Bicinia Hungarica: A Theoretical Analysis and Pedagogical Implications for Use in a Kodály-
Inspired American Music Curriculum
by
Daniel S. Todd, M.M.Ed., B.M.
A Dissertation
In
MUSIC EDUCATION
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of
DOCTOR OF PHILOSOPHY
Approved
Susan Brumfield Chair of Committee
Matthew Santa
Richard Bjella
Linda Donahue
Bill Gelber
Mark Sheridan, Ph.D. Dean of the Graduate School
August, 2014 Copyright 2014, Daniel S. Todd
Texas Tech University, Daniel Todd, August 2014
ACKNOWLEDGMENTS
I would like to thank Dr. Jerry Jaccard, of Brigham Young University, for his expert knowledge of historical resources related to Kodály philosophy and bicinia. I am grateful to Soma Szabó, of Cantemus Choral Institute, for providing me with editions of
Bicinia Hungarica and translations of Hungarian terms. I also wish to acknowledge
Kristin Martin for her assistance with formatting the charts and graphs. Donna Devane provided invaluable editorial assistance and formatted the final document. Without these people, the document would not be as thorough and user-friendly as it currently is.
I would like to thank my parents, Dr. Jim Todd and Martha Todd, for their continued love and support. I have long dreamed of pursuing a doctorate, and they have made many sacrifices along the way to support and encourage that goal. I hope that I have honored the legacy set forth by my parents through my education and teaching.
I owe a tremendous debt of thanks to Susan Brumfield, my committee chair, mentor, and friend. From the moment she suggested this project during my Masters’ studies, my love and passion for bicinia has expanded. I will cherish our discussions of grammar and syntax, our time playing and singing bicinia at the piano, and the personal and professional growth this project and my time with her afforded me. This document serves as a synthesis of my thirteen years as her student, encompassing pedagogy, theory, analysis, choral technique, and effective teaching. I thank her for her commitment to a
Kodály-inspired approach to music education.
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS ...... ii
ABSTRACT ...... vii
LIST OF TABLES ...... vii
LIST OF FIGURES ...... ix
CHAPTER 1 INTRODUCTION ...... 1
1.1 Purpose ...... 1
1.2 Justification ...... 3
1.3 Limitations ...... 3
CHAPTER 2 REVIEW OF RELATED LITERATURE ...... 5
2.1 Kodály Biography ...... 5
2.1.1 Kodály’s Childhood (1882-1900) ...... 6
2.1.2 The University Years (1900-1921) ...... 7
2.1.3 The Mature Composer (1923-1941) ...... 10
2.1.4 The Educational Period (1941-1967) ...... 13
2.1.5 Primary Sources ...... 16
2.1.6 Conclusion ...... 19
2.2 Kodály Philosophy ...... 19
2.2.1 Sources...... 20
2.2.2 Kodály’s Philosophy and Method in American Secondary Sources ...... 24
2.2.3 Kodály’s Philosophy, in His Own Words ...... 30
2.2.4 Conclusion ...... 38
2.3 Kodály’s Pedagogical Compositions ...... 39
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Texas Tech University, Daniel Todd, August 2014
2.3.1 Works Investigating Specific Pedagogical Publications ...... 41
2.3.2 Kodály’s Pedagogical Choral Works ...... 43
2.3.3 American Adaptation of Bicinia ...... 45
2.3.4 Conclusion ...... 48
CHAPTER 3 BICINIA ...... 49
3.1 Historical Context of Bicinia...... 49
3.2 Kodály’s Bicinia ...... 53
3.2.1 Editions of Kodály’s Bicinia ...... 56
3.2.2 Conclusion ...... 59
CHAPTER 4 METHODOLOGY ...... 60
4.1 Bicinia Hungarica ...... 60
4.1.1 Related Models for Folk Song Analysis ...... 60
4.1.2 Models for the Study Relating to Bicinia Hungarica ...... 61
4.1.3 Related Pedagogical Models and Materials...... 62
4.1.4 Conclusion ...... 64
4.2 Analysis Parameters ...... 64
4.2.1 Rhythmic Features ...... 65
4.2.2 Melodic Features ...... 67
4.2.3 Formal Features ...... 71
4.2.4 Polyphonic Features ...... 75
4.2.5 Other Features...... 82
CHAPTER 5 ANALYSIS AND SUMMARY OF DATA ...... 83
5.1 Analysis ...... 83
5.1.1 Bicinia Hungarica, volume 1 (Nos. 1-60) ...... 83
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5.1.2 Bicinia Hungarica, volume 2 (Nos. 61-100) ...... 146
5.1.3 Bicinia Hungarica, volume 3 (Nos. 101-120) ...... 188
5.1.4 Bicinia Hungarica, volume 4 (Nos. 121-180) ...... 211
5.2 Summary of Data ...... 271
5.2.1 Rhythmic Features ...... 271
5.2.2 Melodic Features ...... 279
5.2.3 Formal Features ...... 285
5.2.4 Polyphonic Features ...... 286
5.2.5 Other Features...... 289
5.2.6 Conclusion ...... 291
CHAPTER 6 DISCUSSION ...... 292
6.1 Contemporary American Composers of Bicinia ...... 292
6.1.1 Denise Bacon ...... 292
6.1.2 Mark A. Williams ...... 293
6.1.3 Mary Goetze ...... 294
6.1.4 Contemporary Composers and Compositions ...... 296
6.2 Pedagogical Implications for Teaching ...... 298
6.2.1 Interviews ...... 298
6.2.2 Arranging ...... 299
6.2.3 Composition/Improvisation ...... 301
6.2.4 Teaching Strategies...... 303
6.3 Recommendations ...... 306
6.3.1 Further Research on Bicinia Hungarica ...... 306
6.3.2 Suggestions for Related Research ...... 307
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Texas Tech University, Daniel Todd, August 2014
6.4 Conclusion ...... 309
BIBLIOGRAPHY ...... 310
APPENDIX A ANALYSIS CHART...... 320
APPENDIX B HUMAN SUBJECTS APPROVAL ...... 329
APPENDIX C RECRUITMENT EMAIL ...... 332
APPENDIX D DENISE BACON INTERVIEW ...... 333
APPENDIX E MARY GOETZE INTERVIEW...... 338
GLOSSARY ...... 349
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Texas Tech University, Daniel Todd, August 2014
ABSTRACT
Beginning in the 1940s, Hungarian composer and music educator Zoltán Kodály
(1882-1967) helped to establish a national value for music education and musical literacy throughout his country. This was accomplished through an eclectic approach to music education that incorporated tools and methodology drawn from centuries of music education all over the world. Among Kodály’s major contributions was the creation and inclusion of pedagogically-conceived compositions as part of a national curriculum.
These materials were based on native Hungarian folk music and were written to be accessible by musicians at every stage of musical, physiological, and emotional development. Bicinia Hungarica is a collection of 183 two-part, progressive a cappella folk song settings that include elements of polyphonic style.
Since the 1960s, Americans have studied Kodály’s philosophy in Hungary, inspiring many teachers to adapt his philosophy in the United States. Research has been done regarding the adaptation of the philosophy and pedagogical sequence, but few scholars outside of Hungary have examined the pedagogical works composed by Kodály.
The current study (1) determines the musical elements present in Bicinia Hungarica and
(2) provides suggestions for educators who wish to use the materials for teaching.
Analysis of musical elements is based on rhythmic, melodic, formal, and polyphonic features that are present in bicinium. A summary of each bicinium is provided, as well as a summary of pertinent compositional features. Recognized composers of American bicinia, Denise Bacon and Mary Goetze, were consulted for teaching suggestions pertaining to their own bicinia.
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LIST OF TABLES
Table 1. Copyright of Bicinia Hungarica Editions ...... 57
Table 2. Distribution of meters by volume...... 273
Table 3. List of meter by bicinium number...... 274
Table 4. Distribution of tonality by volume...... 283
Table 5. Total number of scale types...... 285
Table 6. Summary of important musical features by bicinium ...... 321
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Texas Tech University, Daniel Todd, August 2014
LIST OF FIGURES
Figure 1. Number of rhythmic values present in volume 1...... 276
Figure 2. Number of rhythmic values present in volume 2...... 277
Figure 3. Number of rhythmic values present in volume 3...... 279
Figure 4. Number of rhythmic values present in volume 4...... 280
Figure 5. Frequency of key signatures...... 282
Figure 6. Frequency of imitation and counterpoint in Bicinia Hungarica ...... 288
Figure 7. Absence of imitation and counterpoint in Bicinia Hungarica ...... 288
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CHAPTER 1
INTRODUCTION
1.1 Purpose
Since 1950, the musical culture of Hungary has developed and flourished, due in part to the nation-wide implementation of a music curriculum inspired by the philosophies and publications of Zoltán Kodály (1882-1967), along with those of his colleagues and students. This achievement may be attributed in part to Kodály’s knowledge of events which led to the state of Hungary’s musical culture in the 1950s.
Percy Young posits that:
It is part of Kodály’s argument that Hungary, through force of circumstance, missed out on large tracts of the Western European tradition. Thus, in so far as he can, he fills the gap, but not by archaism. His a cappella works are comparable with those of the sixteenth century—favouring Venice or south Germany rather than Rome—and adopt similar procedures: which, since the glory of the medium lies in the conquest of its limitations, is but common sense.1
One such example is Kodály’s Bicinia Hungarica, a collection of 180 progressive, two-part a cappella vocal pieces. Bicinium refers to a single two-voiced song.2 Bicinia Hungarica provides a body of pedagogically-conceived musical material
1. Percy M. Young, Zoltán Kodály: A Hungarian Musician (London: Ernest Benn Limited, 1964), 124. It is important to remember that Kodály wrote no less than one hundred a cappella songs and seventeen books of exercises, comprising at least 1300 individual pieces. Young’s statement refers to the whole of Kodály’s a capella compositions and their function as one part of his educational philosophy. Bicinia Hungarica comprises but one part of Kodály’s pedagogical oeuvre.
2. Oxford Dictionary of Music Online, s.v. “Bicinium,” http://www.oxfordmusiconline.com.lib- e2.lib.ttu.edu/subscriber/article/opr/t237/e1203? 1
Texas Tech University, Daniel Todd, August 2014 that was derived or directly borrowed from Hungarian folk music but composed in a polyphonic style.
As Kodály’s philosophical approach to music education has spread across the world, educators have adopted this compositional approach to meet needs within their own musical cultures. Alfred Young submits,
All Kodály music educators are familiar with the composer’s “Bicinia Hungarica” and “Tricinia.” Inspired by these works and those of his Hungarian disciples, efforts have been made to compose bicinia based on the folk songs of the United States, Canada and many other countries. The composers of such works have, in most cases, been teachers attempting to fill a void in the pedagogical scheme. Alas, the resultant works often reveal an ignorance of the meaning and purpose of this form.3
The purpose of the present study is (1) to analyze Kodály’s Bicinia Hungarica for the musical and stylistic elements present in each bicinium and (2) to provide suggestions to educators regarding their use in the classroom based on suggestions of composers of similar compositions. Through analysis, we may better understand (1) how Bicinia
Hungarica approaches aspects of music literacy, (2) how Bicinia Hungarica prepares singers for the performance of polyphonic music, and (3) how to approach teaching bicinia to students.
source=omo_t237&q=bicinium&article_section=all&search=article&pos=1&_start=1 (accessed March 4, 2014). The plural form of bicinium is bicinia.
3. J. Alfred Young, "The Bicinium Form in Historical Perspective," Kodály Envoy 8 (1986): 14.
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Texas Tech University, Daniel Todd, August 2014
1.2 Justification
Kodály stated: “All my work was done expressly for Hungarian surroundings. If the system is to be adopted in foreign countries, each country must add his own motivic and musical background.”4 Before one can understand or analyze American bicinia, one must first study the work which inspired such compositions. While analytical studies of
Kodály’s compositions have been conducted, there has been a lack of published research on his Bicinia Hungarica and, furthermore, a lack of theoretical examination of bicinia in general. It is the purpose of this study to provide (1) a theoretical, historical, and pedagogical understanding of Bicinia Hungarica and (2) a historical discussion of similarly-composed works by American educators, providing the educator with strategies for teaching.
1.3 Limitations
While there are a number of sources relating to Kodály and his philosophy written in Hungarian, the present study is limited to sources which were either written in or translated into English; however, Hungarian editions of Bicinia Hungarica will be discussed. Additionally, multiple biographies of Kodály exist, with varying levels of authority and completeness. The biographies by Percy Young and László Eősze have been selected for this study because of the authors’ proximity to Kodály during the writing of their books.
4. Richard Johnston, Zoltán Kodály in North America (Ontario: Avondale Press, 1986), 68.
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The study of Hungarian folk songs is central to any discussion of Kodály’s compositions. Since this study is not specifically concerned with the influence of folk songs on Bicinia Hungarica and is primarily interested in the musical and stylistic elements present in the work, studies by Bartók, Kodály, and Erdely regarding folk songs will not be discussed. While there are many bicinia-like publications, only those written by American authors and whose works are still in publication will be examined.
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Texas Tech University, Daniel Todd, August 2014
CHAPTER 2
REVIEW OF RELATED LITERATURE
2.1 Kodály Biography
In Zoltán Kodály: A Guide to Research, Houlahan and Tacka reference 215 separate sources relating to Kodály’s biography or biographical events.1 Of these items, approximately half were published after Kodály’s death. The items are published mainly in English and Hungarian, though several are in French or German. Most of the items are journal articles or articles in festschrifts and therefore address specific aspects or events of Kodály’s life. Furthermore, many items are personal reflections from individuals working closely with Kodály and are therefore not approached scientifically or completely.
The most complete biographical sources, Eősze’s Zoltán Kodály: His Life and
Work (1962) and Young’s Zoltán Kodály: A Hungarian Musician (1964), were published during Kodály’s lifetime. Also significant, Eősze’s Zoltán Kodály: His Life in Pictures and Documents was published in 1982. Though a survey of Kodály’s compositions is found in each of these sources, his “pedagogical” compositions are mentioned only cursorily. In fact, materials such as Bicinia Hungarica and Pentatonic Music are regarded as an outgrowth of Kodály’s philosophical thought and are not subjected to the same degree of analysis as his concert works.
1. Mícheál Houlahan and Philip Tacka, Zoltán Kodály: A Guide to Research (NY: Garland Pub., 1998), 173-179.
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2.1.1 Kodály’s Childhood (1882-1900)
Kodály was born on December 16, 1882, in Kecskemét, a small village in
Hungary. Because Kodály’s father was a railroad official, the family moved frequently, settling in Galánta by 1885 after moving to Szob the year after Kodály’s birth.2 Although
Kecskemét was twice the size of Kodály’s father’s hometown of Győr, its musical culture was not as rich. It was in Kecskemét, because of limited musical opportunities, that
Kodály became exposed to chamber music at the hands of his father and mother.3 Galánta was a village in western Hungary populated by Hungarians, Slovaks, and Germans.
Eősze quotes Kodály as saying “the best years of my childhood” were in Galánta.4 The
Dances of Galánta (1933) and Bicinia Hungarica (1937) were composed because of memories from Kodály’s time in Galánta. In the Preface to Bicinia Hungarica, Kodály writes:
I wrote these songs in memory of my school friends of Galánta, whose voices I still hear after the passing of fifty and more years. If in those far-off days we had been taught what I try to teach in this book … life would have been very different in our little country. It is left with you who use this book to show that while singing in itself is good, the real reward comes to those who sing, and feel, and think, with others. This is what harmony means.5 Kodály began his formal foray into music in 1892, when the family moved to
Nagyszombat. His compositions from this period reflect his later belief in the power of
2. László Eősze, Zoltán Kodály: His Life and Work (Boston, MA: Crescendo Publishing Company, 1962), 12; Young, Zoltán Kodály: A Hungarian Musician, 24.
3. Dezső Legány, "Kodály's World of Music in His Childhood and Early Youth," Bulletin of the International Kodály Society, no. 2 (1979): 4.
4. Eősze, 12.
5. Zoltán Kodály, The Selected Writings of Zoltán Kodály, ed. Ferenc Bónis (London: Boosey & Hawkes, 1974), 215.
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Texas Tech University, Daniel Todd, August 2014 community, because he “studied neither for the sake of the instrument, nor primarily so that he should become some kind of soloist, but for the joy of playing with others.”6
While in school Kodály saw instruments lying in disrepair; this later caused him to say,
“a broken bassoon became a symbol of how, if musical culture was to be recreated in
Hungary, one would have to build it with fragments of its past.”7 Denzső Legány noted that:
Every great Hungarian poet has emerged from a village, a small town, or from the slums of a large city. From such a small town as the one in which Kodály attended high school, the road opened onto only three musical careers: composer, music teacher, and singer. Kodály became all three. He recognized that up until the Renaissance and even for a long time after, mankind reached a higher level of musical culture through choral singing.
Legány continues, “… [W]here there is no technique there is still singing, moreover, there it really exists. … In the more and more technical world, singing is the best means of helping man rediscover himself and his society.” 8 It was with this conviction, and as a result of his experiences, that Kodály set out to pursue his musical career in Budapest in 1900.
2.1.2 The University Years (1900-1921)
When Kodály began college in 1900, Budapest was a thriving city of 700,000 which had recently built a “tramway service and an underground railway.”9 Kodály
6. Legány, 6.
7. Young, Zoltán Kodály: A Hungarian Musician, 27.
8. Legány, 9.
9. Eősze, 14. 7
Texas Tech University, Daniel Todd, August 2014 enrolled at Eötvös College, “a training college for forty exceptionally gifted teachers;” he also took the entrance exam for the Academy of Music in Composition.10 Eötvös College supplemented professional training with courses in English, French, and German, and, according to Young, Kodály was introduced to Edward Sievers’s research regarding the music of language.11 It is through the education at Eötvös College that Kodály’s musical and cultural worlds melded and solidified, instilling in him the “educational principle of never disregarding responsibility to the national community,” a principle set forth by the college.12
Hans Koessler, professor of composition at the Academy of Music, immediately admitted Kodály to the second year of study, but Kodály declined the offer.13 His formal
10. Ibid., 15. Young states that Kodály studied at Pázmány University, but does not discuss what he studied or if a degree was completed. Eősze states that Kodály entered Eötvös College in 1900, graduating in 1904. However, it appears as though Kodály actually attending three universities concurrently: Eősze: “As a result of his years at the University and Eötvös College…”. Young, Zoltán Kodály: A Hungarian Musician, 27.
11. Young describes Edward Sievers as “an expert in linguistics, and a pioneer in the use of phonetics.” footnote p. 30. There is no doubt that Kodály’s experience with the research of Sievers directly led to his doctoral thesis: “The Stanzaic Structure of Hungarian Folk Song” and interest in collecting folk songs from the Hungarian countryside.
12. Dezső Keresztury, "Kodály the Writer," The New Hungarian Quarterly 3, no. 2 (1962): 53.
13. Eősze, 14-15. Koessler was known for admitting students to his class only when they had proved complete competence in harmony and counterpoint. The fact that Kodály was admitted to the second year of composition as an incoming student is a testament to his inherent knowledge of and personal dedication to music.
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Texas Tech University, Daniel Todd, August 2014 education ended with the completion of his doctoral thesis in 1905.14 Feeling that his education was not complete, Kodály left Hungary in 1906 to study in Paris and Berlin, only a year after collecting folk songs from the Hungarian countryside. Kodály wrote to
Bartók during a study-tour abroad that he was “searching hungrily for the spirit of our age,” which he found in the music of Claude Debussy in May of 1907, in Paris.15 The experience influenced Kodály to compose in a native folk style, giving voice to his own country. In September of 1907, Kodály was appointed professor at the Academy of
Music; he began teaching the first-year composition students in 1908.16
The period following Kodály’s appointment to the Academy of Music until 1921 was marked by struggle. Kodály composed and premiered a number of pieces, mostly to harsh criticism: “One critic declared that, though he was employed to teach harmony at the Academy, ‘he completely shunned it in his own work,’ while others attempted to dismiss his music as being ‘merely pathological.’”17 Both Kodály and Béla Bártok,
Kodály’s colleague from the Academy of Music, were prolific folk song collectors; by
1912 they had amassed a collection of 3,000, but their attempt to publish the material was
14. Establishing the dates that Kodály received degrees from each institution is difficult since the primary sources, Eősze and Young, do not explicitly state each institution at which Kodály studied or when his study concluded. Houlahan and Tacka suggest that he was awarded a diploma in composition in 1904 and earned a teacher’s diploma in Hungarian-German in 1905.
15. László Eősze, "Formative Years in Kodály's Career and Stylistic Development," in International Kodály Conference, ed. Ferenc Bónis, Erzsébet Szőnyi, and László Vikár (Budapest: Editio Musica Budapest, 1982), 38.
16. Young, Zoltán Kodály: A Hungarian Musician, 40.
17. Eősze, Zoltán Kodály: His Life and Work, 19.
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Texas Tech University, Daniel Todd, August 2014 unsuccessful.18 Kodály’s greatest recognition during this period came in February 1919, when the Academy of Music was reorganized into the National Academy of Music of
Hungary, and Kodály was named Deputy Director. The position allowed Kodály the opportunity to modify the curriculum, an opportunity which was halted in August by the fall of the dictatorship of the proletariat.
2.1.3 The Mature Composer (1923-1941)
Despite the turmoil of 1900-1920, which included a political tribunal, Kodály gained attention through the publication of many of his compositions in 1921 by
Universal Edition, in Vienna, and with the composition of Psalmus Hungaricus in 1923.19
The second half of Kodály’s musical life was marked by two years of near compositional silence in 1921 and 1922. Eősze states:
Throughout his career this was the only break which distinctly separated two different creative periods. Before it, he had composed only songs and chamber- pieces, but after it—apart from a few exceptions—he composed anything but songs and chamber music … . … Chamber music had always been the genre of a chosen few, whereas Kodály sought contact with the general public. He wanted to bring art nearer to the people, and the people nearer the art. This demanded the renewal of his composing activity on one hand and the extension of his educational work on the other.20
Kodály began to accomplish this goal through the composition of larger-scale orchestral music drawn heavily from both Hungarian folk culture and musical elements
18. Ibid., 20.
19. Young, Zoltán Kodály: A Hungarian Musician, 72.
20. László Eősze, Zoltán Kodály, His Life in Pictures and Documents, 2nd ed. (Budapest: Corvina Kiadó, 1971), 11-12.
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Texas Tech University, Daniel Todd, August 2014 found in the folk songs of Hungary. The trend of borrowing musical ideas from folk music was a direct influence of Debussy upon Kodály and is evident in the works of other composers from this period, as early as 1913—for example, in Stravinsky’s ballet The
Rite of Spring. Perhaps as a result of this two-year compositional pause, Kodály found his compositional voice. A number of his most well-known pieces come from this period:
Psalmus Hungaricus (1923), “See the Gypsies” (1925), Háry János (1926), Dances of
Marosszék (1929), Dances of Galánta (1933), and the Peacock Variations (1939).21
Psalmus Hungaricus represents the turning point both in Kodály’s compositional and educational interests. Kodály was invited to compose the work for Budapest’s 50th anniversary celebration of its federation. It is a setting of Mihály Vég’s paraphrasing of the 55th psalm for mixed and children’s choir accompanied by a full orchestra.22 It was through the preparation of the first performance of the work that Kodály’s educational values shifted and were extended to the general public. Young quotes Kodály:
In 1923, on the occasion of the first performance of Psalmus Hungaricus, I found our only chorus so weakened (it was a few years after the war) that I decided to add a boys’ chorus. Their fine singing inspired me to write some short pieces for them, like See the Gypsies, and Straw Guy, and in a couple of years with the collaboration of my pupils a little literature [for children] came into being.23
Eősze quotes Kodály, who “realized the youth of his country were ‘growing up in conditions of an utter musical corruption that is worse than illiteracy.’”24 The subsequent
21. Houlahan and Tacka, 9-12.
22. Young, Zoltán Kodály: A Hungarian Musician, 74.
23. Ibid., 75.
24. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 30.
