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Institute of Music

 

1. Name of the Institute

Institute of Music

2. Name of the researcher(s) and research group (if applicable)

Dr. Ildikó Ferencziné Ács

3. Research area and keywords of research

Children’s choir pieces related to the poetry of Sándor Weöres

Keywords: Weöres, poems, children’s choir literature, rhythm

4. Research objectives (in 1-2 sentences)

Explore and compare the verse rhythm and the musical elements of the poems with the composer's toolbar.

5. Description and results of research (in detail, max. 1500 characters)

People who know Sándor Weöres’s poetry say that evaluating his life-work is almost an impossible task. Weöres’s figure is mysterious.  The life-work is extremely complex and multi-coloured and it hides western and ancient eastern patterns. He can remove the feelings from the surface of the poems and evoke any kind of scene using the elements of language and the accompanying acoustic phenomenon that belongs to it. The basis of his poems is the sound.

Zoltán Kodály had a particular role in the birth of his poems and he ordered from Weöres the texts for his biciniums and vocal exercises. He formulated his requests: he asked texts that came from the traditions of the Hungarian children’s folk songs and rhymes and the ones close to the world of children.

Because of their rhythm and very special acoustic effect, these poems were soon in the sight of the composers. A big amount of children’s choir works has been collected and a few in details analysed. It is clear that the composers kept almost entirely the original verse rhythm and the metrical arrangement too. The most popular poems proved to be the ones with the imitative sounds and evocative expressions. In these works it was possible to strengthen the imitation of sounds by using musical tools and solutions like puns, repetitions, dynamic games and aleatories could be used. From the simplest strophic form to the complicated mathematical proportion based forms, the choir works are characterized by an amazing polychromy.

A major part of the children’s choir literature based on Weöres’s poems can be regarded as a ‘reincarnated’ musical heritage.

6. Research partners from other institutions (if any)

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7. Other information (if any)

 -

8. Publications (max. 5)

  • Ferencziné Ács Ildikó: Gyermekversek muzsikája – Weöres Sándor költemények a gyermekkari irodalomban. Nyíregyháza: Bessenyei Könyvkiadó, 2010. 150 p.

ISBN: 978 963 9909 625

 

  • Ferencziné Ács Ildikó: Szeles versek – hang- és kottaanyaggal. Spanyolnátha művészeti folyóirat. X. évfolyam 4. szám 2013/4. HU ISSN 2061-0270

http://www.spanyolnatha.hu/uj-lapszam/mint-a-meseben/szeles-versek-hang-es-kottaanyaggal/3473/

 

  • Ferencziné Ács Ildikó: Weöres és a gyermekköltészet. Weöres-versre készült gyermekkarok jegyzéke

A Vörös Postakocsi 2008. nyár. pp. 50-68.

 


 

 

1. Name of the Institute

 Institute of music

2. Name of the researcher(s) and research group (if applicable)

 Dragony Gábor

3. Research area and keywords of research

The role of folk music education in the curricular and extracurricular scenes of art education

4. Research objectives (in 1-2 sentences)

exploration of the curricular and extracurricular scenes of folk music education

5. Description and results of research (in detail, max. 1500 characters)

 Based on interviews with folk music instructors, extracurricular folk music education can be defined: it is a tradition based area of art education that represents value. Masters are the main actors of education, who preserve tradition. Collecting trips are the best opportunities to meet them and to get to know the ethnographic environment. In addition to musical development, educational scenes provide background knowledge in folklore via methods that provide experience. According to a questionnaire survey of high school students studying folk music, in the extracurricular scenes, the experience-creating music activities are richer and students require more musical activity there than in the class. The proportion of those who visit extracurricular scenes from the curricular arenas is higher than that of those entering institutional education from the extracurricular scene. It is more common in the extracurricular scene, to participate in dance houses and camps, meet with informants, engage in music with a friend and other students, develop active community life, and develop relationships. Students highly appreciate the contribution of extracurricular events to their professional development. Participation in competitions, talent development, use of original audio and visual material, collaborative music with the teacher and the selection of curricula according to the individual interest are more common in the school. Students participate in concerts as a performer or viewer to an almost equal extent, and their participation in the band is also at the same ratio.

