IASPM Hungary: Developments and New Directions in Popular Music Research



Amidst political and economic changes shaping both the field of popular music and popular music studies in Hungary, including changes in the financing and institutional framework of academic research, as well as a growing intensity in the state funding of popular music – which, at the same time, has contributed to the creation of a system of dependency on the state – the Hungarian branch, celebrating its tenth anniversary this year, has seen considerable activity in the last few years. This includes the organising of the first international popular music conferences in Hungary, as well as the joining of new, young scholar members, and the strengthening of new research areas. The most prominent areas are the history of popular music research in Hungary, popular music histories and historiography, jazz studies, studies of (digital) technology and popular music, research on the relationship between popular music and populism, and on popular music and gender.

Author Biography

Emi­lia Barna, IASPM Hungary // Budapest University of Technology and Economics

Roza Emilia Barna, PhD, Assistant Professor, sociologist and popular music studies scholar acquired her doctoral degree at the University of Liverpool Institute of Popular Music in 2011. Her thesis examined the relationship between music scenes, networks and the internet through a case study of contemporary Liverpool indie rock bands. Her main areas of research include the study of music scenes, gender and technology; the music industry and digitisation; and labour in the music industries. She also teaches as part of the ‘University of Music’ programme of the University of Pecs. She is a founding member and former Chair of the Hungarian branch of the International Association of the Study of Popular Music and a member of the editors’ Advisory Board of IASPM@Journal.



Barna, E. 2016. Newsletter – IASPM Hungary. http://www.iaspm.net/archive/newsletters/Hungary_2016.pdf Accessed: 1 May 2020.

Barna, E. and Á. Ignácz. 2018. Musical and Social Structures: Marxist Interpretations of Popular Music in the 1960s and early 1970s in Hungary and the UK. IASPM Journal 8 (2): 2-17. http://dx.doi.org/10.5429/2079-3871(2018)v8i2.2en

Barna, E., M. Madár, K. Nagy and M. Szarvas. 2019. Dinamikus hatalom. Kulturális termelés és politika Magyarországon 2010 után. Fordulat 26: 225–251.

Barna, E. and T. Tofalvy, Eds. 2017. Made in Hungary: Studies in Popular Music. New York and London: Routledge.

Havas, Á. K. –

Szegény rokonok: A magyar jazzszcéna szerkezete és rétegződése. PhD. Corvinus University Budapest.

The Logic of Distinctions in the Hungarian Jazz Field: A Case Study of Hungarian Jazz. Popular Music (forthcoming).

Havas, Á. and Á. Ser. 2018. “Szegény rokonok” – A budapesti jazzszíntér konstrukciója. Replika 101-102: 147–168.

Havas, Á. and K. Zipernovszky, Eds. 2018. Jazztanumlányok. Replika 101-102: 7-209.

Ignácz, Á. –

a. Milliók zenéje. Populáris zene és zenetudomány az államszocialista Magyarországon. Budapest: Rózsavölgyi és Társa.

Ed. 2020b. A magyar populáris zene története(i): Források – módszerek – perspektívák. Budapest: Rózsavölgyi és Társa (forthcoming).

Szemere, A. and A. Rónai. 2021. I’ll Be Your Plaything”: The Spirited Reinvention of Femininity in Bea Palya's Cover Album. London, Oxford, New York, New Delhi, and Sydney: Bloomsbury Academic (forthcoming).

Tofalvy, T. and E. Barna, Eds. 2020. Popular Music, Technology, and the Changing Media Ecosystem. From Cassettes to Stream. London: Palgrave Macmillan.

Wagner, S. 2018. Szocialista kereslet, kapitalista kínálat – és fordítva. Hozzáférés a Syrius-dokumentumokhoz (1970–1973). Replika 3-4: 265-293. http://dx.doi.org/10.32564/108-109.12


Palya Bea. 2012. Én leszek a játékszered. Sony Music, Hungary.






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