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Texas Tech University, Daniel Todd, August 2014 poor performance given by the students of a teacher’s training college led to the merger of Kodály’s compositional and educational efforts, eventually providing the foundation for one tenet of his educational philosophy: that “written illiteracy could be conquered aided by the assets of an unwritten culture.”25
“The Straw Guy” and “See the Gypsies,” Kodály’s first compositions for children’s chorus, were composed in 1925 for the boys choir of the Wesselényi Street school, Budapest, directed by Endre Borus.26 This singular event was the beginning of the children’s choral movement in Hungary. In 1929, 13 of Kodály’s children’s choruses were performed by 700 students in two concerts. By 1934, 1,500 students performed a concert entitled “Kodály’s Children’s Chorus Evening,” a festival which helped establish the “Singing Youth” movement in Hungary. One year later, Budapest and seven other
Hungarian country towns arranged singing festivals that led to a rapid increase in the number of choirs and chorus masters throughout the country and production of choral works, both by Kodály and other Hungarian composers.27 In an article entitled
“Children’s Choirs” from 1929, Kodály stated his motivation for composing music for children: “Nobody is too great to write for little ones; indeed, he must do his best to be
25. Eősze, "Formative Years in Kodály's Career and Stylistic Development," 40.
26. Erzsébet Szőnyi, "Zoltán Kodály's Music Pedagogical Concept," in International Kodály Conference, ed. Ferenc Bónis, Erzsébet Szőnyi, and László Vikár (Budapest: Editio Musica Budapest, 1982), 150.
27. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 15. Magyar Kórus published choral music for schools and amateur choirs from 1929 until about 1949. The company published some of Kodály’s first pedagogical works and was directed by Lajos Bárdos and Gyula Kertész, both students of Kodály. Bárdos was also a Professor of Theory at the Academy of Music. Young, Zoltán Kodály: A Hungarian Musician, 90.
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Texas Tech University, Daniel Todd, August 2014 great enough for them. Original works are to be written, compositions starting from the child’s soul, from the child’s voice in text, tune and colour alike.”28 Regarding the importance of music teachers, he said, “It is much more important who the singing master at Kisvárda is than who the director of the Opera House is, because a poor director will fail. (Often even a good one.) But a bad teacher may kill off the love of music for thirty years from thirty classes of pupils.”29 This statement articulated Kodály’s purpose and focus for the final period of his life: teaching teachers how to instill a joy for music in their students and compose music appropriate for the developing musician, in order to create a country which values the music of its own heritage as well as the masterworks of other cultures and is musically literate.
2.1.4 The Educational Period (1941-1967)
During the two decades leading up to the educational period of his life, Kodály was known internationally as a composer and conductor; in Hungary, however, he was recognized as a composer and a proponent of choral music. From 1941 on, he became the
“savior” of music in Hungary; this led to international acclaim by the end of his life and a legacy which has endured long after his death.
According to Eősze, Kodály’s compositional output during the last 26 years of his life “extends to nearly all genres, with the exception of song and chamber music.”30 Eősze
28. Kodály, 125-126.
29. Ibid., 124.
30. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 16.
13
Texas Tech University, Daniel Todd, August 2014 further notes that, compared to the previous 20 years, the proportion of vocal to instrumental compositions increased, and educational works appear with more frequency,
“both springing from the strengthening of Kodály as an authority on cultural policy and as an educationalist.”31
The composition and publication of pedagogical works from this period, such as
Bicinia Hungarica, sprang from Kodály’s personal study of music and his desire to make it accessible to the entire country. Eősze believes the following quote was Kodály’s guiding principle: “A thorough knowledge of material must precede everything, for everything else can be built only upon this knowledge. Any efforts to achieve aesthetic results which either precede or discard knowledge are equivalent to building castles in
Spain.”32 The realization of this statement may be seen in the materials he composed to be used in the music classroom, which came from knowledge of the history of musical style and a desire to make the masterworks of the past accessible to all.
Kodály’s retirement from the Academy of Music in 1942 brought many honors and appointments. In 1943, he was elected Corresponding Member of the Academy of
Sciences, and in 1945, he was elected president of the Arts Council and member of the
Hungarian Academy of Sciences (he became president of the latter in 1946). Kodály was elected the honorary president of the Association of Music in 1949, and in 1957, he became the Elected Chair of the Music Council of the Ministry of Culture. In March of
1948, 1952, and 1957, he was awarded the Kossuth prize, an award given for outstanding
31. Ibid.
32. Ibid., 18-19.
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Texas Tech University, Daniel Todd, August 2014 personal and group achievements in the fields of science, culture, and the arts, as well as in the building of socialism. In 1961, Kodály was elected president of the International
Folk Music Council, and he was presented with the gold medal by the Accademia Santa
Cecilia in Rome in 1962.33
In the Preface to 24 Little Canons on the Black Keys, Kodály states: “Every thinking music teacher realizes the faults of the old methods, but still continues to use them. If music is to become common property and not only the privilege of the few, we shall have to look for new ways.”34 This statement was made the year that Kodály, along with Jenő Ádám, published Szo-mi, an eight volume collection of materials from Songs for Schools, a previously published collection of 630 melodies arranged pedagogically.
Szo-mi was replaced in 1948 with a more comprehensive series of textbooks that focused specifically on the presentation of musical elements.35
Shortly after the publication of the books, The General School of Music and
Singing in Kecskemét was established for students aged six through fourteen. The school was organized with a Director of Music as its headmaster and offered a standard curriculum, with the exception that more music tuition was available. Young notes that
33. Houlahan and Tacka, 13-19.
34. Zoltán Kodály, 24 Little Canons on the Black Keys (London: Boosey & Hawkes, 1957), 2.
35. Houlahan and Tacka, 77. These are not the first textbooks published to fulfill Kodály’s educational objectives, the first being Iskolai Enekgyűjtemény I and II, from 1943 and 1944, which according to Zemke were not successfully integrated into the curriculum. Szo-mi and Songbook for Primary Schools, its successor in 1948, were the first books adopted into the national curriculum. Lorna Zemke, The Kodály Concept: Its History, Philosophy, and Development (Champaign, IL: M. Foster Music Co., 1977), 17-18.
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Texas Tech University, Daniel Todd, August 2014 while the students received six singing lessons a week, “the school’s purpose is not primarily vocation, but also to infuse a broad strain of musical culture into the community as a whole.” 36 Succinctly stated, Kodály’s aims were to “teach the educated people to be Hungarian, and to educate the millions of Hungarians.”37
The last 20 years of Kodály’s life were spent in service to the furtherance of music education in Hungary and abroad. While Kodály continued to publish educational materials, he was also invited to conduct concerts in Great Britain, the Soviet Union, and the United States. Additionally, he was selected to chair international music conferences for the International Folk Music Council and the International Society for Music
Education. On March 6, 1967, Kodály died in Budapest.38
2.1.5 Primary Sources
László Eősze, a primary biographer of Kodály’s, was a musicologist, Deputy
President of Editio Musica Budapest, (the publishing house that was started by Kodály’s students and published most of his works), and Executive Secretary of the International
Kodály Society for almost 20 years.39 In Zoltán Kodály: His Life and Work, Eősze outlines the major contributions and compositional output during each period of Kodály’s
36. Young, Zoltán Kodály: A Hungarian Musician, 133.
37. Pál Járdányi, "Folk Music and Music Education," in Musical Education in Hungary, ed. Frigyes Sándor (Budapest: Corvina, 1966), 23.
38. Houlahan and Tacka, 13.
39. László Eősze, "Farewell and Thanks," Bulletin of the Internaitonal Kodály Society 20, no. 1 (1995): 44.
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Texas Tech University, Daniel Todd, August 2014 life. Eősze gives a detailed description of Kodály as a musicologist, a teacher, and a composer of concert music. Eősze draws primarily from Kodály’s own words to provide insight into Kodály’s musical agenda. For example, Eősze justifies Kodály’s work at the
Academy of Music when Kodály’s teaching was being attacked: “We have to assimilate all that is best in the musical heritage of Western Europe. I am doing my best to help my students to master the polyphonic style. … Indeed, in this, I go further than anyone has ever done in this country, or even than is customary abroad. But our job is to turn out musicians who are not only European, but also Hungarian.”40
In contrast, Eősze’s later work, Zoltán Kodály: His Life in Pictures and
Documents, provides a much briefer overview of Kodály’s biography, drawing parallels from secondary sources. For instance, Eősze points out that the idea of basing art music on the folk music of one’s own country actually comes from the Spanish musicologist
Eximeno in 1774.41 Eősze provides more information regarding the analysis of Kodály’s compositions and the reception of his works in this brief book than he does in Zoltán
Kodály: His Life and Work.
Young’s Zoltán Kodály: A Hungarian Musician is similar in content to Eősze’s later work (His Life in Pictures and Documents). Kodály assisted Young with the biography, which provides the most extensive historical background of Hungary, its people, literature, and musical heritage of any work at the time of its publication.42 Young
40. Eősze, Zoltán Kodály: His Life and Work, 67.
41. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 5.
42. In the Preface to his book, Young recognizes Eősze’s study of Kodály, but credits Kodály himself as his primary source of information stating he “has corrected 17
Texas Tech University, Daniel Todd, August 2014 discusses the analysis of Kodály’s concert works more meticulously than Eősze and, again, draws from secondary sources to explain the historical and cultural influences upon Kodály, noting musical and poetic influences upon specific compositions. Quoting
Ralph Vaughn Williams, Young illustrates the parallel goals between England and
Hungary, in terms of developing a national compositional style:
In art, as I suppose in every activity, the best results are obtained by developing one’s natural faculties to the highest. If an Englishman tries to pose as a Frenchman or a German, he will not only make a bad Englishman, he will also make a bad foreigner. If the English spirit is capable of being expressed in music, let it be so expressed; if not, let us honestly give up the attempt.43
Keresztury, a poet, politician, and Minister of Religion and Education from 1945-
1947, highlights a number of events in Kodály’s life in “Kodály the Writer,” using them to portray Kodály as a scientific thinker and musician. Keresztury uses quotes by Kodály and specific events to explain both his musical journey and the need to develop a systematic approach to teaching music. Keresztury quotes Kodály, who portrays the musical landscape which Kodály inherited as a young man and began to change in 1947:
After 1867 experiments in serious Hungarian music turned away from the people, abandoning the magnificent impulse of the reform age—which had, however, failed to attain to a fully formed Hungarian style in music. Around the turn of the century, there lived here a very thin layer having a musical education, and it was entirely foreign to Hungarians (mostly in language as well). On the other hand, there were masses of Hungarians without any musical education, feeding on gipsy music alone. It was clear that to create from these elements audiences desiring and supplying higher music could be brought about only by transforming the educated
some errors that have otherwise been given currency and enlarged on episodes that would seem hitherto to have been given sparse treatment, I can, perhaps, lay claim to some degree of authenticity.” Young, Zoltán Kodály: A Hungarian Musician, xiv.
43. Ibid., 57.
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layer into musically Hungarian, and the Hungarian mass into a musically educated people.44
2.1.6 Conclusion
Though many sources have outlined historical events in Kodály’s life that influenced his compositions and the formation of his philosophy of music education, few specifically address the motivation behind his pedagogical compositions. These works primarily pertain to the analysis and reception of his concert works, briefly mentioning the Bicinia Hungarica as a composition during Kodály’s period of educational focus.
2.2 Kodály Philosophy
Although Kodály had been concerned with the education of his students at the
Academy of Music from 1907 onward, his experiences in 1923 led Kodály to begin thinking about music education for the young and to investigate elements of educational reform. The paradigm shift appears to develop around 1945, with Kodály’s early implementation of his philosophy into texts and schools.
Like most formal approaches, Kodály’s philosophy of music education was a product of research, specifically his doctoral thesis involving folk song collection. It is also an outgrowth of his life experiences and personal values. A defining moment in the shaping of Kodály’s philosophy took place during a performance of his Psalmus
44. Keresztury, 51.
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Hungaricus, when the boys’ chorus entered, singing the obligato part.45 Kodály discussed his experience with children’s choruses and at the teacher training college during this period, stating, “written illiteracy could be conquered[,] aided by the assets of an unwritten culture.”46 This statement eventually formed the backbone of Kodály’s philosophy of music education; it also reflects the marriage of his educational, scientific, and compositional endeavors and thought.
In its simplest form, Kodály’s philosophy seeks to eliminate two kinds of musical illiteracy: (1) in the form of musical reading and writing, and (2) in the appreciation of true musical works.47 The realization and execution of Kodály’s philosophy of music education was taken on by his former students at the Academy of Music.48
2.2.1 Sources
Sources translated into English by Hungarian authors such as Szőnyi, Hegyi,
Szabó, and Ádám primarily contain discussion of specific pedagogical and curricular aspects which have come to be termed the “Kodály method”, a way of teaching that is inspired by the philosophy of Kodály. A number of books outlining a Kodály-inspired
American curriculum have also been written; these sources generally include a section
45. Young, Zoltán Kodály: A Hungarian Musician, 75.
46. Eősze, "Formative Years in Kodály's Career and Stylistic Development," 40.
47. Eősze, Zoltán Kodály: His Life and Work, 40.
48. Zemke, 16-17.
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Texas Tech University, Daniel Todd, August 2014 summarizing the underlying philosophy of Kodály before presenting their personal adaptations of the Kodály method.
Kodály’s philosophical ideas quickly spread around the world in the 1970s and are documented in Reflections on Kodály, a collection of essays by leading Kodály experts in each country to which the philosophy has spread. American Denise Bacon recounts her study at the Liszt Academy and her implementation of a Kodály-inspired
American curriculum, as well as the foundation of the first American training institute for teachers.49 Sister Mary Alice Hein describes her studies in Hungary, the planning of the
First Kodály International Symposium, and aspects of funding which aided the Master’s degree program with Kodály emphasis at Holy Names College.50 Sister Lorna Zemke discusses the establishment of a Kodály pilot program by Katinka Dániel in Santa
Barbara, California.51
Ann Carroll of Australia describes how her study of the Kodály method influenced her decisions as supervisor of Music for Queensland public schools.52 Lois
Choksy of Canada discusses the publication of her books regarding the Kodály method
49. Denise Bacon, "The Adaptation of Kodáy's Concept of Music Education in America," in Reflection on Kodáy, ed. László Vikár (Budapest: International Kodály Society, 1985).
50. Mary Alice Hein, "USA," in Reflection on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
51. Lorna Zemke, "USA," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
52. Ann Carroll, "A Queensland Connection with the Work of Zoltán Kodály," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
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Texas Tech University, Daniel Todd, August 2014 and her training of public school teachers. Alastair Highet recounts his training in
Hungary and the subsequent integration of a Kodály inspired curriculum in the Nanaimo primary and secondary schools. Connie More outlines Canada’s educational system, discusses issues affecting the adoption of a Kodály-inspired curriculum outside Hungary, and addresses the means through which teachers have gained Kodály training. Kaye
Pottie recounts the integration of a Kodály curriculum in the Halifax school system, and includes discussion of historical aspects of music in the school system.53
Gilbert De Greeve describes the quality of music education in Belgium as good prior to the integration of a Kodály-inspired curriculum at the State Music Academy of
Antwerp.54 He notes that the use of relative solmization was met with resistance,55 eventually becoming less of an issue because of the inherent human value of Kodály’s philosophy. Stefán Edelstein from Iceland recalls that Hungarian master teachers and choir directors provided workshops for educators in the 1970s, leading to the inclusion of a Kodály-inspired music curriculum in grades one through six.56 Michael Stocks, from
53. Kaye Pottie, "Kodály in the Halifax School System," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
54. Gilbert De Greeve, "Belgium," in Reflections of Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
55. Relative solmization, or moveable-do, is a system of assigning a distinct syllable to each note of a musical scale. In relative solmization ‘do’ is the tonic of any major key and ‘la’ is the tonic of any minor key. Many European countries, especially those that speak Romance or Slavic languages, usually favor a system called “fixed do” which assigns ‘do’ to the absolute pitch C, ‘re’ to D, and so forth.
56. Stefán Edelstein, "A Short Account of the Influence of Kodály's Principles and Practice on the Music Education System of Iceland," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
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England, describes Kodály’s philosophy as a synthesis of the work by Cecil Sharp, ethnomusicologist, and John Curwen, who developed a system for sight-singing which
Kodály employed in his own philosophy.57
Reflections on Kodály (1985) provides a brief picture of how Kodály’s philosophy impacted the world. A brief survey of the International Kodály Society’s webpage indicates that the philosophy has continued to gain acceptance around the world.
Presently there are fifteen national Kodály organizations, from Europe, Asia, North and
South America, and Australia.58
A discussion of Americans whose works specifically contain discussion of
Kodály’s educational philosophy is pertinent. Lois Choksy, author of The Kodály
Method, Teaching Music in the Twenty-First Century and numerous other methodological texts, received a Kodály certificate from the Liszt Academy of Music.
Mícheál Houlahan and Phillip Tacka, authors of Kodály Today: A Cognitive Approach to
Elementary Music Education and other Kodály-related publications, both hold diplomas from the Liszt Academy and the Kodály Center of America. Sister Lorna Zemke, author of The Kodály Concept—Its History Philosophy and Development, also studied at the
Liszt Academy, researching Kodály for both her master’s thesis and doctoral dissertation.
A more detailed discussion of their material is pertinent and follows this section.
57. Michael Stocks, "English Folksong and Music Education in England," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).
58. "Web Links", The International Kodály Society http://www.iks.hu/Web-Links/ (accessed February 2, 2012).
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2.2.2 Kodály’s Philosophy and Method in American Secondary Sources
Kodály’s approach to music education can be separated into two categories: philosophical principles and methodological practice. The following is a discussion of specific interpretations of Kodály’s approach to music education. It is important to note that each of the sources, with the exception of Houlahan and Tacka’s, differentiates between philosophy and method.
According to Choksy in The Kodály Method I, “music is essential to any complete education.”59 In Teaching Music in the Twenty-First Century, she adds that “music should be at the heart of the curriculum, a core subject, used as a basis for education.”60 Her statement is supported by Houlahan and Tacka: “Kodály believed that music should belong to everyone, not just to a musical elite.”61 This goal is accomplished through education, and according to Choksy, “Music education, to be most effective, must begin with the very young child.”62
Another tenet of Kodály’s philosophy is that “all people capable of linguistic literacy are also capable of musical literacy.”63 Choksy points out that if man is capable of becoming musically literate, and if music belongs to everyone, then “the development of
59. Lois Choksy, The Kodály Method I : Comprehensive Music Education, 3rd ed. (Upper Saddle River, NJ: Prentice Hall, 1999), 16.
60. Lois Choksy, "The Kodály Method " in Teaching Music in the Twenty-First Century, ed. Lois Choksy (Upper Saddle River, NJ: Prentice Hall, 2001), 82.
61. Mícheál Houlahan and Philip Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education (NY: Oxford University Press, 2008), 19.
62. Choksy, "The Kodály Method," 82.
63. Ibid.
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Texas Tech University, Daniel Todd, August 2014 such literacy is an obligation of the schools.”64 She further states that it is necessary “to make the language of music known to children; to help them become musically literate in the fullest sense of the word—able to read, write, and create with the vocabulary of music.”65 Houlahan and Tacka conclude that children should read and write music as easily as they read and write their own language.66
Kodály recognized that universal music literacy could not be accomplished unless quality music was used for teaching. Choksy states that “only music of the highest artistic value, both folk and composed, should be used for teaching. In presenting any music to a class, the teacher places an implied value on that music. Children, open-minded and impressionable, learn first by imitation and example.”67 She suggests that teachers “know that only the best music is good enough and that this music must, as well, suit the emotional, musical, and intellectual world of the child.”68 Choksy concludes that use of quality music “makes the children’s musical heritage known to them” and instills in children a love and appreciation of art music based on knowledge of music gained through performing, listening, studying, and analyzing.69
64. Choksy, The Kodály Method I: Comprehensive Music Education, 16.
65. Choksy, "The Kodály Method," 83.
66. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education, 24.
67. Choksy, "The Kodály Method " 82.
68. Choksy, The Kodály Method I: Comprehensive Music Education, 16.
69. Choksy, "The Kodály Method," 83.
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Houlahan and Tacka take a slightly different point of view, suggesting that
Kodály may have believed that the “transmission of a musical and cultural heritage” was even more important than “the music education of children.” At any rate, Kodály was emphatic in this insistence that only quality music be taught.70 Houlahan and Tacka concur with Kodály that “the use of contrived or diluted music is not suitable for instruction.”71
Concerning the inclusion of folk music as part of Kodály’s philosophy, Houlahan and Tacka state that understanding of one’s own culture through the study and performance of folk music leads to the understanding of music of other cultures, then to art music, and finally to recently composed music.72 This view is seconded and expanded by Choksy: “The folk songs of a child’s own linguistic heritage constitute a musical
‘mother tongue’ and should therefore be the vehicle for all early instruction.”73 Zemke eloquently establishes this foundation:
To Kodály, if music was to influence the lives of all people, it had to be understandable and composed from material which man could comprehend. Kodály proposed that musical culture, then, should stem from the national culture peculiar to each people of every land. With this as the foundation, the music of other nations and the compositions of the classical masters as well as modern creative artists can be understood and appreciated.74
70. Kodály, The Selected Writings of Zoltán Kodály, 122.
71. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education, 23-24.
72. Ibid., 23. While the other scholars mentioned in this section allude to this fact, Houlahan and Tacka are the only authors to make specific mention of the relationship between folk music of the past and modern folk music.
73. Choksy, "The Kodály Method," 82.
74. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 11. 26
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In order to effectively accomplish the goals of his philosophy, Kodály also felt it necessary to comment on the quality and training of the music teacher. Choksy concurs that “only the well-trained musician should teach music to even the youngest children” and that to understand “any subject well at the simplest levels, it is necessary to understand it at the most complex level.”75 Houlahan and Tacka suggest that “students learn the craft of music from individuals who themselves are excellent musicians.”76
Finally, Kodály scholars agree that unaccompanied singing was a primary tenet of
Kodály’s philosophy. From her study of Kodály, Zemke concludes: “Since the human voice is the most natural instrument to man, the act of singing is logically the most natural musical activity of man … . Not only is singing a means of musical expression, it aids in emotional and intellectual development as well.”77 Choksy reiterates Zemke’s conclusion by stating “that the best possible instrument for instruction is the child’s own unaccompanied voice” and expands the thought by saying, “singing is the best foundation for musicianship.”78 Houlahan and Tacka also cite singing as the foundation of musical education. They believe that the voice is the most intimate of all instruments, one which
75. Choksy, The Kodály Method I: Comprehensive Music Education, 16.
76. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education, 20.
77. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 12.
78. Choksy, The Kodály Method I: Comprehensive Music Education, 16; Choksy, "The Kodály Method " 82.
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Texas Tech University, Daniel Todd, August 2014 requires the performer to internalize sound, immediately participate in the musical experience, and develop the inner ear through singing.79
Houlahan and Tacka make special mention of the inclusion of instruments, movement, composition, and listening as important components of Kodály’s philosophy.
Regarding instruments, they state that instrumental instruction must follow proficiency in singing, reading, and writing. Instruments may be used for accompaniment in the classroom, but it is more pleasurable and amusing if the children provide the accompaniment. Additionally, movement is critical for musical development; it can be implemented through the use of singing games and folk dancing.80
While the above sources are primarily guides for teachers to implement a Kodály- inspired approach, they do not specifically establish the tools of the method. They primarily incorporate the method and tools of the method into their own educational approach; however, some mention is made to the specific tools and materials of the method.
Choksy summarizes the method as one based on child development, in which content is organized “into patterns that follow normal child abilities at various stages of growth” rather than a subject-logic approach, where material is organized “in a fashion that seems reasonable in terms of content.” She gives the following example:
In terms of rhythm, moving rhythms are more child-related than sustained ones. The quarter note may be related to children’s walking pace, the eighth note, to their running. These are the rhythms of the child’s day-to-day living … .
79. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education, 21.
80. Ibid., 22-23.
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Melodically, the first recognizable tunes sung by most young children are made up primarily of minor thirds, major seconds, and perfect fourths. … They are the tones their mothers use to call them to dinner.81
Houlahan and Tacka’s own curriculum conforms to the statements made by
Choksy, yet they do not explicitly state that the method is centered on child development.
Instead, they address elements of a child’s developing musicianship as the methodological foundation of Kodály’s philosophy through performance, critical thinking, creativity, and listening, as well as through the stewardship of a child’s musical and cultural heritage. Each of these components lead to the formation of “creative human beings.”82
Choksy and Zemke mention specific tools employed in the “Kodály method.”
