Advertisement
| laszlo somfai: Constructive Dissonance Juliane Brand, Christopher Hailey, 1997-01-01 There cannot ever be too many good books about Schoenberg, and so it is a special pleasure to welcome Constructive Dissonance, which is far beyond just 'good.' These essays cover a generous range in style and idea. Many of them also are deeply moving, and nothing could be more appropriate for the composer of our century's most fiercely intense music.--Michael Steinberg, author of The Symphony: A Listener's Guide Although much has been written about Schoenberg, no group of essays examines his life and work in such a broad context. Here we find Schoenberg's matrix: the social, cultural, political, and artistic currents that helped shape him, and to which he made his own extraordinary contribution.--Robert P. Morgan, author of Twentieth-Century Music As we approach the turn of this century, it is clear that Arnold Schoenberg must becounted as one of the most important figures in Western art music during the last one hundred years. Schoenberg's influence on art-music culture has not only worked its effects through his music, but also through his thinking and writing about music. This collection makes a fitting tribute to Schoenberg and does an admirable job of presenting the many facets of Schoenberg the composer, music theorist, and thinker. These thought-provoking essays present a broad range of approaches to a rich variety of topics within Schoenberg scholarship, and readers will find both familiar and not-so-familiar issues arising during the course of the volume. Constructive Dissonance is certain to become an important book for those interested in twentieth-century art music and culture, and seminal reading for anyone interested in Arnold Schoenberg and his work.--John Covach, University of North Carolina at Chapel Hill |
| laszlo somfai: Bartók Perspectives Elliott Antokoletz, Victoria Fischer, Benjamin Suchoff, 2000-07-20 In profound ways, music in the twentieth century reflects the influence of Béla Bartók. His compositions remain at the heart of the modern repertoire, and his scholarly writings on music and his studies of folk music continue to inspire new generations of scholars and musicians. Bartók Perspectives seeks to paint a complete portrait of this complex figure, presenting essays from a wide range of perspectives and disciplines. The book collects new work by leading scholars and important new voices on Bartók. While each essay can be read independently, together they provide a coherent view of Bartók's life and work. The book includes integrative theoretic-analytical approaches to Bartók's musical language and studies of his system of composition from its early stages to maturity. It also includes explorations of Bartók's folk-music materials in connection with his fieldwork, transcription techniques, classification methodology, and compositional influences. Many of the chapters examine the broad historical, philosophical, and cultural questions intimately linked to Bartók's work. Anyone with an interest in Bartók or in serious music in the twentieth century will find Bartók Perspectives an invaluable resource and guide. |
| laszlo somfai: Bartok's Viola Concerto Donald Maurice, 2004-03-04 When Bela Bartók died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in Bartók's Viola Concerto:The Remarkable Story of His Swansong. After Bartók's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra. For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bartók, released a revision, opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and Bartók scholars seek the definitive version of this final work of Hungary's greatest composer. Bartók's Viola Concerto tells the story of the genesis and completion of Bartók's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities. |
| laszlo somfai: Jewish Identities Klara Moricz, 2008-02-05 Jewish Identities mounts a formidable challenge to prevailing essentialist assumptions about Jewish music, which maintain that ethnic groups, nations, or religious communities possess an essence that must manifest itself in art created by members of that group. Klára Móricz scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century Jewish music in three case studies: first, Russian Jewish composers of the first two decades of the twentieth century; second, the Swiss American Ernest Bloch; and third, Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, Móricz describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism. |
| laszlo somfai: The String Quartets of Béla Bartók Dániel Péter Biró, Harald Krebs, 2014-04-25 Béla Bartók (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartók's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Béla Bartók brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartók's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Béla Bartók, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology. |
