Music is the most diversified and the least standardized area in terms of special language. That might be the partial reason why there is moderate scientific interest in the Hungarian special language on music and in communication and gives resons for the misalignment of projects and the relative isolation of researchers. The objective of the study, therefore, is the compilation and continuous development of such a guiding summary and comparative collection which explores the system of this unique area, as well as identifies points of reference essential for the more accurate use of the special language.

The basic idea of the research is that the interpretation of Schumann’s compositional technique should start at the opening motif of his work: most of his works stem from one single idea whose constant variation and improvizative transformation gives the composition’s basic pulsation. Often the chordal structures are also born from the free play of the melodies: the figurations of equivalent notes become the creator of the harmonies themselves, while the thus created chords come together into a mosaic-like melody and the resulting polyphony, the complementary rhythm can also form harmony (i.e. in some songs of Dichterliebe). Most harmonies characteristif of Schumann derive from the ever-changing basic motifs and melodies – and these motifs not only give the basic notion of the composition but also that of the abstract context.

The fundamental question of the research is more than the discussion of translation aesthetic, as it examines the aesthetic problem specific to vocal music: the question is how to evaluate the singable composition translations and/or those designed for singig? This (neglected) aspect may fundamentally affect the music performance practice of the interpretation, because the composition may be influenced by the singer singing the original or the translated: in the case of the former the recipients can not get the meaining of the text, in the other case the audience understands the text, but, based on the general quality of the translations, the message is often different from that of the author.

The reason for starting this research is that in Hungary textbooks are still the primary source of content, and this is specifically valid in case of classroom music built on tradition. At the same time, few teachers deal with the analysis of textbooks writing from different aspects or with textbook research. As a result they fail to understand and follow the authors’ logic and as a consequence they are not able to contribute to the development of textbooks substantially. The research therefore aims at bringing these secrets to light and to have clarssroom music textbooks evaluated on a regular basis.

The aim of the research is to highlight the effect of interdisciplinary arts education on the development of the personality from several sides. However, since a complex program of arts edcucation and creativity development can only be set up as a result of an integrated work of several pedagogical working groups, the base of our activity is the cooperation with the Psalmus Humanus Association for Arts Education on the one hand and the talent care project of the Institute of Arts Communication and Music on the other.

Huxley's particular approach to music was consolidated in the first half of the 1920s: the process can be traced in his music-critical writings of that period. His critical essays and novels are thought-provoking and rich in multiple associations. However, these writings at times contain arbitrary, ex cathedra value judgments reflecting his own, now conventional, now peculiar, critical standards.

Anthony Burgess considered himself most of all a composer. He composed around 200 pieces and with this amount he was more prolific in the field of music than in that of literature – thus it is not really possible to classify his creative activity into literary or solely musical works. In case of such an exceptional artist, talented in two different art forms, there is no way to differentiate him as a literary artist (less accepted) or a composer alone and nor it would be right to do so. Since those whose musical work is permeated by literary influences, musical effects and is rich in linguistically inspired musical inventions, the reverse is also true.