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A BTK Zenetudományi Intézet székháza 2022. november 1. és 2023. március 31. között technikai okok miatt zárva tart. Az Intézet munkatársai csak emailen érhetők el. Kérjük szíves megértésüket!
A zárás csak az Intézetre vonatkozik, a Zenetörténeti Múzeum továbbra is nyitva tart, hétfő kivételével naponta 10–16 óra között! |
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Katalin Kim Szacsvai PhD, Senior Research Fellow and Head of Department for Hungarian Music History of the Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences. |
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Katalin Kim-Szacsvai (PhD) is a senior research fellow and Head of Department for Hungarian Music History at the Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences. Her research focuses on the vocal-instrumental (figural) music repertoire of eighteenth-century Hungary, and includes the study of the surviving music archives, contemporary musical texts as well as inventories of music and musical instruments. Another research project of hers focuses on the study of Ferenc Erkel’s composition method and the activity of Erkel’s workshop. Results acquired during the first half of this ongoing project were most completely formulated in her PhD-thesis, finished in 2012, Az Erkel-műhely: Közös munka Erkel Ferenc színpadi műveiben (1840–1857) [Erkel Workshop: Collaboration in the Stage Plays of Ferenc Erkel (1840–1857)]. She published the critical edition of two of Erkel’s operas: Bátori Mária (2002, together with Miklós Dolinszky), and Hunyadi László (2006). Currently she works on the critical edition of Erzsébet and Dózsa György. Since 2012 she has undertaken the supervision of BA-, MA-, and PhD theses, prepared by musicology students of the Liszt Academy of Music, concerning eighteenth- and nineteenth-century Hungarian music history. It was also by then, that she expanded her own area of research in the direction of the institutions of Hungarian musical theatre, its repertoire, and creators. Involving a number of young researchers, they perform a large-scale digitization of the primary sources of early Hungarian musical theatre as well as the National Theatre, the Royal Hungarian Opera House, and other theatrical companies based both in Budapest and in the provinces. In addition, a complex database of musical theatres is elaborated, in which the playbill material, the musical, textual, and archival sources of the performances, as well as their critical feedback published by the press are being processed.