Choksy states that Kodály did not create these tools but borrowed existing techniques from other approaches.83 For instance, Kodály first observed the use of moveable-do in
England, though the system originated with Guido d’Arezzo in 11th-century Italy.84 For rhythm, Kodály employed a system which assigns words to specific rhythms to express duration, created by Aimé Paris as part of the Galin-Paris-Chevé Method.85 The use of hand signs, established by John Curwen, was incorporated into the method, as well as
81. Choksy, The Kodály Method I: Comprehensive Music Education, 9-10.
82. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education, 20-21.
83. Choksy, The Kodály Method I: Comprehensive Music Education, 12.
84. Ibid.
85. Choksy, The Kodály Method I: Comprehensive Music Education, 12; Árpád A. Darázs, “A Study of the Zoltán Kodály Approach to Music Reading and Its Application to the High School Selective Choral Organization” (EdD dissertation, Columbia University, 1973), 72. 29
Texas Tech University, Daniel Todd, August 2014 sol-fa, a shorthand musical notation system incorporating abbreviated solfège syllables for pitches and stem notation for rhythms.86 Zemke concludes that
These teaching techniques as all those employed in the Kodály Method are merely that—“techniques” —and are not to be glorified in themselves. The Method encompasses more than any of them or all of them taken collectively. As Denise Bacon, Music Director of the Kodály Teacher Training Institute in the United States said: “… it is more than a method, it is a philosophy affecting all education.”87
2.2.3 Kodály’s Philosophy, in His Own Words
Though many secondary sources provide extensive insight into Kodály’s work,
Kodály’s own description of his philosophy is of particular relevance to this study, in that his words speak directly to the context in which the Bicinia Hungarica came to be written.
Most of Kodály’s essays and speeches appear in Visszatekintés, in Hungarian. A selection of important essays has been translated by Bónis and appears in The Selected
Writings of Zoltán Kodály.88 Additionally, Ildikó Kocsár has published a collection of quotations from these and other sources that pertain to Kodály’s philosophy of music education, entitled Music Should Belong to Everyone. Kocsár establishes a need for compiling Kodály’s thoughts on music education:
86. Choksy, The Kodály Method I: Comprehensive Music Education, 13-15.
87. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 29.
88. The Selected Writings include selected translations of material which appears in the first two volumes of Visszatekintés, from 1964. Material included in the third volume of Visszatekintés from 1989 has therefore been omitted from the present discussion.
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Did Zoltán Kodály write a book on methodology? This question has often been asked by Hungarian and foreign music educators. The answer is definitively no. If, however, we pay attention in reading his writings (statements, forewords and epilogues to his reading-practicing exercises), we can get a clear picture of an explicitly outlined concept of what, when and how should be taught in music education in order that music becomes accessible for everyone. Thus ‘the Kodály Method’ derives from the selections of Kodály’s thoughts and references on music education. It is rather a philosophy than a simple collection of music pedagogical tools though.89
Choksy, Houlahan, Tacka, and Zemke agree that at the core of Kodály’s philosophy is the belief that music is central to the development of the individual. Kodály stated that “music is an indispensable part of universal human knowledge. He who lacks it has a faulty knowledge. A man without music is incomplete. So it is obvious that music should be a school subject. It is essential.”90 Furthermore, “Surely, as we can have no influence on the education of the child eighteen months before birth, we should fight for the ideal that no man is complete without music, and so the general education must include music. And it is only the primary schools which can do the work.”91 Szabó submits the following quote by Kodály:
The purpose of music is not that it should be judged, but that it should become our substance. Music is a spiritual food for which there is no substitute; he who does not feed on it will live in spiritual anemia until death. There is no complete spiritual life without music, for the human soul has regions which can be illuminated only by music. The purpose of music is to understand better: to evolve and expand our inner world. Legends of many peoples deem music to be of divine origin; thus,
89. Zoltán Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, ed. Ildikó Herboly Kocsár (Budapest: International Kodály Society, 2002), 9.
90. Ibid., 15.
91. Johnston, Zoltán Kodály in North America, 32.
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when we have reached the boundaries of human understanding, music points beyond, into a world that cannot be explored but merely guessed at.92
Furthermore, Kodály clearly believed that musical education should begin as early as possible:
Not only from the point of view of individual education but from that of the nation, the work of the kindergarten is indispensable. Not even the most careful education in the family can supply what the kindergarten offers: adjustment to the human community … . In music, too, the work of the kindergarten is irreplaceable. But seldom do parents care in good time about a development of a sense of music, and even the most careful and wealthy parents, however good the teaching they supply for their children, are unable to provide them with a collective education, which, at the initial stages of music, is a tremendous help. Most children have no opportunity to make use of their natural sense of music in time. And for want of development this sense becomes stunted and the majority of people proceed through life without music … .93
Kodály affirmed his belief that to successfully educate a child, music must be an enjoyable experience that leads the child to desire finer music. He concluded that “if the child is not filled at least once by the life-giving stream of music during the most susceptible period—between his sixth and sixteenth years—it will hardly be of any use to him later on. Often a single experience will open the young soul to music for a whole lifetime. This experience cannot be left to chance, it is the duty of the school to provide it.”94 Finally, he stated that “… without the acquisition of reading and writing, music
92. Helga Szabó, The Kodály Concept of Music Education, ed. Geoffry Russell-Smith (NY: Boosey & Hawkes, 1969), 4.
93. Kodály, The Selected Writings of Zoltán Kodály, 129.
94. Ibid., 120.
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Texas Tech University, Daniel Todd, August 2014 remains inconceivable and enigmatic. ‘Music reality’ can only be achieved by reliable music literacy.”95
Furthering the idea of music literacy, Kodály stated that “the ideological content of a piece of music can only be comprehended through the language of music. It is self- deception to think that by simply reading the title and the programme you will understand it. It is not enough to put Beethoven in front of people. They should be taught how they can reach him.”96 Here, Kodály alludes to one who can read all of the words in a paragraph but who misses the author’s meaning or misunderstands the context. Kodály’s goal was that students not merely be taught the symbols of music, but how those symbols are organized to express meaning. This principle is further explained in the Preface to
333 Reading Exercises:
Merely to get the main intervals somehow right does not amount to sight-reading; it is merely spelling. Reading must be done comprehensively, taking in at a glance first a single word, then more, and eventually whole sentences, taking in the whole before examining the details. We should try to make a habit of understanding a tune by glancing through it quickly from beginning to end, as with a map, and not by building it from the separate notes. We should feel it as a whole before starting to sing it. This will give better results.97
In Kodály’s opinion, music literacy must therefore be approached systematically, because, for the most part, child development occurs systematically. For instance, “… children’s songs represent a very primitive state of musicality. It is known that children go through all the phases of development of the human race. This is another reason why
95. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 25.
96. Ibid., 43.
97. Zoltán Kodály, 333 Reading Exercises (London: Boosey & Hawkes, 1972), i.
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Texas Tech University, Daniel Todd, August 2014 we should handle children’s songs separately: they represent, as it were, a preceding degree to the development of adult songs.”98 To this end, Kodály states: “Obviously all reasonable pedagogy has to start from the first spontaneous utterances of the child: rhythmic-melodic plays, games with many repeated simple phrases: A A A … slowly evolving to AB or ABC forms, etc.”99 In other words, for children to acquire the language of music, they must first have experiences with the simplest of materials, then gradually progress to the more complicated. Kodály warned that “music must not be approached from its intellectual, rational side, nor should it be conveyed to the child as a system of algebraic symbols, or as a secret writing of a language with which he has no connection.
The way should be paved for direct intuition.”100
Kodály believed that the first step towards music literacy came through a student’s knowledge of his own culture, facilitated by the singing of his own country’s folk songs. Kodály states: “It is only through its own deep-seated musical instincts that a people can be reared to musical consciousness. One can approach what belongs to all humanity only through one’s own national characteristics.”101 He states, however that “… no nation can be limited to its own songs because every nation has only a certain group
98. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 17.
99. Johnston, Zoltán Kodály in North America, 60.
100. Kodály, The Selected Writings of Zoltán Kodály, 120.
101. Szabó, 5. 34
Texas Tech University, Daniel Todd, August 2014 of formulas, rhythmic and melodic formulas, which cannot contain all the possibilities in music.”102 Continuing this idea, Kodály states:
Well, at the beginning it is best that the child must learn from his own surroundings, and what he adds to them from his own improvising and composing. The next step would be folk songs … . Later on, if the supply of native folk songs is exhausted, it is possible to go to the folk songs of other people … . Many great musicians have agreed that the best means by which you can know a person is through his folk songs. And then gradually the “big” music is introduced. From folk music the leap is very easy to the great classical music, whereas the so-called “light” music never gives a transition to the big classic music. It is entirely separate. The two never come together in the same stream.103
Underlying Kodály’s ideas concerning appropriate types of music for educating children is the subject of quality music. He states:
Strictly speaking there are only two kinds of music: good and bad….Why could we not provide the best to someone who has no recognition of either good or bad yet? He whose taste is unspoiled will certainly enjoy good music …. It is evident that this protective inoculation should be administered as young as possible. Good taste cannot be inherited, yet it can be spoiled very early. That is why teaching, in the schools and indeed already in the kindergartens, should be of high quality from the start.104
He adds, “The young people of today should be warned that their right to speak intelligently about music will come only after a long and thorough period of study. ”105
Furthermore, “The elementary schools will fulfill their purpose when they teach not only
102. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 23.
103. Johnston, Zoltán Kodály in North America, 70-71. Part of this quote may call into question the use of Bicinia Hungarica, but it is not the authors’ belief that this collection should be a first introduction to music; it should follow singing and the study of American folk songs.
104. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 53.
105. Ibid., 49.
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Texas Tech University, Daniel Todd, August 2014 how to read but also how to distinguish between good music and bad music.”106 The following statement not only affirms Kodály’s belief in quality literature, but also alludes to the necessity of a systematic approach, both in content and repertoire.
It is only a few who can reach the highest peaks of art, just as the Himalayas cannot be climbed by the average tourist. According to Schumann, a genius can be completely understood only by another genius. But what does this understanding mean? Is it not enough for the average man to be seized by the feeling of reverence and worship when casting a far away glance at the Himalayas? But to be able to direct people’s view to the highest mountains, first we have to show them some accessible hills.107
Despite Kodály’s value for quality, he conceded, “Trashy literature and trashy music will always exist. However, should we not do our best to rescue their prisoners, wherever possible, and take them into the land of valuable art? This is our moral duty towards our children, where this rescue is the most promising.”108 Kodály insisted that only the best music is good enough for children: “Let us stop the teacher’s superstition according to which only some diluted art-substitute is suitable for teaching purposes. A child is the most susceptible and the most enthusiastic audience for pure art; for in every great artist the child is alive—and this is something felt by youth’s congenial spirit.”109
Granting all this, Kodály conceded that without a well-trained musician instructing students, the quality of the musical material would be unimportant. He stated:
“There will be good music education in the schools only when we educate good
106. Ibid.
107. Ibid., 67.
108. Ibid., 49.
109. Kodály, The Selected Writings of Zoltán Kodály, 122.
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Texas Tech University, Daniel Todd, August 2014 teachers.”110 Furthermore, “as a general rule, only someone who has been taught well can teach well. Yet it can happen that someone who has been taught badly becomes a good teacher because he wants to save his pupils from the mistakes of his own training.”111
Kodály believed that the voice should be the primary instrument for teaching because it is universally available and affords the greatest number of people the opportunity to become musically literate. Kodály stated: “What is to be done? To get the greatest possible mass of people into direct contact with really valuable music. How can this be achieved? Through choral singing.”112 He further acknowledged that unaccompanied singing is best: “The beginners’ first steps in the endless realm of notes should be supported not by any instrument of tempered tuning and dissimilar tone-colour, but by another voice … . In fact, those who always sing in unison never learn to sing in correct pitch. Correct unison singing can, paradoxically, be learned only by singing in two parts: the voices adjust and balance each other.”113 He submitted that singing also develops the ear: “… the ear will only be able to fully take in polyphonic music if the parts are learned unaccompanied (without instrumental support) whilst listening to
110. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 59.
111. Kodály, The Selected Writings of Zoltán Kodály, 197.
112. Szabó, 34.
113. Zoltán Kodály, Let Us Sing Correctly (London: Boosey & Hawkes, 1952), 2.
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Texas Tech University, Daniel Todd, August 2014 another part … . This ability takes time to develop, but practicing it is not tiring, on the contrary, it is delightful.”114
Kodály also valued the use of solfège as a pedagogical tool, stating that
The moveable do is a secret tool by which children learn much more quickly how to sing from the score than by any other method. No matter what else one may experiment with, it cannot be defeated. It is not a Hungarian invention: an Englishman called Curwen started it more than a hundred years ago; since then it has been alternately used or abandoned. Now we have taken it again, and it has proved to be very useful.115
He continued, “Successions of syllables are easier and more reliably memorized than letters; in addition, the syllable indicates at the same time the tonal function and, by memorizing the interval, we develop our sense of the tonal function. It is a common experience that singing is more correct in countries and schools where solmization is practiced.”116 Kodály affirmed that “since solfège is not only the alphabet of music but also its grammar, syntax, style, it is the key to the full understanding of music. It also includes aural harmony (polyphonic dictation).”117
2.2.4 Conclusion
Kodály’s philosophy of music education stemmed from his experiences as a college music professor and composer and then was infused into the Hungarian school
114. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 41.
115. Ibid., 27.
116. Kodály, Let Us Sing Correctly, 3.
117. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 61.
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Texas Tech University, Daniel Todd, August 2014 curriculum by him and by his former students. His philosophical principles value music and music literacy as important to human development, as necessary for the complete education of the child, and as a vehicle to understand culture and art. Kodály’s method for accomplishing these goals borrowed musical teaching tools, including solfège, from around the world. Kodály’s philosophy of music education has been adapted and has spread across the world.
2.3 Kodály’s Pedagogical Compositions
Kodály wrote several collections of vocal exercises and other pieces intended for educational instruction. Kraus notes,
Within 30 years Kodály published 16 teaching works which in the whole present a complete music method based on singing and ear training. These publications— among them 6 collections of several volumes each with over one hundred exercises—include all levels of musical education from the kindergarten to the music academy, from the classroom choir of the primary school to the music academy choir, from the post-school singing group to the efficient amateur choir. Together with some 50 pieces for children and youth choirs the 16 pedagogical works of Kodály comprise a comprehensive music pedagogic teaching work which makes possible an organic introduction to the choral compositions of Kodály and Bartók and to the large choral works of world musical literature.118
Houlahan and Tacka, Ittzés, and Kraus have catalogued Kodály’s compositions and agree that the following works were intended as pedagogical publications: 15 Two-
Part Exercises; Let Us Sing Correctly; 24 Little Canons on the Black Keys; Bicinia
Hungaria, in four volumes; 333 Elementary Exercises Reading Exercises; Epigrams;
Tricinia; 66 Two-Part Exercises; Nursery Songs Within a Range of Five Notes; 55 Two-
118. Egon Kraus, "Zoltán Kodály's Legacy to Music Education," International Music Educator, no. 16 (1967): 521.
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Part Exercises; 44 Two-Part Exercises; 33 Two-Part Exercises; 22 Two-Part Exercises;
Pentatonic Music, in four volumes; and 77 Two-Part Exercises. Young describes the content and importance of several of these works:
[The] choral works lie at one end of the spectrum: at the other are the exercises which Kodály designed more or less at the same time to ensure that in due course there would be a sufficiency of singers able to perform the larger things … . [With Let Us Sing Correctly] every interval must be memorized separately, and each in its particular characteristic tonal function, not fitted together as steps of a scale …. There followed Fifteen Two-part Exercises, in which what has been learned in Let Us Sing Correctly is put to a more severe test in free, and varied counterpoint. Of greater importance are the four volumes of Bicinia Hungarica, in which there are almost 200 miniature masterpieces; perhaps the finest vocal pieces ever to be devised for the use of schools. In the Bicinia Hungarica are folk-songs, each deftly arranged in a fluent counterpoint that runs out of the originating melody according to the principle of melodic genesis that characterizes Kodály’s manner of invention … . In this period of intensive educational effort Kodály also issued a primary stage sight-reading manual of 333 graded exercises. Beginning with two-note melodies, guided by the sol-fa system … and working through a nicely graded progression of patterns of gradually increasing difficulty the pupil can hardly fail to achieve some sort of practical skill … .119
Kraus discusses specific musical features in Kodály’s pedagogical publications and provides quotations from the composer to establish reasons that the compositions were written.120 Houlahan and Tacka primarily list the publications, including original publication dates and all known editions. They also provide brief notes for each of the pedagogical publications.121 Ittzés lists each publication, including a description of the musical material suggesting its musical and pedagogical aims, and provides the difficulty
119. Young, Zoltán Kodály: A Hungarian Musician, 125-126.
120. Kraus, 517-520.
121. Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 74-76.
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Texas Tech University, Daniel Todd, August 2014 level of each volume.122 As early as 1963, Kodály’s collection of pedagogical works was termed the Kodály Choral Method, a “comprehensive series of progressive songs and sight-singing exercises designed to promote a thorough understanding of interval and tonality.”123
2.3.1 Works Investigating Specific Pedagogical Publications
After outlining Kodály’s pedagogical works, Ittzés investigates “some [of the] singing exercises which have stylistic parallels in Baroque and Romantic music.”124
Joób’s doctoral dissertation investigates “not only [how] to develop music reading but also serve[s] as an introduction to the musical structures associated with Hungarian folk music,” as evidenced in 333 Reading Exercises, a collection of unison sight-reading
122. Mihály Ittzés, Zoltán Kodály in Retrospect: A Hungarian National Composer in the 20th Century on the Border of East and West (Kecskemét: Kodály Institute, 2002), 63-67.
123. Gordon Reynolds, "Towards Independence," The Musical Times 41, no. 1441 (1963): 198. The question still lingers whether Kodály intended this to be a method. He avoids using the word in nearly all of his writings and speeches. Regardless, these publications have been published under the title of “The Choral Method” and the term “Kodály method” is frequently used.
124. Ittzés, 67.
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Texas Tech University, Daniel Todd, August 2014 exercises which are organized sequentially.125 Bárdos, a student of Kodály’s, primarily discusses the aspect of musical form as evidenced in 333 Reading Exercises.126
In a discussion of Kodály’s choral music, Bárdos also references and provides examples from Kodály’s singing exercises as an explanation of theoretical music concepts.127 Burkart briefly investigates “the techniques that Kodály seems to have used” as part of the Bicinia Hungarica, a collection of 180 two-part songs arranged sequentially.128 Townsend observes musical elements as they relate to folk song in Bicinia
Hungarica.129 Kent conducts research on textual and structural principles in Kodály’s unaccompanied choral works, including the Bicinia Hungarica and Tricinia.130
Kontra provides a practical analysis and teaching suggestions based on the exercises found in Let Us Sing Correctly, a collection of two-part graded intonation
125. From abstract in: Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 216. Joób’s dissertation was written in Hungarian, and appears in a shortened English article in Zoltán Kodály-Composer, Musicologist, and Educationist. A Festschrift for Professor Mati Vainio.
126. Lajos Bárdos, "Kodály's Children's Choruses," in Selected Writings on Music (Budapest: Editio Musica Budapest, 1984), 216-229.
127. Ibid., 288-372.
128. Arnold E. Burkart, "Looking at Kodály's Bicinia Hungarica," Keeping Up With Kodály Concepts in Music Education (Nov./Dec. 1975): 34.
129. Declan F. Townsend, "The Significance of Folk Songs in Kodály's Bicinia Hungarica," Music Teacher 55 (1976): 13-14.
130. Sister Mary Benen Kent, “A Study of Textures and Structural Principles in the Unaccompanied Choral Works of Kodály” (Master's thesis, Indiana University, 1967).
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Texas Tech University, Daniel Todd, August 2014 exercises.131 Promonti presents a historical background for the Epigrams, a collection of nine songs for solo voice and piano, including a brief musical analysis of each piece.132
Regardless of whether Kodály composed these singing exercises for practical application of his philosophical goals, they “are used for the training and practicing of sight-reading.”133 Through the publication of these works, Kodály fulfilled his requirement: “Theories will become obsolete[,] but material published without mistakes never will.”134
2.3.2 Kodály’s Pedagogical Choral Works
A brief examination of Kodály’s other choral compositions is relevant to this study. According to Kraus, “In a wider sense the fifty children and youth choruses also belong to the pedagogical works of Kodály.”135 Breuer corroborates Kraus’ statement:
“The distribution of the choruses according to the performers clearly reflects Kodály’s artistic and educational intentions. Most of them are scored for children’s and women’s choirs, that is, for school use.”136
131. Zsuzsanna Kontra, Let Us Try to Sing Correctly: Training for Singing in Parts (Kecskemét: Kodály Institute, 1995).
132. Elisabeth Promonti, "Kodály's Epigrammes (1954)," Bulletin of the Internaitonal Kodaly Society 18, no. 1 (1993).
133. Erzsébet Szőnyi, Kodály's Principles in Practice: An Approach to Music Education through the Kodály Method (NY: Boosey & Hawkes, 1973), 69.
134. Kodály, The Selected Writings of Zoltán Kodály, 57.
135. Kraus: 520.
136. János Breuer, A Guide to Kodály (Budapest, Hungary: Corvina, 1990), 211. 43
Texas Tech University, Daniel Todd, August 2014
Steen supplies a survey of Kodály’s choral music for children and youth choirs.
Analysis of specific pieces is provided, but his overall intention is to highlight the stylistic elements of Kodály’s choral music.137 Stevens also surveys Kodály’s choral music, but pauses to recognize that “Kodály dedicated himself to the furtherance of choral singing as the most effective way of leading his compatriots to an understanding of all music. Single-handed [sic] he provided for the purpose a repertory as wide in variety as it is extensive in quantity.” Stevens comments that many choral transcriptions “were intended for children’s choruses. Coupled with the Choral Method, they supply an important source for training and performance.”138 Ittzés concludes that Kodály wrote children’s choruses to “give valuable, well-composed pieces, real artistic value for the young child; and he also aimed to establish deep knowledge and a feeling of national spirit in music, a musical mother tongue at an early age through active music-making.”139
Breuer comments that “the artistic aim and technique of the choruses scored for different voices are essentially the same,” but that major differences between Kodály’s choruses for children’s and mixed ensembles lie in the source of their material. Like the singing exercises, the majority of children’s choruses are arrangements of folk songs or
137. Philip Lewis Steen, “Zoltán Kodály's Choral Music for Children and Youth Choirs” (PhD dissertation, University of Michigan, 1975).
138. Halsey Stevens, "The Choral Music of Zoltán Kodály," The Musical Quarterly, 54, no. 2 (1968): 156-157.
139. Ittzés, 169.
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Texas Tech University, Daniel Todd, August 2014 folk texts because the “emotional world of children is most faithfully expressed in the game songs they themselves have created.”140
2.3.3 American Adaptation of Bicinia
In an interview with Ernő Daniel, Kodály stated,
I am surprised to find that there is so much general interest in this material in foreign countries, because in my mind was nothing more than the improvement of the situation in Hungary. All my work was done expressly for Hungarian surroundings. If the system is to be adopted in foreign countries, each country must add his own motivic and musical background. The chief thing is a very slow but consequent programme, beginning with the most simple [sic] features of music. Surprisingly quickly children are able to sing in two and three parts because a feeling of ensemble is developed very rapidly if somebody takes the trouble to deal with it. The chief hindrance is that the general schools have given too little time to music.141
Following Kodály’s admonition to develop a pedagogical sequence based on the folk music of one’s own country, a number of Americans began to develop systematically analyzed song collections and other pedagogical materials for use in the classroom. A comprehensive discussion is beyond the scope of this study; however, of particular pertinence to this study are those materials based on Kodály’s Bicinia Hungarica.
This study is primarily concerned with Americans who wrote bicinia inspired by
Kodály’s Bicinia Hungarica. While bicinia and works containing bicinia-like compositions exist by Bachmann, Russell-Smith, Szőnyi, Tacka and Taylor-Howell, and
140. Breuer, 212. Breuer states that the vast majority of the children’s choruses are arrangements of folk songs or texts, rarely drawing on poems, while two-thirds of the mixed choruses’ texts are from a poetic source.
