Cultural heritage studies, Ethnology, Ethnomusicology, Social anthropology, Sociology

Course date

28 June - 6 July, 2021
Application for this course is closed.
Course Director(s): 

József Laszlovszky

Cultural Heritage Studies Program/Department of Medieval Studies, Central European University, Budapest, Hungary / Vienna, Austria

Peter Laki

Bard College, Annandale-On-Hudson, USA
Course Faculty: 

Jana Ambrozova

Department of Ethnology and Folkloristics, Constantine the Philosopher University in Nitra, Slovakia

Gergely Fazekas

Department of Musicology, Liszt Academy, Budapest, Hungary

Rachel Harris

Department of Music, School of Arts, China Institute, Centre of Contemporary Central Asia & the Caucasus, SOAS University of London, UK

Angela Impey

Department of Music, SOAS University of London, UK

András Lelkes

Forum for Folk Art Fund, Budapest, Hungary

Carolin Müller

Media Center, Technische Universität Dresden, Germany

Maria Sonevytsky

College of Letters & Sciences, University of California, Berkeley, USA

Jonathan Stock

School of Film, Music and Theatre, Department of Music, University College Cork, Ireland

Martin Stokes

Department of Music, King's College London, UK

Zsuzsanna Szálka

Cultural Heritage Studies Program (visiting faculty), Central European University, Budapest, Hungary / Vienna, Austria

László Vikárius

Bartól Archives, Hungarian Academy of Sciences, Budapest

Balazs Weyer

Music Hungary, Budapest, Hungary
Following the great success of the previous two editions of the Music as Heritage course (face-to-face in 2019 and online in 2020), in 2021 our main goal remains unchanged: to provide insight into the methodology and approaches of modern musicology as an integral part of heritage studies. We use music as a tool for analyzing and describing social changes, the interaction of state policies, culture, cultural heritage, and audiences. The course builds on a highly interdisciplinary academic approach to modern musicology, thus, it is open to other fields of study.
This summer the course will place its focus on Béla Bartók, one of the most influential composers of the 20th century and one of the forefathers of ethnomusicology today.
The course relies greatly on both CEU lecturers, Bard College and SOAS faculty members, and leading scholars in the field such as Jonathan Stock from University College Cork as well as Martin Stokes from King’s College London.

Online course

Last year, we successfully adapted our project to an Online Summer Course with an innovative, immersive curriculum, and online teaching methods. In 2021 we will meet online again. The academic program will remain unchanged.
The complex theoretical and practical aspects will be taught in the format of 30-minute plenary sessions, including multimedia presentations, and pre-recorded material. Each plenary session will be followed by 20-minute structured, smaller group discussions led by our lecturers and tutors. Sessions will be closed by joint discussion and evaluation.
The traditional field trip will be substituted by digital field research, an exciting and innovative research methodology that is a must-know for ethnomusicologists of the digital era. 
Participants will have the opportunity to develop their individual, cultural heritage-related projects, under the guidance of our experienced instructors.
The 7-day intensive summer course requires active participation, daily 4-6 hours, and offers an inspiring and friendly atmosphere.
All this will be implemented on an easy-to-handle, integrated, multifunctional e-learning platform.

Bartók’s heritage today

Through case studies chosen from Béla Bartók’s immense heritage, we will gain insight into the heritage creation procedures. We will discuss Bartók as a musicologist and his influence on modern and even contemporary international musicology. Bartók, universally regarded as an outstanding figure of 20th-century music, is also considered to be a forefather to the discipline of ethnomusicology. He collected and recorded musical folk heritage and simultaneously created a meticulous analytical approach for its analysis, thus laying out the groundwork for modern musicology. 
We will also address the questions of how traditional music contributes to national and/or individual identity creation and how music is used for political purposes, as for example by UNESCO.

Exploring heritage management

A major goal of the course is to explore various aspects of musical heritage management. The course will place emphasis on audience development through focused, yet socially conscious cultural policies, and will present a contemporary and viable approach to these issues. We will further examine the essential role of music in social engagement and public outreach.
Building on the feedback of previous courses, this course provides an in-depth focus on practical aspects of musical heritage management. Our approach enables participants to understand industry trends and events through a data-driven approach, and through social analysis.

Partnerships, cooperations

The course is co-organized by Forum for Folk Art Fund, Music Hungary, and the Cultural Heritage Studies Program, CEU, Budapest, Hungary.

Partners: Constantine the Philosopher University in Nitra, Borys Grinchenko Kyiv University, Nouvelle Prague, Pannonica Festival


The project is co-financed by the Open Society University Network, the Governments of Czechia, Hungary, Poland and Slovakia through Visegrad Grants from International Visegrad Fund. The mission of the fund is to advance ideas for sustainable regional cooperation in Central Europe.

Check the video about the 2020 online course: