The most important class, however, for me and for hundreds of other Hungarian musicians, was the chamber-music class. From about the age of fourteen, and until graduation from the Academy, all instrumentalists except the heavy-brass players and percussionists had to participate in this course. Presiding over it for many years was the composer Leó Weiner, who thus exercised an enormous influence on three generations of Hungarian musicians.

Sir Georg Solti

Tallián, Tibor Doctoral School, Musicology Department Music History Research as Main Subject, Musicology PhD Seminar, Opera History

Taraszova, Brigitta Strings Department Piano Accompanist

Tarnay, Annamária Musicology Department Italian Language

Tekula, Endre Department of Teacher Education Horn Teaching Methodology on Primary Level

Dr. Termes, Rita Woodwind and Brass Department Piano Accompanist

Terray, Boglárka Music Theory Department Analysis, Music Theory, Score Reading, Solfège, Transposing and Score Reading

Tihanyi, László Composition Department, Doctoral School, Music Theory Department Analysis, Classical Composition Practice as Main Subject, Composition DLA Seminar, Musical and Musicology Seminars, Solfège and Music Theory

Tornyai, Péter Composition Department Composition as Main Subject, Contemporary Music, Orchestration as Main Subject

Tóth, Marianna School for Exceptional Young Talents, Strings Department Piano Accompanist, Piano as Main Subject

Tóth, Orsika Folk Music Department Voice Production Techniques

Tóth, Árpád Department of Teacher Education, Kodály Institute Chamber Singing, Choir Repertoire, Choral Conducting, Methodology, School Music Teaching Methodology on Secondary Level, Solfège

Tóth Jr., István Jazz Department Combo Practice, Piano Accompanist

Tőkés, Mária Tünde Department of Teacher Education Solfège and Folk Music Teaching Methodology on Secondary Level

Tuska, Zoltán Chamber Music Department Chamber Music, String Quartet