Jenő Keuler obtained his undergraduate de
gree in 1964 from the Liszt Academy of Music
in Budapest. In 1964–1996, he was a teacher at
the Debrecen Kodály Secondary Music School,
teaching music theory, solfeggio, music litera
ture, modern music studies as well as other
experimental or newly-introduced musical sub
jects. From 1992 until 1996, he was director of
the Debrecen Kodály Music Secondary School.
Between 1965 and 1989, he undertook short
study tours and visits to Darmstadt, München,
Warsaw, Cracow, Zagreb, Klaipeda, Bratislava,
Stockholm, and Marseille. He was a member
of the advisory committee of the Hungarian music-pedagogical periodical Par
lando (1973–1990) and also the Trans-Tiszanian correspondent for the monthly
paper entitled Muzsika (1970–1975). From 1979 until 1993, he participated in
committees on educational music reform, concerning taught programs such
as composition and music theory. He initiated the mandatory nationwide
introduction of Music Theory & Solfeggio in all secondary music schools across
the country (1979). Between 1980 and 1996, he introduced the taught program
of “knowledge on modern music” to the Music Secondary School of Debrecen.
He also undertook live “demonstration lessons” nationwide, organized by the
Trade Union of the Hungarian Musicians’ Artists and the Hungarian Music
Schools’ Federation (1972–1996). Between 1983 and 2004, he participated in
interdisciplinary music research undertaken at the Hungarian Academy of
Sciences’ Institute for Musicology; this project received OTKA support between
1986 and 1991. From 1996 to 2004, he was a regular visitor at international con
ferences of systematic musicology (Brugge 1996, Ghent 1996, Berlin 1997, Oslo
1999, Jyväskylä 2001, Leuven 2002, Graz 2004). From 2003 to 2006, he performed
a number of psycho-acoustic tests across a diverse range of music-pedagogical
institutes. Between 2014 and 2020, he published his memoirs, an account of his
life’s work, as well as his scientific achievements in the periodical Parlando.
ORCHESTRAL WORKS
Symphony (1963–1964), symph. orch. [Diploma Work]
Jubilee Overture (1970–1971), symph. orch. Pub: EMB
CHAMBER WORKS
Euphoria – Cycle of Songs for High Soprano and Piano (1964) Lib: Imre Puskás
Piccola Partita per Clarinetto e Fagotto (1969) Pub: EMB
Two Transylvanian Folk Songs (1988), SATB
Looking Around – Musical Image – Garland to the Haikus by Ödön Horváth,
voice, vlc., sound-recording (CD)
SOLO WORKS
Sonata-Fantasia (1961), pno.
Etude for Piano (1963)
Suite for Bassoon (1965)
LIVE ELECTROACOUSTIC MUSIC AND REALISED VERSIONS
On the Shore of Music – Series of Electroacoustic Tone Poems on his Own
Texts (1961–1963, 2003–2007), recitation, recorded electro-acoustic part,
stereophonic or quadraphonic sound amplification
Fantasy on a Synthi Patch – On the Locomotive of Life – Colour Music (1979),
analogue synth.
Medal Show, Music for Synthesizer – Electroacoustic Background Music
(1987–1988), YAMAHA DX7-II synth.
Paradoxical Octaves Suite (1990) [A combined version of the two previous
compositions, recorded to CD.]
Paradoxical Octaves I. – For Synthesizer YAMAHA DX7-II (1991)
Paradoxical Octaves II. – Pseudo Twelve Tone Tunings (Bureau of an
Engineer) (1992), YAMAHA DX7-II syth., keyboard for control
“Overture for Synthetic Orchestra”, sequencer program PerformerTM 2.31
on a YAMAHA S80 synth.
REALISED ELECTROACOUSTIC WORKS
Stellar Music, No. 1 (2003) [Stellar spectra, as sets of infra frequencies de
termine not only the sound material but the polyphone happenings of
the music as well.]
Stellar Music No. 2a – Version for Concerts (2006)
Stellar Music No. 2b – Background Music (2006)
Stellar Sound-Fields – Background Music (2006)
