SUBJECT DESCRIPTIONS SURVEY OF MUSIC HISTORY (50 credits)
1. The Kodály oeuvre in intellectual history group of subjects (14 credits) The aim of mastering the professional content of the subject / Objectives / Course description / Student learning goals
The aim of this group of subjects is to present the unity of Zoltán Kodály’s life work and activity as a composer, folk music researcher and music pedagogue. It reveals the musical context of Kodály culture: a national art growing out of peasant music, grafted on European art music. It gives a detailed analysis of Kodály’s programme: as of 1925 his dream was the creation of a valuable mass music culture. This is when he announced his programme, paired later with the motto ’Music is for everyone’, and raised it to a social rank after 1945. Programme of the subject. Knowledge, skills and competences
Zoltán Kodály was born in the Austro-Hungarian Monarchy and developed his community culture programme in line with the progressive movements at the turn of the century. He is known worldwide as ’the music catalyst of Eastern Europe’ who built a ’music empire’ during his life.
Overlappings with Bartók, the powerful influence of folksongs, the idea of the ’urban’ village in the music pedagogy of Kodály Kodály and the revolution of ’non-German’ music Similarities between the principles of education professed by Kodály and Comenius, his paragon Kodály and the Hungarian music scene before 1945 The symbolic world of Kodály’s vocal works and choral works for children’s choruses
Subjects
• • • •
Musical education and cultural life in Hungary from the 1880s to 1945 (3 credits) Kodály and literature. The symbolic world of Kodály’s vocal works (3 credits) The role of folksongs in Kodály’s music pedagogy (3 credits) The international success of Kodály pedagogy (5 credits)
Bibliography Breuer János: Kodály-mérleg. Gondolat, Budapest, 1982. Bónis Ferenc: Így láttuk Kodályt. Zeneműkiadó, Budapest, 1975, 1985. Ujfalussy József: ʽA műfaj-kategória sorsa és jelentősége a zeneesztétikában’. In: Zenéről, esztétikáról, 1980. Zeneműkiadó.
2. The anthropology of music and ethnomusicology (6 credits) The aim of mastering the professional content of the subject
The group of subjects aims at presenting the methods, theory and practice of musical anthropology. It is about musical fieldwork, getting acquainted with the practice of collecting and ordering. It examines the music of archaic and exotic cultures. Students acquire routine in the musical world of different cultures and the various cultural functions of music. Programme of the subject. Knowledge, skills and competences
The methods of cultural anthropology in music research: qualitative research, fieldwork and the functions of music in a given culture. World music and the anthropology of music: revival phenomena Introduction to ethnomusicology, the practice of ethnomusicology Music and rites. The musical practice of shamanism. Ritual music Music in personal life: lullabies, nursery rhymes, pairing songs and songs of adult life African music. The music of Asia, Australia and Oceania First Nations music in North and South America Layers of European folk music tradition Religious and church music. The different traditions of music in Christian religions: coptic, Armenian and Georgian orthodoxy, gregorian chant, poliphonic church music Mussulman religious and secular music: the Sufi tradition, Makam, the Balkan influence of Turkish music Music cultures of the Far East: India and China Ethnic music in the history of music from Rimsky-Korsakov to Bartók Contemporary music and ethnic music Subjects • The anthropology of music and ethnomusicology I (3 credits) • The anthropology of music and ethnomusicology II (3 credits)
Bibliography Nettl, Bruno: The Study of Ethnomusicology: Thirty-One Issues and Concepts. Urbana and Chicago: University of Illinois Press, 2005. Bartók and Arab Folk Music / Bartók és az arab népzene. PC CD-ROM. UNESCO, Európai Folklór Intézet, Magyar Tudományos Akadémia Zenetudományi Intézet, Nemzeti Kulturális Örökség Minisztériuma, Magyar Köztársaság Külügyminisztériuma, 2006. Kárpáti János: Kelet zenéje. Antológia a nagy ázsiai zenekultúrák élő hagyományaiból. Budapest: Hungaroton SLPX 18072, 1981. Kárpáti János: Kelet zenéje. Budapest: Zeneműkiadó, 1981. rev. Budapest: Gemini, 1998. Kárpáti János: Tánc a mennyei barlang előtt. Zene és mítosz a japán rituális hagyományban. Budapest: Kávé Kiadó, 1998. Kárpáti János: ʽBartók és Ligeti Afrika-élménye’. Muzsika, 2007/11.
3. Kodály, his contemporaries and disciples (3 credits) The aim of mastering the professional content of the subject
The subject presents the different sources of Hungarian pieces of music from the first decades of the 20th century: Dohnányi pieces with a classical character grounded in the Postromantic tradition as well as folkloristic works by Bartók and Kodály. Of special importance is Kodály’s music pedagogic work and his overall programme of musical education, the way these turned into a 20th century musical and spiritual workshop of great importance, designed to help cooperation among his disciples, the activity of Kodály students and followers in various fields of culture. The subject offers an insight into the spiritual unity between the Kodály oeuvre and the work of his disciples. Programme of the subject. Knowledge, skills and competences
The life-reform motives of Kodály’s music pedagogic work. The new generation and the issue of nurturing the next generation. Fostering the tradition of folklorism in the work of Kodály’s disciples. Knowledge about the folk music research and music pedagogical work of disciples who participated in developing and applying the Kodály concept. Bibliography Kodály Zoltán és tanítványai /Szerkesztette: Berlász Melinda/ Rózsavölgyi Kiadó 2007 Bónis Ferenc (1982. szerk.): Így láttuk Kodályt. Zeneműkiadó, Budapest. Kodály Zoltán (2007a): Visszatekintés I. kötet (szerk. Bónis Ferenc), Argumentum Kiadó, Budapest. Kodály Zoltán (2007b): Visszatekintés II. kötet (szerk. Bónis Ferenc), Argumentum Kiadó, Budapest. Kodály Zoltán (2007c): Visszatekintés III. kötet (szerk. Bónis Ferenc), Argumentum Kiadó, Budapest. Szabolcsi Bence (1972): Úton Kodályhoz. Zeneműkiadó, Budapest.
4. History of music and cultural historical survey (13 credits) The aim of mastering the professional content of the subject
The group of subjects offers a survey of the main periods in the history of music from a music history and cultural historical perspective. It helps the more efficient mediation of music training and aesthetic judgement while listening to music individually and in groups. It gives an overview of correlations in European and Hungarian music. Programme of the subject. Knowledge, skills and competences
Music of the ancient peoples, relationship to music Early European history of music Principles of the medieval aesthetics of music Concepts in Renaissance music. Birth of the new European music The history of European choral music. The role of singing voice Genres and principles of composition in Baroque instrumental music Novelties in Classicism. Vienna, Paris, London The musical and social aspects of the Romantic idea of art, the world of salons The most important musical issues and trends at the turn of the century Subjects • • • •
Ancient musical traditions in the concept of European Renaissance music (3 credits) Musical aspects of 17th, 18th and 19th century social relations (3 credits) Major crises in the 20th century (4 credits) European choral history from the Middle Ages to the present (3 credits)
Bibliography Dahlhaus-Eggenbrecht: Mi a zene?/ Osiris 2004. Bernstein: A megválaszolatlan kérdés/ Zeneműkiadó 1985. Szabolcsi Bence: A zene története. Zeneműkiadó 1984.
5. Folk music in the Carpathian basin (11 credits) The aim of mastering the professional content of the subject The aim of the group of subjects is to present folk music traditions in the Carpathian basin through the peasant way of life, regional characteristics and historical aspects. Besides the genres of vocal folk music students learn about the presentation techniques, stylistic layers and instruments of instrumental folk music. They get to know the relationship between Hungarian folk music and that of
neighbouring peoples in the traditional relationship betweeen art music and folk music. Furthermore, the subjects aim at acquainting students with the functions, forms, historical layering of Hungarian folk music so that they are able to place it within the culture of peoples in the Carpathian basin. They study folk music functionally, as part of a continually changing culture. Students get to know the characteristics of every region and genre by original sound recordings: they learn several folk songs that represent a certain genre and/or region. Programme of the subject. Knowledge, skills and competencies The history and purpose of folk music collection in Hungary Dialects of folk music Folk music instruments and styles of playing Carols Folk dance music Results of the Táncház (Dance-house) movement Learning folk songs representing different genres and/or regions
Subjects • Dialects of folk music and folk instuments in the Carpathian basin (3 credits) • Folk music and folk poetry (3 credits) • Carols (3 credits) • Folk dance music (2 credits)
Bibliography Sebő Ferenc: Népzenei olvasókönyv /1997/ Planétás Kiadó Sárosi Bálint: Hangszerek a magyar néphagyományban,1998 Planétás Kiadó Pávai István – Virágvölgyi Márta: A magyar népi tánczene, 2000 Planétás kiadó Tátrai-Karácsony: Jeles napok, ünnepi szokások, 1997 Planétás Kiadó Kodály Zoltán-Vargyas Lajos: A magyar népzene Bp. Zeneműkiadó, 1952. Dobszay László: A magyar dal könyve. Bp. Zeneműkiadó, 1984. Bodza Klára - Paksa Katalin: Magyar népi énekiskola 1-2. Bp. Hagyományok háza 2010. Paksa Katalin: Magyar népzenetörténet. Bp. 1999. Vargyas Lajos: A magyarság népzenéje. Bp. 1981 Digitális népzenei olvasókönyv, A magyar népzene, www.hagyomanyokhaza.hu Discography A magyarság népzenéje, Összeáll.: Vargyas Lajos, szerk.: Paksa Katalin CD sorozat, Budapest, Fono Records, 2002. Pátria: Magyar népzenei gramofonfelvételek, 3 CD-ROM. Budapest, Fono Records 2001.
