| Department: | Bartók Archives |
| Degree, position: | CSc, Senior Research Fellow, Head of Department, Editor in Chief of „Béla Bartók Complete Critical Edition” |
| Email: | This email address is being protected from spambots. You need JavaScript enabled to view it. |
| Room: | 102 |
| Phone: | +36 1 214 6770, Ext. 102 |
CV
László Vikárius (b. 1962, Budapest, Hungary) studied musicology at the Liszt Ferenc Academy of Music between 1984 and 1989 (head of department at the time: György Kroó). He received his diploma in musicology in 1992 with a dissertation on a medieval music theoretic compilation under the supervision of László Dobszay and Janka Szendrei. Since 1988, he has been on the staff of the Budapest Bartók Archives, headed by László Somfai. After spending a month in Florence, Italy, he received various scholarships (Zoltán Kodály scholarship in 1990/91 and János Bolyai scholarship for research between 2000 and 2003; he was a junior research fellow between 1992 and 1995). It was thanks to a scholarship of the Swiss state that he could further study at the Basel Institut für Musikwissenschaft (with Wulf Arlt and Max Haas; with emphasis on medieval and renaissance polyphony), while making research at the Paul Sacher Stiftung, too. He also took part on summer courses in Dozza (Seminario Jacopo da Bologna; with Giovanni di Bacco, Margaret Bent and John Nadas, 2002 and 2003). Since 2005 he has been head of department at the Bartók Archives.
He started lecturing in music history for musicology students at the Liszt Academy in 1996 (mainly part time but since 2021 also full time): 1996/97 invited lecturer, 1997–2000 assistant; 2000–2004 adjunct professor; 2004–2020 associate professor, and, from 2021, full professor. He has been programme director of PhD in musicology since 2007, member of the doctoral committees for PhD and DLA, and has also been president of the PhD committee since 2021. In 2024, he launched a new publication series, Zenetudományi Füzetek [Booklets in Musicology] principally to publish habilitation lectures.
His PhD dissertation was published as Modell és inspiráció Bartók zenei gondolkodásában [Model and inspiration in Bartók’s musical thinking] (Pécs, Hungary: Jelenkor, 1999) in book form. His main field of research is source study, style analysis, and reception history. Although he started research into late medieval musical treatises, the main emphasis of his scholarly work shifted to Bartók research. His courses at the Music Academy, however, ranged from Ancient Greek musical writing and the music of the Middle Ages to Renaissance music and music theory for a long time. More recently, he has given regular lecture series and seminars on music philology and editing (Urtext), and on Bartók. He publishes scholarly articles in English, German, and Hungarian, and has attended conferences in Hungary and abroad (Algeria, Austria, Britain, Belgium, Bulgaria, Croatia, France, Germany, Romania, Serbia, Slovakia, Slovenia, USA). He also organized several international Bartók conferences in Hungary. He edited, together with Vera Lampert the Somfai Festschrift (2005) and the revised edition Lampert’s Catalogue of Bartók’s folksong arrangements (2008), and, together with János Kárpáti and István Pávai, Bartók’s Arab folksong collection on CD-ROM (2006). He also edited the facsimile of the earliest surviving autograph of Bartók’s opera Duke Bluebeard’s Castle (2006). Jointly with Helga Váradi, he edited the complete Bartók–Stefi Geyer correspondence (2024) and with Viola Biró, a Festschrift for Vera Lampert (2024). He curated several exhibitions at the Museum of Music History of the Institute for Musicology: Dearest Ditta, 2007, Bartók and Kodály – anno 1910, 2010, Bartók the Folklorist, 2013, all three with Anna Baranyi, Bartók the Pianist, 2017, with Virág Büky, Bartók and His Violinist Partners, 2022, with Zsombor Németh. Catalogues in Hungarian and English were published for the four more recent exhibitions. Since 2016, he has been editor-in-chief of the newly launched Béla Bartók Complete Critical Edition series (founding editor: László Somfai, editor: Márton Kerékfy, published by G. Henle, Munich and Editio Musica Budapest Zeneműkiadó). Together with Vera Lampert, he was editor of the first published volume of the series, For Children: Early Version and Revised Version. With members of his team at the Bartók Archives, he also develops databases for the website of the Institute for Musicology (Bartók Correspondence – with Zsuzsanna Schmidt and Csilla Pintér, Bartók Writings – with Viola Biró).
