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Careful study of the available chorological and musicological literature as well as dancing art in its authentic and stylized form confirms the significant position, task and importance of čardáš not only between dances as such, but also in a broader cultural and social life. Čardáš emerged in the end of 19th century on the base of Central European spin dances of the older style, verbunks and court European duo dances as a contribution to the contemporary tendency to create saloon dances using older folk tradition. As an artificial and to the certain extent authorial and intentional product of Hungarian attempts to revive national culture čardáš was a synthesis of the important elements of older spin dances. They were created and performed by all nationalities living on the territory of the historical Hungary, which facilitated the reverse acceptation of čardáš culture in folk environment. On the base of the folk dance (performed usually on Sundays in pubs – in Hungarian csárde, hence čardáš) Lajos Szőllősy Szabó and musician Márk Rózsavölgy created Hungarian square dance – Körtánc, which became the national representative of the Hungarian high society.
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Five years ago László Somfai addressed Nikolaus Harnoncourt with these words: “On his seventieth birthday among the works he is taking on tour with his international orchestra of young musicians is Bartók’s Divertimento; and surely he will have something personal to say to us about this score as well. Perhaps the present writer can be forgiven for saying that after making so many sensational re-discoveries he has high expectations of Harnoncourt’s Bartók.” [...] Béla Bartók: Music for Strings, Percussion and Celesta (SZ. 106–BB 114), Divertimento for String Orchestra (SZ. 113–BB 118). Nikolaus Harnoncourt, Chamber Orchestra of Europe. BMG Classics 82876 59326 2 Béla Bartók: Concerto for Orchestra (SZ. 116–BB123), Dance Suite for Orchestra (SZ. 77–BB 86), Hungarian Peasant Songs (SZ. 100–BB 107), Zoltán Kocsis, Hungarian National Philharmonic Orchestra. Hungaroton Classic HSACD 32187
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There is a popular notion that performers have more knowledge of and sympathy with composers who are their fellow nationals. Put simply "Bartók is only truly understood by Hungarian musicians". Péter Eötvös was asked recently whether people abroad think of his music as Hungarian, and what he thought of his native musical idiom. He said that, right to this day, musical style still develops according to nations and languages, and that you can hear very quickly where a contemporary work was written. He also mentioned that Bartók is often conducted strangely abroad because he is not understood nor is his idiom understood. Eötvös also said that the articulation of the Hungarian language, the patterns in Hungarian folk-songs and Bartók's music are resources that create a detectable community among modern Hungarian composers, to which Kurtág, Ligeti and he himself belong. To perform Bartók authentically do you have to know Hungarian? [...] Zoltán Kocsis Talks to Zoltán Farkas.
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" When I was a student at the Liszt Academy in Budapest, I spent a lot of time in a classroom where a famous photograph of Béla Bartók, by Kata Kálmán, was hanging on the wall. Whenever I looked at this picture, it seemed to me that Bartók’s eyes were constantly on me. I tried to escape his probing look, and moved to another corner of the room. But those large, deep, and expressive eyes were following me wherever I went. The impression was akin to what Rainer Maria Rilke described in his poem “Archaic Torso of Apollo:” denn da ist keine Stelle, / die dich nicht sieht. Du musst dein Leben ändern. (“For there is no place at all / that isn’t looking at you. You must change your life.”) The perception that Bartók is constantly looking at us and therefore we have to change our lives is practically as old as Bartók reception itself. And the people who were best able to put this perception into words were poets, like Rilke who had expressed a similar perception about an ancient Greek statue."[...]
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György Kurtág—The Matchstick Man/Péter Eötvös—The Seventh Door. Directed by Judit Kele, Idéale Audience, JuxtapositionsTM, 9DS16 György Kurtág: Complete Choral Works, Hänssler Classics CD 93.174
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Compared to his Hungarian, Slovak and Romanian folk music collections, Béla Bartók’s Arab collection is small, consisting of about two hundred melodies. Its significance, however, is disproportionately greater than its size, since this was the first collection of Arab folk music to be recorded with a phonograph at rural locations by an experienced scholar. It may come as a surprise to learn that Bartók, a European composer and an expert in the folk music of Eastern Europe, had an interest in Arab music. Yet as Bartók developed as an ethnomusicologist, the emergence of the idea of collecting folk music on another continent might not be entirely unexpected. [...]