Magyar Népzenei Antológia DVD-ROM anyagából: 1,2,3,4,5,6,7 A DVD-ROM kiadás főszerk. Richter Pál, szerk. Rudasné Bajcsay Márta. MTA Zenetudományi Intézet, 2009 MNA1: Tánczene (Szerk. Martin György, Németh István, Pesovár Ernő) MNA2: Észak (Szerk. Tari Lujza, Vikár László) MNA3: Dunántúl (Szerk. Olsvai Imre) MNA4: Alföld (Szerk. Paksa Katalin, Németh István) MNA5: Kelet 1. (Szerk. Sárosi Bálint, Németh István) MNA6: Kelet 2. (Szerk. Sárosi Bálint, Németh István) MNA7: Moldva és Bukovina (Szerk. Domokos Mária, Németh István)
6. Church music literature (3 credits) The aim of mastering the professional content of the subject
The subject presents the main stages in European and Hungarian church music chronologically. It encompasses monophonic and poliphonic church music culture from medieval poliphony to the Renaissance, Baroque and Classical church music to Romanticism and the 20th century, offering selected excerpts. There is a special focus on graduals and carol chorals, the musical grounds of the liturgy, the independent church music of the Hungarian reformation built on traditional medieval material, its unusual artistic value as well as the significant ground material of Protestant church music. By way of introduction the subject
surveys the major features, modes of performance and philosophic principles of the European gregorian as a common musical history. Programme of the subject. Knowledge, skills and competences
A knowledge of genres specific to musical periods through choral works and musical excerpts The gregorian theory - tones, trends, teaching methods The Latin sources of graduals Sources of carols, main periods. Carol repertoire in folk music and church music Bibliography Mezei János: Korai polifónia / egyházzenei füzetek III/9 LFZF Egyházzenei Tanszék és a MET kiadványa Peter Gülke: Szerzetesek, polgárok, trubadúrok/ Budapest/1979. Brown, H. M: A reneszánsz zenéje /Zeneműkiadó 1980. Dobszay: A gregorián ének kézikönyve /Editio Musica 1993. Csomasz Tóth Kálmán: Régi magyar dallamok tára 1958. Dobszay László: A magyar népénekek I. 1995. Ferenczy Ilona: Graduale Ráday XVII. /Musicalia Danubiana16. Zenetudományi Intézet 1997. Huszár Gál: A keresztyéni gyülekezetben való isteni dicséretek és imádságok 1574 /Bibliotheca Hungarica Antiqua 13 Budapest 1986.
SURVEY OF MUSIC PEDAGOGY (20 credits) 7. Talent development (15 credits) The aim of mastering the professional content of the subject
The discovery and nurturing of talent goes back to ancient times. Naturally, this has continued in the Middle Ages and there was ’talent nurturing’ work in the first Hungarian school, the Benedictine monastery of Pannonhalma, founded in 996. Medieval texts record the efforts of the church in discovering and nurturing talent. Later, during the Reformation talent development was defined as a special task: a significant number of young people of outstanding talent were supported and encouraged. 18th and 19th century ’school colleges’ such as Sárospatak, Debrecen, Pápa, Nagyenyed, Kolozsvár, Marosvásárhely and Eperjes had a major role in educating talented students. Institutionalised talent nurturing in Hungary developed in the 19th and 20th century. Besides general talent nurturing we also deal with musical talent nurturing and the history of this latter in detail.