He was awarded the Bence Szabolcsi prize in 2005, the Arnold Hauser prize in 2008 and the György Kroó prize in 2019. Between 2007 and 2011, under the presidency of László Dobszay, he was secretary of the Musicological Committee of the Hungarian Academy of Sciences and between 2019 and 2024 he was an elected non-academician member of the General Assembly of the Academy of Sciences. He was in the directorium of the Hungarian Musicological Society of which he served as president between 2007 and 2016.
Publications
I. Books
Modell és inspiráció Bartók zenei gondolkodásában [Model and inspiration in Bartók’s musical thinking]. Pécs: Jelenkor, 1999, 227 pages
Bartók és Kodály / Bartók and Kodály – Anno 1910, An Exhibition Catalogue. Ed. László Vikárius László and Anna Baranyi. Budapest: Institute for Musicology of the Hungarian Academy of Sciences and Timp Kiadó, 2010, 88 pages
II. Editions
Mező, Imre and László Vikárius (Hg.): Franz Liszt: Transkriptionen VII. Grand Septuor de Beethoven [...] 6 Präludien und Fugen für Orgel von Johann Sebastian Bach [...] (= Neue Ausgabe. Sämtliche Werke. Serie II. Freie Bearbeitungen und Transkriptionen für Klavier zu zwei Händen, Band 22). Budapest: Editio Musica, 1997
Gombocz, Adrienne and László Vikárius: “Twenty-Five Bartók Letters to the Arányi Sisters, Wilhelmine Creel and Other Correspondents. Recently Acquired Autograph Letters in the Budapest Bartók Archives.”Studia Musicologica 43, nos. 1–2 (2002), pp. 151–204
László Vikárius and Vera Lampert (ed.): Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music. Lanham, Maryland: Scarecrow Press, 2005
Vera Lampert: Folk Music in Bartók’s Compositions: A Source Catalog. Arab, Hungarian, Romanian, Ruthenian, Serbian, and Slovak Melodies. Ed. Vera Lampert and László Vikárius. Hungarian Heritage House, Helikon Kiadó, Museum of Ethnography, Institute for Musicology of the Hungarian Academy of Sciences, 2008, with CD
Bartók’s Orbit: The Context and Sphere of Influence of His Work. Proceedings of the International Conference held by the Bartók Archives, Budapest (22–24 March 2006), Part I, Studia Musicologica 47, vols. 3–4 (September 2006)
Béla Bartók: Duke Bluebeard’s Castle Opus 11, 1911, Autograph Draft, ed. László Vikárius. Budapest: Balassi Kiadó and Institute for Musicology of the Hungarian Academy of Sciences, 2006, and Commentary to Béla Bartók: Duke Bluebeard’s Castle, Op. 11, Facsimile of the Autograph Draft; also available in French, German and Hungarian
“Remembering Bartók: John Moseley Talks with Elisabeth Klein”. Introduction and notes László Vikárius.The Hungarian Quarterly vol. 51, no. 200 (Winter 2010), 116–28.
