The Masaryk Institute and Archives, Czech Academy of Sciences, Project “Old Myths, New Facts”: – Czech Lands in Centre of 15th-Century Music Developments and the Institute of Musicology, Slovak Academy of Sciences, Project “CANTUS PLANUS in Slovakia”: Local Elements – Transregional Connections and the Institute of Musicology, Research Centre for the Humanities, Hungary, Project “Momentum”: Digital Music Fragmentology invites you to the Inaugural Lecture in the Series Early Music in Central Europe: Local Elements –Transregional Connections – International Research

From Wombs to Worship: Three Mothers – Anne, Elizabeth, and Mary – in the Liturgies of Prague and Cambrai

Prof. Barbara Haggh-Huglo, University of Maryland, College Park.

It is with deep sorrow that we announce the passing of László Török, the eminent classical scholar, archaeologist, Nubiologist, professor emeritus of the Institute of Archaeology, Research Centre for the Humanities, ordinary member of the Hungarian Academy of Sciences, foreign member of the Norwegian Academy of Science and Letters, honorary doctor of the University of Bergen, and head of the Seuso Research Project and the Seuso Committee, on September 17, 2020, at the age of 80.

Confi nia et horizontes is a publication series aimed at disseminating the results of major prehistoric (Neolithic and Bronze Age) projects of the Romano-Germanic Commission of the German Archaeological Institute.

About a third of Béla Bartók’s compositions are folk music arrangements. Bartók chose the material for arrangement predominantly from his own collection made up of about ten thousand folk melodies of different nationalities. Thanks to the so-called Lampert-Catalog, a source catalog of the folk melodies used by Bartók in his works, we now know precisely which are these melodies.^[1] The new database of the Budapest Bartók Archives makes available – to the extent possible – the complete source material of these folk melodies. Thus, besides the phonograph recordings of inestimable value that were published earlier, several manuscript transcriptions of the melodies have also become available for study.

How did Bartók transcribe the melody during the collecting trip? What remarks did he attach to it? Or, how did he refine his early transcriptions over and over, at times after several decades, in order to fix as accurately as possible the “snapshot” of a given performance of the folk melody, by nature in continual transformation? Associate editor of the database, Viola Biró, research fellow of the Institute for Musicology of the RCH informs about this new project.