Franz Liszt Academy of Music

Cultural transformation profoundly influences human consciousness, spirituality, philosophy, and traditions, shaping how individuals perceive themselves and society. This process manifests in the creation of a multilayered cultural identity that ensures freedom of expression while reflecting both continuity and fluctuation. The purpose of this study is to examine the impact of evolving cultural trends, shifting from continuity to cultural fluidity, on personal identification. The methodological framework combines structural and conceptual analysis, questionnaires, and Pearson’s statistical calculations. Findings reveal that stages of cultural continuity, including primitive society, antiquity, and the Middle Ages, strongly shaped individual identification within collective frameworks. In contrast, cultural fluidity, characteristic of modernism, postmodernism, and the digital age, has fostered greater social independence and a search for new meanings through cultural interaction. Current trends such as digitalization, polycentricity, ethics, decolonization, and new cultural orientations reinforce the perception of culture as a sphere of direct human participation and engagement with history. The analysis showed that respondents in Group 1 (younger generation) are more oriented toward cultural fluidity (73%), which facilitates the revision of established values and the embrace of change. Meanwhile, respondents in Group 2 (older generation) prefer cultural continuity (68%), reflecting their inclination to preserve traditional norms. Importantly, 82% of students in Group 1 reported a strengthened sense of belonging, expanding their worldview. Their adaptability was further confirmed through situational tasks, where they achieved the highest results in integrating into a European university setting (S=0.83; 4.7 points).

This article is based on the four-year project Conservatory Cultures, and was written by all five researchers in the project, based in four different European countries. The aim of the article is to review higher music education (HME) institutions’ actions in handling power and taking responsibility regarding issues of bullying and harassment in Estonia, Finland, and Hungary. All of the institutions discussed in the article had procedures and organisational bodies for handling such cases. The article presents and analyses four cases with experiences of incidents related to bullying and harassment and macro structures aimed at preventing such issues. The research questions asked are: What are the challenges for HME in becoming a genuinely supportive and safe environment? And how can these challenges be met? The article is based on a collaborative feminist method where the authors investigated their own experiences. Previous studies of bullying and harassment in music education, and Ahmed’s (2021) work on complaint, are the theoretical starting points. It concludes with providing recommendations to HME institutions on how to develop their work in handling bullying and harassment.

A tanulmány elkészítésének apropóját a 2022. év végén megjelent, nyolc ország nemzeti földjogát górcső alá vevő Acquisition of Agricultural Lands: Cross-border Issues from a Central European Perspective című kötet adta. Jelen tanulmány szerzőinek célja, hogy e kiadvány alapján összegezve, új információkkal kiegészítve bemutassák a közép-európai régió országai közül Magyarország, Szlovákia, Csehország, Lengyelország, Szerbia, Horvátország, Szlovénia és Románia nemzeti földjogi sajátosságait, valamint felvázolják a szóban forgó országok mezőgazdasági, illetve erdőgazdasági földszerzési szabályait. Fontosnak tartjuk rögzíteni, hogy az ʻuniós sajátosságok’, továbbá a földszerzési derogáció lezárásakor megalkotott, az új tagállamok földjogi szabályozására vonatkozó kötelezettségszegési eljárások, illetve az Európai Unió Bírósága előtt zajló előzetes döntéshozatali eljárások nem képezik jelen tanulmány tárgyát, tekintettel arra, hogy azok jelen folyóirat előző számában megjelent tanulmányban kerültek ismertetésre.

Abstract The music of Gustav Mahler was almost completely excluded from Budapest's concert halls between 1938 and 1945, and again between 1952 and 1957. Its position within the Hungarian public sphere was, however, definitely strengthened in the period from the early 1920s to the mid-1930s, and stabilized again from 1958. Chronological correlations between performance and political history highlight the destructive influence of anti-Semitic discrimination elevated to the level of government policy and of the Stalinist political course on the presence of Mahler's music. From 1921 until 1937, Gustav Mahler's music was performed on a regular basis in the concert halls of the Hungarian capital. During that decade and a half, the majority of Mahler's works were present in Budapest, and, in 1935, even the unfinished Symphony no. 10 was premiered in the city. In the interwar period, the framework of Hungarian social and political life was a conservative parliamentary system with authoritarian elements. However, the public sphere under that regime was, at least until the late thirties, multipolar both in cultural and ideological sense, and it had a pluralistic structure. Mahler's music had conservative as well as left-wing and modernist adherents, while his art was rejected by representatives of folkloristic neo-classicism, by Zoltán Kodály and musicologists belonging to his inner circle. Mahler's music was performed in Budapest owing to the efforts of Hungarian and German-Austrian conductors, who formed a heterogeneous group in terms of socio-cultural background and political orientation. Following the war, the Holocaust and the wave of emigration, Mahler's works were performed again by a largely different group of musicians. But the relative boom of a few years was soon interrupted, and Mahler interpretation in Hungary withered away. The Mahler Renaissance, which took off in 1960, arrived from the Western centers to Hungary, where it produced not insignificant, but typically peripherial results. In my paper, I would like to position the situation of Mahler's music in Budapest within the context of the global reception of the composer. Furthermore, I will also attempt to answer the question to what extent Mahler's personal relationship with Hungarian musical institutions and with the musical elite in Budapest determined the posthumous reception of his music in Hungary.

