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Jagamas, János ( b Dej , June 8, 1913; d Cluj-Napoca , Sept 15, 1997 ). Romanian-Hungarian musicologist and composer. After studying composition at the conservatory in Cluj (now Cluj-Napoca) ( 1936–40 ) he studied under Albert Siklós and János Viski at the Budapest Academy of Music and was a folk music research pupil of Kodály ( 1941–2 ). In 1948 he became director of the Cluj Conservatory and subsequently held posts as fellow ( 1949–60 ) and director ( 1956–8 ) of the Cluj section of the Folklore Institute, senior fellow at the Hungarian Arts

Almási, István ( b Cluj [now Cluj-Napoca] , Dec 8, 1934 ). Romanian-Hungarian ethnomusicologist. He studied music education and choir direction under János Jagamas, Ferenc Major and István Nagy at the Cluj Academy of Music ( 1951–6 ). He joined the Folklore Archives of the Romanian Academy of Sciences ( 1957 ), initially as an assistant researcher, becoming researcher ( 1960 ) and senior researcher ( 1970 ). He took the doctorate in 1989 at the Academy of Music under Romeo Ghircoiaşiu, with a dissertation on the early stages of Hungarian folk music

Orbán, György ( b Tirgu Mureş , July 12, 1947 ). Hungarian composer of Romanian birth. He studied composition with Toduţă and Eisikovits and music theory with Jagamas at the Cluj-Napoca Academy of Music ( 1968–73 ), remaining there to teach music theory and counterpoint ( 1973–9 ). After moving to Hungary, he worked as a music editor for Editio Musica Budapest ( 1979–90 ), and became professor of music theory and composition at the Liszt Academy of Music in 1982. Orbán was awarded the Bartók-Pásztory Prize in 1991. His early style, tending towards

Romanian music aesthetician and musicologist. He is considered the founder of musical aesthetics in Romania. Ştefan Angi studied at Cluj-Napoca Conservatory ( 1953–8 ) where his teachers included Márkos Albert (music theory), Jodál Gabor (harmony), Max Eisikovits (counterpoint), Jagamas János (forms), Földes László (aesthetics), Lakatos István and Benkő András (music history), Zsurka Péter (violin), Ana Voileanu-Nicoară (chamber music), Antonin Ciolan (orchestral ensemble), and Szenik Ilona (folklore). He then studied at Lomonosov Moscow State University ( 1963–5

Trózner laid the basis of his musical thinking. From 1952 to 1958 he studied composition at the ‘Gheorghe Dima’ Music Conservatory of Cluj-Napoca, focusing his analyses on the works of the great Hungarian composers Kodály and Bartók, as motivated by his professors Jodál Gábor and Jagamas János. He took part in the Internationale Ferienkurse für neue Musik (Darmstadt, 1974 , 1978 ), studying with I. Xenakis, K. Stockhausen, W. Rihm, and B. Ferneyhough. He obtained the PhD in musicology, with the dissertation ‘Armonia muzicii moderne/The Harmony of Modern Music (

Sárosi); and study of instrumental folk music (by Lajtha and Sárosi). Outside Hungary intensive research into folk music has been carried out notably by the Romanian Hungarians, especially in the 1950s, at the Cluj section of the Institute of Ethnography and Folklore under János Jagamas. The first series of Hungarian folk music discs, the Patria series, began to be produced in Budapest in 1936. Under the original direction of Bartók and Kodály, and later of Lajtha, 250 discs in the series had been completed by the end of the 1950s. The first disc for widespread

, 1970–90) R.W. Brednich and W. Suppan : Gottscheer Volkslieder , 1 (Mainz, 1969) Jahresbibliographie der Volksballadenforschung (Ljubjana, 1970–90) E. Seeman : ‘Die europäische Volksballade’, Handbuch des Volksliedes , ed. R.W. Brednich and others (Munich, 1973), 37–54 J. Jagamas and J. Faragó : Romániai magyar népdalok [Hungarian folksongs from Romania] (Bucharest, 1974) M. Karpeles , ed.: The Crystal Spring: English Folk Songs Collected by Cecil Sharp (London, 1975) E.B. Lyle , ed.: Andrew Crawfurd’s Collection of Ballads and Songs (Edinburgh, 1,