Cover Studia Musicologica Academiae Scientiarum Hungaricae
Studia Musicologica Academiae Scientiarum Hungaricae

 

From 2007 onwards this journal continued as Studia Musicologica.

Conference Program
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.2
Pages:
255–260
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Bartók's Orbit. The Context and Sphere of Influence of His Work. Proceedings of the International Conference held by the Bartók Archives, Budapest (22-24 March 2006), Part I - Introduction
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.1
Pages:
251–254
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Opening Address
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.3
Pages:
261–264
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Why You Cannot Leave Bartók Out
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.4
Pages:
265–278
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Musical Symbolism in Bartók's  Bluebeard: Trauma, Gender, and the Unfolding of the Unconscious
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.5
Pages:
279–292
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Perfect Notation in Historical Context The Case of Bartók's String Quartets
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.6
Pages:
293–310
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Bartók's “Fallow Years”: A Reappraisal
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.7
Pages:
311–320
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“The Untouchable: Bartók and the Scatological”
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.8
Pages:
321–336
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Nationalism, Exoticism, or Concessions to the Audience? Motivations behind Bartók's Folksong Settings
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.9
Pages:
337–344
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Enesco−Bartók: Interférences
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.10
Pages:
345–360
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Boulez-Bartók: Références et contradictions
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.11
Pages:
361–370
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Bartók's Pozsony: An Examination of Neglected Primary Sources
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.12
Pages:
371–382
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Scherzi im Komponieren Bartóks
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.13
Pages:
383–394
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Bartók's Late Adventures with Kontrapunkt
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.14
Pages:
395–416
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Axis Tonality and Golden Section Theory Reconsidered
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.15
Pages:
417–426
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The Path of a Hölderlin Topos  Wandering Ideas in Kurtág's Compositions
DOI:
https://doi.org/10.1556/smus.43.2002.3-4.7
Pages:
289–310
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Beginnings and Endings: Defining the Mode in a Medieval Chant
DOI:
https://doi.org/10.1556/smus.45.2004.1-2.11
Pages:
165–178
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„Hommage à“ und „in memoriam“ - Brennpunkte kompositorischer Bartók-Rezeption nach 1945
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.17
Pages:
441–452
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Style Hongrois, Hungarian Elements in the Works of Haydn, Beethoven, Weber and Schubert
DOI:
https://doi.org/10.1556/smus.41.2000.1-3.9
Pages:
199–284
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The Structure of What is Beyond the Words: Musico-Poetic Analysis of the Fragment from Scenes from a Novel, op. 19 by György Kurtág
DOI:
https://doi.org/10.1556/smus.43.2002.3-4.9
Pages:
323–332
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Mutual Roots of Musical Thinking: György Kurtág, Péter Eötvös and Their Relation to Ernő Lendvai's Theories
DOI:
https://doi.org/10.1556/smus.43.2002.3-4.2
Pages:
223–234
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Musical Symbolism in Bartók's  Bluebeard: Trauma, Gender, and the Unfolding of the Unconscious
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.5
Pages:
279–292
Restricted access
Axis Tonality and Golden Section Theory Reconsidered
DOI:
https://doi.org/10.1556/smus.47.2006.3-4.15
Pages:
417–426
Restricted access
György Kurtág, Samuel Beckett: What is the Word, op. 30b (1990/91)
DOI:
https://doi.org/10.1556/smus.43.2002.3-4.15
Pages:
397–409
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From Jojk to Rock & Jojk: Some Remarks on the Process of Change and of the Socially Constructed Meaning of Sami Music
DOI:
https://doi.org/10.1556/smus.44.2003.1-2.23
Pages:
263–283
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Movement Cognition and Dance Notation
DOI:
https://doi.org/10.1556/smus.44.2003.3-4.5
Pages:
393–410
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Zur Musikpflege am Altar Mária Pócs (Maria Pötsch) in St. Stephan in Wien
DOI:
https://doi.org/10.1556/smus.41.2000.1-3.7
Pages:
133–177
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Zu den Einstellungen der Jugend zur Volksmusik (am Beispiel von manchen Orten in Mähren)
DOI:
https://doi.org/10.1556/smus.44.2003.1-2.13
Pages:
131–140
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Composition Principles in Forest Nenets Music
DOI:
https://doi.org/10.1556/smus.44.2003.1-2.21
Pages:
249–256
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From Jojk to Rock & Jojk: Some Remarks on the Process of Change and of the Socially Constructed Meaning of Sami Music
DOI:
https://doi.org/10.1556/smus.44.2003.1-2.23
Pages:
263–283
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Le chasseur maudit. Key and Content in Liszt's Music in C Minor
DOI:
https://doi.org/10.1556/smus.44.2003.3-4.3
Pages:
321–335
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The Word-Music Relationship in the Gregorian and Old Roman Offertories
DOI:
https://doi.org/10.1556/smus.45.2004.1-2.9
Pages:
131–148
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A Survival Liturgy - Continuity and Changes in the Processional Practice of Zagreb Cathedral from the 14th to the 18th Century
DOI:
https://doi.org/10.1556/smus.45.2004.1-2.4
Pages:
53–66
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Choralsätze im Ödenburger Stark-Virginalbuch
DOI:
https://doi.org/10.1556/smus.46.2005.1-2.3
Pages:
39–50
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Kirchenmusikzentren und erzbischöfliche Hofkapellen in Ungarn im 18. Jahrhundert
DOI:
https://doi.org/10.1556/smus.46.2005.1-2.6
Pages:
81–98
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Studia Musicologica Academiae Scientiarum Hungaricae
Language English
French
German
Year of
Foundation		 1961
Publication
Programme		 changed title
Founder Magyar Tudományos Akadémia  
Founder's
Address		 H-1051 Budapest, Hungary, Széchenyi István tér 9.
Publisher Akadémiai Kiadó
Publisher's
Address		 H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher		 Chief Executive Officer, Akadémiai Kiadó
ISSN 0039-3266 (Print)
ISSN 1588-2888 (Online)