III. Articles and essays in English, German or French
“A Boethius-Fragment.” In László Dobszay et al. (ed.): Cantus planus 1988. Budapest: Hungarian Academy of Sciences, Institute for Musicology, 1990, pp. 245–56
“Bartók Libretti in English Translation.” The New Hungarian Quarterly 31, no. 120 (Winter 1990), pp. 158–61
“‘Pro cognicione cantus’.” In László Dobszay et al. (ed.): Cantus planus 1990. Budapest: Hungarian Academy of Sciences, Institute for Musicology, 1992, pp. 141–61
“Béla Bartók’s Cantata Profana (1930): A Reading of the Sources.” Studia Musicologica 35, nos. 1–3 (1993-94), pp. 249–301
“Bartók and the Words of His Cantata.” The Hungarian Quarterly 36, no. 139 (Autumn 1995), pp. 61–69
“Corrections versus Revision: In Search of the Meaning of Alterations to the ‘Text’ in Bartók’s Compositional Sources.” Studia Musicologica 37, no. 1 (1996), pp. 69–91
“Musikalische Botschaften für eine junge Frau? Béla Bartóks Meraner Variationen für Klavier.” In Ewald Kontschieder–Josef Lanz (ed.): Meran und die Künstler. Musiker, Maler, Poeten in einem Kurort. 1880–1940. Bozen: Verlaganstalt Athesia, 2001, pp. 99–112 – Italian translation: „Messaggio musicale per una giovane donna? Le giovanili Variationi per pianoforte di Béla Bartók.” In Ewald Kontschieder–Josef Lanz (ed.): Artisti a Merano. Musicisti, poeti, pittori in un Kurort. 1880–1940. Bolzano: Casa Editrice Athesia, 2001, pp. 99–112
“The Sources of Béla Bartók’s Opera Duke Bluebeard’s Castle (1911): The Fascinations of Balladry.” In 17. slovenski glasbeni dnevi. 17th Slovenian Musical Days. April 9–12, 2002, Ljubljana, Slovenia. Szerk. Primož Kuret. Ljubljana: Festival Ljubljana, 2003, pp. 109–123
“Bartók’s Neo-Classical Reevaluation of Mozart.” In Dobszay László et al. (ed.): The Past in the Present. Papers Read at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus. Budapest & Visegrád, 2000, 2 vols. Budapest: Liszt Ferenc Academy of Music, 2003, vol. 1, pp. 473–98
“Nationalism Rejected or Transformed? Béla Bartók’s Unconventional Contribution to the Chorus Literature.” In Primož Kuret (ed.): Choral Music and Choral Societies, and Their Role in the Development of the National Musical Cultures. 18. slovenski glasbeni dnevi. 18th Slovenian Musical Days. April 22–25, 2003, Ljubljana, Piran, Slovenia. Ljubljana: Festival Ljubljana, 2004, pp. 180–98
“The Expression of National and Personal Identity in Béla Bartók’s Music.” Danish Yearbook of Musicology 32 (2004), pp. 43–63
“Denijs Dille: Interview with Béla Bartók (1937), Introduction by László Vikárius.” Hungarian Heritage, Vol. 7, Nos. 1–2 (2006 [2007]), pp. 11–18
“Backgrounds of Bartók’s ’Bitonal’ Bagatelle.” In Vikárius László — Lampert Vera (ed.): Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music. Lanham, Maryland: Scarecrow Press, 2005, pp. 405–423
“Zu einer kommentierten Edition des Briefwechsels zwischen Bartók und der Universal Edition.” in Musikgeschichte in Mittel- und Osteuropa: Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig, Heft 10, hg. Helmut Loos und Eberhard Möller, Redaktion Hildegard Mannheims. Leipzig: Gudrun Schröder Verlag, 2005, pp. 99–108
“Bartók’s Late Adventure with Kontrapunkt.” Studia Musicologica 47/3–4 (2006), pp. 395–416
“Introduction.” Studia Musicologica 47/3–4 (2006), pp. 251–53
