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Siposjános Angol Karacsáj.Indd János Sipos – Ufuk Tafkul KARACHAY-BALKAR FOLKSONGS János Sipos – Ufuk Tafkul KARACHAY-BALKAR FOLKSONGS Institute for Musicology of the Research Centre for the Humanities of the Hungarian Academy of Sciences – L’Harmattan Budapest, 2015 The fi eldwork lasting 10 years were supported by the Stein-Arnold Exploration Fund of the British Academy (2010), the Mellon Fellowship for Research in Turkey (2005, 2011) and the Hungarian Scientifi c Research Fund (OTKA K-42461, K-67997) The publication of the book was supported by the Hungarian Scientifi c Research Fund (OTKA PUB 113373) Photos made by: János Sipos and Ufuk Tavkul English translation by Judit Pokoly © János Sipos, 2015 © Institute for Musicology of the Research Centre for the Humanities, the Hungarian Academy of Sciences, 2015 © L’Harmattan, 2015 ISBN 978-963-414-083-2 L'Harmattan France 5-7 rue de l'Ecole Polytechnique 75005 Paris T.: 33.1.40.46.79.20 Email: [email protected] L'Harmattan Italia SRL Via Degli Artisti 15 10124 TORINO Tél : (39) 011 817 13 88 / (39) 348 39 89 198 Email: [email protected] L’Harmattan Hungary: L’Harmattan Könyvesbolt Párbeszéd Könyvesbolt 1053 Budapest, Kossuth L. u. 14–16. 1085 Budapest, Horánszky utca 20. Tel.: 267-5979 www.konyveslap.hu [email protected] www.harmattan.hu Editor in chief: Ádám Gyenes Design: Gábor Kardos, cover design: László Kára Printed and bound by Séd Nyomda, general director: Szilvia Katona CONTENTS PREFACE . 7 INTRODUCTION . 7 IN THE WAKE OF THE EASTERN CONNECTIONS OF HUNGARIAN FOLK MUSIC . 11 Report on my fi eldwork series in researching folk music . 11 Hungarian researchers in the Caucasus . 30 About our Karachay collecting fi eld-trips . 32 ABOUT THE KARACHAY-BALKAR PEOPLE (Ufuk Tavkul) . 41 Ethnogenesis . 41 Karachay-Balkars as seen by European and Russian travellers . 58 On their social life . 64 Social stratifi cation . 66 Old customs, songs, gods . 75 How did the Karachay-Balkars get to Turkey? . 86 KARACHAY FOLK MUSIC . 93 Special tunes . 94 The classes of Karachay folk music . 95 Class 1: Rotating and plagal motion (№ 1−8) . 96 Class 2: One or two short lines and their variations with x(1)1 cadences (№ 9-37) . 97 Class 3: Four short lines with (1) main cadence (№ 38-53) . 102 Class 4: Four short lines with the fi rst line ending on the key note, with a (pseudo) domed structure and 1(x)y cadences (№ 54−62) . 105 Class 5: Four short lines with (VII) main cadence (№ 63−70) . 108 Class 6: Four short lines with (2) and (b3) main cadences (№ 71−105) . 109 Class 7: Four short lines with (4/5) main cadences (№ 106−115) . 114 Class 8: Four short lines with (4/5) main cadence and a higher beginning (№ 116−138) . 117 Class 9: Four short lines with (7/8) main cadences (№ 139−145) . 122 Class 10: One- or two-lined tripodic tunes (№ 146–186) . 123 Class 11: Tunes with four tripodic lines (№ 187–199) . 128 Class 12: Jir tunes (№ 200–278) . 131 Class 13: Four long lines with arched (domed) structure (№ 279–287) . 141 Connections between Hungarian and Karachay folk music . 143 6 CONTENTS FOLKSONG ANTHOLOGY . 163 LYRICS OF THE MELODIES . 300 About the Karachay-Balkar language (Ufuk Tafkul) . 300 Peculiarities of the Karachay-Balkar vocabultary (Éva Csáki) . 303 Lyrics and their translation (Éva Csáki) . 311 MUSICAL INDICES . 383 Rhythmic formulae of melodic lines . 383 Time signatures . 389 Number of melody cores/lines and cadences . 390 Scales . 397 Forms . 398 Ambitus . 402 Genres . 405 Index of the fi rst lines in alphabetical order . 407 REFERENCES . 417 1. INTRODUCTION Hungarian folk music is closely connected with the music of diverse Turkic peoples. Research into this interaction has already produced considerable re- sults, but it is far from being completed. Intriguing new questions are being raised by continuous inquiry, e.g.: Why is the music of different Turkic ethnic groups so different? Do the linguistic connections of this language family correspond to the musical connections? The folk music of several Turkic groups has no monographic elaboration so far, and the available publications often fail to answer the elementary ques- tions, too, so it is vitally important to carry on with the expeditions. Only when a large number of tunes have been collected during fi eldwork and tran- scribed, and the work of other researchers has been considered, can serious comparative research work begin. A close study of the material gathered during the expeditions can defi ne the fundamental strata of the music of Turkic-speaking groups and their in- terrelations, followed by a comparison of diverse folk musics and fi nally, at- tempts can be made to draw historical conclusions. It is also to be examined how a highly complex folk music like that of the Hungarians with eastern or- igins in its old strata is connected to Turkic music and to the music of precise- ly which Turkic people. A sceptical reader might butt in that no matter how extensive the areal fi eld research may be, conclusions as to Turkic or Hungarian prehistory or ethno- genesis are highly questionable, for a retrospect over thousands of years is hardly more impossible than looking back over a few hundred years in the history of folk music. All we may know is that prior to the organized school system, cinema, radio and particularly television that spread wide in the 20th century, the pace of cultural change was much slower. And also, that some strata of music, e.g. the laments and the parlando-rubato tunes usually sung in free rhythm are surprisingly persistent. It is a generally accepted thesis that the evolution of large comprehensive tune groups requires lots and lots of years, but they usually survive longer, too. Concerning a few genres, there might be a chance to probe into the past, particularly when they are represented by many, more or less different but stylistically connected melodies, constituting a tune layer of tune style. Field-research based examination of the archaic elements of Hungarian folk music has time-honoured traditions in Hungary. Just to mention the most im- 8 INTRODUCTION portant ones: Béla Bartók carried on fi eldwork in Turkey in 1936, and László Vikár conducted comparative musical research in the Volga-Kama region among Finno-Ugrian and Turkic groups of people in the company of linguist Gábor Bereczki for over twenty years. I joined this line of research some 28 years ago. In 1987−93 I spent six years in Turkey where I collected about 1500 tunes and examined another 4000, and on this basis I could be the fi rst to outline a comprehensive picture of the complex musical styles I found there and their implications for Hungar- ian music. The next step was to examine the folk music in the area between Anatolia and the Volga-Kama region through my Caucasian, Kazakh, Azeri, Kyrgyz and further Turkish expeditions. An insight into areas more to the east was ensured by research trips to the Kyrgyz, Turkmen and Mongolian Kazakh people. By now, a collection of over ten thousand tunes – most of them videotaped – as well as interviews and photos have been accumulated. This collection is found in the Archive of the Institute for Musicology of the Research Centre for the Humanities (Hungarian Academy of Sciences) and is integrated to Bé- la Bartók’s Anatolian collection and László Vikár and Gábor Bereczki’s col- lection in the Volga-Kama region. So far I have published 15 books as the outcome of my researches, this one being the next in the series. The studied ethnic groups are tied to varying degrees to the origins of the Hungarians. One example is that of the Kazakhs: some of the Cumans who migrated westward merged with the Magyars, while their tribes left in Asia took part in the ethnogenesis of the Kazakhs (Golden 1992). Of equal impor- tance is the North Caucasus where the ancestors of the Hungarians and those of the Karachays lived together in the territory of the Khazar Empire for some time before the Hungarian conquest of the Carpathian Basin (Róna-Tas 1999). Obviously, I cannot undertake the accurate mapping of the ethnically and linguistically highly diverse Caucasus as a whole. In the North Caucasus I did fi eld research mainly among the Karachays and in the South Caucasus in Azer- baijan, in both regions among minorities as well. I complemented the North Caucasian collection with an important control material. In the late 19th and early 20th century masses of Karachay people fl ed to Turkey from the Rus- sians. The deportation in 1944 of Caucasian groups to Inner Asia triggered off a new wave of exodus from the Caucasus southward. Unlike other, rapid- ly assimilating minorities of Turkey, the Karachays living mainly around Kon- ya and Eskishehir still cherish their traditions. The musical culture of this group is also examined in this volume. In Chapter One I briefl y survey the expeditions whose aim was the explo- ration of the eastern connections of Hungarian folk music. Next, I touch on the earlier fi eld trips to the Caucasus which go back as far as the Dominican INTRODUCTION 9 monk Otto’s journey in 1232, followed by Frater Julian’s and much later by the Jenő Zichy expedition. Since then, no important Hungarian research has been undertaken in the region and the ones that targeted the area mainly traversed the southern part of the Caucasus. I give a short account of our fi eld trips among the Karachays to acquaint the readers with the studied group and the particular musical and cultural concepts necessary for the understanding of the analytic section and the lyrics.
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