Pop vocals play a significant role in today’s music industry and cultural environment. The pop style of singing has become extremely popular among young people, which determines the relevance of studying the methods of teaching pop vocals, which is characterized by technical features, emotional expression and the use of specific artistic techniques. The purpose of this study is to study effective approaches and create the own methods of teaching pop vocals, in particular, the formation of vocal qualities, to support and develop the potential of young performers. The analytical method, typological approach and generalization were used in the research work. As a result of the research, the key aspects and factors influencing the successful adaptation of young performers to the pop style of singing were revealed. As a result of the scientific work, it was established the importance of systematic classes and vocal practice for achieving a high level of vocal skill. As a result of the research work, it was possible to develop a method of teaching pop vocals, aimed at the effective formation of vocal qualities in young performers. This technique took into account the key aspects and factors influencing the successful adaptation of young performers to the pop style of singing. The developed method of teaching pop vocals can be used as a basis for the systematic and step-by-step development of vocal abilities of young performers. It is aimed at improving voice quality, control of performance technique, musical interpretation and stage presentation. The obtained work results can be used to improve approaches to teaching pop vocals and developing musical talents in young performers. This research can serve as a basis for further research and development in the field of pop singing and music pedagogy.

Jelen tanulmány a VIII. Nemzetközi Interdiszciplináris Konferencia (2023. március 18.) előadóinak válaszait foglalja össze arra vonatkozóan, hogy mi a kapcsolat előadásuk (és/vagy akadémiai területük) és a hadviselés és/vagy pszichológiai hadviselés között.

Japán orvostudománya és kultúrája sokat merített mind
\na kínaiaktól, mind a nyugati országoktól az évszázadok
\nsorán. A gyógyítás tekintetében az első igazán jelentős
\nhatást Kína gyakorolta Japánra, és a hagyományos kínai
\norvoslás fokozatosan meghonosodott a szigetországban.
\nA 16. században az európaiak is megjelentek a japán szigeteken, és különféle orvoslási és sebészeti praktikákat
\nhoztak magukkal. Később, a 19. században Japán igyekezett felvenni a versenyt a nyugati országokkal, ezáltal
\nmegszüntetni mindazt a hátrányt, amelyet a sógunátus
\névei alatt elszenvedett.

As a legacy of the Habsburg Empire, performances of Jacques Offenbach's musical stage works played an important role in Budapest musico-theatrical life in the twentieth century. However, between the collapse of the Empire and the 1956 anti-Soviet revolution, political ideologies strongly influenced the character of these productions, when they took place. Public performances of Offenbach's works were prohibited between 1938 and 1945 and they became the bases for propagandadistic adaptations in the 1950s. This element explores how the local operetta tradition and the vogue of operettas featuring composers as characters during the interwar period were also important factors in how Offenbach's stage works were performed in mid-twentieth century Budapest in versions that sometimes bore little resemblance to the originals.

The paper aims to develop methodological recommendations for conducting a study and performance interpretation of piano works by old masters using D. Scarlatti’s creative work as an example. The scientific novelty of the research is accounted for by the fact that the attention of music scholars is primarily focused on the theoretical aspects of studying D. Scarlatti’s creative work, while the practical issues related to the methodology of study and the peculiarities of the performance interpretation of the composer’s clavier music heritage remain overlooked. As a result of the research, the authors come to the conclusion that the task of the teachers studying D. Scarlatti’s works with their students lies in the need to get the students to capture a “living breath” in the music of the past that was innovative and original for the time of its creation in their performance interpretation.