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/05123/05123.pdf és http://www.oki.hu/lj.php?kod=2007-07-mt-Donath-Nagy-lj.html Duijker, H. C. (1955) In memoriam Géza Révész. Acta Psychologica. 11 , 357–359. Gábor É. (1991

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1 1. La version hongroise de cette étude a été publiée sous le titre « Az új magyar zene párizsi követe. Zágon Géza Vilmos pályája és levelezése » dans Lymbus Magyarságtudományi Forrásközlemények 2014

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Summary

The emperors of the 10th century made efforts to attract the Hungarians into the zone influenced of Byzantium, and later Basile II permitted them to join to the Latin World. His successors formed closer relations to the Hungarian rulers again, as first the Balkans and then the whole Empire were in danger. Kral Géza, the husband of a Synadene was given a crown by the emperor Michael VII. The Author will look for an explanation of the choice of this Byzantine aristocracy by examining the place of the Synadenoi in the Byzantine aristocracy.

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Szajbély M.: Csáth Géza. Gondolat Kiadó, Budapest, 1989. Szajbély M. Csáth Géza 1989

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Az építészettörténeti vizsgálatok során bizonyos témák időnként fölbukkannak, a közlést követően az eredményeket mindenki tudomásul veszi, néha évtizedekre el- tűnnek az érdeklődés homlokteréből, hogy aztán újból, esetleg új megközelítésben ismét rájuk terelődjön a figyelem. A jelek szerint ilyen, ciklikusan visszatérő kér- dés a keresztény templomok nyugati terének vizsgálata. Mindenek előtt kötelessé- gemnek tartom fölidézni, hogy ebben a témában a magyar szakirodalomban elő- ször Entz Géza professzor közölt összefoglaló és elemző munkát még 1959-ben. 1 Húsz évvel később ugyanő visszatért a kérdésre, 2 korábbi gondolatmenetét kiegé- szítve A. Tomasewsky 1974-ben publikált közép-európai tipológiai tapasztalatai- val. 3 Entz Géza munkáinak megállapításait jelen tanulmány szerzője teljes egé- szében elfogadja és magáévá teszi. A téma kutatásának gyarló és méltatlan folyta- tójaként & immár ismét két évtized elteltével & továbbfejlesztésként a vizsgálatot kiterjesztettem a Westwerk, a nyugati kórus (szentély), a nyugati karzat és nyugati előcsarnok összefüggéseire, időben és térben tágabb előképeire, valamint a külön- böző liturgikus cselekményekben betöltött szerepére.

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References 1 Babics A. Géza Illyés. [Illyés Géza.] Akadémiai Kiadó, Budapest, 1972. [Hungarian] 2

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Abstract

During a tour of Austria-Hungary in December 1910, Debussy met a young Hungarian Francophile composer, Géza Vilmos Zágon (1889–1918). The latter sent him the manuscript of the Pierrot lunaire, a cycle of six melodies from the collection of the Belgian poet Albert Giraud. Debussy reviews the vocal line, emphasizing that the corrections he has made almost all concern “prosodic accents.” This rereading of a work by a young composer is a unique case for Debussy and testifies not only to his openness to young composers, but also to his interest in Giraud's poems, as André Schaeffner had so rightly anticipated in 1953 in his article “Variations Schoenberg.” It also reveals Debussy's deep sensitivity to the French language verse and rhythm.

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Béla Bartók’s “On Hungarian Music,” one of his controversial articles published in 1911, is known for criticizing Géza Molnár’s book, Theory of Hungarian Music (1904). However, it has not been mentioned that Molnár himself replied to Bartók’s article in the next volume of Aurora [Dawn] magazine, using exactly the same title as Bartók’s. While Bartók asserted that true Hungarian music had never existed before, Molnár, a musicologist in Budapest, bitterly criticized Bartók’s assertions from an academic perspective. This controversy over Hungarian music published in Aurora seemed quite crucial for understanding and relativizing Bartók’s position at that time. The historian Mary Gluck explained that several intellectuals, including György Lukács and Béla Balázs, had to depend on the older generation, both financially and philosophically, during that period. Using Gluck’s framework, this paper examines the genesis of Bartók’s article and the connection between him and the intellectuals in 1911, as well as to interpret this controversy. In conclusion, the controversy with Molnár, and plausible “defeat” in the field of musicology could be added to his list of challenges and setbacks before 1912, the year that saw Bartók’s temporal exit from public musical life.

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This study analyzes the music critiques of Géza Csáth (1887–1919) on the interpretational achievements of the eminent European pianists Emil von Sauer, Leopold Godowsky, and Wilhelm Backhaus, who gave guest performances in Budapest from 1906 to 1912. By comparing Csáth’s opinions about the performances of the above mentioned pianists with those of the critics who wrote for Hungarian, German, Austrian, French and Serbian newspapers, the authors arrive to the conclusion that, at the time, artists were being more and more explicitly profiled exclusively as performers, while the practice of both composing and performing one’s own compositions, which had been customary, was slowly disappearing. The importance of the chosen critiques by Csáth lies first and foremost in the author’s comments, which indicate the changes happening in the piano practice in the late nineteenth and the early twentieth century.

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