on 57 wax cylinders, taking in the same time around 60 pictures and documenting the whole expedition in a journal. Following this journey, during the 30’s, Sándor Veress not only transcribed and analyzed the entire material, but also selected some of the melodies and used them as theme for his own choir arrangements and chamber music compositions.

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 “If I had wanted to put it into words, I would have written a novel”: Ernő Dohnányi as interviewee

2017 ◽  
Vol 58 (3-4) ◽  
pp. 415-430
Author(s):  
Veronika Kusz
Keyword(s):  
Critical Edition ◽  
Bela Bartok ◽  
Musical Life ◽  
Modern Music ◽  
Zoltan Kodaly ◽  
Professional Activities ◽  
Institutional Leader ◽  
History Of ◽  
Long Life ◽  
Recorded Performances

Compared to his contemporaries Béla Bartók and Zoltán Kodály, Ernst von Dohnányi (1877–1960) did not leave an extensive legacy of prose writings. He rarely spoke either of himself, the background of his compositions, his musical principles or compositional aesthetics; nor was he particularly active as a musicologist, ethnomusicologist or critic. Yet, during a long life filled with wide-ranging professional activities, he authored numerous writings pertinent to the history of music and musical life. Equally informative are the interviews he gave in his various capacities as composer, performer, teacher, and institutional leader. A volume in progress, entitled Ernő Dohnányi’s Selected Writings and Interviews, will offer an annotated critical edition of these texts (collected and edited by the author, to be published in late 2019). This study is based on the collected interview-material and gives a summary of some of their most important topics such as Dohnányi’s views on modern music, creative and reproductive talents, live-, radio-, and recorded performances. Though these transcripts cannot always be considered authentic sources, this study attempts to show that there is a great deal of information, heretofore unknown, contained in the numerous new interviews our research has brought to light.

Some Valuable Acquisitions

Tempo ◽  
1941 ◽  
pp. 62-62
Keyword(s):  
British Empire ◽  
Bela Bartok ◽  
Gustav Mahler ◽  
Considerable Time ◽  
Zoltan Kodaly ◽  
North Central ◽  
The North ◽  
Entire World

For a considerable time before the outbreak of war, Boosey & Hawkes, Ltd., had been in negotiation with Universal Edition of Vienna with the object of acquiring the works of several internationally known composers published by the latter firm. Agreement was eventually reached and under the terms of a contract dated August 17th, 1939, we became the owners of all works by Béla Bartók, Frederick Delius, Zoltán Kodály, Gustav Mahler and Jaromir Weinberger, the copyrights of which had hitherto been held by Universal Edition. The works by Mahler and Weinberger were acquired by us for the entire world, while those of Bartók, Delius and Kodály became our property for the British Empire, the North, Central and Latin Americas, and mandated territories.

Zur Sammlung der Soldatenlieder von Bartók und Kodály, erstellt 1918 im Auftrag des k. u. k. Kriegsministeriums

2009 ◽  
Vol 50 (1-2) ◽  
pp. 99-134
Author(s):  
Olga Szalay
Keyword(s):  
World War I ◽  
Hungarian Academy ◽  
Music History ◽  
Bela Bartok ◽  
Zoltan Kodaly ◽  
History Of Research ◽  
The Press ◽  
New Development ◽  
History Of ◽  
Academy Of Sciences

In the last years of World War I, Béla Bartók and Zoltán Kodály compiled a folksong selection One Hundred Hungarian Soldiers’ Songs from their own collections, requested by the Centre for Music History of the Monarchy’s War Ministry in Vienna. The collapse after the war interrupted the publication already in press. Parts of the song collection Kodály asked back in 1921 were returned in 1940 through diplomatic intervention. Later the manuscript was lost, but some parts have been found in the Kodály estate recently. However, the tunes are still latent; not even Kodály knew in his last years where they were. The present paper discusses the circumstances of the volume’s genesis and fate, and as a new development, the process of reconstructing the music section on the basis of the segments of the manuscript found in the estate (introduction and list of sources), the folksong collections of the Institute for Musicology of the Hungarian Academy of Sciences (Bartók-and Kodály-Systems) and the earlier researchers of the author concerning Kodály’s collection. The collection is an important document of Hungarian folk music history and the history of research. It is also the only collection of the series initiated by the Centre for Music History that was ready for the press as the next volume after Bernhard Paumgartner’s 100 deutsche Soldatenlieder published in 1918.

Gimpel’s Theatre, Lwów

2020 ◽  
pp. 125-146
Author(s):  
Michael Aylward
Keyword(s):  
First World War ◽  
Bela Bartok ◽  
World War ◽  
Zoltan Kodaly ◽  
Field Recordings ◽  
The First World War ◽  
History Of ◽  
First World ◽  
Made In

This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.

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