141. Johnston, Zoltán Kodály in North America, 68-69.
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Burkart, only those which are still in publication and written by Americans will be discussed.142
Denise Bacon (1920-2013) attended the Dana Hall School in Wellesley,
Massachusetts, a boarding school for girls. She studied piano and earned an artist diploma from the Longy School of Music and Bachelor of Music (1952) and Master of
Music (1954) diplomas from the New England Conservatory.143
In 1966, Bacon was awarded a fellowship to study at the Liszt Academy in
Budapest, Hungary, and the Orff Institute in Salzburg, Austria, for the following academic year. Upon her return in 1968, Mrs. Bacon began to disseminate and adapt the so-called “Kodály method” for use in American public schools. In the following years, she, along with Péter Erdei, a Hungarian graduate of the Liszt Academy, implemented
142. Bachmann’s 200 Solfeggio contains 50 two part exercises that are lacking text. Geoffry Russell-Smith’s Be a Better Musician and Be a Real Musician contain two-part pieces based on folk songs, but do not constitute bicinia because of the inclusion of unison melodies and extensive instruction. Szőnyi has written Bicinia Americana, but will not be investigated because she lives in Hungary and is unavailable for interview. Tacka and Taylor-Howell have compiled bicinia for the Organization of American Kodály Educators in The Owl Sings and Sourwood Mountain; however, the pieces included in the publication were written by multiple composers. Burkart wrote Bicinia Americana, but the book is no longer in publication.
143. Gilbert De Greeve, "Realizing Zoltán Kodály's Vision in America: Challenges for the 21st Century," Kodály Envoy 30, no. 4 (2004): 17; Jui-Ching Wang, "Bacon, Denise", Oxford University Press www.oxfordmusiconline.com.lib- e2.lib.ttu.edu/subscriber/article/grove/music/A2092835?q=bacon+denise&source =omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start =1#firsthit (accessed February 24, 2012).
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Texas Tech University, Daniel Todd, August 2014 what may have been the first Kodály-inspired American curriculum in several model schools throughout the Boston, Massachusetts area.144
Tacka notes that Bacon is the author of several pedagogical books, including Let’s
Sing Together, 50 Easy Two-Part Exercises, 185 Unison Pentatonic Sight-Reading
Exercises, and 46 Two-Part American Folk Songs.145
Mark Williams (1938-2013) graduated from the US Navy School of Music
(1957), earned a Bachelor of Science in Music Education from Miami University (1959), earned a certificate from the Liszt Academy of Music (1972), and did doctoral work at the University of Illinois (1975).146 He most recently taught in Hong Kong at the Po
Leung Kuk Choi Kai Yau School (2011-2013) and was the composer of Two-Part
American Songs.147
Mary Goetze (1943) has earned degrees in music from the Oberlin Conservatory
(1965), Indiana University (1971), and a PhD from the University of Colorado (1965).148
Goetze has also received certification training in Kodály and Orff-Schulwerk. Goetze
144. Denise Bacon, Hold Fast to Dreams: Writings Inspired by Zoltán Kodály (Wellesley, MA: Kodály Center of America, 1993), 29-31.
145. Philip V. Tacka, “Denise Bacon, Musician and Educator: Contributions to the Adaptation of the Kodály Concept in the United States” (DMA dissertation, Catholic University of America, 1982), 177.
146. Cathy Williams-Dietsch, e-mail message to author, March 3, 2014.
147. Cathy Williams-Dietsch, "Musika Lingua", http://musikalingua.blogspot.com/search?updated-max=2013-05-03T09:39:00- 07:00&max-results=7 (accessed February 7, 2014).
148. Mary Goetze, "Mary Goetze", Indiana University http://info.music.indiana.edu/sb/page/normal/107.html (accessed February 24, 2012).
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Texas Tech University, Daniel Todd, August 2014 taught in Bloomington public schools as an elementary music specialist from 1970-1983 before accepting a teaching position at Indiana University.149 She is a composer and arranger of children’s choral literature, including Simply Sung: Folk Songs Arranged in
Three Parts for Young Singers, Sing Noel and The Cat Came Back (these are her compositions that are most pertinent to this study).
2.3.4 Conclusion
Kodály’s pedagogical compositions comprise a variety of materials, from unison singing exercises to two-part texted bicinia, as well as choral works for all ages and ensemble types. Through the composition of these materials, Kodály provided repertoire for every stage of musical development, pedagogical materials that inform students of their musical culture, and an introduction to art music.
149. Constance Cook Glen, "Mary Goetze", www.indiana.edu/~deanfac/bios/2007/Goetze07.pdf (accessed February 24, 2012).
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CHAPTER 3
BICINIA
3.1 Historical Context of Bicinia
Grove Music describes bicinia as:
A term applied by many modern scholars to any two-part vocal or instrumental composition of the Renaissance or early Baroque. In its stricter, historically more correct definition, it was used in German-speaking areas of the period, mainly by Lutheran Latin schoolteachers, to designate pedagogical duos. Duos were written for this purpose in the 15th century, but the Lutherans were the first to realize their value as aids for teaching and practicing contrapuntal music in all clefs and church modes.1
Alfred Young provides the Latin roots of the word bicinium, “bis (two at a time) and canere (to sing),” which are from classical, not ecclesiastical, Latin usage.2 He notes that the first usage of the word bicinium comes from a publication in 1540 by the Polish composer Jan Lublina, which “contained rules for the composition of two-part vocal pieces, with examples.”3 Young suggests that the term gained more widespread usage after Georg Rhau published several volumes of bicinia in the 1540s to be used as part of
1. Bruce Bellingham, "Bicinium", Oxford University Press http://www.oxfordmusiconline.com.lib- e2.lib.ttu.edu/subscriber/article/grove/music/03041?source=omo_t237&source=o mo_gmo&source=omo_t114&type=article&search=quick&q=bicinia&pos=1&_st art=1#firsthit (accessed February 20, 2012).
2. Young, "The Bicinium Form in Historical Perspective," 14. In Classical Latin the word bicinia should be pronounced “bihk-ihn-ee-ah”, which is in direct contrast to the Hungarian pronunciation “beet-see-nee-ah”.
3. Ibid.
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Texas Tech University, Daniel Todd, August 2014 the Lutheran educational system.4 In 1577, Orlando di Lasso published bicinia which feature two parts of original music, in contrast to Rhau’s bicinia, which were based on previously composed music.5
By the end of the 16th century, the term was no longer used to describe vocal compositions but was instead occasionally used for two-part instrumental compositions.
Young believes Michael Praetorius’ bicinia and tricinia from Musae Sionae are “the highest peak of artistic achievement in bicinium composition.”6 He observes that both
Praetorius and J.S. Bach were products of Lutheran Latin schools and could have experienced bicinia from the collections of Rhau. Young specifically references Bach’s compositions, stating he “certainly produced great contrapuntal examples in two and three parts. One need only mention the two- and three-part ‘Inventions’ written for the musical instruction of his sons. … The four duets from the Clavierübung and parts of the
Orgelbuchlein also demonstrate his mastery of two-voice polyphony in a style reminiscent of the bicinium.”7 The Solfeggi of Bertalotti (1666-1747) are contrapuntal duets and trios intended for vocal reading exercises and the teaching of singing. Kodály made use of Bertalotti’s Solfeggi while teaching at the Academy of Music.8
4. Ibid., 14-15.
5. Ibid., 16.
6. Ibid.
7. Ibid.
8. Ibid., 16-17.
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Texas Tech University, Daniel Todd, August 2014
The inclusion of folk music in bicinia began with the German “Wandervogel” and
“Jungendmusikbewegung”, a youth music movement which lead to the publication of bicinia by Fritz Jöde (1887-1970). The works of Jöde inspired others to compose bicinia based on folk songs, which would ultimately be adopted into school texts in the 1920s and 1930s.9 The parallel between the German Jungendmusikbewegung and the Hungarian
Singing Youth movement is strong: Magyár Kórus, run by Bárdos and Ádám (former students of Kodály) published inexpensive choral music in the same manner as Jöde.
Regarding Bicinia Hungarica, Young writes that “Kodály uses not only Hungarian folk song but a variety of other sources, including his own tunes. Some of the Kodály bicinia may indeed be termed minor masterpieces for they are superb settings respecting the songs on which they are based.”10
Publications regarding bicinia by notable composers are available but lack analysis of the works, and generally do not provide a historical context for the compositions, modern transcriptions, or an index to available manuscripts. Oost-Zinner and Tucker relate issues of modern musical training to those of the 16th century, describing how Lasso addressed these problems with his bicinia.11 Einstein investigates
9. Ibid., 17-18.
10. Ibid., 18-19.
11. Arlene Oost-Zinner and Jeffrey Tucker, "Lasso's Bicinia: Practice toward Perfection," Sacred Music 134 (2007): 14-16.
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Texas Tech University, Daniel Todd, August 2014 the manuscript of instructive duos by Vincenzo Galilei included in the Isituzioni e
Monmenti Dell’ Arte Musicale Italiana, from a musicological approach.12
Bornstein provides a comprehensive thematic index of two-part Italian didactic music in printed collections from 1521 to 1744. He also describes the function of the didactic duo in the Renaissance and Baroque.13 Bellingham and Evans transcribed the
Munich Manuscript 260, a collection of 106 duos.14 Wellen created a modern performing edition of selected bicinia and tricinia by Michael Praetorius from his Musae Sioniae of
1605.15
Lorenz investigates historical implications on the music pedagogy of Wittenberg in the 16th century, applying his findings to modern pedagogy and performance practice of Renaissance music through the analysis of musical elements found in a number of publications, including bicinia by Georg Rhau.16 Murphy provides theoretical analysis of
12. Alfred Einstein, "Vincenzo Galilei and the Instructive Duo," Music & Letters 18, no. 4 (1937): 360-368.
13. Andrea Bornstein, Two-Part Italian Didactic Music: Printed Collections of the Renaissance and Baroque, 1521-1744 (Bologna: UT Orpheus, 2004).
14. Bruce Bellingham and Edward G. Evans, Sixteenth-Century Bicinia : A Complete Edition of Munich, Bayerische Staatsbibliothek, Mus. Ms. 260, Recent Researches in the Music of the Renaissance vol. 16/17 (Madison, WI: A-R Editions, 1974).
15. John Wellen, “A Performing Edition of Selected Bicinia and Tricinia from Michael Praetorius' Musae Sioniae of 1605” (Master's thesis, Concordia Teachers College, 1975).
16. Ralph Lorenz, “Pedagogical Implications of "Musica Practica" in Sixteenth-Century Wittenberg” (PhD diss., Indiana University, 1995).
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Penzel’s Bicinia Variorum Instrumentorum as well as a transcription of the publication.17
Van Altena discusses the Italian textless duo in printed sources of the sixteenth and seventeenth centuries.18
3.2 Kodály’s Bicinia
Kodály’s second foray into educational publication (following the publication of his children’s choruses in 1925) began in 1937 with Bicinia Hungarica. Breuer concludes:
It is almost impossible to draw a line between Kodaly's chorus types and his works of an educational purpose. After all, the 180 movements in the four volumes of Bicnia Hungarica, published between 1937 and 1942, differ neither in style nor in tone from the little two-part pieces among the children's choruses, nor do the 28 three-part exercises in sight-singing of Tricinia (1954) differ in tone from the women's choruses.19
According to Eősze, critics hailed the publication as an introduction to musical- reading and two-part singing, as well as a collection showcasing Hungarian music.
Although Bicinia Hungarica was well received, it was not integrated into the educational system.20 Eősze notes that a quarter of the pieces in the collection make use of folk songs
17. Arthur Loring Murphy, “The Bicinia Variorum Instrumentorum of Johann Christoph Pezel” (PhD diss., Florida State University, 1959).
18. Jean Van Altena, “The Textless Duo in Italian Printed Sources of the Sixteenth and First Half of the Seventeenth Centuries” (PhD diss, Northwestern University, 1979).
19. Breuer, 204.
20. Eősze, Zoltán Kodály: His Life and Work, 74-75.
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Texas Tech University, Daniel Todd, August 2014 for which Kodály wrote an accompanying part. The remainder of the tunes were written by Kodály, but the difference in style is nearly indistinguishable.21 Eősze concludes:
Taken as a whole, the one hundred and eighty exercises contained in these four volumes not only display Kodály’s brilliant gift for counterpoint, but they also almost completely free the pupil from the limitations of vertical thinking and instrument-playing. Moreover, by creating a system of pentatonic counterpoint they provide the technical basis for the building up of a national music; while at the same time these little pieces, by the variety of their style and rhythm, are a source of delight as well as of instruction.22
While there is little information in English that specifically addresses Kodály’s purpose for composing Bicinia Hungarica, there are references to the subject which suggest a rationale for his creating a composition of this nature. János Mátyás attempts to establish Kodály’s purpose for the composition of Bicinia Hungarica in the liner notes of
“Choral Works 5: Two-part Exercises” with the following:
Since the Renaissance, two-part music has almost disappeared from European art music. One reason is that this simple genre[,] with its few musical means, cannot tolerate any striving for effect or creative sloth, and therefore is restricted to essentials. The second reason grows out of the first. Because of its “bare” simplicity, only the already highly musically cultured, or the still extremely naïve (children) can accept it. Kodály wrote his bicinia—like Lassus his two-part cantios—for pedagogical purposes, but they also serve as examples of a great composer’s pure lyricism and brilliant humour. These are characteristically individual little masterpieces written in a marvelously condensed manner and with absolute surety, and which differ from other great works only in length and not in content. Their style is that of the mature Kodály, based on the pentatony and the modal scales of [Hungarian] folk music, using diatonic melody and harmony with sharp rhythm and clearly defined forms. Their material is particularly characteristic with an equal balance between music and text and a spiritual relationship with the vocal polyphony of the 16th century, perhaps most of all the diatonic and harmonic polyphony of Palestrina.
21. Eősze’s statement regarding the origin of the musical matter found in Bicinia Hungarica is directly opposed by Townsend, who claims only 60 are original, and Young. The authors’ analysis of this statement follows in the next chapter.
22. Eősze, Zoltán Kodály: His Life and Work, 75-76.
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With the composition of these two-part works, Kodály wished to achieve his life-long aim of creating a national musical culture which—although absorbing the ancient treasures of Western European music—belonged not only to the wealthy few but to everyone. This aim can only be approached through the broadest education of the younger generation, and this is the goal of the bicinia.23
This sentiment is echoed by Kodály himself:
Since Bach we have grown unaccustomed to following two equally important parts; coordination has been replaced by subordination. We focus our attention on the notes built onto each other and we look for three-part chords in the simultaneously sounding block harmonies. However, this is not the way to listen to melodic music. If it is possible to expand our hearing by taking in a longer phrase with a glance, i.e[,] we can hear horizontally, the disturbing dissonance immediately disappears. The sudden discords we experienced as gunfire will disappear when the parts divide into melodies proceeding purposefully towards their goal.24
Kodály offered a pedagogical explanation for the necessity of Bicinia Hungarica:
“The transition from unison singing to polyphony should be gradual but consistent.
Merely the practice of the elements of rhythm or interval can arouse greater interest if they are performed by the alternate singing of two groups in the form of a game. The singing of canons is the best preparation for independent singing in two parts.”25
While Bicinia Hungarica was primarily written for educational purposes, Kodály recognized that the pieces might meet an aesthetic need in certain educational situations:
The contents of these little books are not meant for public performance, but for rendering the singing lesson more varied. If, nevertheless, somebody should be obliged—for want of time or lacking a more advanced choir—to have these tunes performed in public, it is advisable to set up a series of two or more pieces suited
23. Zoltán Kodály, Choral Works 5: Two-Part Exercises, dir. Ilona Andor, Hungaroton LPX 11469, 1970. In liner notes by János Mátyás.
24. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings and Speeches, 40-43.
25. Szabó, 21.
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to each other… . Those without texts can be sung to "lah-lah", unless the children produce some apt text, of which there have been several examples.26
3.2.1 Editions of Kodály’s Bicinia
At least four editions of Kodáy's Bicinia Hungarica exist. However, there appears to be some disagreement between the copyright dates of the four separate editions and those cited by Houlahan and Tacka in their catalog of Kodály’s compositions. In Zoltán
Kodály: A Guide to Research, Houlahan and Tacka list the following publishers:
“Magyar Kórus, Boosey and Hawkes 1957, 1967 BH 1962, Edited by Percy Young.
Revised English edition by Geoffrey Russell-Smith, 1968-70.” 27 Table 1 lists copyright information present in the editions obtained by the author.
26. Ibid., 22.
27. Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 73. It should also be noted that Houlahan and Tacka credit Boosey and Hawkes as the publisher. The copyrights of the works listed in the publications is Boosey & Co. Ltd., most likely because the publishing companies of Boosey and Hawkes merged in 1930. Further discussion of the history of Boosey and Hawkes can be found in Helen Wallace, Boosey & Hawkes: The Publishing Story (London: Boosey & Hawkes, 2007), 22. Chapter 1 describes the of publication of Bartók’s and Kodály’s compositions and includes the following quote from Kodály regarding the publication of Bicinia Hungarica by Boosey and Hawkes: “If you are in doubt about the vendibility of Bicinia you are free not to publish them. Some of a dozen school songs I have with [Oxford University Press] reached 10,000 copies sold in ten years … perhaps I would do better to publish them in America”.
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Table 1. Copyright of Bicinia Hungarica Editions
Publisher Copyright Language/Editor Magyar Kórus 1937, 1941, 1942, 1958 Hungarian (EMB Printed on Cover) 1941, 1960 Hungarian Editio Musica Revised Edition: András Wilheim Budapest (1998) Boosey & Hawkes 1941, 1957, 1958, 1962 English: Percy Young
Boosey & Hawkes 1941, 1957, 1958, 1968, English: Geoffry Russell-Smith (signed 1970 1968)
Houlahan, Tacka and Bónis are the only cataloguers of Kodály’s works to provide publication dates and publishers. With the exception of the English edition from 1962 by
Boosey and Hawkes, Bónis does not establish specific dates for each edition; he does, however, provide a complete list of publishers which is more detailed than Houlahan and
Tacka. Bónis cites the following editions: “Selbstverlag des Autors, Magyar Kórus,
Zeneműkiado (Editio Musica, Budapest).”28
Hungarian editions which have been obtained for the purpose of this dissertation are published by Magyar Kórus (1937-1941, 1958) and Editio Musica Budapest (1941,
1960).29 English editions available from Boosey and Hawkes are those edited by Percy
28. Ferenc Bónis, "Zoltán, Kodály's Werke," Studia Musica 3, no. 1-4 (1962): 20, 11. Selbstverlag des Autors is German for “Published by the Author”. The same information is provided by Eősze’s catalog of Kodály’s Principal Musical Compositions in Zoltán Kodály: His Life and Work, p. 176.
29. Zoltán Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, 4 vols. (Budapest: Editio Musica Budapest, 1958; Zoltán Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, ed. Átnézte Wilheim András, revised ed., 4 57
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Young (1941, 1957, 1958, 1962) and Geoffry Russell-Smith (1941, 1957, 1958, 1968,
1970).30
Differences between each Hungarian edition exist. The newer editions include more editorial information, pertaining to both individual bicinia and Bicinia Hungarica as a whole. The most recent publication, from 1998, includes the front and back matter found in all the previous editions. András points out that many of these changes were done at Kodály’s request, in order to reflect the growing awareness and use of his educational philosophy and the development of educational aspirations.31 Additionally,
No. 121 is included in the revised edition, and the order of bicinia reflects changes made by Kodály in the last edition published during his lifetime. For the purposes of theoretical and pedagogical analysis, the investigator has selected the 1998 revised edition from
Editio Musica Budapest, because (1) it contains writings from Kodály which do not appear in English editions, and (2) because the edition retains original editorial markings and rhythmic values which accommodate the Hungarian language.
vols. (Budapest: Editio Musica Budapest, 1960). The 1958 edition was obtained through interlibrary loan and the 1960 edition was obtained in August 2011, through a Hungarian colleague of the author.
30. Zoltán Kodály, Bicinia Hungarica, ed. Percy Young, 4 vols., (NY: Boosey & Co. , 1962); Zoltán Kodály, Bicinia Hungarica, ed. Geoffry Russell-Smith, 4 vols., (NY: Boosey & Co. , 1970). Young’s edition was available through the Texas Tech University Library and the Russell-Smith edition was obtained through interlibrary loan.
31. Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, 41-42.
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3.2.2 Conclusion
Kodály wrote Bicinia Hungarica with knowledge of bicinia’s historical and pedagogical importance and function, but he intended for the work to be used to transmit musical culture and traditions as part of his philosophical principles and provide repertoire for the developing musician. While research regarding historical aspects of bicinia has been conducted, most authors have refrained from actual theoretical or pedagogical analysis of the material.
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CHAPTER 4
METHODOLOGY
4.1 Bicinia Hungarica
4.1.1 Related Models for Folk Song Analysis
An understanding of Kodály’s systematic collection and analysis of folk music is central to an examination of his works. While Kodály’s intensive folk music research and collection clearly influenced his compositional decisions, a comprehensive discussion of elements pertaining to Hungarian folk music and its analysis in general is beyond the scope of this study. Significant source material on the topic includes Bartók’s The
Hungarian Folk Song, Kodály’s Folk Music of Hungary, and Erdely’s Methods and
Principles of Hungarian Ethnomusicology.
Bartók discussed the analysis and classification of Hungarian folk music, concluding that three styles of folk song are present in Hungarian peasant music: old, new, and mixed styles.1 Kodály examined the interplay of folk music and art music, specifically addressing the elements of art music: church music, folk hymns, secular art music, and flower songs. Additionally, he discussed the influence of folk music on art music from the 17th century through the 20th century.2 Erdely reported on Kodály’s and
1. Béla Bartók, The Hungarian Folk Song, ed. Benjamin Suchoff, trans., M. D. Calvocoressi (Albany, NY State University of New York Press, 1981), 1-80.
2. Zoltán Kodály and Lajos Vargyas, Folk Music of Hungary., ed. Lajos Vargyas, trans., Ronald Tempest, Cynthia Jolly, and Laurence Picken (New York: Praeger, 1972). 60
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Bartók’s research of Hungarian folk music regarding the “… metrical study of Hungarian folk song strophe, method of classification, analytical studies on tonality and melodic construction of folk songs, and comparative research.”3
4.1.2 Models for the Study Relating to Bicinia Hungarica
Arnold Burkart briefly surveyed Bicinia Hungarica, reporting observations relating to rhythm and rhythmic counterpoint, melody and melodic counterpoint, and form and structure. 4 Although Burkart’s study is descriptive in nature, it does provide a foundation for inquiry; his observations of immediately visible musical features present in Bicinia Hungarica provide a basis for further theoretical analysis. In “The Significance of Folk Songs in Kodály’s Bicinia Hungarica,” Declan Townsend assessed several musical elements of Bicinia Hungarica set forth by Burkart. Townsend discussed tune length, time signatures present, scale type, dissonance, and elements of counterpoint.
Like Burkhart’s work, the study is not complete in its analysis of musical elements and, while it provides statistical data, the method of inquiry is not explicitly stated.5
Lajos Bárdos provided a more thorough analysis of theoretical elements present in, but not limited to, Bicinia Hungaricia. He specifically addressed sets of notes, tone- systems, scales, polyphony, and harmony. While Bárdos provides a thorough analysis of
3. Stephen Erdely, Methods and Principles of Hungarian Ethnomusicology (Bloomington: Indiana University, 1965), vii.
4. Burkart, 34-35.
5. Townsend, 13-14.
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Kodály’s choral music and a much-needed Hungarian perspective, his study is not approached scientifically, nor does it approach each of the 180 bicinium.6
4.1.3 Related Pedagogical Models and Materials
Dorothy Boltz investigated ways in which melodic and rhythmic elements were developed in the vocal pieces from the first two volumes of Carl Orff’s Music for
Children. In terms of melodic elements, Boltz analyzed each vocal piece, determining the interval types employed and their frequency. She then classified rhythmic patterns according to the placement of agogic accent, noting when the pattern was first introduced and in which pieces it was employed, but not counting its frequency.7
Philip Steen explored Kodály’s choral music for youth and children’s choirs.
Steen’s study primarily surveyed Kodály’s choral music and analyzed each composition, but each piece was not analyzed for the same material. Steen claimed, however, that
Kodály’s choral music displays a graded organization, appropriate for different developmental stages of school-age children. The most significant result of Steen’s study was a summary of stylistic findings present in Kodály’s choral music that described the influence of Hungarian folk music and techniques of musical style periods and of other
6. Bárdos, 288-372.
7. Dorothy E. Boltz, “An Analysis of the Rhythmic and Melodic Development in the Vocal Pieces of Carl Orff's Music for Children as an Aid for Teachers and Specialists in Music” (Master's thesis, Bowling Green State University, 1969), 1- 3, 24-82.
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Texas Tech University, Daniel Todd, August 2014 countries. These influences produced Kodály’s unique compositional style, which melds elements of folk and Western traditions.8
Michael Krueger analyzed and transcribed 21 motets by Sixt Dietrich, which includes bicinia. Krueger categorized the pieces according to the compositional technique employed, including discussion of the imitative and polyphonic techniques present.
Analysis of modal aspects of the compositions were “based on Dressler’s Precepta musicae poeticae, Glarean’s Dodecachordon, and the writings of Pontio.”9 Additionally, he investigated the elements of vocal range, clefs, final, cadences, V–I root movement, treatment of dissonances, rhythmic devices, large-scale formal design, and texture/voice disposition.
Benjamin Suchoff researched Bartók’s Mikrokosmos, a collection of 153 progressive piano pieces, as a means of understanding his approach to playing and teaching piano. Suchoff not only analyzed each piece for technical and limited musical elements, but also investigated historical elements and first witness reports by informants close to Bartók, as well as his writings on the pieces, to determine if Bartók’s views on piano playing were contained within the Mikrokosmos. Suchoff concludes that the
Mikrokosmos “is designed to develop the act of piano touch … to train the fingers and
8. Steen, 60-167, 171-172.
9. Michael Krueger, “The Motets of Sixt Dietrich” (University of Illinois at Urbana- Champaign, 2002), 20.
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4.1.4 Conclusion
A number of researchers have examined pedagogical compositions for a limited number of musical parameters. Others have investigated pedagogically-conceived compositions, but not the pedagogical musical elements present in them. While some studies have addressed musical elements in Kodály’s Bicinia Hungarica, none have attempted a complete and self-contained analysis of the material.
4.2 Analysis Parameters
Analysis will be facilitated by adapting analysis parameters from Carol J. Brown, who studied at the Kodály Institute in Kecskemét. These parameters address specific musical elements present in each bicinium.11 The following parameters were selected because: (1) they are widely used in Kodály training programs throught the United States;
(2) they have been used to analyze American folk music, which is less homogenous than
10. Benjamin Suchoff, “Béla Bartók and a Guide to the Mikrokosmos” (EdD diss, New York University, 1984), 1-10, 195.
11. Carol J. Brown, "Beginning Analysis, 2010," Folk Music, Level I, McAllen, TX;Carol J. Brown, "Intermediate Analysis, 2010," Folk Music, Level II, McAllen, TX; Carol J. B rown, "Advanced Analysis, 2010," Folk Music, Level III, McAllen, TX. The author obtained these materials while attending the North-West Texas Kodály Initiative in Lubbock, Texas in 2010, where Carol J. Brown taught the folk music classes. Carol J. Brown refined the analysis work done by Dr. Jill Trinka, who learned this method of analysis from László Vikar in Hungary.
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Hungarian folk song; and (3) they provide pertinent musical information for teachers wanting to use Bicinia Hungarica in their classroom.
4.2.1 Rhythmic Features
Bicinia were analyzed for rhythmic features relating to meter, time signature, rhythmic content, and presence of an external anacrusis. A distinction between meter and time signature has been made: While time signature is a function of notation, meter is a function of the composer’s intended musical and textual stress. Meter is therefore defined in two parts: (1) simple or compound and (2) duple, triple, quadruple, or asymmetrical.12
Brown and Factora analyze rhythm on two levels. Both list the note values that are present in a folk song and suggest rhythmic concepts to be taught from the song.13
The author has chosen to use the term rhythmic content when referring to all basic note values present in the bicinium; certain one- and two-beat rhythmic motives have been listed as a unit because they frequently occur together in written music. Analysis of rhythmic concepts for teaching is not appropriate for the current study, because it implies a pedagogical decision on the part of the investigator and is contrary to the goal of identifying Kodály’s pedagogical sequence.
Example 1 shows the first two phrases of No. 22. The rhythmic content would be expressed as: q\sd\Q\a A\ w\W\E\ra\ar\because the
12. Brown, "Beginning Analysis," p. 13.
13. Brown, "Advanced Analysis," p. 1; Miriam Factora, Philippine Children's Songs, Spoken Rhymes and Games for Teaching, 2 vols., vol. 1 (Manila, Philippines: Miriam B. Factora, 2003), VI.
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Example 1. First two phrases of Bicinium No. 22.
Additional rhythmic content of subsequent verses has been omitted because the differences simply accommodate changes in text. Rests that may occur in one part while an entire phrase of the melody is presented have been omitted from analysis, because the melody is generally passed immediately to the other voice. Rests which are present in canonic or imitative statements have been included in analysis.
An anacrusis is a note or group of notes that generally precedes the down beat of the first full measure. This can more precisely be described as an external anacrusis. An internal anacrusis would be a similar figure occurring between phrases of an individual bicinium. The external anacrusis is a feature of the spoken English language, and as a result it is frequently found in American folk song. The internal anacrusis also occurs in
American folk song as part of an interior phrase and may be accompanied by an external anacrusis.14 According to Encycolpedia Britannica, word stress in the Hungarian
14. Richard Johnston, Folk Songs North America Sings (Toronto: Caveat Music Publishers Ltd., 1984), XIII.
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No. 155.
4.2.2 Melodic Features
Melodic elements included for analysis are tone set, key, key signature, scale or mode of the melody and bicinium, tonality, range, and melodic intervals employed.
Tone set
Tone set is the collection of pitches in the bicinium, expressed with solfège abbreviations, ordered from lowest to highest, with the final pitch enboldened and underlined.16 Tone set is expressed in terms of Part 1, the upper voice; Part 2, the lower voice and any other subsequent voices; and Composite, the combination of Part 1 and
Part 2. The final pitch of the composite tone set has been determined by the final pitch in the main melodic voice. Optional notes have not been included in the analysis of the tone set. Do shifts have been suggested by Kodály in several exercises, but some are to be determined by the performer.17 If more than two parts are present, the tone sets of the other parts have been combined with Part 2.
15. Encyclopaedia Britannica, Academic ed., s.v. “Uralic languages.”
16. Factora, V.
17. While Kodály does not specifically state this in the material which appears in the Bicinia, the following appears as a publisher’s note in 77 Two-Part Exercises: “If I later omitted the indication of changed Doh it is for giving the pupils to active thinking.” This statement seems applicable to Bicinia Hungarica as well since 67
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Key and Key signature
Key signature has been determined by the presence or absence of sharps or flats next to the treble clef. Key is expressed with the absolute pitch name of the final pitch and the corresponding solfège.
Scale or Mode
If the scale or mode of the melody and composite bicinium is not diatonic, a three- or four-part descriptive label has been attached using the following terminology:
(1) authentic, plagal, incomplete plagal, or extended plagal, depending on the lowest pitch in the tone set and the final. Authentic indicates that the final pitch in the tone set is also the lowest note. Plagal is applied to a tone set that’s lowest note lies exactly a perfect fourth below the final pitch. Incomplete plagal describes a tone set in which the lowest note is less than a perfect fourth below the final pitch, while extended plagal is used for a tone set where the lowest note is greater than a perfect fourth below the final pitch. (2) The solfège of the final melodic pitch. (3) A prefix describing the total number of pitches in the tone set appended to either the suffix “-tone” (if the scale contains gaps) or “-chord” (if no gaps are present in the scale). (4) If a nondiatonic tone set includes altered solfège syllables, the altered syllables will follow the three-part name, separated by a comma.18
Russell-Smith includes editorial do shifts in his edition from 1968. Zoltán Kodály, 77 Two-Part Exercises, ed. Percy Young (London: Boosey & Hawkes, 1967), 2; Zoltán Kodály, Bicinia Hungarica, ed. Geoffry Russell-Smith (London: Boosey & Co., 1968).
18. Brown, "Intermediate Analysis," p. 1.
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For example, the tone set for the melody of No. 22 is s, l, d r m, and would therefore be labeled as an incomplete plagal la pentatone. The tone set of the composite bicinium is r, m, s, l, d r m, and would be labeled extended la pentatone.
If the tone set of the bicinium is diatonic, the modern mode name is included:
Ionian when do is the final pitch, Dorian when re is the final, Phrygian when mi is the final, Lydian when fa is the final, and Aeolian when la is the final.19 Altered pitches are also included at the end of the scale name.
As discussed previously, some bicinia have been solmizated with more than one do. These bicinia have not been analyzed in terms of separate scales. The scale type has been determined by the overall sound and pitches employed by the bicinium. However, if the bicinium in fact modulates to a different key, then both scales have been noted. It is important to note that solfège and tone set are functions of both Kodály’s suggestions and pedagogical choices; they affect how the singer reads the material but do not alter how the music is perceived by the listener.
Tonality
Tonality is determined by the intervals present and the overall sound. It is expressed as pentatonic (major or minor character); major or minor (if functional harmony is implied); or Ionian, Dorian, Phrygian, Lydian, Mixolydian, or Aeolian (if no functional harmony is implied). Other possibilities include so, re, and mi pentatonic.20
19. Ibid.
20. Ibid., 2.
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Range
The overall range of each bicinium is expressed with pitch classes and Arabic numbers by listing the lowest pitch followed by the highest.
Melodic intervals
For the purpose of this study, the term interval refers to two successive pitches.
Melodic intervals present in each bicinium have been represented with solfège abbreviations.21 For example, the melodic interval of a major second represented by the solfège do followed by re has been noted as d-r. If altered pitches are employed, the solfège for the alteration has been written out. Every melodic interval has been accounted for in each bicinium. This is not a pedagogical analysis of the melodic content of each piece; it is up to the individual teacher to decide which elements are appropriate for teaching and how they should be presented to facilitate student learning.
If an interval appears in a different order than it first appeared, it has not been written twice, e.g., if m-l is later followed by l-m, only m-l is provided. However, intervallic inversions are notated separately, because they result in an interval of a different quality. For example, m-l is an ascending perfect fourth while m-l,22 is a descending perfect fifth. If the same interval appears in different octaves, it is also written
21. Floice Lund, Research and Retrieval: Music Teacher's Guide to Material Selection and Collection (Westborough, MA: Pro Canto Press, 1981), 7-8. It should be noted that Lund, Factora, and Brown suggest analysis of melodic intervals or combination of intervals with a bias towards pedagogical use. None provide a model for a collecting all the intervals.
22. Nota bene: the use of a , denotes a pitch below the tonic of a pitch, while a ‘ denotes a pitch an octave above the tonic.
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Texas Tech University, Daniel Todd, August 2014 only once. When do shifts or modulations occur, the overlapping interval is recorded in the initial key.
Intervals have been organized into categories based on their suggested order in a typical Kodály-inspired American sequence. For example, l-s-m is categorized under la, because the interval of s-m is taught first, followed by the introduction of la.
4.2.3 Formal Features
Rhythmic and melodic form
Rhythmic and melodic form and phrase organization have been determined by the musical features present in the main melodic line.23 Since most of the harmony parts found in Kodály’s Bicinia Hungarica are countrapuntal in nature, accounting for the harmony part in these analyses would further complicate and obscure analysis of the musical material.
Seperating the melodic and rhythmic form may seem foreign of unmusical to
American audiences. This level of analysis is present in the Hungarian system and aids the teacher in selecting exercises which develop the same musical elements as folk songs.24 Therefore, an understanding and use of this system may help teachers choose and compose exercises which are congrusous to curricular goals.
23. Brown, "Advanced Analysis," p. 2
24. Árpád Joób, "The System and Spirit of Hungarian Folk Music in Kodály's 333 Exercises," in Zoltán Kodály--Composer, Musicologist and Educationist. A Festschrift for Professor Mati Vainio, ed. Pekka Kuokkala et al.(Jyväskylä, Finland: University of Jyväskylä, 1996). Joób provides several examples from 333 Reading Exercises which show how the exercises directly relate or transfer to Hungarian folk music. 71
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Rhythmic and melodic forms are expressed with lowercase letters (and Arabic numerals when necessary) to show the similarity and dissimilarity between phrases.25
Uppercase letters have been reserved to express sections which combine more than one phrase. Square brackets have been employed for larger, sectional bicinia. A ‘ is used to indicate variation at the beginning of a motive or phrase, while a “v” indicates variation at the end of a phrase. A different letter label is used for material with more than two melodic or rhythmic differences, or changes that are more than two beats long.
Example 2 shows the rhythmic form of No. 35 and No. 45. While differences exist between each of the “a” phrases in No. 35, each of them: (1) has the same number of notes and syllables, (2) is confined to the space of one beat, and (3) contains changes that exist merely to account for word stress. In contrast, No. 45 has been labeled as a a a av, because (1) no other rhythmic changes are present in the melody until the final measure and (2) the change spans two beats, even though it is used to account for word stress.
25. Ibid. It should be noted that Brown suggests the use of uppercase letters for phrases and lowercase letters for motives. The system has been modified because of the longer length of selections found in Bicinia Hungarica as opposed to most folk songs.
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Example 2. Rhythmic form of Bicinium No. 35 and Bicinium No. 45
Use of a raised (superscript) or lowered (subscript) Arabic numeral indicates a melodic shift (sequence) by that interval.26 While many of these bicinia may be labeled with a variety of terms describing the type of melodic shift present, those terms serve a more theoretical purpose and do not aid in the introductory-level analysis needed by the educator and student. For this reason, the author has adopted the following terms, which have been distilled from Bárdos and are in line with current American textbooks discussing imitative forms.27 A real melodic shift refers to a melody that has been
26. Ibid.
27. A complete listing of Bádos’s terms may be found in “Kodály’s Children’s Choruses” Bárdos, 294-300; Brown, "Advanced Analysis," p. 2.The melodies found in Bicinia Hungarica do not qualify as imitative forms, which are often made up of two main phrases, themes, or subjects which are then transposed to different pitch levels. Further explanation of Hungarian folk song is outside the scope of the current research, but can be found in Kodály and Vargyas, Folk Music in Hungary, “II. The Primitive Stratum of Hungarian Folk Music” and “III. The New Style of Folksong.” 73
Texas Tech University, Daniel Todd, August 2014 transposed to the level of the dominant and may occur in either pentatonic or diatonic systems. A tonal melodic shift occurs in a diatonic system and refers to a melody that contains alterations of the original “scale-degree pattern” and occurs at a different pitch level than the original melody’s initiating pitch class. A substituting melodic shift occurs in a pentatonic system when the transposition of the original melody is altered to fit into the pentatonic system starting from a different pitch class. 28 For example, the interval l-d’ may be changed to r-s so as to avoid the fa (which is outside of the pentatonic system).
Several bicinia in volume 4 appear to contain key changes halfway through (Nos.
134, 158, 160, 162, 165, 170, 173, and 177). In these examples the pentatonic melody that appeared in the first half is transposed a perfect fifth in the second half. The combination of two pentatonic scales a perfect fifth apart yields a hexachordal scale. The resulting tonality of such bicinia is therefore pentatonic, major character, because the melody of each half is pentatonic. Furthermore, the lack of ti in the hexachord and resulting bicinium does not make the tonality functional or modal.
Phrase organization
Like melodic and rhythmic form, phrase organization is expressed with letters, to represent the similarity or dissimilarity of musical material.29 Uppercase letters are used
28. Bárdos, 295-302. Bárdos uses the terms real and tonal answer for what has been termed real and tonal melodic shift. Substituting melodic shift has been used to replace pentatonic (vicariant) and modal answers, because these seem to occur less frequently in Bicinia Hungarica.
29. Santa provides a model for this level of analysis in Hearing Form for music from the common practice period, which accounts for similarity or dissimilarity of musical material, phrase length, key centers, harmonic sequence, fugual elements, and cadence types. The most pertinent elements for this study are similarity of material and phrase length. It should also be noted that Brown does not account 74
Texas Tech University, Daniel Todd, August 2014 to express the combination of two or more phrases, and square brackets are used to combine sections that contain three or more phrases. Phrase lengths, in terms of number of bars, are included in parentheses after the corresponding letter. A phrase organization without letter names implies that the form cannot be grouped into larger parts or expressed more clearly than in terms of the bicinium’s rhythmic or melodic form. These pieces are generally shorter or contain more varied musical phrases.
For the most part, bicinia in the collection are not of a sectional nature and do not adhere to the traditional guidelines of tonal form.30 This is not surprising, because the melodies largely encompass traditional musics or emulate traditional musics, which lie outside of common practice tonal compositions. Even redefining binary or ternary to fit the genre does not lend any more insight into the sequencing of musical elements presented by Kodály in these volumes. The detail of his pedagogical approach is evident in rhythmic and melodic form at the phrase level. This fact is corroborated by the lack of motivic development despite the presence of some motivic units.
4.2.4 Polyphonic Features
As previously referenced, the study by Bárdos provides a primary explanation of the polyphonic and harmonic devices employed in Kodály’s children’s choruses but does
for the overall form of the material. Her analysis is purely limited to rhythmic and melodic form. Lund and Factora analyze only for the larger form.
30. Sectional in this case refers to more than two phrases grouped together. “Guidelines of tonal form” refers to the importance that cadence type influences formal decisions in most common practice music. Since the pieces are of a polyphonic nature, cadence type is of lesser importance, and therefore tonal form carries less influence.
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Hungarians. The primary purpose of Bárdos’ study was to describe musical features found in all of Kodály’s children’s choruses, not only those limited to Bicinia
Hungarica.31 For this reason, some definitions have been refined for the current study.
Bicinia have been analyzed for call and response, split melody, elision, drone, ostinato and counter-subject ostinato, motive, augmentation and diminution, melodic sequence, inversion, retrograde and retrograde inversion, counterpoint, and imitation
(including canon and rhythmic canon, and real and tonal answers).
Call and response occurs when melodic material is presented in one voice (the call) and answered by material in another voice (the response).32 The musical material in the response is different from that of the call. The response frequently reappears unchanged after each statement of the call. Split melody occurs when the melody of the folk tune, or composed melody, appears in one voice and later in another voice. Elision occurs when the end of one phrase presented in a voice occurs simultaneously with the start of the next phrase in the other voice.33 This may occur with a single note or an entire measure. A drone is a sustained note tied to at least one other note; it sustains for an entire measure while the other voice presents melodic material. Ostinato is a repeated
31. Bárdos.
32. Call and response is generally listed as a formal type in folk song analysis (Brown, “Beginning Analysis,” p. 18), because it occurs in a monophonic texture, even though the call and response may be sung by different groups. It has been included in polyphonic features because it demonstrates a decision on the part of the composer as opposed to a performance practice.
33. Santa, 11.
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Texas Tech University, Daniel Todd, August 2014 melodic or rhythmic figure not derived from the melody that appears a minium of two times without variation. Counter-subject ostinato refers to an ostinato that recurs with each repetition of the theme or recurs with specific parts of the theme, e.g., at the end of a phrase.34 A motive is a recurring musical idea, melodic or rhythmic, that is (1) not a complete musical thought or phrase, (2) derived from a melodic or rhythmic unit presented in the melody, and (3) less than two measures in length.
Augmentation is either the modification of a rhythmic figure by multiplying the rhythmic duration of the original figure or the lengthening of textual rhythm presented in the melody. Within a phrase, a majority of note values must be doubled to receive this lablel. Example 3 shows textual augmentation in the lower voice of No. 154. Diminution is either the modification of a rhythmic figure by dividing the rhythmic duration of the original figure or the shortening of textual rhythm presented in the melody. A majority of note values must be shortened within a phrase. Example 4 shows diminution in measures
15 and 16 and textual diminution in measure 12. Melodic sequence occurs when a melodic figure is presented and immediately repeated at ascending or descending pitch levels. The figure must appear at least three times to meet this qualification.
34. Bárdos, 340.
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Example 3. Textual augmentation in No. 154
Example 4. Diminution and textual diminution in No. 65 mm. 9-16
Inversion occurs when “the direction of a melodic interval is reversed.”35
Retrograde occurs when pitches presented in the melody are presented in the harmony backwards from the original presentation. Retrograde inversion is the combination of both of these terms. The terms inversion, retrograde, and retrograde inversion are applied to analysis when their characteristics are present for at least one measure.
Bárdos divides Kodály’s polyphony into two categories: free counterpoint and contrapuntal imitation.36
35. Santa, 75.
36. Ibid., 327.
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Simple counterpoint
Simple counterpoint is defined as an independent melody which contrasts the theme and may have the same rhythm as the main melody.37 In general, the term is applied to a melody which does not meet any of the criteria to be called contrapuntal imitation. Bárdos labels counterpoint as either simple or double. Double counterpoint describes an exchange of voices.38 Example 5 shows No. 50, an example of double counterpoint, with the two themes being exchanged in measure 5.
Example 5. Double counterpoint in No. 50
There is a need to create a third category: free pentatonic counterpoint. Free pentatonic counterpoint is defined as an independent melody which contrasts with the theme, may have the same rhythm as the theme, and is pentatonic. This is especially evident in volume IV of Bicinia Hungarica. Many of the composed harmony parts are stand-alone melodies that contrast with the theme; according to Bárdos they would be labeled simple counterpoint, yet they are based on a pentatonic scale. Specific examples
37. Ibid., 328.
38. Ibid., 328-329.
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Contrapuntal imitation
Kodály makes use of several types of imitation in Bicinia Hungarica. To qualify as imitation, a melody: (1) must be presented after some of the primary melody has been stated and (2) must be related to the primary melody either rhythmically, melodically, or textually. The strictest form of imitation is a canon: an exact repetition of material (either melodic, rhythmic, or both) presented in another voice and separated from the initiating voice by a specific rhythmic duration.39 Canons may occur at a unison interval, a perfect fifth above or below, or at the octave. For the purposes of this study, a canon must exist for at least two phrases to receive this label.
A real answer occurs when there are no rhythmic differences between the two statements, all intervals are a perfect fifth above or perfect fourth below the original statement, and the imitation continues for at least one phrase length. A tonal answer meets the same qualifications, except all intervals do not have to remain the same interval apart from the original. The predominant interval between the two melodies will usually be a perfect fourth or fifth, with slight alterations.40 Example 6 shows Kodály’s tonal answer from No. 77 on the left, compared to a real answer on the right.
39. Ibid., 348.
40. Ibid., 331-332.
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Example 6. Tonal answer (left) and real answer (right) from No. 77
Bárdos labels the harmony of No. 31 as a real answer, defined as “the precise imitation of the theme in the dominant key,” but all English and Hungarian editions label
F as do in the second part. Example 7 shows the ascending melodic fifth found in the main theme of No. 31 is answered with an ascending melodic fourth; by Bárdos’ own definition that makes this a tonal answer because do is answered with so and so is answered with do.41 This example (along with other similar examples) is the basis for the current distillation of the terminology laid out by Bárdos.
Example 7. Answer present in No. 31
Free imitation is a less strict form of countrapuntal imitation than an answer or a canon. Free imitation occurs when the same basic melodic contour is retained, but
41. Ibid., 330-331.
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Texas Tech University, Daniel Todd, August 2014 rhythmic or melodic elements from the original melody are slightly altered.42 This may occur at a unison interval, at the octave, or at any other interval and must continue for at least one phrase. Imitative pentatonic counterpoint is free imitation which is confined to a pentatonic system.
Imitation may occur at time intervals which modify the syllabic or metrical stress of the original melody.43 This imitation is called imitation-changing stress if it retains the melodic contour of the original, or changing stress if the melody does not retain the same contour. In both cases the label is applied when the imitation is present for the majority of a phrase. Due to lack of syllabic stress, textless bicinia have not been analyzed for changing stress. However, if imitation occurs one beat apart, the label has been applied.