“The History of the Budapest Bartók Archives.” Hungarian Heritage, Vol. 7, Nos. 1–2 (2006 [2007]), pp. 35–40
“Bartók and the Ideal of a ‘Sentimentalitäts-Mangel’.” International Journal of Musicology 10 (2000), Ed. Elliott Antokoletz – Michael von Albrecht. Frankfurt am Main: Peter Lang, 2006, pp. 197–242
“Bartók – pour les enfants.” Revue Musicale Suisse No. 1 (Janvier 2007), pp. 5–6
“Erinnern an die ‘Stimmung’ der Sache:. Das Konkrete und das Schwebende im Komponieren Bartóks.” in Resonanzen. Vom Erinnern in der Musik, hrsg. Andreas Dorschel, Studien zur Wertungsforschung 47. Wien: Universal Edition, 2007, pp. 162–84
“Von einem ‘unbeschreiblichen’ Geist. Bartók, Sechs Streichquartette.” Österreichische Musikzeitschrift, 62. Jg., 5 (2007), pp. 22–29
“Bartók in 1915—a Photographer of the Home Front.” Hungarian Heritage, Vol. 7, Nos. 1–2 (2006 [2007]),pp. 45–64
“Bartók, Kodály and Salome: The Origins of a Bartókian ’Hallmark’.” The Hungarian Quarterly, Vol. 48, No. 187 (Autumn 2007), pp. 124–37
“Bartók contra Möller or A Hidden Scholarly ars poetica.” The Musical Quarterly 2008; doi: 10.1093/musqtl/gdn004; The Musical Quarterly 90/1 (Spring 2007 [2008]), pp. 43–71
“Ein radikaler Richard-Strauss-Jünger in Budapest: Béla Bartók.” in München – Budapest, Ungarn – Bayern. Festschrift zum 850. Jubiläum der Stadt München, hg. Gerhard Seewann und József Kovács = Danubiana Carpathica, Bd. 2 (49) (2008), pp. 215–42 and 360–71
“A novarum rerum cupidus in Search of Tradition: Béla Bartók’s Attitude towards Modernism.” Rethinking Musical Modernism: Proceedings of the International Conference Held from October 11 to 13, 2007, ed. Dejan Despić, Melita Milin. Belgrade: Institute of Musicology, 2008, pp. 131–54
“Bartók: ‘Bear Dance’.” Studia Musicologica, 49/3–4 (September 2008), pp. 341–68
“Les documents originaux de la collection algérienne de Béla Bartók.” In Anthropologie et musiques. Travaux du Centre national de recherches préhistoriques anthropologiques et historiques. Nouvelle série No 6. Ed. Mehenna Mahfoufi, Hadj Miliani, Salim Khiat. [Alger]: CNRPAH, 2008 [2009], 175–99
“Béla Bartók als Pianist und Interpret eigener Werke (Zusammenfassung).” In Traditionen des Klavierspiels: Ungarn. Symposiums-Bericht, hg. Klara Harrer-Baranyi, Karin Wagner. Wien: Universität für Musik und darstellende Kunst, 2011, 56–62
“Béla Bartóks Beziehungen zu Österreich”, Gemeinsame Vergangenheit – gemeinsame Zukunft? Musikalische Beziehungen Österreichs zu den neuen EU-Nachbarn Tschechien, Slowakei und Ungarn: Bruckner-Symposion 2006/Bericht. Ed. Theophil Antonicek, Andreas Lindner, Klaus Petermayr. Linz: Anton Bruckner Institut, 2011, 59–84
“ ‘Mourning Song’ and the Origins of Bartók’s Arrangements of Slovak Folk Songs ‘for Children’ ”, Musicologica Istropolitana VIII–IX. Bartislava: Univerzita Komenského, Filozofická fakulta, Katedra hudobnej vedy, 2009–2010 [2011], 91–120
“A Pleading Father? A Correction in the Sources of Béla Bartók’s Cantata profana,” Bulgarian Musicology XXXV/3–4 (2011 [2012]), 177–94.; summary in Bulgarian: pp. 219–23
“Bartók’s Bulgarian Dances and the Order of Things”, Studia Musicologica vol. 53, nos. 1–3 (2012 [2013]), 53–68.
“Introduction”, Studia Musicologica vol. 53, nos. 1–3 (2012 [2013]), 7–10.