| laszlo somfai: Bartók and His World Peter Laki, 1995-08-27 Béla Bartók, who died in New York fifty years ago this September, is one of the most frequently performed twentieth-century composers. He is also the subject of a rapidly growing critical and analytical literature. Bartók was born in Hungary and made his home there for all but his last five years, when he resided in the United States. As a result, many aspects of his life and work have been accessible only to readers of Hungarian. The main goal of this volume is to provide English-speaking audiences with new insights into the life and reception of this musician, especially in Hungary. Part I begins with an essay by Leon Botstein that places Bartók in a large historical and cultural context. László Somfai reports on the catalog of Bartók's works that is currently in progress. Peter Laki shows the extremes of the composer's reception in Hungary, while Tibor Tallián surveys the often mixed reviews from the American years. The essays of Carl Leafstedt and Vera Lampert deal with his librettists Béla Balázs and Melchior Lengyel respectively. David Schneider addresses the artistic relationship between Bartók and Stravinsky. Most of the letters and interviews in Part II concern Bartók's travels and emigration as they reflected on his personal life and artistic evolution. Part III presents early critical assessments of Bartók's work as well as literary and poetic responses to his music and personality. |
| laszlo somfai: Official Gazette of the United States Patent and Trademark Office , 1991 |
| laszlo somfai: Intimate Voices: Debussy to Villa-Lobos. The string quartets of Debussy and Ravel David Clampitt, 2009 Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900. |
| laszlo somfai: Thematic Catalog of a Manuscript Collection of Eighteenth-Century Italian Instrumental Music University of California, Berkeley. Music Library, |
| laszlo somfai: Chamber Music John H Baron, 2010-06-10 Chamber Music: A Research and Information Guide is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. The third edition adds nearly 600 new entries to cover new research since publication of the previous edition in 2002. Most of the literature is books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. In addition to the core literature obscure citations are also included when they are the only studies in a particular field. In addition to being printed, this volume is also for the first time available online. The online environment allows for information to be updated as new research is introduced. This database of information is a live resource, fully searchable, and with active links. Users will have unlimited access, annual revisions will be made and a limited number of pages can be downloaded for printing. |
| laszlo somfai: The Wind Ensemble and Its Repertoire Frank J. Cipolla, Donald Hunsberger, 1999-11-27 As part of the mission of The Donald Hunsberger Wind Library, the 1994 hardcover edition (University of Rochester Press) of The Wind Ensemble and Its Repertoire has now been published in a paperback edition. This compendium of research includes must have information on the history and execution of the wind ensemble repertoire. |
| laszlo somfai: Guide to the Pianist's Repertoire Maurice Hinson, Wesley Roberts, 2013-12-03 Guide to the Pianist's Repertoire continues to be the go-to source for piano performers, teachers, and students. Newly updated and expanded with more than 250 new composers, this incomparable resource expertly guides readers to solo piano literature and provides answers to common questions: What did a given composer write? What interesting work have I never heard of? How difficult is it? What are its special musical features? How can I reach the publisher? New to the fourth edition are enhanced indexes identifying black composers, women composers, and compositions for piano with live or recorded electronics; a thorough listing of anthologies and collections organized by time period and nationality, now including collections from Africa and Slovakia; and expanded entries to account for new material, works, and resources that have become available since the third edition, including websites and electronic resources. The newest Hinson will be an indispensible guide for many years to come. |
| laszlo somfai: Music at the Turn of the Century Joseph Kerman, 2024-03-29 Most of the essays in this book were solicited for the tenth anniversary of the journal 19th Century Music, which has sought to encourage innovative writing about music--musicological, theoretical, and/or critical writing--since its founding in 1977. We invited former contributors and some others to submit articles on the general question of the relations between nineteenth-century music and music of the early twentieth century. Responses to our invitation were published in two special issues in the spring and summer of 1987. The breadth and scope of these articles, and their collective cogency, sparked the idea of reissuing them under a single cover, as a book. --From the Preface This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990. |
| laszlo somfai: Haydn Karl Geiringer, 1982 This definitive study of the life and works of Joseph Haydn represents half a century of research. As a curator of the Gesellschaft der Musikfreunde in Vienna, Dr. Geiringer was in charge of one of the world's leading Hayden collections. His scholarly investigations took him to various monasteries, to libraries in Eisenstadt, Prague, Berlin, Paris, London, and Washington, D.C., and, as a guest of the Hungarian government, to the previously almost inaccessible archives of the Princes of Esterhazy in Budapest. In the past decade, Haydn studies have progressed enormously. A thematic catalog is now available, and a substantial part of Haydn's vast creative output is accessible in critically revised editions. The new edition of Hayden: A Creatie Life in Music has been substantially rewritten to incorporate the results of recent research and to remove the tarnish that had assimilated on the picture of Haydn in the earlier years. |