6. Research partners from other institutions (if any)

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7. Other information (if any)

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8. Publications (max. 5)

 Dragony Gábor (2017): Extrakurrikuláris lehetőségek a népzeneoktatásban. In: Új kutatások a neveléstudományban 2017 (szerk. Kerülő J. és Jenei T.), Debrecen: Kreatív Help Bt., 113–121. http://www.nye.hu/sites/default/files/u5/KFI/onk.pdf; (Gábor Dragony (2017): Possibilities of extracurricular activities in folk music education. In: New research in education science 2017 (eds. J. Kerülő and T. Jenei), Debrecen: Kreatív Help Bt., p. 113–121.)

Dragony Gábor (2018): A népzeneoktatás múltjáról és jelenéről a művészeti oktatás tükrében. In: A zenepedagógia jelene, múltja és jövője 2018 (szerk. Váradi J. és Szűcs T.), Debreceni Egyetemi Kiadó, 99–113. (Gábor Dragony (2018): Past and present of folk music education in the light of art education. In: The present, past and future of music pedagogy 2018 (eds. J. Váradi and T. Szűcs), Debrecen University Press, p. 99–113.)

 

 


 

 

1. Name of the Institute

Institute of Music

2. Name of the researcher(s) and research group (if applicable)

 Krisztina Sinka

3. Research area and keywords of research

Effect of the Chinese poetry on the creations of the composer György Kósa;

Keywords: Composer György Kósa, song repertory, songs on Chinese poetry, Chinese poetry

 

4. Research objectives (in 1-2 sentences)

Analysis of the relationship between the Chinese poetry and György Kósa’s song composition technic, with special emphasis of the work of the Hungarian translator poet Sándor Weöres

5. Description and results of research (in detail, max. 1500 characters)

The Chinese author's themes transmit eternal human senses, thoughts, life situations. The bulk of the processed literary texts cannot be squeezed within the narrower framework of the "Lyrical" song in the literary sense. When it comes to selecting poetic works of art, it is not the pure song-likeness of the literary genre that counts, but the composer's need for expression. The resulting song is, in fact, a condensed drama that has a shaky and often cathartic effect thanks to the sound of the vocalist, but more of a voice-acting, true-to-colour character rendering.

6. Research partners from other institutions (if any)

 none

7. Other information (if any)

 none

8. Publications (max. 5)

Songs and piano; Hommage à György Kósa; Holocaust Memorial Year

ERŐMŰVHÁZ, the 20th of October of 2014, with the contribution of Mónika Kecskés - piano

Programme: Songs of György Kósa on poems of Miklós Radnóti

Katalin Forrai Memorial Conference; ELTE, Faculty of Teaching and Singing Music. Budapest, 19th of January of 2015

Programme: György Kósa: Chinese Songs

                     György Kósa – Zsigmond Móricz: The Turk and the Cows; Iciri-piciri

 

 


 

 

1. Name of the Institute

Institute of Music

2. Name of the researcher(s) and research group (if applicable)

Ádám Mike

 

Music pedagogy research group (University of Debrecen, MMA)

LearnInnov research group (University of Debrecen)

3. Research area and keywords of research

Research area:

1. The history and content of theoretical classes in Hungarian secondary music education.

2. The melody and text of Gregorian sequences.

Keywords: music history, music theory, secondary education, Gregorian

4. Research objectives (in 1-2 sentences)

I research the history of theoretical classes in Hungarian secondary education, to learn about the structure, operation and formation process of conservatoire, the type of institution, which was formed in the 19th century. 

5. Description and results of research (in detail, max. 1500 characters)

Currently I am doing research in music theory, music history and pedagogy. As a PhD student of University of Debrecen, Doctoral School of Human Sciences, Doctoral Program on Educational Sciences, my research focuses on the history and content of theoretical classes in Hungarian secondary music education. I investigate the unique institution-system and history of Hungarian music education, and related to this, I analyse the curricula and books of the theoretical classes. At the field of music theory and music history I research the melody and text of Gregorian sequences. I explore the vocal and instrumental adaptations of these songs, first of all by European composers.