“Béla Bartók Studying Kuhač’s Collection”, in Franjo Ksaver Kuhač (1834–1911): Musical Historiography and Identity, ed. Vjera Katalinić, Stanislav Tuksar (Zagreb: Croatian Musicological Society, 2013), 103–120. Croatian translation: „Béla Bartók proučava Kuhačevo zbirku”, preveo s engleskog/trans. from English Stanislav Tuksar, Arti Musices. Hrvatski muzikološki zbornik/Croatian Musicological Review 44/1 (2013), 29–49.
“Intimations through Words and Music. Unique Sources to Béla Bartók’s Life and Thought in the Fonds Denijs Dille (B-Br)”, Revue Belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap vol. LXVII (2013), 179–217.
“Béla Bartók ako teoretik” [Béla Bartók as a music theoretician], trans. Alžbeta Rajterová, Slovenská Hudba vol. XXXIX, no.4 (2013), 340–353.
“Die Folklore-Tradition als Musikgeschichte. Gemeinsame und divergierende Ideen in den Schriften von Béla Bartók und Zoltán Kodály”, in Konzeptionen des musikalischen Denkens in der eropäischen Musikwissenschaft des 20. jahrhunderts (anlässlich des 100. Geburtsjahres von Jozef Kresánek). Hg. Markéta Štefková. Bratislava: Ústav hudobnej vedy SAV, 2014 [2015], 191–208.
“Die Idee einer »transsubstantiierten Volksmusik« in der Solosonate für Violoncello op. 8 (1915)”, Zoltán Kodálys Kammermusik, Studien zur Wertungsforschung, Bd. 57, hg. v. Klaus Aringer. Wien: Universal Edition, 2015, 155–178.
IV. Reviews and review articles in English or German
“Kircher, Athanasius: Musurgia Universalis.” Studia Musicologica 32/1–4 (1990), pp. 465–70
“Claude Kenneson: Székely and Bartók.” Hungarian Music Quarterly VI/1–2 (1995), pp. 42–43
“Béla Bartók. Éléments d’un autoportrait, ed. Jean Gergely.” Studia Musicologica 37/2–4 (1996), pp. 442–46
“László Somfai: Béla Bartók: Composition, Concepts and Autograph Sources.” Hungarian Music Quarterly VIII/1–2 (1997), pp. 21–23
“Bartók and His World. Edited by Peter Laki; Christiano Pesavento: Musik von Béla Bartók als pädagogisches Programm.” Die Musikforschung 51/3 (1998), pp. 370–72
“János Kárpáti: Bartók’s Chamber Music.” Studia Musicologica 39/1 (1998), pp. 145–51
“János Kárpáti: Bartók’s Chamber Music.” Hungarian Music Quarterly IX/3–4 (1998), pp. 40–43
“Another Door to Bluebeard’s Castle. Judit Frigyesi: Béla Bartók and Turn-of-the-Century Budapest.” The Hungarian Quarterly 42/163 (Autumn 2001), pp. 127–35
“Bartók and a Natural Phenomenon. Béla Bartók’s Writings Vol. 3.” The Hungarian Quarterly 43/165 (Spring 2002), pp. 141–48
V. Selected essays in Hungarian
“Liszt és a ‘régi zene’: egy romantikus megközelítésmód” [Liszt and “early music”: a romantic approach]. Magyar Zene XXX/1 (March 1989), pp. 55–65
“‘Per introdurre’: A bartóki bevezetés megformálásának problematikája” [“Per introdurre”: on initial moments in Bartók’s work]. Magyar Zene XXXV/2 (1994), pp. 190–203
“Szerelemtől szellemig: Élményre vonatkozó szavak és motívumok Bartók írásaiban” [From love to spirit: words and motives in Bartók’s writings on experience]. In Márta Papp (ed.): Zenetudományi tanulmányok Kroó György tiszteletére (Studies in musicology in honor of György Kroó). [Budapest:] Magyar Zenetudományi és Zenekritikai Társaság, 1996, pp. 215–27