4.2.5 Other Features
Other data collected includes musical, nonmusical, and editorial material. Bicinia that have an Nd. at the end contain a melody that is a folk song.44 Those bicinia without the abbreviation have melodies composed by Kodály. Some bicinia have original melodies by Kodály and text from Hungarian poets or other sources. Data have also been collected regarding expressive elements, musical symbols, and terminology that affect performance, and all performance and tempo markings have been recorded. Any other markings appearing with an individual bicinium are considered editorial. These appear in
Hungarian along with their translations (when available).
42. Ibid., 337.
43. Ibid., 342-343.
44. “A népi dallamokat [Nd.] jelzés különbözteti meg.” Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, vol. 1, 34. 82
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CHAPTER 5
ANALYSIS AND SUMMARY OF DATA
5.1 Analysis
5.1.1 Bicinia Hungarica, volume 1 (Nos. 1-60)
No. 1:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2@and 3@. The rhythmic content consists of q\sd\Q\w\t\W\E\ra\ ar\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ di’ r’ m’ f’’. The tone set of Part II is l, t, d di r m f s l. The composite tone set of the bicinium is l, t, d di r m f s l t d’ di’ r’ m’ f’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is Aeolian with di. The tonality is Aeolian. The range is A3–F5.
Melodic turns employed are m-d; l-d; d-r-m; d-r; m-r; r-l; s-r; s-m; l-f; f-m; l,-f-r; r-m-f-s- l; f-r; s-f-m-r; f-s; f-d; l-s-f; m-f-s; f-m-r-d; r-m-f; d-l,-s,; s,-d; s-l; d-l,; r-l,; m-r-l,; l-s-m; l-m; l,-l; l-s; r-t,-s,; l-t-d'; l-t-d'-r'-m'; r-t,; r-t,-s,; m-di; di-t,; r-di; l-t-di'-r'-m; t,-di-r.
Formal Features: The rhythmic form is a b a' c b' d e f b' d' g c' e' e' h. The melodic form is a b a c b d e e bv a' f c bv a'. Phrase structure of the bicinium is A (5+5) A' (5+3+3+3)
B (4+4+5+4) A'' (3+3+5+5) Coda (3).
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Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in mm. 6-10, 16-52, and 57-60. Free imitation is present in mm.
13-15. Drone is present in mm. 2-5, 13-15, 43-44, and 59-60. Imitation at the octave is present in mm. 54-57.
Other Features: The melody of the bicinium was composed by Kodály. The bicinium is subtitled Karácsonyi ének (A Christmas Carol). Musical symbols and terminology include: pp, p, f, cresc., dim., fermata, Piu mosso, Tempo I. The tempo indicated is
Élénken (lively or brisk); MM w= 54.
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No. 2:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is F = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4–D5.
Melodic turns employed are d-m-s; d-r; m-r-d; s-m; d-s,; s,-s; s-l; m-d-l,; l,-m; m-r-l,; m-l; l-s-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c b. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Call and response exists between both parts throughout. Free pentatonic counterpoint is present in mm. 4, 8, 12, 15-16.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs. The tempo indicated is Lépést (step); MM q =
144.
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No. 3:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s d’. The tone set of Part II is s, l, d. The composite tone set of the bicinium is s, l, d r m s d’. The given key signature is C major; the implied key is F = do. The scale of the melody is authentic do pentatone and the scale of the bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4–F5. Melodic turns employed are d-r-m-s; s-m-d; s-d'; m-d; d-s,; s-l.
Formal Features: The rhythmic form is a b bv. The melodic form is a b bv. Phrase structure of the bicinium is A (2) B (2+2).
Polyphonic Features: Ostinato is present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Induló
(march); MM q= 116.
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No. 4:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, d r m s l. The tone set of Part II is s, d r m.
The composite tone set of the bicinium is s, d r m s. The given key signature is C major; the implied key is F = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4–D5. Melodic turns employed are d-r; r-m; m-r-d; s-r; m-s; d-s,; m-d-s,; s,-s; s-l.
Formal Features: The rhythmic form is a a b bv. The melodic form is a a b c. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint is present between the two parts until m. 9.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lépést (step); MM q= 186.
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No. 5:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature 2$.
The rhythmic content consists of q\sd\Q\W\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, d r m s l. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is
C major; the implied key is F = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4-D5.
Melodic turns employed are d r m; s m r; m-s; d-l,-s,; r-s,; d-s,; d-l,; m-l-s; d l,-d-m.
Formal Features: The rhythmic form is a a b a; the melodic form is a av b av. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint are present until m. 9. Free pentatonic counterpoint is present from mm.10-12. Imitative pentatonic counterpoint returns in m. 14 through the end.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs and 1st and 2nd endings. The tempo indicated is
Lépést (step); MM q= 116.
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No. 6:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is
C major; the implied key is F = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4–D5.
Melodic turns employed are d-s; s-m-d; d-m; d-r-m-s; l-s-m-r; d-r; m-r-d; s-m; d-s,; d-l,; s-l; m-l; l,-m.
Formal Features: The rhythmic form is a b a. The melodic form is a b a. Phrase structure of the bicinium is A (4) B (4+4).
Polyphonic Features: Counter-subject ostinato is present from mm. 1-4 and mm. 9-12.
Free pentatonic counterpoint is present from mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Induló
(march); MM q= 116.
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No. 7:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
C4–D5. Melodic turns employed are m-d; m-r; d-r; d-r-m; r-s; s-m; r-s,; s,-l,-d; s,-d; m-l; s-l; l,-m; l,-d-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c b'. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: Free pentatonic counterpoint is present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs. The tempo indicated is Mérsékelten (moderately);
MM q= 108.
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No. 8:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\w. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
C4–D5. Melodic turns employed are m-d; s-m-d; m-r; r-m; r-d; d-r-m; s-r; s-m; d-s,; l-m; l-s; r-l,; d-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a a5 b a5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Counter- subject ostinato is present in mm. 3-4 and 7-8. Imitation at the unison occurs in mm. 5-6.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs. The tempo indicated is Lassan (slowly); MM q=
80.
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No. 9:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\w\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is F = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is C4–D5.
Melodic turns employed are d-m; d-s; d-r; d-r-m-s; m-r-d; m-r; s-m; d-s,; s,-s; s,-r; l,-d; s- l; m-d-l,; r-l,.
Formal Features: The rhythmic form is a b a b a bv a bv. The melodic form is a b a b c d a bv. Phrase structure of the bicinium is A (4+4) A (4+4) B (4+4) A' (4+5).
Polyphonic Features: The melody of the bicinium is split between both voices. Motives are present in mm. 5-6 and 13-14. Counter-subject ontinao is present in mm. 7-8 and 15-
16. Imitative pentatonic counterpoint is present in mm. 19-24. Drone is present in mm.
25-26.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: fermata. The tempo indicated is Frissen (freshly); MM q=
144.
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No. 10:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of the melody is incomplete plagal la pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5. Melodic turns employed are m-d; m-r-d; m-r; s-m- r; l-s-m-r; m-s; s,-l,-d-r; d-l,-s,; s,-d; l-s; l-m,; l-,d-m; m-s-l; m-l.
Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Lassan (slowly); MM q= 76.
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No. 11:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\ w\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, m s l. The tone set of Part II is m, s, l, d r m.
The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of the melody is authentic la pentatone and the scale of the bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5. Melodic turns employed are m-d; m-r; r-d; m,-r; l-s-m; l- s; l-m; l,-m; m-r-l,; r-d-l,; s-l.
Formal Features: The rhythmic form is a a b a a b. The melodic form is a a b a5 a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2+2) A' (2+2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. A rhythmic counter-subject ostinato is present in mm. 2-6 in the lower voice and mm. 8-12 in the upper voice. Drones are present in mm. 3-4, 9-10, and 11-12.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur. The tempo indicated is Élénken (lively or brisk); MM q=
104.
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Texas Tech University, Daniel Todd, August 2014
No. 12:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is r, m, s, l, d r. The composite tone set of the bicinium is r, m, s, l, d r m s l. The given key signature is
C major; the implied key is D = la. The scale of both the melody and complete bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is
G3–D5. Melodic turns employed are s-m-d; d-r; r-m; m-r-d; l-m-r; m-s; m-l; l-s; m-d-l,; l,-m; l,-l; l-s-m-r; r-l,; d-l,-m,.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lépést (step); MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 13:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
C4–D5. Melodic turns employed are l-s-m-r; r-s; r-m; d-r; m-s; d-l,-s,; s,-d; s-l; l-l,; l,-d; r-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (3+3) A' (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. A motive derived from the melody is present in mm. 3, 6 and. 7-12.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: mf, f. The tempo indicated is Frissen (freshly); MM q= 144.
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Texas Tech University, Daniel Todd, August 2014
No. 14:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l d’. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is
C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is C4–F5. Melodic turns employed are r-m; m-r-d; m-s; d'-l-s; d-s,; r-s,; m-l; l-d'; s-l; l-r; l,-r.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 10-13. Free pentatonic counterpoint is present in mm. 11-16.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Frissen (freshly); MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 15:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\E\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is m, s, l, d r. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of the melody is incomplete plagal la pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5. Melodic turns employed are s-r; r-m; r-d; m-r-d; m-s; d-l,-s,; s,-d; s,-l,-d; s-l; l-s-m; l,-r; d-l,; l-m.
Formal Features: The rhythmic form is a b. The melodic form is a b. Phrase structure of the bicinium is 4+4.
Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint are present in mm. 1-6. Free pentatonic counterpoint is present in mm. 7-8. Rhythmic canon and imitative pentatonic counterpoint are present in mm. 1-6. Free pentatonic counterpoint is present in mm. 7-8.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Mérsékelten (moderately); MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 16:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
C4–D5. Melodic turns employed are d-s; m-d; d-m-s; m-r-d; d-r; r-m; s-r; s-m; d-s,; s,-r; m-d-s,; d-l,; s-l; m-d-l,.
Formal Features: The rhythmic form is a av b bv. The melodic form is a av b bv. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Imitation at the unison is present in mm. 2-9. Imitative pentatonic counterpoint is present in mm. 10-18.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Induló
(march); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 17:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; the implied key is A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E5. Melodic turns employed are d'-d; d-r-m; m-r; r-m-s; r-s; s-m; s,-l,-d; m-d-s,; m-s-l; l-r'; r-d-l,; l,-d; l-s; m-l.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. A motive derived from the melody is present in mm. 2, 4, and 6. Imitative pentatonic counterpoint is present in mm. 10-13. Counter-subject ostinato is present in mm. 10 and 13. Free pentatonic counterpoint is present in mm. 14-16.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassan (slowly); MM q= 60.
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Texas Tech University, Daniel Todd, August 2014
No. 18:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\w\t\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are m-d'; m-d; d-l; s-m-d; d-s; m,-r; r-d; l-r; r-m;- s-m; s,-d; r-s,; d-l,; l-s; l-s-m; m-r-l,; l,-s; l,-m; r-d-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lendülettel (energetically); MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 19:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is m, s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is
C major; the implied key is D = la. The scale of the melody is authentic la pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5. Melodic turns employed are s-d; d-m; d-r; r-m; m-r-d; m,-s,-d; r-l,; l-s; l-m; d-l,.
Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b c. A real shift is present. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: The melody of the bicinium is split between both voices. Imitation at the octave is present in mm. 4-5. Imitative pentatonic counterpoint is present in mm. 6-
8.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Egykedvűen (quietly); MM q= 100.
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Texas Tech University, Daniel Todd, August 2014
No. 20:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is m, s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is
C major; the implied key is D = la. The scale of both the melody and complete bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5.
Melodic turns employed are d-r; r-m; s-m; m-d-s,; s,-d; m-l; l,-d; l-s; l,-m; r-l,.
Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 b. A real shift is present. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: The melody of the bicinium is split between both voices. Tonal answer is present in mm. 4-5. Imitative pentatonic counterpoint is present in mm. 6-7.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassú tánc (slow dance); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 21:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\E\ra\ar.
No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is m, s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are s-d; d'-m; m-r; r-s; d-r-m-s; r-d; s-m-r; m-s; d-l,-s,; d-s,; s,-m; l-s; l,-r; l-m; l,-d; l,-d-m; m-l,.
Formal Features: The rhythmic form is a a' b c. The melodic form is a b a4 b4. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 2-3. Rhythmic canon is present in mm. 5-7.
Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tánclépés (dance step); MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 22:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\w\W\E\ra
\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m. The tone set of Part II is r, m, s, l, d r m. The composite tone set of the bicinium is r, m, s, l, d r m. The given key signature is
C major; the implied key is D = la. The scale of the melody is incomplete plagal la pentatone and the scale of the bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–A4. Melodic turns employed are d-m; m,-d; d-r-m; m-r; d-r; s-r; d-l,-s,; s,-d; d-l,; l-s.
Formal Features: The rhythmic form is a a av b. The melodic form is a av av b. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Counter-subject ostinato and sequence are present in mm. 3-4 and
5-6. Imitative pentatonic counterpoint is present in mm. 6-8.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassú lépésben (slow step); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 23:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\w\t\E\ra \ar.
No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied key is C = so. The scale of both the melody and complete bicinium is authentic so pentatone. The tonality is pentatonic, major character. The range is C4–D5.
Melodic turns employed are s-d; s-m-d; d-m; m-r; r-s; d-r; s-m; d-s,; s-l; l-m; r-l,; l,-d; l,- d-m.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lelkendzve (breathless, out of breath, enthuastically); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 24:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\w\W\ra\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l d’ r’. The tone set of Part II is m, s, l, d r m s l. The composite tone set of the bicinium is m, s, l, d r m s l d’ r’. The given key signature is B flat major; C = la. The scale of both the melody and complete bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–F5.
Melodic turns employed are m-d; r-d; d-r-m; m-r; m-s; d-l,-s,; s,-d; l-s-m; s-l; l,-r; l,-d-m; d-l,.
Formal Features: The rhythmic form is a a b a'. The melodic form is a a5 b a. A substituting shift is present. Phrase structure of the bicinium is A (3+3) B (4+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 4-6 and 11-13. Rhythmic canon and inversion are present in mm. 7-10.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassan, mélázva (slowly, ponder); MM q= 80.
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Texas Tech University, Daniel Todd, August 2014
No. 25:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\E\ra\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are l-m-d'; r-d'; s-d; d-l; m-d; d-r; s-m-r; m-r-d; r-m; s-m; d-s,; d- l,-s,; r-s,; s,-m; d-l,; s-l; r-l; l,-d-m; l,-r; l,-m.
Formal Features: The rhythmic form is a av a av. The melodic form is a a'v a5 a'v5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 2-8. Imitative pentatonic counterpoint is present in mm. 10-12. Inversion is present in mm. 15-16.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Határozottan (determined); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 26:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\w\E\gc\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l d’. The tone set of Part II s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
C4–F5. Melodic turns employed are m-d; l-s-m-r; r-m; d-r-m; d-r; m-s; d-l,-s,; d-s,; r-d-l,- s,; l-m; l-s; l,-d; l,-d-m; r-l,.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices. Drone is present in mm.
10-11.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Induló (march); MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 27:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\xcd\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are m-d'; m-d; d-m-s; d-r; l-s-m-r; r-s; m-r; s-m-r-d; m-s; s,-d; r- s,; l,-d; l-s; l-s-m; m-l; r-d-l,; l-r; l,-m; l,-r.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitation at the octave is present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-8 and 12-13. Imitative pentatonic counterpoint is present in mm. 10-11 and 14-16.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: slur. The tempo indicated is Élénken (lively or brisk); MM q=
126.
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Texas Tech University, Daniel Todd, August 2014
No. 28:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is m, s, l, d r m s l. The composite tone set of the bicinium is m s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character.
The range is A3–D5. Melodic turns employed are d-m-s; m-d; d-s; d-r; m-r; m-r-d; l-r; r- s; m-s; m,-m; d-s,; r-s,; d-l,-s,; s,-s; s,-m; m,-s,-d; s-l; d-l,; l,-m; l,-r; d-m-l; l,-d-m; l-m; l,- l.
Formal Features: The rhythmic form is a av b av. The melodic form is a av b c. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Part A: Augmentation is present in mm. 2-5. Imitative pentatonic counterpoint is present in mm. 6-8. Free pentatonic counterpoint is present in mm. 9-16.
Parts B and C: Free pentatonic counterpoint is present.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenc Jankovich. The tempo indicated is Induló (march); MM q= 126. Additional
Hungarian instructions: vagy (or).
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Texas Tech University, Daniel Todd, August 2014
No. 29:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l t. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l t. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is C4–E5. Melodic turns employed are m-d; m-r; m-r-d; r-d; s-m; l-s; l-m; d-l,; l-t; m-s-t; t-s.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper voice.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tánclépés (dance step); MM q= 132.
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Texas Tech University, Daniel Todd, August 2014
No. 30:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\w\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, d r m s l. The tone set of Part II is m, s, l, t, d r m. The composite tone set of the bicinium is m, s, l, t, d r m s l. The given key signature is C major; the implied key is F = do. The scale of the melody is plagal do pentatone, and the scale of the bicinium is extended plagal do pentatone, with ti. The tonality is pentatonic, major character. The range is A3–D5. Melodic turns employed are d-m; d-m- s-l; d-r; d-r-m; m-r; m-s; r-s,; s,-d; s,-m; l-s; l-m; s-t; s-l-t; s,-l,-t,-d; d-t,-l,; l-t.
Formal Features: The rhythmic form is a a' b bv. The melodic form is a b c d. Phrase structure of the bicinium is A (2+2) B (2+2) Coda (3).
Polyphonic Features: A tonal answer is present in mm. 2-5. Free imitation is present in mm. 6-8 and 10-12.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is
Gyorsan (quickly); MM q= 160 és gyersabban (and childlike). Additional Hungarian instructions: ismétléskor (on the repetition).
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No. 31:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\E\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is s, l, t, d r m. The composite tone set of the bicinium is s, l, t, d r m s l. The given key signature is C major; the implied key is D = la. The scale of the melody is incomplete plagal la pentatone, and the scale of the bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is C4–C5. Melodic turns employed are m-d; d-s; d-r-m; d-r; r-m; s-m; s,-d; d-l,-s,; m-s,; r-l,; l,-d; l-s; l,-m; s-l-t; t-s.
Formal Features: The rhythmic form is a a b a. The melodic form is a av b av. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: A tonal answer is present in mm. 2-5. Free imitation is present in mm. 6-8 and 14-17. Free pentatonic counterpoint is present in mm. 10-13.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Induló
(march); MM q= 126.
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No. 32:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\a A\w\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, t, d r m s. The composite tone set of the bicinium is s, l, t, d r m s l. The given key signature is D major; A = do, D = do. The scale of both the melody and complete bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is A3–F-sharp5. Melodic turns employed are m-d; s-d; d-r-m; d-r; s-r; m-r; m-s; d- s,; s-s,; d-l,; l-s; l,-d-m; r-l,; m-l; d-t,.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices. Drone is present in mm. 8-10.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Sietve (rushing or hastily); MM q= 144-160.
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No. 33:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m f s l. The tone set of Part II is m, f, s, l, t, d r m. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l. The given key signature is D minor; D = la. The scale of both the melody and complete bicinium is
Aeolian. The tonality is Aeolian. The range is A3–D4. Melodic turns employed are m,-d; d-r; r-m; m-r-d; m-m,; m-s; s-f-m; s-f-m-r; s,-d; m-d-l,; l,-d; l,-m; m-l; l-s-m; d-t,-l,; d-t,- l,-s,.
Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 a5 a. A tonal shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices. Changing stress is present in mm.
9-13.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést
(step); MM q= 116.
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No. 34:
Rhythmic Features: The meter of this bicinium changes between simple duple and simple triple; the time signature iss 2$and 3$. The rhythmic content consists of q\sd\Q\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, s, l, t, d r m s l t. The tone set of Part II is m, f, s, l, t, d r m f. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l t. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is authentic plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is A3–E5. Melodic turns employed are m-r-d; m-r; l-s-r; r-s; m-s; m,-m; l-s-f; f-l; d-f-m; s-f-m; d-s,; s,-l,-d; r-l,; l,-d; m-l; l-s-m; m-l,; s-l; m-d-l,; s-l-t; t-m; l,-t,-d; r-t,; d-t,-s,; d-t,.
Formal Features: The rhythmic form is a b c cv d cv e f. The melodic form is a b c d e f g h. Phrase structure of the bicinium is A (3+4) B (3+4) C (3+4) D (4+4).
Polyphonic Features: Free imitation is present in mm.2-4 and 16-21. Simple counterpoint is present in mm. 5-7 and 26-29. Free imitation and imitation-changing stress are present in mm. 8-10. Tonal answer is present in mm. 23-25.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenctől Verseghy. The bicinium is subtitled Az igaz bölcs (The true wisdom).
Musical symbols and terminology include: fermata, B flat accidental. The tempo indicated is Mérsékelten (moderately); MM q= 100. Additional Hungarian text:
Verseghy Ferenctől. Élt 1757-1882 (He lived from 1757-1882).
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No. 35:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple, simple triple, and simple quadruple; the time signatures are 2$,3$, and4$. The rhythmic content consists of q\sd\Q\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is d f s l t d’ r’ m’. The tone set of Part II is l, t, d r m f s l d’. The composite tone set of the bicinium is l, t, d r m f s l t d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is major. The tonality is major. The range is A3–E5. Melodic turns employed are s-d; d-d'; s-d'; m-r-d; d-f; f-s-l; s-f-m; l-f; r'-s; l-s; d'-l; r'-l-f; l-s; r-d-t,-l,; m'-t; t-d'-r'.
Formal Features: The rhythmic form is a a av a’. The melodic form is a a5 av5 a'. A real shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Counter- subject ostinao and simple counterpoint are present in the lower voice.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Lassan (slowly); MM q= 76.
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No. 36:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\Q\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’. The tone set of Part II is l, t, d r m f s. The composite tone set of the bicinium is l, t, d r m f s l t d’. The given key signature is B minor; B = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is B3–D5. Melodic turns employed are s-d; d-m-s; r-m; r-s; d-r; r-m-f-s-l; r-m-f; f-r; l,-r; m-l; l-s; d-t,-l,; l-t.
Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 av5 a. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 6-9 and 13-15. Simple counterpoint is present in mm. 10-11.
Elision occurs in m. 12.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lassú lépés (slow step); MM q= 84.
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No. 37:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m f s l t d’. The tone set of Part II is m, f, s, l, t, d r m f s. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l t d’. The given key signature is C minor; C = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is G3–E-flat. Melodic turns employed are m-d'; m-d; r-s; d-r-m; r-d; m-r; l,-f; f-m-r; s-f-m; s,-d; m-l,; s-l; m-l; d-t,-l,; d-t,-l,-s,; l-t.
Formal Features: The rhythmic form is a a a a. The melodic form is a a5 a5 a'. A tonal shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 6-9. Simple counterpoint is present in mm. 9-12. Imitation- changing stress is present in mm. 13-16.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: p, f. The tempo indicated is Lassacskán (slowly); MM q= 84.
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No. 38:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f s l. The tone set of Part II is m, s, l, t, d r m. The composite tone set of the bicinium is m, s, l, t, d r m f s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–C5. Melodic turns employed are s-r; d-r-m; d-r; d-s,; d-l,-s,; l,-l; l-m; l,-d; m-l,; s-l; r-l,; d-t,-l,; m-s-t; t,-m; m-fi-s.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a' b'. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: Simple counterpoint is present in the lower voice.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Zajosan, derüsen (noisy, cheerful); MM q= 104.
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No. 39:
Rhythmic Features: The meter of this bicinium changes irregularly between simple triple and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists of q\sd\Q\w\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m s l t d’ r’. The tone set of Part II is m, f, s, l, t, d r m f. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l t d’ r’.
The given key signature is C minor; C = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is G3–F5. Melodic turns employed are m-d; s-m-d; d-r-m; l-r'; r-d; l-r; r-m; l,-f; l-s-m; l,-l; l-m; s-l; d-t,-l,; d'-t-l-s; l,-t,-d-r; r-t,; t-l-s-f-m; s-l-t.
Formal Features: The rhythmic form is a a av a. The melodic form is a b bv a'. Phrase structure of the bicinium is A (3+3) B (4+3).
Polyphonic Features: Simple counterpoint is present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: slur. The tempo indicated is Szomorú lassú (a sad slow); MM q= 72.
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No. 40:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\E\ra \ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m f s l t d’. The tone set of Part II is m, f, s, l, d r m. The composite tone set of the bicinium is m, f, s, l, d r m f s l t d’. The given key signature is D minor; D = la. The scale of the melody is authentic la pentatone, with ti and the scale of the bicinium is Aeolian. The tonality is Aeolian. The range is A3–F5.