6. Research partners from other institutions (if any)

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7. Other information (if any)

Besides the researches, I am engaged in musical creative arts and performance activity. My compositions can often be heard in Hungary as well as abroad. I am the second conductor of Sol Oriens Choir (Debrecen).

8. Publications (max. 5)

Mike Ádám (2020): The history of the two significant institutions of                 Hungarian secondary music education until the middle of                 the 20th century. CEJER special edition 2020.

Mike Ádám (2020): Let’s listen together! – Music history and                 literature in lower primary school. University of Nyíregyháza, Nyíregyháza. ISBN 978-615-6032-13-3

Mike Ádám (2019): The history of the text and melody of the                 Gregorian sequence Lauda Sion. STUDIA UBB MUSICA                 1/2019.

Dr. Asztalos Kata – Dobos Zoltánné – Dr. Jenei Teréz – Dr. Kiss                 Ferenc – Mike Ádám – Opre Edina – Spákné Paráda Andrea                 – Tóthné dr. Kerülő Judit (2019): A tanulók komplex                 fejlesztése a végzettség nélküli iskolaelhagyás ellen -                 Művészeti nevelés Alapú Módszerek. Mike Ádám (szerk.),                 EFOP-3.1.2-16-2016-00001 kiemelt projekt, Nyíregyházi                 Egyetem.

Mike Ádám (2016) Stabat Mater – for female choir, baritone solo                 and organ. Főnix Zeneműhely, Debrecen.

 

 


 

 

1. Name of the Institute

 Institute of Music

2. Name of the researcher(s) and research group (if applicable)

 Ildikó Pintér-Keresztes

3. Research area and keywords of research

Points of contact of music teacher training and music teaching

 

Keywords: existing legislation, music textbooks

4. Research objectives (in 1-2 sentences)

Supplementing the content of music teacher training by studying existing legislation, analyzing available music textbooks, furthermore writing and using much-needed special literatures.  

5. Description and results of research (in detail, max. 1500 characters)

Presentations in conferences, writing publications, organization of the event entitled „Music – I learnt it – I’m teaching it” – whose primary aim is an all-round training of students of music at university for a teacher’s life.

The content of university lectures and possibility of their daily application in education. The deficiencies of teacher training in the light of music teaching.

6. Research partners from other institutions (if any)

 -

7. Other information (if any)

 Supplementing the content of music teacher training by studying existing legislation, analyzing available music textbooks, furthermore writing and using much-needed special literatures

8. Publications (max. 5)

  • Kerettantervi előírások alkalmazhatósága (megjelenés alatt)
  • Elmélet és gyakorlat kapcsolata 2012 után az ének-zeneoktatásban. Képzés és Gyakorlat: Training and Practice 16: 2 p. 137-146 (2018)

 

 

 


 

1. Name of the Institute

 Institute of Music

2. Name of the researcher(s) and research group (if applicable)

 Lujza Ratkó CSc

3. Research area and keywords of research

 Ethnographia; folk costumes, folk dances

4. Research objectives (in 1-2 sentences)

 Traditional costumes from Szabolcs-Szatmár-Bereg County.

 Folklore background of folkdance.

5. Description and results of research (in detail, max. 1500 characters)

Research method: collecting ethnographic material in the field (in the villages in the county ) further analyzing archive photos and reconstruct and describe the old folk costumes. In case of the other theme the research method is similar.