“Hasonlóságok és Kontrasztok: Bartók Ravel-Hommage-a?” [Similarities and Contrasts: Bartók’s hommage à Ravel?]. In Zenetudományi dolgozatok 1995–1996. Budapest: A Magyar Tudományos Akadémia Zenetudományi Intézete, 1997, pp. 243–74
“Bartók Béla: Negyvennégy duó két hegedűre” [Béla Bartók: Forty-four duos for two violins]. Parlando XL/5 (1998), pp. 11–17
“Bartók Béla: Egyéni élet – reprezentatív életút?” [Béla Bartók: representative carrier of an individual?]. In Zenetudományi dolgozatok 1997–1998. Budapest: A Magyar Tudományos Akadémia Zenetudományi Intézete, 1998, pp. 83–90
“Bartók a népzene hatásáról” [Bartók on the influence of folk music]. Magyar Zene 37/2 (1999), pp. 161–75
“Bartók Béla: A Kékszakállú herceg vára” [Béla Bartók: Bluebeard’s Castle]. In Bartók Béla: A kékszakállú herceg vára (program booklet). [Budapest:] Magyar Állami Operaház, 2001, pp. 5–10
“Ötös ritmika Bartók zenéjében” [The number five in Bartók’s rhythm]. Magyar Zene XLI/2 (May 2003), pp. 181–208
“Adalékok az 1. bagatell recepciótörténetéhez” [On the reception history of Bartók’s first Bagatelle]. Magyar Zene XLII/3–4 (October 2004), pp. 447–60
“Dido per musica.” In Attila Ferenczi (ed.): A rejtélyes Aeneis [Aeneis the misterious]. Párbeszéd-kötetek 2. Budapest: L’Harmattan, 2005, pp. 147–88
“Bartók az integritás válságának idején: Két Bartók-írás Budapest zeneéletéről (1920/21)” [Bartók at the time of the integration crisis: Two reports on musical events in Budapest by Bartók]. Muzsika vol. 50, no. 7 (July 2007), pp. 8–13
“Könyörgő apa? avagy Hogyan szólította meg szarvassá vált fiait az ő édes apjuk? Egy javítás a Cantata profana kottaszövegéhez” [A pleading father? or How did the beloved father addressed his sons-turned-into-stags? A correction to the music of Cantata profana]. Muzsika vol. 50, no. 10 (October 2007), pp. 20–26
“Bartók és Kodály: egy barátság anatómiája” [Bartók and Kodály: the anatomy of a friendship]. Muzsika vol. 50, no. 12 (December 2007), pp. 7–14
“Kodály: A rossz feleség balladája” [Kodály: The ballad of the heartless wife]. Magyar Zene vol. 46, no. 3 (2008), pp. 261–74
“A zenetörténet antológiája vagy régi zenetörténet-írás? Megjegyzések Bartha Dénes munkájának eredeti kiadásához” [Anthology-cum history of music: Remarks on Dénes Bartha’s Historical Anthology of Early Music (1948)]. Magyar Zene vol. 47, no.1 (2009), pp. 33–54
“A ’Bartók’-pizzicatóról, egy különös akkordról és A csodálatos mandarin kéziratairól” [On the “Bartók” pizzicato, a curious chord and the manuscript sources of the Miraculous Mandarin]. Part 1: Muzsika vol. 52, no. 8 (August 2009), pp. 8–11., part 2: Muzsika vol. 52, no. 9 (September 2009), pp. 31–35
“Bartók egy zenei poénjáról: Az 5. kvartett Allegretto con indifferenza epizódjának értelmezéséhez” [On a musical joke by Bartók: To the interpretation of the Allegretto con indifferenza episode in the Fifth String Quartet], Magyar Zene 48/1 (February 2010), 49–58
“Bartók, a rapszódosz – Liszt örökében?” [Bartók the rhapsodos: A Liszt heir?]