Melodic turns employed are m-d; m,-d; r-d; d-r-m; m-s; s-f-m; d-f; d-l,-s,; l-m; m-l,; l,-r; d-l,; m-d-l,; t-l; l,-t,-d.
Formal Features: The rhythmic form is a b bv a. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: Simple counterpoint is present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Induló (march); MM q= 116.
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No. 41:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\w\ra\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l t. The tone set of Part II is m, f, s, l, t, d r m. The composite tone set of the bicinium is m, f, s, l, t, d r m s l t. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is C4–E5. Melodic turns employed are m-d; m-r; r-s; r-m-s; d-r-m; s-m; s-l; m-l; m-s-l; m-d-l,; m-l,; l-t; t-s- m; t-s.
Formal Features: The rhythmic form is a a b b b b. The melodic form is a av b a5 b a5. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4) B' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices. Drone is present in mm. 17-18.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Frissen, pattogósan (freshly, bouncing); MM q= 152.
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Texas Tech University, Daniel Todd, August 2014
No. 42 and 42a1:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\w\E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d m f fi s l. The tone set of Part II is s, l, t, d r m f s. The composite tone set of the bicinium is s, l, t, d r m f fi s l. The given key signature of No. 42 is C major; C = do. The tonality of No. 42a is F major; F = do. The scale of the melody is authentic do hexachord with fi and the scale of the bicinium is plagal do hexatone with fi. The tonality is major. The range of No. 42 is G3–A4. The range of No. 42a is C4–D5. Melodic turns employed are m-d; d-s; s-m-d; d-r; d-r-m; s-f- m; d-r-m-f-s; d-s,; s-l; d-t,; s,-l,-t,-d; t,-r; s-fi.
Formal Features: The rhythmic form is a a b b. The melodic form is a a b b. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Real answer is present in mm. 1-9. Simple counterpoint is present in mm. 10-16.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: F#. The tempo indicated is Halkan, lágyan (softly, tenderly); MM q= 104.
1. This bicinium is an exact transposition of No. 42. For analysis purposes they have been combined.
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No. 43:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f s l t d’ r’ m’. The tone set of Part II is m, fi, s, l, t, d r m. The composite tone set of the bicinium is m, fi, s, l, t, d r m f s l t d’ r’ m’. The given key signature is C major; the implied keys are C = do, D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is
A3–E5. Melodic turns employed are m-d; r-m; d-r-m; l-r; r-m-f; f-s-l-t-d'; r'-l; r'-d'-l; l,-d- m; d'-t-l; l,-t,-d-r-m; s,-l,-t,-d; m-fi-s.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+3) A' (4+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést
(step); MM q= 108.
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No. 44:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m fi s l d’. The tone set of Part II is s, l, t, d r m. The composite tone set of the bicinium is s, l, t, d r m fi s l d’. The given key signature is C minor; C = la. The scale of both the melody and complete bicinium is
Dorian. The tonality is Dorian. The range is B-flat3–E-flat5. Melodic turns employed are d'-l-m; m-d; s-d; l-r; m-r; r-s; m-r-d; d-r; m-s; s-d'; s,-l,-d; r-s,; l-s; m-l; d'-l; s-l-m; m-l,; l,- t,-d; m-fi-s.
Formal Features: The rhythmic form is a a a' a a a'. The melodic form is a av b a5 av5 b5.
A substituting shift is present. Phrase structure of the bicinium is A (3+3+3) A' (3+3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: A-natural. The tempo indicated is Bátor lendülettel (bravely energetic); MM q= 126.
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No. 45:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\t\W\E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m fi s l t d’. The tone set of Part II is s, l, t, d r m fi s l. The composite tone set of the bicinium is s, l, t, d r m fi s l t d’. The given key signature is B-flat major; C = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is B-flat3–E-flat5. Melodic turns employed are d-m; s-d; s-r; r-m; m-r-d; l-r; m-s; d-s,; l-d'; l-m; l-s; m-d-l,; r-l,; d'-t-l-s; s-l-t; t-l; m-t; d'-t-l; d-t,; m-fi-s; s-fi.
Formal Features: The rhythmic form is a a a av. The melodic form is a b c b5. A real shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 2-3 and 5-8. Simple counterpoint is present in m. 4.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tréfásan (amusing); MM q= 126.
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No. 46:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q \w\E\ra\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m fi s l. The tone set of Part II is s, l, t, d r m.
The composite tone set of the bicinium is s, l, t, d r m fi s l. The given key signature is C major; the implied keys are D = la, C = do. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is C4–D5. Melodic turns employed are m-s-d; d-l; m-d; m-r; r-s; l-r; r-d; s-f-m; s,-d; m-l; s-l; r-l,; d-t,-l,; d-t,-l,-s,; s-fi-r; l-s-fi; fi-l; s-fi-m; fi-r.
Formal Features: The rhythmic form is a av b av. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2 Coda (2).
Polyphonic Features: Imitation-changing stress is present in mm. 3-4. Drone is present in mm. 5-6. Simple counterpoint is present in m. 5-10.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur, fermata. The tempo indicated is Beszélve (speaking); MM q= 80.
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No. 47:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\ra\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I l, t, d r m fi s l t d’. The tone set of Part II is m, s, l, t, d r m. The composite tone set of the bicinium is m, s, l, t, d r m fi s l t d’. The given key signature is C major; the implied keys are A = la, D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–E5.
Melodic turns employed are m-d; m-r-d; s-m; d-l,-s,; d-l,; s-l; m-l; l-r'; l,-t,-d; t-s; l-t; l,-t,- d-r-m; m-fi-s.
Formal Features: The rhythmic form is a a a a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Lassan (slowly); MM q= 80.
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No. 48:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\w\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m f s l t d’ r’. The tone set of Part II is r, m, f, s, l, t, d r m. The composite tone set of the bicinium is r, m, f, s, l, t, d r m f s l t d’ r’.
The given key signature is C major; the implied keys are C = do, F = do. The scale of the melody is major and incomplete plagal do pentatone, and the scale of the bicinium is major. The tonality is major. The range is G3–D5. Melodic turns employed are m-d; d-l; s-d; d-r; m-r-d; l-r; s-m; s-f-m; l-f; f-m-r; s-f; f-m; r'-s; d'-s; s-l; m-l; m-l,; r-l,; l-t-d'.
Formal Features: The rhythmic form is a b av av. The melodic form is a b c d. A tonal shift is present. Phrase structure of the bicinium is A (5+4) B (6+5) Coda (2).
Polyphonic Features: Tonal answer is present in mm. 2-6. Simple counterpoint is present in mm. 6-8. Rhythmic canon is present in mm. 1-8 and 10-16. Free imitation is present in mm. 11-20.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenctől Kazinczy. Musical symbols and terminology include: fermata. The tempo indicated is Élénken (lively or brisk); MM q= 132. Additional Hungarian text: Élt
1759-1831 (He lived from 1759-1831).
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No. 49:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’. The tone set of Part II is s, l, d r m f l. The composite tone set of the bicinium is s, l, d r m f s l d’. The given key signature is
C major; the implied keys are C = do, D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is C4–E5. Melodic turns employed are d-m; r-m; m-r-d; r-d; m-s; s- f; d-f; f-l-d; m-d-s,; l-r'; d-l,; l-s; m-l.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Double counterpoint is present.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Nyugodtan (calmly); MM q= 120.
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No. 50:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\w\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s l t d’ r’ m’. The tone set of Part II is s, l, d r m f s l. The composite tone set of the bicinium is s, l, d r m f s l t d’ r’ m’. The given key signature is C major; the implied keys are C = do, D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The range is C4–F5. Melodic turns employed are d-r-m; m-r; m-f-s; l-s-f; f-d; s,-d; r-l,-s,; d-l,; s-l; s-l-t; t-d'; d'-t-l.
Formal Features: The rhythmic form is a b b a. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Double counterpoint is present.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Súlyos lépésben (slow heavy steps); MM q= 112.
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No. 51:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m The composite tone set of the bicinium is s, l, d r m s l. The given key signature is C major; the implied keys are C = do, D = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character.
The range is A3–E5. Melodic turns employed are d-r-m; l-f; l,-f; d-s,; r-l,; l,-l.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Double counterpoint is present. Imitation-changing stress is present in the upper and lower voices. Imitation at the octave is present in mm. 1-4. Imitation at the unison is present in mm. 5-8. Augmentation and diminution are present in mm. 2-4 and 6-8.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Többféle tempóban (multiple tempos); MM q= 80–126.
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No. 52:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f s l t d’ r’ m’ f’. The tone set of Part II is d, m, f, s, l, t, d r m f s. The composite tone set of the bicinium is d, m, f, s, l, t, d r m f s l t d’ r’ m’ f’. The given key signature is C major; G = do, C = do. The scale of the melody is authentic do pentachord and the scale of the bicinium is major and major. The tonality is major. The range is G3–D5. Melodic turns employed are m-d; s-m-d; d-d'; r-m; r-s; d-r; m-r-d; s-m; f-r; m-f; f-m-r; f-m-r-d; f-r-s,; d-t,-l,-s,-f,; f-s; s,-d; r-s,; s,-m; l-d'; s-l; l,-r; d'-t; t-r'; t-l; t-s; s,-l,-t,-d; d-t,-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a bv. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices. Inversion is present in m. 9-10.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: F-sharp accidental. The tempo indicated is Peregve (spinning); MM q= 184.
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No. 53:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, l, d r m f s l. The tone set of Part II is r, m, f, s, l, t, d r m f. The composite tone set of the bicinium is r, m, s, l, d r m f s l. The given key signature is D minor; D = la, C = do. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is G3–E5. Melodic turns employed are m-d; d-r-m; r-l; d-r-m-f; f-d; s-f-m; m-f-s-l; l-f-r; l,-m,-d; r-l,; l-s; l,-d; m-l; d-t,-l,; s-l- t; t-l-s-f-m.
Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b c. A real shift is present. Phrase structure of the bicinium is 3+3+3+3.
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in mm. 4-6. Imitation at the octave is present in mm. 7-9.
Inversion is present in mm. 9-11.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: B-natural accidental. The tempo indicated is Nyugodtan
(calmly); MM q= 80.
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No. 54:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\w\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, si, l, t, d r m s l t d’. The tone set of Part II is m, s, si, l, t, d r m. The composite tone set of the bicinium is m, s, si, l, t, d r m s l t d’.
The given key signature is C major; the implied keys are D = la, A = la. The scale of the melody is minor without fa, and the scale of the bicinium is minor with ri, fi, and si. The tonality is minor. The range is GB3–F5. Melodic turns employed are d-m; m-r-d; l-m; l,- d-m; m-r-l,; l-s; d-t,; t,-r; r-d-t,-l,; l,-t,-d; t-l-s; l-si.
Formal Features: The rhythmic form is a a a' a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices. Drone is present in m.4-5 and 12-
13.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: C- and G-sharp accidentals. The tempo indicated is Lejtve
(dancing gracefully); MM q= 126.
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No. 55:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\aqa\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, s, si, l, t, d r m fi si l. The tone set of Part II is m, s, si, l, t, d r m si l t. The composite tone set of the bicinium is m, s, si, l, t, d r m fi si l t. The given key signature is C major; the implied keys are D = la, A = la. The scale of both the melody and complete bicinium is minor with ri and si. The tonality is minor. The range is A3–E5. Melodic turns employed are d-m-l; d-m; r-d; l-r; r-m; m-r-d; m,-m; m,-r; d-l,; r-d-l,; l-s; l,-r; l-m; m-l,; l,-t,-d; l-t; d-t,; m-t,; t-l-s; s-t-m; l-si; si-t; l-si-fi.
Formal Features: The rhythmic form is a av b a. The melodic form is a av5 b a. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: C- and G-sharps, B-flat accidentals. The tempo indicated is
Lépést (step); MM q= 116.
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No. 56:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\aqa\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m s l. The tone set of Part II is d, r, m, f, fi, s, l, t, d r. The composite tone set of the bicinium is d, r, m, f, fi, s, l, t, d r m s l. The given key signature is E minor; E = la. The scale of the melody is Aeolian, and the scale of the bicinium is minor with fi and si. The tonality is minor. The range is G3–E5.
Melodic turns employed are d-m; m-s-d; s-d; d-m-s; r-m; d-r-m; d-r; s-r; s-m; m-f; f-r; s- f; f-s-l; d-s,; r-s,; l-m; m-r-l,; l,-d; l-s; l-s-m; d-t,-l,; t-s; s,-l,-t,-d; s-fi; fi-r; fi-t; l-si.
Formal Features: The rhythmic form is a b bv c b c. The melodic form is a b c d e f.
Phrase structure of the bicinium is A (2+2) B (2+3) C (2+2).
Polyphonic Features: Tonal answer is present in mm. 2-5. Free imitation is present in mm. 6-9. Simple counterpoint is present in mm. 9-12.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: C- and D-sharp accidentals. The tempo indicated is Induló (march);
MM q= 116–126.
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No. 57:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$, 2*, 3$, and 3*. The rhythmic content consists of q\sd\Q\E\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m. The tone set of Part II is l, d r m. The composite tone set of the bicinium is l, d r m. The given key signature is C major; the implied keys are A = la, D = la. The scale of the melody is authentic la pentatone, and the scale of the bicinium is incomplete plagal do pentatone, ending on re. The tonality is pentatonic, minor character. The range is D4–E5. Melodic turns employed are d-r-m; m- r; d-l,.
Formal Features: The rhythmic form is a b c d e. The melodic form is a b c d e. Phrase structure of the bicinium is A (2+2) B (3+3) Coda (1).
Polyphonic Features: Canon at the fifth and changing stress are present.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur, fermata, repeat. The tempo indicated is Lassan, halkan
(slowly, quietly); MM q= 63.
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No. 58:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2@and 3@. The rhythmic content consists of q\sd\Q\a A\w\W\E\e \ra\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f fi s si l. The tone set of Part II is d, r, m, f, fi, s, si, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, fi, s, si, l, t, d r m f fi s si l. The given key signature is G major; G = do. The scale of both the melody and complete bicinium is major with fi and si. The tonality is major. The range is
G3–F5. Melodic turns employed are s-d; d-l; l-s-m-d; m-d; d-r; r-s; m-r; d-r-m; s-m; m-f- s; l-s-f-m; m-f; f-r; r-m-f; s-f; f-l; f-d; s,-s; l,-d; l-m; l-s; d-r-l,; m-l,; d-t,-l,; r-d-t,-l,; l,-t,; t- s; r-d-t,; t,-d; m-t,; m-r-d-t,-l,; s,-l,-t,-d; m-fi-si-l; l-si; si-fi; si-m.
Formal Features: The rhythmic form is a b c d e. The melodic form is a b c d e. Phrase structure of the bicinium is A (5+5+5) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in mm. 1-9, 14, and 16-19. Ostinato is present in mm. 12-14 and
17-19. Diminution is present in mm. 17-20. Drone is present in mm. 19-20 and 21-22.
Motives are present in mm. 11-13 and 21-22.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Kiolvazó. Musical symbols and terminology include: p, f, dim., cresc., fermata, C- and D-sharp accidentals. The tempo indicated is Frissen (freshly); MM w= 72.
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Additional Hungarian instructions: 3@helyett 2$be is osztható (instead of 3@it can be dived into 2$).
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No. 59:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\a A\w\t\W\E\e \ra\ar\gc
\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m f fi s si l t d’ r’ m’. The tone set of Part II is s, l, t, d r m f s si l t te d’. The composite tone set of the bicinium is s, l, t, d r m f fi s si l t te d’ r’ m’. The given key signature is C major and A major; E = la, F = do, A = la, A = do. The scale of the melody is minor with di and major, and the scale of the bicinium is minor with di and major with te. The tonality is minor and major. The range is GB3–E5.
Melodic turns employed are s-d; d-m; d'-s-m; d-d'; m-r-d; r-d; m-r; l-r; r-s; m-m'; s-m; r- m-f; l-f; f,-f; f-m-r-d; s-f-m; l,-f; f-t,; l,-f,; f-m; m-f-s; r-f; l-s-f; f-s; s-r'; s,-m; s,-d-m; d-s,- l,; m-l,; m-l; l-r'; l-s; d-l,; l-t; d'-t-l-s; d'-t; d'-t-l; t,-r; t,-m; l-s-fi-m; l-si; d-te,; te-l.
Formal Features: The rhythmic form is a b c d e f g. The melodic form is a b c d e f g.
Phrase structure of the bicinium is A (5+4+4+4) B (4+3+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Drone is present in mm. 1-4 and 26-27. Simple counterpoint is present in mm. 6-11. Free imitation is present in mm. 13-27.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Kisfaludy. The bicinium is subtitled Léany szépség (Girls’ beauty). Musical
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Texas Tech University, Daniel Todd, August 2014 symbols and terminology include: p, f, poco cresc., dim., fermata, F- and G-sharp accidentals. The tempo indicated is Lassan (slowly); MM q= 76.
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No. 60:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\e \ra\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f fi s l t d’. The tone set of Part II is f, s, l, t, d di r m. The composite tone set of the bicinium is f, s, l, t, d di r m f fi s l t d’. The given key signature is E-flat major; E-flat = do. The scale of the melody is major with fi, and the scale of the bicinium is major with di. The tonality is major. The range is A- flat3–E-flat5. Melodic turns employed are d'-m; s-d; m-d; d-l; r-d; d-r-m; r-m; d-r-m-f; f- m-r; s-f; f-s-l; s-f-m-r; m-f; s-f-m; l-f; f-r; s-m; l-m; d-l,; l,-r-d; s-l-t-d'; d-t,-l,; l-t; m-t,; s-l- t; r-d-t,; d-t,; m-fi-s; t,-di-r.
Formal Features: The rhythmic form is a b c d e f. The melodic form is a b c d e f. Phrase structure of the bicinium is A (5+4) B (8) C (4+5) Coda (2).
Polyphonic Features: Canon at the fourth is present in mm. 1-10. Canon at the fifth is present in mm. 11-25. Free pentatonic counterpoint is present in mm. 25-28.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Dénes P. Szedő. The bicinium is subtitled Miatyánk (Our Father). Musical symbols and terminology include: p, f, cres., E-natural accidental. The tempo indicated is Élénken
(lively or brisk); MM q = 126.
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5.1.2 Bicinia Hungarica, volume 2 (Nos. 61-100)
No. 61:
Rhythmic Features: The meter of this bicinium is asyMM etrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\a A\w\xcd\t\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is r, m, s, l, d r m. The composite tone set of the bicinium is r, m, s, l, d r m s l. No key signature is given; the implied key is E = la. The scale of both the melody and complete bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are s-m-d; d-m; m-r; m-r-d; r-s; r-m-s; s-m; m,-m; s,-l,- d; m-s-l; l-s; r-l,; l-s; l,-d-m; m-l; l-m; l-s-m; m-l,.
Formal Features: The rhythmic form is a a. The melodic form is a b. Phrase structure of the bicinium is 2+2.
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassan (slowly); MM q= 60. Additional Hungarian instructions: Igy kezdődik a Kalevala (thus begins Kalevala).
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No. 62:
Rhythmic Features: The meter of this bicinium changes between simple triple and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists of q\sd\Q\a A\w\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is m, s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is
C major; the implied key is D = so. The scale of both the melody and complete bicinium is incomplete plagal so pentatone. The tonality is so pentatonic. The range is B3–E5.
Melodic turns employed are m,-d; d-r-m; d-r; m-r; r-s; s-m; s,-d; d-l,-s,; m-r-l,-s,; s,-m; s- l; d-l,; l,-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b bv a. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 3-5. Free pentatonic counterpoint is present in mm. 6-8.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: fermata. The tempo indicated is Nyugodtan (calmly); MM q=
72.
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No. 63:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is B minor; B = la. The scale of both the melody and complete bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is B3–E5.
Melodic turns employed are m-d; m-s-d'; d'-l-s-m; m-r; m-r-d; d-r; d-s,; l-m; l-s-m; d-l,; l,-l; l-s; r-l,; l,-m; m-s-l.
Formal Features: The rhythmic form is a a a av. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tánclépés (dance step); MM q= 126.
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No. 63a:
Rhythmic Features: The implied meter of this bicinium is simple quadruple; the implied time signature 4$. The rhythmic content consists of q\sd\Q\a A\E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l . The tone set of Part II is r, m, s, l, d r m s. The composite tone set of the bicinium is r, m, s, l, d r m s l. The given key signature is C major; the implied key is D = la. The scale of the melody is authentic la pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–D5. Melodic turns employed are m-d; d-m,; m-r; m-r-d; r,-m; d-r; m-s; m-s,; s,-d; s,-r; m,-s,-d; l-m; l-s-m; d-l,; l,-r; l,-d-m; s-l; m-s-l; l-r.
Formal Features: The rhythmic form is a a a av. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Free pentatonic counterpoint is present between the upper and lower voices. Imitative pentatonic counterpoint is present in mm. 1-2 between the lower voices. Rhythmic canon is present in mm. 1-7 between the lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tánclépés (dance step); MM q= 126.
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No. 64:
Rhythmic Features: The meter of this bicinium changes between simple triple and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists of q\sd\Q\w\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is d, r, m, s, l, d r m. The composite tone set of the bicinium is d, r, m, s, l, d r m s l. The given key signature is C major; the implied key is E = la. The scale of the melody is authentic la pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–D5. Melodic turns employed are d-m; d-s; s-m-d; d-r-m; m-r; r-d; r-s; m-s; d-l,-s,; s,-r; s-l-m; r-l,; l,-d; l-m; l-s.
Formal Features: The rhythmic form is a a av a. The melodic form is a a b c. Phrase structure of the bicinium is 3+3+3+3.
Polyphonic Features: Rhythmic canon and changing stress are present in mm. 1-9. Free pentatonic counterpoint is present in mm. 9-13.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: fermata. The tempo indicated is Lassan (slowly); MM q= 63.
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No. 65:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\ E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l. The tone set of Part II is d, m, s, l, d r m. The composite tone set of the bicinium is d, m s, l, d r m s l. The given key signature is C major; the implied key is E = la. The scale of the melody is authentic la pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E5. Melodic turns employed are d-s; l-s-m- d; d-l; m-d; m-r; r-d; m-r-d; m,-r; s-m; r-d-l,-s,; s,-d; l-m; r-l,; l-s-m.
Formal Features: The rhythmic form is a a' a a. The melodic form is a a b c. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Counter-subject ostinatio is present in mm. 3-4 and 7-8.
Diminution is present in mm. 3-4, 7-8, and 15-16. Imitative pentatonic counterpoint is present in mm. 9-16.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Tánclépés (dance step); MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 66:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2*and 3*. The rhythmic content consists of q\sd\Q\a A\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m l d’ r’ m’. The tone set of Part II is m, l, d r m s. The composite tone set of the bicinium is m, l, d r m s l d’ r’ m’. The given key signature is G minor; G = la, G = mi. The scale of the melody is plagal la tetratone, and the scale of the bicinium is authentic la pentatone with fa. The tonality is pentatonic, minor character. The range is G3–D5. Melodic turns employed are m-d; d-s; m-r; d-r; r-l; s-f; f-r; s-f-r; l-s-f; f,-d; d-l,-s,; d-l,; l,-d-m; l-m; r-d-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c d. Phrase structure of the bicinium is 3+3+3+3 Coda (3).
Polyphonic Features: Rhythmic ostinato is present in mm. 2-12 and 13-16. Imitative pentatonic counterpoint is present in the lower voice.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: repeat signs, 1st and 2nd ending, fermata. The tempo indicated is
Pontos ritmusban (accurate rhythm); MM a= 132. Additional Hungarian instructions:
Ism. (repeat).
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Texas Tech University, Daniel Todd, August 2014
No. 67:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\w\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is F major; G = la. The scale of the melody is incomplete plagal la pentatone, and the scale of the bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is G3–D5. Melodic turns employed are d-m; m-r-d; d-r; l-r; d-s,; s-l; l,-d; l-s-m; m-l; m-l,.