Programme of the subject. Knowledge, skills and competences
Presenting the possibilities of applied artistic education, the physiological and human biological background of Kodály pedagogy. Preparing students for different ways of incorporating the Kodály tradition in education programmes. Subjects The history of the prodigy phenomenon in Hungary and abroad (5 credits) Pedagogic workshops in Hungary (5 credits) Musical talent, music education. Analysis of development programmes (5 credits) Bibliography Alfred Einstein: A zenei nagyság. Európa, 1990. Neuhaus: Művészet és nevelés Sarka Ferenc: A magyar tehetséggondozás történetének főbb állomásai. Tehetség, XVII. évfolyam 2009/5. sz Csermely Péter: Tehetségek nyomában. In: http://www.talaljukki.hu/index.php/article/articleview/850/1/36/
8. Music therapy (5 credits) The aim of mastering the professional content of the subject
The subject aims at presenting the concept of music therapy, its effect mechanisms, major trends in music therapy, the history of the therapeutic use of music, major results in international music therapy research, the scope and forms of music therapy. It lays special emphasis on studying the history of Hungarian music therapy, focusing on music therapy methods influenced by Kodály’s principles of music pedagogy, the therapeutic use of Hungarian folk music. Programme of the subject. Knowledge, skills and competences
Experiencing and internalising the communicative and therapeutic features of musical experience. Knowing the therapeutic relations between musical reception and creation. Knowledge about the interaction between music and picture, music and gesture, music and movement, music and relaxation and the ability to use this knowledge individually in creative, performing and pedagogic practice. Bibliography Gábor Adrienn: Misszióban Kodály nyomdokain. Képzés és Gyakorlat Training and Practice 9. évfolyam 2011/3-4. szám Volume 9. issue 3-4/December 2011. Fekete Anna: Mindenik embernek a lelkében dal van… In: Hang és lélek. Magyar Zenei Tanács. 2002.
Kodály Zoltán: A zene mindenkié, Zeneműkiadó Vállalat, Budapest. 1954. Kokas Klára: A zene felemeli kezeimet. Akadémia Kiadó, Budapest. 1992. Konta Ildikó: Zeneterápiás előadások. (Kézirat, 1. és 3. kötet) 1985-1992. Mentesné Tauber Anna: A zeneterápia szakmai bemutatása, Képzés és gyakorlat, Kaposvári Nyomda Kft, Kaposvár, 2011. Lindbergerné Kados Erzsébet: Zeneterápia. Szöveggyűjtemény. Kulcs a muzsikához. Pécs 2005. Lovász Irén: A gyógyító hangok antropológiája. A hagyományos magyar népzene terapikus lehetőségei. Előadás kézirata. Sacral Communication and Healing EASA, (szerk: Lázár Imre) Károli Gáspár Református Egyetem, Budapest, 2011. július 4. Lovász Irén: Hagyománypedagógia és lelkiegészség-nevelés. Az emberi hang és a dalolás gyógyító ereje napjainkban. A KRE TKF nagykőrösi konferenciáján elhangzott előadás kiadásra váró kézirata, megjelenés alatt. KRE-L’Harmattan. 2013. Madarászné Losonczy Katalin- Urbánné Varga Katalin: Zene és terápia: ELTE Bárczi G. Gyógypedagógiai Főiskolai Kar. 1996. Joseph J. Moreno: Belső zenéd dallama. Zeneterápia és a pszichodráma. Nyitott könyv Kiadó, 2006. Oliver Sacks: Zenebolondok. Akadémiai Kiadó, 2011. Nagy Ilona, Bagdy Emőke: Zeneterápia szöveggyűjtemény. Kulcs a muzsikához kiadó, 2004. Vitalova Zuzana: Zeneterápia. Méry Ratio. Pozsony. 2003.
