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Page 3
Kiss Ferenc the musician and composer writes about his father, Kiss Ferenc (1928-1999) the literary historian. Here is some personal reflection on his relationship with his father in the process of which we get a good deal of information about the life, work and personality of the elder Kiss Ferenc.

Page 4
Excerpts from literary historian Kiss Ferenc’ journal. The first excerpt is from the spring 1975, when Kiss organized a trip to Transylvania for his poet friends: Kormos István, Nagy László and Zelnik József. Then a selection from late 1978 tells about the night Kiss Ferenc and Csoóri Sándor took poet and novelist Illyés Gyula and his wife to a dance house at „FMH” in Budapest. Kiss Ferenc here is father of the composer and musician Kiss Ferenc who often writes for folkMAGazin. The Csoóri Sándor mentioned refers to the elder Csoóri, a poet, father of the folk musician Csoóri Sándor who was a founding member of Muzsikás Ensemble, etc, and who is in turn, father of a younger Csoóri Sándor who plays with Buda Folk Band...

Page 8
New publication: Bari Károly: [Old Rom dictionaries and folklore texts]. Volumes I, II, III. Hagyományok Háza, Budapest. 2013. The series of volumes includes: old glossaries of the Rom language from 18-20th centuries, Hungarian Gypsy folk songs, folk ballads, tales.

Page 10
Kóka Rozália’s Children’s Column: Excerpts from Szabó Gyula’s [„Once there was a childhood” ] Albatrosz Press, Bukarest, 1980. The story begins hoeing in the fields with his parents who were subsistence farmers in Transylvania. His parents had an ongoing disagreement on whether to allow and how to pay for one of their children’s further education. At which point [Szabó Gyula] throws down his hoe and refuses to do any hoeing for them ever again...Szabó Gyula (1930-2004) became a prolific Romanian  Hungarian writer. He was from Homoródalmás (Mereşti) and spent his entire life in Transylvania.

Page 13
Singer Szvorák Katalin received Czine Mihály Award - September 30, 2013. Kati has been the recipent of countless awards over the course her very active and prolific career which spans at least from 1980 to the present. Kati hails from the village of Pinc in Slovakia. She lives in Hungary. She has released countless recordings, teaches singing and has travelled the world performing Hungarian folk song. Printed here is Kiss Ferenc’ laudation at the awards ceremony.

Page 14
Hungarian State Folk Ensemble on tour in the USA The State Ensemble is presently on a 3 month/63 performance tour performing a repertoire of strictly traditional choreography. This is a review of their performance of the choreography „Magyar Rhapsody–Gypsy Romance” at Downey Civic Center in Los Angeles. At home in Hungary, the State Ensemble has long been experimenting with mixing modern or contemporary elements into their work – though folk always providing the basis. For this tour however, Columbia Artists requested a strictly traditional program for USA audiences because that’s what they can sell: a program which „...is exotic for the non Hungarian audience and takes Hungarians living abroad straight home”. Review by Vida Virag – first appeared at: tanckritika.hu 2013 September 27.

Page 16
New publication: Bereczky János: [The New Style Hungarian Folk Songs]. Volumes I-IV. Akadémiai Kiadó, Budapest. 2013. „New style” refers to a newer layer of Hungarian folk songs which began to develop sometime in the 1800s and peaked sometime in the first decade or so of the 1900s. Bereczky spent twenty years doing comprehensive research and categorizing existing examples of new style folk songs. His work has defined two historical layers of new style: the ’early’ and ’developed’ periods. Detailed review by Richter Pál – Director of the folk music department, Liszt Academy of Music.

Page 18
On Petrás Incze János – by Kóka Rozália. Petrás was a Roman Catholic monk, who was born in the Hungarian village of Forrófalva (Faraoani) in Moldavia on September 13, 1813. He went to secondary school in the town of Kézdivásárhely (Târgu Secuiesc) in Transylvania, studied theology in Eger, Hungary, became a monk in 1834, and in 1836 a priest. He was sent back to his native Moldavia as a missionary and spent the rest of his life there serving the Roman Catholic church in the Hungarian villages of Pusztina (Pustiana), then in Klézse (Cleja) where he died in 1886. During his life he maintained ongoing contact with the Hungarian Academy of Sciences, sending them the results of his collection work on the traditional songs, life and customs of the Csángó Hungarian Moldavian people. His collection work was recently honored at a conference in Eger.

Page 22
Interview with singer Bognár Szilvia upon release of a new record: etNoé. The formation etNoé premiered with a concert Budapest’s Palace of the Arts in the spring of 2011. Bognár Szilvia describes herself as basically a folk singer that has of late been working in other genres. etNoé is a group of Hungarian jazz musicians with Szilvia as vocalist. By Grozdits Károly.

Page 28
Conversation with Fügedi János – ’The scientist who notates dance’. Part I. On the occasion of his 60th birthday, the director of the dance research department at the Institute of Musicology of the Hungarian Academy of Sciences talks about how he got to dance research, and especially the field of dance notation, from engineering and how his career has unfolded since. Discussed here are the International Council of Kinetographia Laban, the areas of movement that Fügedi has specialized in notating (certain leg movements, jumps), how and where dance notation has been used in Hungary over the years, who were earlier masters of notation in Hungary, and reasons for notating dance at all. By Misi Gábor.

Page 39
On connections between Hungarian and South Slav folk music. Since the early 1950s this researcher has been collecting, analyzing and publishing on the local folk songs and music in two Hungarian – Serbian communities in Southern Hungary along the Danube: the villages of Bátya and Dusnok. He says, amongst other things, that: „...the inter-ethnic influences are natural, given that the Southern Slavs and the Hungarians have lived as neighbors for centuries and they have influenced one another...each ethnic group has made its neighbors’ songs their own by simply translating the words into his own language and then singing it as his own.. .” By Fehér Zoltán. 
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