| laszlo somfai: Inside Early Music Bernard D. Sherman, 2003-10-09 The attempt to play music with the styles and instruments of its era--commonly referred to as the early music movement--has become immensely popular in recent years. For instance, Billboard's Top Classical Albums of 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon's top-selling living conductor. But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach. To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship? Now, in Inside Early Music, Bernard D. Sherman has invited many of the leading practitioners to speak out about their passion for early music--why they are attracted to this movement and how it shapes their work. Readers listen in on conversations with conductors Gardiner, William Christie, and Roger Norrington, Peter Phillips of the Tallis Scholars, vocalists Susan Hellauer of Anonymous 4, forte pianist Robert Levin, cellist Anner Bylsma, and many other leading artists. The book is divided into musical eras--Medieval, Renaissance, Baroque, and Classic and Romantic--with each interview focusing on particular composers or styles, touching on heated topics such as the debate over what is authentic, the value of playing on period instruments, and how to interpret the composer's intentions. Whether debating how to perform Monteverdi's madrigals or comparing Andrew Lawrence-King's Renaissance harp playing to jazz, the performers convey not only a devotion to the spirit of period performance, but the joy of discovery as they struggle to bring the music most truthfully to life. Spurred on by Sherman's probing questions and immense knowledge of the subject, these conversations movingly document the aspirations, growing pains, and emerging maturity of the most exciting movement in contemporary classical performance, allowing each artist's personality and love for his or her craft to shine through. From medieval plainchant to Brahms' orchestral works, Inside Early Music takes readers-whether enthusiasts or detractors-behind the scenes to provide a masterful portrait of early music's controversies, challenges, and rewards. |
| laszlo somfai: Stravinsky Daniel Albright, 1989 Studie over het werk van de Russische componist (1882-1971). |
| laszlo somfai: Beethoven's Ninth Esteban Buch, 2004-05 Who hasn't been stirred by the strains of Beethoven's Ninth Symphony? That's a good question, claims Esteban Buch. German nationalists and French republicans, communists and Catholics have all, in the course of history, embraced the piece. It was performed under the direction of Leonard Bernstein at a concert to mark the fall of the Berlin Wall, yet it also serves as a ghastly and ironic leitmotif in Stanley Kubrick's A Clockwork Orange. Hitler celebrated his birthdays with it, and the government of Rhodesia made it their anthem. And played in German concentration camps by the imprisoned, it also figured prominently at Mitterand's 1981 investiture. In his remarkable history of one of the most popular symphonic works of the modern period, Buch traces such complex and contradictory uses—and abuses—of Beethoven's Ninth Symphony since its premier in 1824. Buch shows that Beethoven consciously drew on the tradition of European political music, with its mix of sacred and profane, military and religious themes, when he composed his symphony. But while Beethoven obviously had his own political aspirations for the piece—he wanted it to make a statement about ideal power—he could not have had any idea of the antithetical political uses, nationalist and universalist, to which the Ninth Symphony has been put since its creation. Buch shows us how the symphony has been deployed throughout nearly two centuries, and in the course of this exploration offers what was described by one French reviewer as a fundamental examination of the moral value of art. Sensitive and fascinating, this account of the tangled political existence of a symphony is a rare book that shows the life of an artwork through time, shifted and realigned with the currents of history. |
| laszlo somfai: The Tonadilla in Performance Elisabeth Le Guin, 2013-11-16 The tonadilla, a type of satiric musical skit popular on the public stages of Madrid during the late Enlightenment, has played a significant role in the history of music in Spain. This book, the first major study of the tonadilla in English, examines the musical, theatrical, and social worlds that the tonadilla brought together and traces the lasting influence this genre has had on the historiography of Spanish music. The tonadillas' careful constructions of musical populism provide a window onto the tensions among Enlightenment modernity, folkloric nationalism, and the politics of representation; their diverse, engaging, and cosmopolitan music is an invitation to reexamine tired old ideas of musical Spanishness. Perhaps most radically of all, their satirical stance urges us to embrace the labile, paratextual nature of comic performance as central to the construction of history. |
| laszlo somfai: Music and Literature in German Romanticism Siobhán Donovan, Robin Elliott, 2004 During the Romantic era, many in Germany believed music to be the highest art form, representing the quintessence of Romanticism and able to express what could not be expressed in words. This book studies the work of composers during this period and examines the cross-over between music and literature. |