6. Research partners from other institutions (if any)

 –

7. Other information (if any)

 –

8. Publications (max. 5)

  • Ratkó Lujza: Viselet. In: Ratkó Lujza (szerk.): Szabolcs-Szatmár-Bereg megye népművészete. Népművészeti örökségünk. Jósa András Múzeum, Nyíregyháza, 2014, 539–625.
  • Ratkó Lujza: Táncviseletek a Nyíregyháza környéki tirpákoknál. Szabolcs-Szatmár-Bereg megye népviseletei. Viselettörténeti sorozat II. In: A nyíregyházi Jósa András Múzeum Év­könyve LVII. évf. Szerk. Istvánovits Eszter. Nyíregyháza, 2015. 195–209.
  • Ratkó Lujza: Ajaki női viselet. In: Bőségszaru. Ízelítő a 150 éves Jósa András Múzeum gyűjteményeiből. Cornucopia. A Taste of the Collections of the 150-year-old Jósa András Museum. A Jósa András Múzeum Kiadványai 75. Szerk. Istvánovits Eszter – L. Nagy Márta – Ratkó Lujza. Nyíregyháza, 2018. 122–123.
  • Ratkó Lujza: „Ördög van a botomba...” – táncfolklorisztikai adalékok a felső-Tisza-vidéki cigánybotolóhoz. In: „Vadrózsából tündérsípot csináltam”. Tanulmányok Istvánovits Eszter 60. születésnapjára. „To make a fairy’s whistle from a briar rose”. Studies presented to Eszter Istvánovits on her sixtieth birthday. Szerk. L. Nagy Márta – L. Szőlősi Katalin. Jósa András Múzeum, Nyíregyháza, 2018. 729–743.
  • Ratkó Lujza: Stílusismeret. In: Tájékoztató a páva népi előadó-művészeti minősítő zsűrizési szempontrendszeréről. Néptánc szakág. Hagyományok Háza, Budapest, 2019. 16–20. Internetes megjelenés:

https://www.hagyomanyokhaza.hu/document/2464/original/00202336.pdf.

 

 

1. Name of the Institute

 Institute of Music

2. Name of the researcher(s) and research group (if applicable)

 Gyula Szilágyi DLA

3. Research area and keywords of research

Research area: Aspects of historical performance practice in the organ literature

Keywords: historical performance practice, organ literature

4. Research objectives (in 1-2 sentences)

To drew the attention of the today Hungarian organist’s society and the estimated audience as well to the importance of the consciousness about the historical data, including information of performance practices, when performing on newly or recently restored historical organs of today Hungary.  

5. Description and results of research (in detail, max. 1500 characters)

The organ, and especially the historical or historicising one is the instrument which is incomparable to other instruments. Both require a special preparedness from its player in treating them adequately, especially when one plays music written around the time of the origin of the same. Thanks to few but very motivated organ restaurateurs and manufacturers, the number of both types (restored and newly built-to-style) organs is increasing and get more and more attention in today Hungary. The best way to get the goal of the objectives is without doubt organizing free-entrance didactic concerts about typical organ music of earlier centuries on instruments built more or less in the same epoque of the music in question, making CD-recordings on those instruments as well, translating and publishing information written in foreign languages, organizing masterclasses for “Kenner und Liebhaber” (connoisseurs and lovers), using the lovely descriptions of Carl Philipp Emanuel Bach.

6. Research partners from other institutions (if any)

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7. Other information (if any)

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8. Publications (max. 5)

  • A series of 7 didactic concerts on the early 18th century Castilian style copy organ in the Szent Angyalok (Holy Angels) Church of Gazdagrét, Budapest, the so called Facultad Orgánica (Faculty of Organ), during the year 2018, in which was performed the complete oeuvre, 69 tientos, of the, in 1626 published edition with the same name, of a 17th century Sevillian composer, Francisco Correa, one of the most important keyboard composer of the Iberian Peninsula.
  • A series of 6 didactic concerts, also on the castilian style Aeris-organ in the Szent Angyalok Church, from May until October in 2020 with the title “Flores de Música”, commemorating of the 400th anniversary of the in 1620 printed keyboard music edition, with the same name, of the Portuguese composer Frei Manuel Rodrigues Coelho (ca.1555-1633).
  • Participation in a triple-CD recording, published by the Luther Kiadó in 2018, with the title Historical organs in the Lutheran Church of Hungary, together with renown colleagues, like László Fassang DLA and Dóra Pétery DLA, playing on recently restored historical organs in Hegyeshalom, Nagyvázsony, Nemesleányfalu and Mezőberény.
  • Since 2017 in every year regularly organizing of masterclasses with the issue of the Iberian keyboard music around an on the above-mentioned Castilian copy organ in Budapest and abroad.

 

 

 

2016, Nyiregyhaza