The 18-20. Our picture of 19th-century Hungarian church music is still far from complete. Thanks to the researches of Kornél Bárdos, we have information about the secular and church music and sheet music (incipit catalogs) of several episcopal seats and major cities (Pécs, Sopron, Székesfehérvár, Tata, Győr), and research is still ongoing. The capital's church music was considered a white spot in musicology for a long time.

In my doctoral dissertation, I mapped an important slice of 19th-century Hungarian church music, the church music of the main church in Pest during the tenure of its important organist, Ferenc Bräuer (1839-1871). I summarized not only the ensemble, repertoire and liturgical order of the church, but also the oeuvre of Bräuer regens chori, with a list of composers. I also published an incipit catalog of the church's contemporary music library. Since then, I have written many additional articles about the church's musical life in the 19th and 20th centuries.

Currently, as a scholarship recipient of the Hungarian Academy of Arts, I am working on the exploration of the manuscript collection of the Esztergom cathedral music library.

I was a member of the MTA-ELTE Lendület Liturgy History Research Group (2018-2023), which analyzes the liturgy, perhaps the most influential cultural phenomenon of the European Middle Ages. Our goal is to open new paths in both Hungarian-related and international scholarship through a historical-comparative study of the topic. Our result was, on the one hand, the creation of www.usuarium.elte.hu, the largest source in the world and the data obtained from it, and on the other hand, a series of manuals that would bring to life the monumental work of Edmond Martène, De antiquis Ecclesiæ ritibus, published in 1700, in a modern , based on today's research. The volumes of this were created by the head of the research group, Dr. hab. It is written by István Miklós Földváry.

Of course, the research group notes several source editions, and many new results can also be linked to the description of the Esztergom rite, a notable work of the medieval Hungarian liturgy (e.g. the Veszprém Pontificale, the Pray codex).

In Hungarian university music education, in the field of teacher training (also) the educational model that strives for reproduction is widespread. We have been teaching in the same way for decades, waiting for the perfect reproduction of the given musical material in the recording, either in the form of listening exercises or in the form of a piece of music that has been learned and performed in advance. Creativity, independent creation, the expression of individual thoughts with the help of improvisation, or even style exercises are included in the teaching palette of higher music education institutions. Although today's young generation, due to the explosion of information, can no longer acquire knowledge not only from the teacher, their interests are broader and more open-minded than their fellow students decades ago. They want to realize their own ideas, they are brave enough to experiment. 

During the experimental years, we developed a solfège-music theory education in cooperation with the students at the ELTE BTK Institute of Art Mediation and Music, which goes through the threefold process of learning-improvisation-creation. We raise awareness of different compositional ideas and editing techniques by learning from the greatest composers, and then, getting to know each other's inner musical world, we write style exercises and individual works based on them. A positive outcome of the process is the focus on experience, which helps to imprint important information even more. The students are motivated and feel that the process is theirs, because they can develop in it and put their own creativity into it.

In Hungarian university music education, in the field of teacher training (also) the educational model that strives for reproduction is widespread. We have been teaching in the same way for decades, waiting for the perfect reproduction of the given musical material in the recording, either in the form of listening exercises or in the form of a piece of music that has been learned and performed in advance. Creativity, independent creation, the expression of individual thoughts with the help of improvisation, or even style exercises are included in the teaching palette of higher music education institutions. Although today's young generation, due to the explosion of information, can no longer acquire knowledge not only from the teacher, their interests are broader and more open-minded than their fellow students decades ago. They want to realize their own ideas, they are brave enough to experiment. 

During the experimental years, we developed a solfège-music theory education in cooperation with the students at the ELTE BTK Institute of Art Mediation and Music, which goes through the threefold process of learning-improvisation-creation. We raise awareness of different compositional ideas and editing techniques by learning from the greatest composers, and then, getting to know each other's inner musical world, we write style exercises and individual works based on them. A positive outcome of the process is the focus on experience, which helps to imprint important information even more. The students are motivated and feel that the process is theirs, because they can develop in it and put their own creativity into it.