| laszlo somfai: Conventional Wisdom Susan McClary, 2000-05-09 With her usual combination of erudition, innovation, and spirited prose, Susan McClary reexamines the concept of musical convention in this fast-moving and refreshingly accessible book. Exploring the ways that shared musical practices transmit social knowledge, Conventional Wisdom offers an account of our own cultural moment in terms of two dominant traditions: tonality and blues.McClary looks at musical history from new and unexpected angles and moves easily across a broad range of repertoires--the blues, eighteenth-century tonal music, late Beethoven, and rap. As one of the most influential trailblazers in contemporary musical understanding, McClary once again moves beyond the borders of the purely musical into the larger world of history and society, and beyond the idea of a socially stratified core canon toward a musical pluralism. Those who know McClary only as a feminist writer will discover her many other sides, but not at the expense of gender issues, which are smoothly integrated into the general argument. In considering the need for a different way of telling the story of Western music, Conventional Wisdom bravely tackles big issues concerning classical, popular, and postmodern repertoires and their relations to the broader musical worlds that create and enjoy them. |
| laszlo somfai: Thematic Catalog of a Manuscript Collection of Eighteenth-Century Italian Instrumental Music Vincent Duckles, Minnie Elmer, 2023-11-15 This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1963. |
| laszlo somfai: Concert Life in London from Mozart to Haydn Simon McVeigh, 2006-11-02 This book is a detailed investigation of a lively and innovative period in London's cultural life. |
| laszlo somfai: Sourcebook for Research in Music Phillip Crabtree, Donald H. Foster, 1993 This bibliography of bibliographies lists and describes sources, from basic references to highly specialized materials. Valuable as a classroom text and as a research tool for scholars, librarians, performers, and teachers. |
| laszlo somfai: Annual Report - National Endowment for the Humanities National Endowment for the Humanities, 1982 |
| laszlo somfai: Aaron Copland Marta Robertson, Robin Armstrong, 2003-08-27 Aaron Copland (1900-1990) is generally considered the most popular and well-known composer of American art music, and yet little scholarly attention has been paid to Copland since the 1950s. This volume begins with a portrait of the composer and an evaluation of significant research trends which is intended to fill a void and to suggest directions for further research. The guide also provides a section discussing Copland's interdisciplinary interests, such as ballet and film work, as well as a comprehensive bibliography of writings about Copland and his music. |
| laszlo somfai: Elliott Carter John F. Link, 2003-09-02 This is a comprehensive guide to research on the American composer Elliott Carter (b. 1908), widely acknowledged as one of the greatest composers of the twentieth century. It contains a chronology, complete list of works, detailed discography, and fully annotated bibliography of over 1,000 books, articles, interviews, video recordings, and Carter's own writings. This essential reference book covers the most significant works in English, French, German, and Italian, from the 1940s-when Carter's music first began to attract attention-to the 1990s. |
| laszlo somfai: National Endowment for the Humanities Annual Report National Endowment for the Humanities, 1985 Includes appendices. |
| laszlo somfai: Piano-playing Revisited David Breitman, 2021 Preface -- Acknowledgements -- 1. Music making then and now -- 2. With broad strokes (an overview) -- 3. The early days of piano: Haydn and Mozart -- 4. Beethoven and the evolving piano -- 5. Schubert -- 6. Chopin -- 7. The clavichord -- Epilogue: creativity in the performance of old music -- Appendix: overtone structure of the Steinway and Waler, compared -- Glossary of terms -- Notes -- Bibliography -- Index of works -- General index. |
| laszlo somfai: Index of Patents Issued from the United States Patent Office , 1975 |
| laszlo somfai: The Harvard Dictionary of Music Don Michael Randel, 2003-11-28 This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. |
| laszlo somfai: Index of Patents Issued from the United States Patent and Trademark Office , 1993 |
| laszlo somfai: Richard Wagner and His World Thomas S. Grey, 2009-07-27 Richard Wagner (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a total work of art combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. Wagner and His World examines his works in their intellectual and cultural contexts. Seven original essays investigate such topics as music drama in light of rituals of naming in the composer's works and the politics of genre; the role of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and symbol; Wagner as his own stage director; his conflicted relationship with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation in the context of the Franco-Prussian War; and responses of Jewish writers and musicians to Wagner's anti-Semitism. In addition to the editor, the contributors are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau. This book also includes translations of essays, reviews, and memoirs by champions and detractors of Wagner; glimpses into his domestic sphere in Tribschen and Bayreuth; and all of Wagner's program notes to his own works. Introductions and annotations are provided by the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi. |
| laszlo somfai: The Golden Ratio Mario Livio, 2008-11-12 Throughout history, thinkers from mathematicians to theologians have pondered the mysterious relationship between numbers and the nature of reality. In this fascinating book, Mario Livio tells the tale of a number at the heart of that mystery: phi, or 1.6180339887...This curious mathematical relationship, widely known as The Golden Ratio, was discovered by Euclid more than two thousand years ago because of its crucial role in the construction of the pentagram, to which magical properties had been attributed. Since then it has shown a propensity to appear in the most astonishing variety of places, from mollusk shells, sunflower florets, and rose petals to the shape of the galaxy. Psychological studies have investigated whether the Golden Ratio is the most aesthetically pleasing proportion extant, and it has been asserted that the creators of the Pyramids and the Parthenon employed it. It is believed to feature in works of art from Leonardo da Vinci's Mona Lisa to Salvador Dali's The Sacrament of the Last Supper, and poets and composers have used it in their works. It has even been found to be connected to the behavior of the stock market! The Golden Ratio is a captivating journey through art and architecture, botany and biology, physics and mathematics. It tells the human story of numerous phi-fixated individuals, including the followers of Pythagoras who believed that this proportion revealed the hand of God; astronomer Johannes Kepler, who saw phi as the greatest treasure of geometry; such Renaissance thinkers as mathematician Leonardo Fibonacci of Pisa; and such masters of the modern world as Goethe, Cezanne, Bartok, and physicist Roger Penrose. Wherever his quest for the meaning of phi takes him, Mario Livio reveals the world as a place where order, beauty, and eternal mystery will always coexist. |
| laszlo somfai: Guide to the Pianist's Repertoire, third edition Maurice Hinson, 2001-05-22 The Hinson has been indispensable for performers, teachers, and students. Now updated and expanded, it's better than ever, with 120 more composers, expertly guiding pianists to solo literature and answering the vital questions: What's available? How difficult is it? What are its special features? How does one reach the publisher? The new Hinson includes solo compositions of nearly 2,000 composers, with biographical sketches of major composers. Every entry offers description, publisher, number of pages, performance time, style and characteristics, and level of difficulty. Extensively revised, this new edition is destined to become a trusted guide for years to come. |
| laszlo somfai: Richard Strauss's Orchestral Music and the German Intellectual Tradition Charles Youmans, 2005-07-07 A study of Strauss's orchestral activity from the perspective of late-19th-century German intellectual history. |
| laszlo somfai: Mozart Stanley Sadie, 2006-01-19 In the 250th anniversary of Mozart's birth, few people would question his rating as the most popular of all classical composers. Yet there exists no substantial, up-to-date English-language study of the man and his works. Aiming to fill this gap, Sadie draws substantially on family correspondence, and discusses individual works in sequence, relating them to the events and relationships of his life. Much new material connected with Mozart has come to light in recent years and understanding of the context for Mozart's music has broadened immensely. Sadie's biography digests and interprets this corpus of new information. |
| laszlo somfai: Retuning Culture Mark Slobin, 1996 As a measure of individual and collective identity, music offers both striking metaphors and tangible data for understanding societies in transition--and nowhere is this clearer than in the recent case of the Eastern Bloc. Retuning Culture presents an extraordinary picture of this phenomenon. This pioneering set of studies traces the tumultuous and momentous shifts in the music cultures of Central and Eastern Europe from the first harbingers of change in the 1970s through the revolutionary period of 1989-90 to more recent developments. During the period of state socialism, both the reinterpretation of the folk music heritage and the domestication of Western forms of music offered ways to resist and redefine imposed identities. With the removal of state control and support, music was free to channel and to shape emerging forms of cultural identity. Stressing both continuity and disjuncture in a period of enormous social and cultural change, this volume focuses on the importance and evolution of traditional and popular musics in peasant communities and urban environments in Hungary, Poland, Romania, Russia, the Czech Republic, Ukraine, the former Yugoslavia, Macedonia, and Bulgaria. Written by longtime specialists in the region and considering both religious and secular trends, these essays examine music as a means of expressing diverse aesthetics and ideologies, participating in the formation of national identities, and strengthening ethnic affiliation. Retuning Culture provides a rich understanding of music's role at a particular cultural and historical moment. Its broad range of perspectives will attract readers with interests in cultural studies, music, and Central and Eastern Europe. Contributors. Michael Beckerman, Donna Buchanan, Anna Czekanowska, Judit Frigyesi, Barbara Rose Lange, Mirjana Lausevic, Theodore Levin, Margarita Mazo, Steluta Popa, Ljerka Vidic Rasmussen, Timothy Rice, Carol Silverman, Catherine Wanner |
| laszlo somfai: The New Hungarian Quarterly , 1981 |
| laszlo somfai: Eastern Europe United States. Congress. House. Committee on Banking, Finance, and Urban Affairs. Subcommittee on Economic Stabilization, 1990 |
| laszlo somfai: NHQ; the New Hungarian Quarterly , 1981 |
The Brutalist: Who Is the Real László Toth? - Hungarian ...
