Alkalmazott zene mint lieu de mémoire?
Applied Music as Lieu de Mémoire?

From Memory to Sound: Applied Music in Transylvanian Hungarian Theater after World War II

Summary/Abstract: The scope of the temporal extension and changes in our immediate environment is related to the way we perceive history and its intensity, or more precisely, the exploration and reconstruction of the fading places in our collective memory can be a key in our hands to perceive the present in real time. But how can these places, the locations of our collective memory, be described? What preserves these places, and what do the places preserve? How does a sound recording made over seventy years ago become a place of memories? How does hearing decode the resonance, and how does the artistic perception of previous generations emerge in the convergence of sound, colour, and space as meaning? The fact that music moves away from its self-reflective meaning, erases the clichés of romanticism, and generates new meanings as part of a dramatic, narrative process, thus becoming applicable, opens up a perspective in the aesthetics of music reception closely related to our cultural memory. Among other things, this approach paves new paths in the aesthetics of Hungarian theater in Transylvania after the 1950s, and systematically shapes the accompanying music’s character, which can be associated, shaped, and atmospherically created, beyond self-reflection, up to the present day.

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