IT AND SPECIALISED TERMINOLOGY (10 credits) 9. Computer skills (8 credits) The aim of mastering the professional content of the subject
The aim of the subject is the use of information technology in musical archiving, musical notation, composing and orchestration. Students also learn about downloading, compressed files and special softwares in musical editing. They get acquainted with the application of music files and recording in education today. Programme of the subject. Knowledge, skills and competences
Introduction to multimedia applications (operation systems, applications, downloading, online education) Smart phones, tablets and pads as modern educational and subject pedagogic devices Subjects Introduction to multimedia applications (operation systems, applications, downloading, online education) (4 credits) Smart phones, tablets and pads as modern educational and subject pedagogic devices (4
credits) Bibliography Papp Danka Adrienn: Az online tanulási környezet fogalmának értelmezési lehetőségei. Oktatás-informatika, 2012/1-2. http://www.oktatas-informatika.hu/2011/12/papp-danka-adrienn-az-online-tanulasi-kornyezetfogalmanak-ertelmezesi-lehetosegei/ Dr. Vadász Dénes: Operációs rendszerek. Egyetemi jegyzet, Miskolci Egyetem, 2002. szeptember (http://users.iit.uni-miskolc.hu/~vadasz/GEIAL302B/GEIAL202-Operaciosrendszerek-jegyzet.pdf)
10. Music terminology in English (2 credits) The aim of mastering the professional content of the subject
The main objective is to familiarise students with the English terminology and special literature of music. The working language of musicology has for a while been English and a knowledge of the English terminology is indispensible not only for translators but teachers, music lovers and students alike. Gramophone, one of the most important music periodicals is written in English, just like Musical Times or Early Music. Several handbooks and encyclopaedias are only available in English. Programme of the subject. Knowledge, skills and competences
Starting from general knowledge, the subject presents the most frequently used vocabulary of the field in question. Students will be able to read special literature in English, understand, summarize and reproduce it in oral and written form and, finally, use the terminology of the field in an accurate way. Bibliography Dalos, A. 2003. Kodály Zoltán formatani terminológiájáról. Muzsika 46 (9), http://www.muzsika.net/cikknezo.php3?cikk_id=1184 Fóris, Á. − Bérces, E. 2007. A zenei szaknyelv és a zenei lexikográfia aktuális kérdései. Magyar Nyelvőr 131 (3), 270−286. Fóris, Á. 2005. Hat terminológia lecke. Pécs: Lexikográfia Kiadó. Ittzésné Kövendi Kata: Magyar-angol zenei szaknyelvi szótár/English-Hungarian Dictionary of Musical Terminology. Bp. 2001 Jazz Oktatási és Kutatási Alapítvány kiadványa. Leuchtmann, Horst: Hétnyelvű zenei szótár. Akadémiai Kiadó, 1980. http://www.classicalworks.com/html/glossary.html http://www.naxos.com/education/glossary.asp www.wenatcheemusic.com/.../gcsevocab.pdf http://www.museumofmakingmusic.org/
CULTURAL CONTEXTUAL KNOWLEDGE (30 credits)
11. Dance anthropology (8 credits) The aim of mastering the professional content of the subject
Students learn about the relationship between music and dance in the given cultural context. They gain experience in dance history and will be able to interpret interrelationships between dance and gender. The subject also offers knowledge about expressive art (ritual dance, ballet), community practices (folk dance, children’s dances, historical dances). Regarding the application of Kodály pedagogy it is very important that the musical material, inherited customs and folk dance are closely connected. The subject offers an insight into folk dance revival phenomena closely connected to Kodály culture. Programme of the subject. Knowledge, skills and competences
The basics of dance anthropology, methods, theory and practice Dance theory Dance and gender The language and semiotics of dance Dance as a technique of the body. Dance and embodiment The community functions of dance. Dance and identity Dance and health issues. Dance as a form of therapy Dance and cultural revival movements Dance folkloristics in Hungary Dance and subcultures Subjects
Dance anthropology I (4 credits) Dance anthropology II (4 credits) Bibliography Németh György: Ókori gyermekjátékok. Anno Kiadó, 2002. Pintér Zoltán: Képes civilizációtörténeti kronológia. Szalay Könyvkiadó, 2002.