Jan 19, 2025 · It tracks one man, László Toth, as he leaves Hungary in the aftermath of the Holocaust, to rebuild his life in America. Toth is an architect who wants to remake human …
Ervin László - Wikipedia
Ervin László (Hungarian: [ˈɛrvin ˈlaːsloː]; born 12 June 1932) is an American philosopher of science, systems theorist, integral theorist, originally a classical pianist. He is an advocate of …
The Brutalist: Is The Movie Based on a True Story?
Jan 4, 2025 · László Toth is at the center of the plot as a Hungarian-Jewish architect and a Holocaust survivor who flees to America with his wife, Erzsébet, to start life anew. He finds …
The Brutalist True Story: The Very Different Real Laszlo Toth ...
Feb 8, 2025 · There was no Hungarian-Jewish architect named László Tóth who survived the Holocaust and immigrated to America, but hundreds of thousands of Hungarian Jews were …
Who is Laszlo Toth? The architects behind The Brutalist's ...
The Brutalist follows László Tóth, a Hungarian-Jewish architect and Holocaust survivor, as he starts a new life in the USA. With dreams of success, he crosses paths with a powerful …
Is 'The Brutalist' based on a true story? All about its real ...
Mar 5, 2025 · The Brutalist follows a Holocaust survivor and architect named László Tóth, a character so well-written (and well-acted by Adrien Brody, who won an Oscar for his...
How ‘The Brutalist’ built architect László Tóth — inside and out
Dec 20, 2024 · The tortured architect in Brady Corbet’s film required a powerhouse performance from Adrien Brody. The Oscar winning actor and production designer Judy Becker share how …
The Brutalist: Who Is the Real László Toth? - Hungarian ...
Jan 19, 2025 · It tracks one man, László Toth, as he leaves Hungary in the aftermath of the Holocaust, to rebuild his life in America. Toth is an architect who wants to remake human …
Ervin László - Wikipedia
Ervin László (Hungarian: [ˈɛrvin ˈlaːsloː]; born 12 June 1932) is an American philosopher of science, systems theorist, integral theorist, originally a classical pianist. He is an advocate of …
The Brutalist: Is The Movie Based on a True Story?
Jan 4, 2025 · László Toth is at the center of the plot as a Hungarian-Jewish architect and a Holocaust survivor who flees to America with his wife, Erzsébet, to start life anew. He finds …
The Brutalist True Story: The Very Different Real Laszlo Toth ...
Feb 8, 2025 · There was no Hungarian-Jewish architect named László Tóth who survived the Holocaust and immigrated to America, but hundreds of thousands of Hungarian Jews were …
Who is Laszlo Toth? The architects behind The Brutalist's ...
The Brutalist follows László Tóth, a Hungarian-Jewish architect and Holocaust survivor, as he starts a new life in the USA. With dreams of success, he crosses paths with a powerful …
Is 'The Brutalist' based on a true story? All about its real ...
Mar 5, 2025 · The Brutalist follows a Holocaust survivor and architect named László Tóth, a character so well-written (and well-acted by Adrien Brody, who won an Oscar for his...
How ‘The Brutalist’ built architect László Tóth — inside and out
Dec 20, 2024 · The tortured architect in Brady Corbet’s film required a powerhouse performance from Adrien Brody. The Oscar winning actor and production designer Judy Becker share how …
