We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
This article deals with analysis of original aspects of bandura art research of Ukraine and Ukrainian diaspora. Bandura art is being considered in the context of problem of national cultural heritage preservation. The components of spiritual and material culture in bandura art are being defined. Major source groups in bandura art research of Ukraine and Ukrainian diaspora are being characterized. Priorities of modern bandura art studies are being defined.
More...
Béla Balázs, the librettist of Béla Bartók’s Bluebeard’s Castle and Wooden Prince, wrote many remarks about Bartók in his recollections throughout his life, and their manuscripts are preserved in Budapest, in the Library of the Hungarian Academy of Sciences and National Széchényi Library. Some parts of these texts, however, still remain unpublished. Even though his reminiscence tends to exaggerate their friendship, which in fact ended in their earliest period in Budapest, examination of the sources provides us with a new understanding of the relationship between the librettist and the composer. Therefore, this paper introduces the documents written by Balázs, gives a selective overview of their friendship, and examines how the image of Bartók changed in Balázs’s mind over time.
More...
While concentrating on two cases: Ribioa/Ribice and Malancrav/Almakerék, Sorin Dumitrescu (himself a painter) offers an overview of Hungarian–Romanian relations, not only from the artistic point of view, but also in the broader cultural and even political sense – a study on the conditions of vassality, so to say. He suggests that the mixture of genres runs the risk of making art intolerably tasteless.
More...
After briefly summarizing the historical circumstances of its construction, Szilveszter Terdik compiles a kind of inventory of the religious decoration of the cathedral. He demonstrates the effort to maintain loyalty to the main principal of the byzantine art, while describing certain inflexions that show the intention to get closer to Rome. Moreover, these two tendencies were sustained by two different artists.
More...
The tradition of European “classical music” has long evoked the exotic, and two of the most prominent exotic referents in that tradition are the Middle East, first and foremost the Turk, and the Hungarian Gypsy, raising the questions of how these “exotic” traditions are related, and what their comparison might tell us about the idea of musical exoticism more broadly. In this essay, I briefly survey the “Turkish style” and its use in Classical-period opera; discuss its replacement by Hungarian-Gypsy style in the nineteenth century; and finally examine the interesting juxtaposition of Turkish and Hungarian-Gypsy topics in two fin-de-siècle Central European operettas, Der Zigeunerbaron by the Austrian Johann Strauss Jr. and Gül baba by the Hungarian Jenõ Huszka. An examination of these works and their reception reveals fissures between the Viennese and Budapest versions of operettas featuring “exotic” topics and characters, and between the operetta industries in the two cities. These details offer a fascinating look at the dividing line between exoticism and auto-exoticism and at the significance of references to Turkish and Hungarian-Gypsy topics in the Central European cultural climate of this period – in short, a reconsideration of what it means to be Hungarian, and for whom.
More...