“Bartók ’Halotti ének’-e és a ’szlovák’ Gyermekeknek születése” [“Mourning Song” and the origins of Bartók’s arrangements of Slovak folk songs “for Children”]. In Gábor Kiss (ed.): Zenetudományi Dolgozatok 2011. Budapest: MTA BTK Zenetudományi Intézet, 2012, pp. 233–69
“Két ajándék – Bartóktól: Adalékok a zeneszerző portréjához” [Two presents – from Bartók: New touches to the composer’s portrait]. In Mihály Ittzés (ed.): Részletek az egészhez: Tanulmányok a 19. és 20. század magyar zenéjéről. Emlékkönyv a 80 éves Bónis Ferenc tiszteletére [Ferenc Bónis Festschrift]. Budapest: Argumentum and Kodály Archívum, 2012, pp. 220–31
“ ‘Kanásznóta’ és ‘Kanásztánc’: Bartók, Gyermekeknek, II. füzet, XXXIX és XLII” [“Swineherd’s song” and “Swineherd’s Dance”: nos. xxxix and xlii in volume II of Bartók’s For Children]. In Olga Szalay (ed.): Tükröződések: Ünnepi tanulmánykötet Domokos Mária népzenekutató-zenetörténész tiszteletére [Mária Domokos Festschrift]. Budapest: L’Harmattan, 2012, pp. 725–49
“Bartók Cantata profanájának kritikai közreadásáról” [On the critical edition of Bartók’s Cantata profana]
“Resurrexi. Szent Ágoston és a húsvéti introitus” [Resurrexi: Saint Augustine and the Easter Introit], Magyar Egyházzene XX/2 (2012/2013), 165–176.
“A csodálatos mandarin átlényegülései: A műfajválasztás jelentősége Bartók pantomimjának keletkezéstörténetében” [The transubstantiation of the Miraculous Mandarin: The significance of genre in the composition of Bartók’s pantomime], Magyar Zene vol. LI, nos. 4 (2013. november), 410–444.
“ ‘Karóval jöttél, nem virággal’: A horror quotidiani Bartók művészetében” [“You’ve come not with flower but a dry stake”: The horror quotidiani in Bartók’s art], in Tanulmánykötet Ujfalussy József emlékére: Tanulmányok, emlékírások, hommage-ok [A Collection of essays in memory of József Ujfalussy: Articles, recollections and hommages], ed. Melinda Berlász and Márta Grabócz. Budapest: L’Harmattan, 2013, 263–269.
Vikárius László, “’Valse mely inkább mazurka’: A Bartók–Reschofsky Zongoraiskola zeneakadémiai bírálata” [“A Valse, which is rather like a mazurka”: Music Academy Professors’ Critical Reports on the Bartók–Reschofsky Piano Method], in Szekvenciáktól szimfóniákig: Tanulmányok Liszt, Bartók és Ligeti 140 éves Zeneakadémiája tiszteletére, szerk. Dobszay Ágnes, Domokos Zsuzsanna, Péteri Lóránt, Vikárius László. Budapest: Rózsavölgyi, 2015, 165–184.
VI. Liner Notes
“Small and large-scale forms in the spirit of counterpoint: Bartók’s late music for solo violin.” in Béla Bartók, Sonata for Solo Violin, 44 Duos for Two Violins, Barnabás Kelemen – Katalin Kokas (2006 Budapest Music Center Records, BMC CD 125)
Béla Bartók, Forty-Four Duos, Hungarian Folksongs, Barnabás Kelemen, Katalin Kokas, Zoltán Juhász, Zoltán Kocsis, Bartók New Series 16 (2008 Hungaroton Records Ltd., HSACD 32516)
Béla Bartók, For Children, Zoltán Kocsis, Bartók New Series 26 (2009 Hungaroton Records Ltd., HCD32526)
Béla Bartók, Complete Works for Piano Solo: The Mature Bartók, Andreas Bach (2015 hänssler classic, 98.042)
Béla Bartók, Complete Works for Piano Solo: The Romantic Bartók, Andreas Bach (2015 hänssler classic, 98.043)
VII. Database
Bartók Correspondence, ed. László Vikárius, Csilla Pintér and Zsuzsanna Schmidt (2015)http://db.zti.hu/bartok_correspondence/bmails_Search.asp