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This essay is a revised and specially adapted English version of Chapter 3.6.3. of Modell és inspiráció Bartók zenei gondolkodásában [Model and Inspiration in Bartók’s Musical Thinking] (Pécs: Jelenkor, 1999), pp. 182–96.
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Jani Christou was a major Greek composer, whose unusual, yet promising career was brought to an end after his untimely death in 1970 at the age of 44. His challenging and speculative output has intrigued generation of young music scholars; however, J. Christou’s work remains imperfectly and only patchily known and understood, especially outside Greece. This is partly because of the interdisciplinary nature of his late works which reduces the possibility of potential researchers who will academically establish J. Christou’s distinguished output. The aim of the present paper is to present and analyse parts of Strychnine Lady, a work composed in 1967 in order to propose research directions in an effort to confirm J. Christou’s posthumous reputation.
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In this text I have attempted to mark the characteristics of the Estonian folksy music style and to outline the sequence connecting this style to the earlier folk music that is no longer in use. Reaching an undisputable result was not my goal, mostly due to the fact that I had to start from almost nothing. Musicologists work with folk music, while folksy music has been left for practitioners – artists and producers. In the context of culture in general, the lack of systematic overview of folksy music is a considerable gap. However, based on musicological methods alone, it is not possible to understand the impulses that have influenced the Estonians’ preferred music style to develop exactly into what we hear nowadays. Researches by scientists of music, society and literature, carried out according to a unified research program, could fill this gap. It can be stated that in the broad sense the Estonian folksy music is a result of extensive cultural influences. At the same time the loans, still happening today, do not change the basic principles of folksy music. Foreign elements intertwine with elements already present and start to look familiar in the process. This asserts that nations do not create their culture in a vacuum; instead it is an uncontrollable process in which many temporary ties emerge between different nations and whose interim results can considerably change a nation’s culture. Thus it happened that music of various origins blended into a folksy music style that is a mixture of mock songs, children’s songs, game songs, patriotic songs, dance songs and schlagers from before the Second World War, folk music from all parts of Europe, country music, works by classical composers and Estonian composers. This colourful assemblage constitutes an inseparable and organic part of folk culture. Spontaneous circles of influence have been functioning always and everywhere, but nowadays the changes in culture come about with greater intensity and they are easier to recognise and to observe.
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The music folklore of Cieszyn Silesia, including the Silesian Beskid at the same time, has specific features both in a musicological and anthropological layer. Modern interpretations of the folk music function on the surface of folklorism (regional bands: Koniaków, Istebna, Wałasi, Jetelinka) and folk (Folkoperacja, Free Village and others) nowadays. A characteristic location (close to the Czech Republic, Slovakia, Moravia though not only) facilitates official, but also social contacts which, in turn, make the popularization of the folklore music repertoire easier. An access to varied source music allows for new interpretations of the authentic music (folk combined with other music genres such as pop, rock, jazz, etc).
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Religious inspirations in works by Józef Świder constitute a peculiar phenomenon and mystery. The composer refers to religious contents to a large extent within the area of choir songs though talks about it unwillingly in interviews. Such a big contribution of religious contents to his works constitutes to some extent a reflection of tendencies typical of the Polish music of the last decades, starting from the 1980s. The author uses Latin and Polish texts in songs, derived from the liturgy of the Catholic Church and poetry. He also refers to melodies taken from the Gregorian Chant and Polish Church songs In his works, Świder uses fairly traditional means of expression, and makes the process of searching an answer to the question on what makes the composer create works invariably touching and stimulating for reflection even more interesting.
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When educating future teachers of music schools we cannot forget how important role they play in the process of the music education of students. Education and preparation of students for their future pedagogical-music work is presented on the basis of the Grażyna and Kiejstut Bacewicz Pedagogical Study at the Academy of Music. The attention was paid to both the requirements included in the directive from 17 January 2012 concerning the standards of education preparing for performing the teacher profession.
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