12. European dance history (3 credits) The aim of mastering the professional content of the subject
The aim of the subject is to give an overview of European ballroom dances, presenting their musical characteristics. Developments in the ethics and aesthetics of dance from the Renaissance to the present. Naturalised dances in Hungary and ’Hungarian’ dances known in Western-Europe. Following the historic logic of Kodály’s music pedagogy it is important that students get to know the relationship between musical genre history and dance history. Programme of the subject. Knowledge, skills and competences
The role of dance in the ancient world. Ancient leisure time culture Medieval bard contests Renaissance dressing, domestic music-making Baroque coffeehouse culture, dances of the French Court Opera in Venice 19th century ballrooms. Salons, domestic music-making, the world of choirs Mass culture, the aesthetoics of movement of the consumer society Bibliography Németh György: Ókori gyermekjátékok. Anno Kiadó, 2002 Pintér Zoltán: Képes civilizációtörténeti kronológia. Szalay Könyvkiadó, 2002.
13. Cultural studies (music criticism and the politics of music) (3 credits) The aim of mastering the professional content of the subject
Students gain experience in the musical aspects of cultural studies, they examine the phenomenon of power and the politics of music as well as the relationship between high culture and mass culture with special focus on Zoltán Kodály’s views and practice in this respect. Programme of the subject. Knowledge, skills and competences
Students gain experience in cultural studies, get acquainted with representatives of music sociology such as Adorno and the works of Hungarian authors (Lendvai, Szabolcsi, Ujfalussy) in the theory of music. Theories and methods in cultural studies Cultural studies and musical semiotics Musical paradigms and discourse theory Reception, interpreting communities and music Musicology from a critical perspective Power and music, musical counter-cultures High culture and popular cultures
Bibliography Szabolcsi Bence: Zenetörténeti írások. Zeneműkiadó, 2010. Híres Kritikák. Zeneműkiadó, 1982. Kroó György összegyűjtött kritikái. Zeneműkiadó, 2008.
14. Musical instruments (8 credits) The aim of mastering the professional content of the subject
The aim of the subject is to present the features, history and everyday use of various groups of instruments. Students get to know modern audiovisual and computer technology devices used in music and singing classes in order to create experience. Programme of the subject. Knowledge, skills and competences
A typology of musical instruments Musical instruments in education in the past and today Acoustic and digital instruments Subjects Musical instruments I (4 credits) Musical instruments II (4 credits) Bibliography Darvas Gábor: Évezredek hangszerei. Zeneműkiadó, 1975. Yehudi Menuhin – Curtis Davis: Az ember zenéje. Zeneműkiadó, 1982.
15. Gipsy music in Hungary (4 credits) The aim of mastering the professional content of the subject
The subject presents gipsy folk music, underlining that the music played by gipsy musicians, especially the educated gipsy city musicians in Hungary is not in fact gipsy music (and should therefore be differentiated from gipsy folk music), but mostly 19th century Hungarian popular art music, accompanied by a large amount of international entertainment music. Gipsy folk music is mostly vocal, textual folk creation, dance song, often accompanied by simple tools (clapping, spoon) and a rich rhythm. Research on gipsy folk music in Hungary was initiated in modern times by Zoltán Kodály in the middle of the century and it was carried out by the Csenki brothers and András Hajdú. The discovery that gipsy folk music goes back to ancient times has created new perspectives, dispelling misconceptions and prejudices about this unique and special cultural heritage. Programme of the subject. Knowledge, skills and competences
Genres of 19th century Hungarian popular art music from verbunk to csárdás. Gipsy musicians from the 15th century to the present in Hungarian musical and cultural life. Misbeliefs about gipsy music. Melodies and types of folk songs in gipsy folk music. Ballads and laments. The scientific success of the Csenki brothers’ collection. The tradition-preserving spirituality of gipsy bands today Bibliography Bartók Béla: Cigányzene? Magyar zene? Ethn., 1931. Sárosi Bálint: Cigányzene... Bp., Zeneműkiadó, 1971. Csenki Imre-Csenki Sándor: Cigány balladák és keservesek. 1980 Európa Könyvkiadó. Liszt Ferenc: A cigányokról és a cigány zenéről Magyarországon. Magyar Mercurius Kiadó, 2009.
16. The methodology of thesis writing (4 credits) The aim of mastering the professional content of the subject
Students perfect their previous knowledge of writing a thesis, focusing on adequacy in form and content. Programme of the subject. Knowledge, skills and competences
Developing skills in research methodology to help students confidently use the Hungarian and Anglo-Saxon systems of citation and quotation. Bibliography Eco, Umberto: Hogyan írjunk szakdolgozatot? Kairosz Kiadó, Budapest, 1996.