Formal Features: The rhythmic form is a a b b. The melodic form is a a b c. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Rhythmic canon is present throughout the bicinium. Free pentatonic counterpoint is present in mm. 2-5. Imitative pentatonic counterpoint is present in mm. 6-7.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Tánclépés (dance step); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 68:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l d’. The tone set of Part II is m, s, l, d r m s l. The composite tone set of the bicinium is m, s, l, d r m s l d’. The given key signature is B-flat major; C = la. The scale of the melody is incomplete plagal la pentatone, and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E-flat5. Melodic turns employed are m-l-d'; m-d; m-r- d; r-d; r-s; l-s-m-r; r-d; s-m; d-s,; s,-d-m; r-d-l,-s,; s-l-m; d-l,; l-s; l,-m; m-l; r-l,.
Formal Features: The rhythmic form is a b b a. The melodic form is a b bv a'. Phrase structure of the bicinium is A (5+5) B (5+5).
Polyphonic Features: Imitative pentatonic counterpoint is present in mm. 9-16. Free pentatonic counterpoint is present in mm. 17-20.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Tánclépés (dance step); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 69:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l d’. The tone set of Part II is s, l, d r m s l d’. The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is B-flat major; B-flat = so. The scale of both the melody and complete bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is B-flat3–E-flat5. Melodic turns employed are s-m-d; d-m; d'-r; m-r; r-d; s,-d; s,-l; m-s-l; l-s; d-l,; m-l,; l-m; m-l-d'; l,-d-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a a b b. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Sequence is present in mm. 1-4, 5-8, 9-12, and 13-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Weöres. The bicinium is subtitled A csősz subája. (The keeper of suba). The tempo indicated is Frissen (freshly); MM q= 152.
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Texas Tech University, Daniel Todd, August 2014
No. 70:
Rhythmic Features: The implied meter of this bicinium is simple quadruple; the implied time signature is 4$. The rhythmic content consists of q\sd\Q\w\ra\ ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l d’. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is
B-flat major; C = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is B-flat3–E- flat5. Melodic turns employed are s-m-d; d-m; m-r; r-d; m-r-d; s-m; d-s,; l-s; m-l; l-s; l,-d; r-l,; l,-l.
Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 a. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Double counterpoint is present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-6.
Retrograde is present in mm. 7-8.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lassú lépésben (slow step); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 71:
Rhythmic Features: The implied meter of this bicinium is simple duple; the implied time signature is 2$. The rhythmic content consists of q\sd\Q\a
A\w\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of the melody is authentic do pentatone, and the scale of the bicinium is plagal do pentatone. The tonality is pentatonic, major character.
The range is G3–E5. Melodic turns employed are d-m-s; m-d; d-s; m-s-d'; d-r-m; m-r; r- d; l-s-r; r-d-s,; s-l; l-m; d-l,.
Formal Features: The rhythmic form is a b b' a. The melodic form is a b bv a. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 3-8. Imitative pentatonic counterpoint is present in mm. 9-10.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lépést (step); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 72:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t\E\ra\ar\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is
A minor; E =la, A = la. The scale of the melody is extended plagal la pentatone with ti, and the scale of the bicinium is incomplete plagal la pentatone with ti. The tonality is
Aeolian. The range is G3–E5. Melodic turns employed are m-d; m-r; r-s; m-r-d; s,-d; r-d- l,-s,; l-s-m; d-l,; l,-m.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a4 av5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) B (2+3) Coda (2).
Polyphonic Features: Canon at the fifth is present in mm. 2-5. Imitative pentatonic counterpoint is present in mm. 6-7. Real answer is present in mm. 8-9.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: repeat signs, fermata. The tempo indicated is Lassan (slowly); MM q= 56.
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Texas Tech University, Daniel Todd, August 2014
No. 73:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is
C (common time). The rhythmic content consists of q\sd\Q\w\ra\ ar.
No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of the melody is authentic do pentatone, and the scale of the bicinium is plagal do pentatone. The tonality is pentatonic, major character.
The range is G3–E5. Melodic turns employed are d'-s-m; d-m'; m-s-d; d-l; d-r; l-s-m-r; m- r-d; r-m; s-m; s,-d; s,-m; s,-l,-r; m-l; m-l,; l,-d-m.
Formal Features: The rhythmic form is a b b' a'. The melodic form is a b bv a. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Rhythmic canon and free pentatonic counterpoint are present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Lépést
(step); MM q= 120. Additional Hungarian instructions: Ism. (repeat).
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Texas Tech University, Daniel Todd, August 2014
No. 74:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\aqa\E\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is d, r, m, s, l, d r m. The composite tone set of the bicinium is d, r, m, l, d r m s l. The given key signature is E minor; E = la. The scale of both the melody and complete bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E5.
Melodic turns employed are m-d; s-m-d; d-s; s-r; r-m; d-r; r-s; m-r-d; l-r; s-m; s,-d; s,-m; m-l-s; m-d-l,; l-s; r-l,; l-m; d-l,; m-l,; d-l,-m,.
Formal Features: The rhythmic form is a av b av a av. The melodic form is a b c bv a b.
A tonal shift is present. Phrase structure of the bicinium is A (4+4) B (4+4+4+4).
Polyphonic Features: Rhythmic canon and free pentatonic counterpoint are present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Weöres Sándor. The bicinium is subtitled Rigók dala (Thrushes’ song). Musical symbols and terminology include: repeat signs. The tempo indicated is Frissen (freshly);
MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 75:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of sd\aqa\sxc\ E\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m f s l. The tone set of Part II is r, m, f, s, l, d r m. The composite tone set of the bicinium is r, m, f, s, l, d r m f s l. The given key signature is E minor; E = la. The scale of both the melody and complete bicinium is
Aeolian. The tonality is Aeolian. The range is A3–E5. Melodic turns employed are d-m; r-m; m-r-d; r-s; s-m; l-s-f; f-m; s-f-m-r; s,-d; m-l; d-l,; l,-l; l-s; l-m; t,-m; d-t,-l,-s,.
Formal Features: The rhythmic form is a a a a. The melodic form is a b b c. Phrase structure of the bicinium is 3+3+3+3.
Polyphonic Features: Simple counterpoint is present in the lower voice.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur. The tempo indicated is Tánclépés (dance step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 76:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m f s l d’ r’ m’ f’. The tone set of Part II is d r m f s l. The composite tone set of the bicinium is d r m f s l d’ r’ m’ f’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is Ionian. The range is C4–F5. Melodic turns employed are d-l; m-d; r-l; m-r; r-d; d-f; s-f; f-r; l-f; f-m; r-m-f; s-f-m; s,-d; s,-m; l-s; l,-r; l,-d.
Formal Features: The rhythmic form is a a' av a'. The melodic form is a a5 av5 a. A real shift is present. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 4-8. Simple counterpoint is present in mm. 9-12.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lassú lépés (slow step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 77:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\W\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m. The tone set of Part II is s, l, t, d r m. The composite tone set of the bicinium is s, l, t, d r m. The given key signature is C major; the implied keys are D = la, A = la. The scale of the melody is authentic la pentachord, and the scale of the bicinium is Dorian. The tonality is Dorian. The range is
G3–A4. Melodic turns employed are m-r; r-d; s,-d; l,-m; d-l,; l,-r; m-d-l,; l,-d; r-d-t,-l,; l-t; t,-d; d-t,-l,-s,.
Formal Features: The rhythmic form is a av b b. The melodic form is a a b b. Phrase structure of the bicinium is A (3+3) B (4+4).
Polyphonic Features: Tonal answer is present in mm. 2-9. Free imitation and rhythmic canon are present in mm. 10-14.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Frissen (freshly); MM q= 120. Additional Hungarian instructions: Zobor- vidéki lakodalma (rural Zobor wedding).
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Texas Tech University, Daniel Todd, August 2014
No. 78:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m. The tone set of Part II is l, t, d r m.
The composite tone set of the bicinium is l, t, d r m. The given key signature is C major; the implied keys are D = la, A = la. The scale of the melody is authentic la pentachord, and the scale of the bicinium is Dorian. The tonality is Dorian. The range is A3–G4.
Melodic turns employed are m-d; m-r; d-r; l,-m; d-l,; d-t,; t-l; d-t,-l,.
Formal Features: The rhythmic form is a a b b. The melodic form is a a b bv. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: Tonal answer is present in mm. 1-14.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést
(step); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 79:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m. The tone set of Part II is l, t, d r m.
The composite tone set of the bicinium is l, t, d r m. The given key signature is D minor;
D = la, G = la. The scale of the melody is authentic la pentachord and the scale of the bicinium is Aeolian. The tonality is Aeolian. The range is G3–A4. Melodic turns employed are m-d; m-r; r-d; d-l,; l,-r; r-d-t,; d-t,; t,-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a a b b. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: Canon at the fifth and imitation-changing stress are present.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is
Frissen (freshly); MM q= 144.
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No. 80:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\a A\w\W. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ r’. The tone set of Part II is l, t, d r l. The composite tone set of the bicinium is l, t, d r m f s l. The given key signature is C major; the implied key is D = re. The scale of both the melody and complete bicinium is
Dorian. The tonality is Dorian. The range is A3–D4. Melodic turns employed are d-l; r-l; r-m; r-d; s-f-m-r; r-f; f-s; r-m-f; l-s-f; l,-r; l-s; l,-d; r-d-t,-l,; l,-t,-d; l-t.
Formal Features: The rhythmic form is a a a a. The melodic form is a av b c. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Imitation at the octave is present in mm. 1-4. Simple counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Lassan (slowly); MM q= 76.
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No. 81:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r f fi s l t d’ r’ m’. The tone set of Part II is s, l, t, d r m. The composite tone set of the bicinium is s, l, t, d r m f fi s l t d’ r’ m’. The given key signature is C major; the implied keys are A = la, D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is C4–E5.
Melodic turns employed are m-d; r-d; d-r-m; l-r; r-s; d-r-m; l,-r; l,-d; l,-d-m; r-m-l,; l-s; d- t,; d-t,-l,; s-fi.
Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A tonal shift is present. Phrase structure of the bicinium is A (3+3) A' (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Frissen (freshly); MM q= 152.
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Texas Tech University, Daniel Todd, August 2014
No. 82:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l t d’. The tone set of Part II is l, t, d r m s l. The composite tone set of the bicinium is l, t, d r m s l t d’. The given key signature is B minor; B = la. The scale of both the melody and complete bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is B3–D5. Melodic turns employed are m-d; d-r-m; m-r; r-d; r-s; s-m; l-s; m-l; m-s-l; d-l,; l,-r; l,-t,-d; t,-d.
Formal Features: The rhythmic form is a b a bv. The melodic form is a b c b5. A real shift is present. Phrase structure of the bicinium is A (2+3) B (2+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is MM q = 80.
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No. 83:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\Q\w\t\E\e \ra\gc\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l t d’. The tone set of Part II is l, t, d r m. The composite tone set of the bicinium is l, t, d r m s l t d’r’ m’. The given key signature is C major; the implied keys are A = la, D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–D5. Melodic turns employed are s-m-d; r-d; d-r-m; m-r; r-s; s-m; s-f; d-s,; s,-d-m; r-l,; m-l-s; r-d-l,; l- m; l-s; s-l; s-l-m; l,-d; d-r-l; d-t,.
Formal Features: The rhythmic form is a b av bv c d c d. The melodic form is a b c d e f e5 f5. A real shift is present. Phrase structure of the bicinium is A (2+2+3+2) B
(2+2+2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-3 and 6-9. Simple counterpoint is present in mm. 3-4. Double counterpoint is present in mm. 10-17. Drone is present in mm.10-13 and 15-17.
Other Features: The melody of the bicinium is a Mari folk song. Musical symbols and terminology include: repeat signs, slur. The tempo indicated is Lassan (slowly); MM
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Texas Tech University, Daniel Todd, August 2014 q= 52. Additional Hungarian instructions: Az 1-2. vsz. után szöveg nélkül (The first and second verses without words).
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Texas Tech University, Daniel Todd, August 2014
No. 84:
Rhythmic Features: The meter of this bicinium changes irregularly between simple quadruple and asymmeterical; the time signatures are 4$and 5$. The rhythmic content consists of q\sd\Q\a A\W\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m. The tone set of Part II is m, s, l, t, d r m f s l. The composite tone set of the bicinium is m, s, l, t, d r m f s l. The given key signature is C major; the implied keys are D = la, A = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–E5. Melodic turns employed are d-r-m; m-r; r-d; r-l; l-f; s-f-m-r-d; r-m-f; s,-d; l,-r-d; r-l,; l,-m; m-l; l-s; m-l-s; r-d-t,-l,; d-t,-l,.
Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 av5 a'. A real shift is present. Phrase structure of the bicinium is A (3+3) A' (3+3).
Polyphonic Features: Simple counterpoint is present in the lower voice. Changing stress is present in mm. 1-6.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 85:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\aqa\t\ra\ ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l t d’ r’ m’. The tone set of Part II is l, t, d r m s l t d’. The composite tone set of the bicinium is l, t, d r m s l t d’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is authentic la pentatone, with ti. The tonality is pentatonic, minor character. The range is
A3-E5. Melodic turns employed are m,-d; s-d; d-m; d-r; d-r-m; r-s; s-m; s-m; s,-d; l,-d; l- m; s-l; m-l,; l,-r; l-r; r-d-t,-l,; d-t,-l,-s,; d-t,-l,; m-r-d-t,-l,.
Formal Features: The rhythmic form is a b b av. The melodic form is a b b av. Phrase structure of the bicinium is A (2+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint and diminution are present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur. The tempo indicated is Lépést (step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 86:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\aqa\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l t d’ r’ m’. The tone set of Part II is l, t, d r m. The composite tone set of the bicinium is l, t, d r m s l t d’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is authentic la pentatone with ti. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are d-m; m,-d; r-d; m-r; d-r-m; m,-m; m-s; d-l,; l-s; l-m; l,-r; m- t,; t,-r; t-l; m-r-d-t,-l,; t,-d.
Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b b a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 4-9. Simple counterpoint is present in mm. 10-12.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lépést (step); MM q= 108. Additional Hungarian instructions: Jegyzet:
Nagy terjedelmű dalainkat inkább így elosztva énekeltessük, mint oktáv ugrásokkal eltorzítva. Ez a dallam eddig mindenütt hibásan jelent meg, kivéve Kiss G.: Ormányság,
414.1. (Note: The big-ranged songs should be sung in division between the two parts.
This is a better solution than singing with octave jumps. This melody was always published incorrectly except by Kiss G.).
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Texas Tech University, Daniel Todd, August 2014
No. 87:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\a A\aqa\E\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, l, t, d r m f. The tone set of Part II is d, r, m, f, s, l, t, d. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f. The given key signature is G minor; G = la. The scale of both the melody and complete bicinium is
Aeolian. The tonality is Aeolian. The range is B-flat3–E-flat5. Melodic turns employed are m,-d; d-m; m-r-d; m,-m; m-f; l-s-f; l-m; r-l,; l-t-d; d-t,-l,.
Formal Features: The rhythmic form is a a b b. The melodic form is a a b bv. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: Canon is present in mm. 2-7. Free imitation is present in mm. 8-10.
Simple counterpoint is present in mm. 11-12.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: repeat signs. The tempo indicated is Lépést (step); MM q= 104.
Additional Hungarian instructions: Ism.-kor elm. (when it is repeated).
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Texas Tech University, Daniel Todd, August 2014
No. 88:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\ra\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f s l. The tone set of Part II is l, t, d r m. The composite tone set of the bicinium is s, l, t, d r m f s l. The given key signature is
C major; the implied keys are D = la, A = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Dorian. The range is A3–E5. Melodic turns employed are m-d; d-r-m; r-d; s-f-m; d-f; r-s,; s,-d; l,-m; l,-r; s-l; l,-t,-d-r-m; d-t,-l,; r-d-t,; t,-r.
Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: Canon and changing stress are present in mm. 1-4. Imitation- changing stress and rhythmic canon are present in mm. 5-8.
Other Features: The melody of the bicinium is based on a folk song. The tempo indicated is Lépést (step); MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 89:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\E\ra\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m f s l t d’ r’. The tone set of Part II is l, t, d r m f s l. The composite tone set of the bicinium is l, t, d r m f s l t d’ r’. The given key signature is B minor; B = la. The scale of the melody is authentic la pentatone with ti, and the scale of the bicinium is Aeolian. The tonality is Aeolian. The range is B3–E5.
Melodic turns employed are m-l-d'; m-d; d-m-s; s-r; r-m; m-r; r-l; m-s; m-f; r-m-f; f-r; s-f- m-r-d; l-m; s-l; d-l,; l,-r; m-d-l,; d-t,-l,-s,; l,-t,-d; r-d-t,-l,; r-t,; t,-m.
Formal Features: The rhythmic form is a b c b' a' b'. The melodic form is a b c a b.
Phrase structure of the bicinium is A (2+2) B (2+2+2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in mm. 3-4 and 10-12. Tonal answer is present in mm. 6-9.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: repeat signs, rallent. The tempo indicated is Lassan (slowly);
MM q= 92.
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Texas Tech University, Daniel Todd, August 2014
No. 90:
Rhythmic Features: The meter of this bicinium changes between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m f s l t d’. The tone set of Part II is l, t, d r m f s l. The composite tone set of the bicinium is l, t, d r m f s l t d’. The given key signature is B minor; B = la. The scale of both the melody and complete bicinium is
Aeolian. The tonality is Aeolian. The range is B3–D5. Melodic turns employed are l,-d'; s-m-d; m,-d; m-d; m-r; d-r-m; l-s-f-m; m-f; f-m-r; f-s-l; d-l,-s,; d-s,; r-l,; d-l,; m-l; l,-t,-d; d-t,; l,-t,-d-r-m.
Formal Features: The rhythmic form is a b b' a. The melodic form is a b b a. Phrase structure of the bicinium is A (2+3) B (3+2).
Polyphonic Features: Simple counterpoint is present in mm. 3-8 and 10. Inversion is present in m. 9.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést
(step); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 91:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m f s l t d’. The tone set of Part II is m, f, s, l, t, d r m f. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l t d’. The given key signature is D minor; D = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is A3–F5. Melodic turns employed are d-s; m-d; d-r; d-r-m; m-r; m-s; m,-m; s-f-m-r-d; s-f-m; d-f; f-m-r-d; s,-d; r- s,; l,-l; l-s; l-m; r-l,; d-t,-l,-s,; s-t; s-l-t; t-l; r-d-t,-l,-s,; d-t,-l,; t-s-m.
Formal Features: The rhythmic form is a a b a. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+3+2.
Polyphonic Features: Tonal answer is present in mm. 1-3. Free imitation is present in mm. 3-9.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: portamento. The tempo indicated is Tánclépés (dance step); MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 92:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m f s l t d’ r’ m’. The tone set of Part II is l, t, d r m f s l d’. The composite tone set of the bicinium is l, t, d r m f s l t d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is major. The tonality is major. The range is C4–E5. Melodic turns employed are d-s; m-d; d-l; d-r-m; r-d; r-s; m-s; s-f-m; m-f; l-s-f; f-m-r-d; l,-f; m-f-s; s,-d; s-l; l,-r; m-l; l,-d; m-d- l,; d-t,; t-s.
Formal Features: The rhythmic form is a b bv a'. The melodic form is a a5 av5 a. A tonal shift is present. Phrase structure of the bicinium is A (3+3) B (4+2).
Polyphonic Features: The melody of the bicinium is split between both voices.
Diminution is present in mm. 3-6. Elision is present in m. 10. Simple counterpoint is present in mm. 4-9 and 11-12.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Lépést (step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 93:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is m, fi, s, l, t, d r m. The composite tone set of the bicinium is m, fi, s, l, t, d r m s. The given key signature is C major; the implied keys are D = la, A = la. The scale of the melody is incomplete plagal la pentatone with ti, and the scale of the bicinium is Dorian. The tonality is Dorian. The range is A3–E5. Melodic turns employed are m-d; d-s; m,-d; r-m; d-r; d-r-m; s-m; s-f; m-d-s,; s,-d; l,-r; d-l,; l-s; d-l,-m,; l,-t,-d-r; s-l-t; t-l; d-t,-l,-s,; d-t,-l,; s- fi.
Formal Features: The rhythmic form is a a' a' a'. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in mm. 3-8. Free imitation is present in mm. 10-12.
Other Features: The melody of the bicinium is based on a folk song. Musical symbols and terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 94:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple, simple triple, and simple quadruple; the time signatures are 2$, 3$, and 4$. The rhythmic content consists of q\sd\Q\a A\w\W\E\ra\ar\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m f s l t d’. The tone set of Part II is m, f, s, l, t, d r m. The composite tone set of the bicinium is m, f, s, l, t, d r m f s l t d’. The given key signature is B-flat major; C = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is G3–E-flat5. Melodic turns employed are m,-d; m-r; d-r; s-m; s-f-m; r-m-f-s; r-s,; d-l,; l-s; m-l; l-r; s,-l,-t,-d; l,-t,-d; s- t; t,-m; t-l; t,-r.
Formal Features: The rhythmic form is a a av a. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is
Csendesen (tranquil); MM q= 96.
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Texas Tech University, Daniel Todd, August 2014
No. 95:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l t d’. The tone set of Part II is l, t, d r m fi s l. The composite tone set of the bicinium is l, t, d r m fi s l t d’. The given key signature is A major; B = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is B3–E5. Melodic turns employed are m-d; d-s; m-r-d; d-r; m-s; s-f; f-r; f-m; s-f-m; s,-d; l,-m; l-s; r-l,; m-l; l-s-m; m,-l,-d; d-t,-l,; d-t,; t,-l; d-t,-l,-s,.
Formal Features: The rhythmic form is a b b' a. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: slur. The tempo indicated is Lépést (step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
No. 96:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\w\xcd\W\ra
\ar\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f s l t d’ r’. The tone set of Part II is s, l, t, d r m f s. The composite tone set of the bicinium is s, l, t, d r m f s l t d’ r’. The given key signature is E minor; E = re. The scale of both the melody and complete bicinium is
Dorian. The tonality is Dorian. The range is B3–E5. Melodic turns employed are s-r; d-r; r-l; r-m; m-r-d; d-r-s; s-f; f-d; f-r; r-m-f; l-f-d; s-f-m-r; s-f-m-r-d; l-f-r; s,-l,-d; r-s,; d-l,; l,- r; r-d-l,; l-s; l,-s; r-d-t,-l,; l,-t,-d; d-l,.
Formal Features: The rhythmic form is a a a a a a av a'. The melodic form is a b c d a b c d'. Phrase structure of the bicinium is A (2+2) B (2+2) A' (2+2) B' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: fermata, C-sharp accidental. The tempo indicated is Mérsékelt tánclépés (moderate dance step); MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 97:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m f s l t d’. The tone set of Part II is s, l, t, d r m fi s. The composite tone set of the bicinium is s, l, t, d r m f fi s l t d’. The given key signature is B minor; B = la. The scale of both the melody and complete bicinium is
Dorian. The tonality is Dorian. The range is A3–D5. Melodic turns employed are m-d; d- r-m; m-r; r-s; s-m; m-f; s,-d; l-m; l-s; m-d-l,; l,-m; r-l,; d-t,-l,; m-t,; s,-l,-t,; t-s; s-fi-m.
Formal Features: The rhythmic form is a b av c. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Tonal answer is present in mm. 2-5. Free imitation is present in mm. 6-8.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur, G-sharp accidental. The tempo indicated is Lassan (slowly);
MM q= 92.
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Texas Tech University, Daniel Todd, August 2014
No. 98:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\a A\aqa\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ r’. The tone set of Part II is l, t, d r m f. The composite tone set of the bicinium is l, t, d r m f s l t d’ r’. The given key signature is C major; the implied key is D = re. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–E5. Melodic turns employed are m-d; r-m; d-r; s-r; s-f; l-f; m-f; f-r; f-m-r; d-f; f-m-r-d; l,-r; l,-d; l-m; l-s; l,- m; d-t,-l,-s,; -m-r-d-t,-l,; l-t; t,-d.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c a5. A real shift is present. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: Rhythmic canon is present in the lower voice. Free imitation is present in mm. 2-7. Tonal answer is present in mm. 8-10. Simple counterpoint is present in mm. 11-12.
Other Features: The melody of the bicinium was composed by Kodály. The tempo indicated is Tánclépésben (dance step); MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 99:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\a A\w\W\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m fi s l t d’. The tone set of Part II is m, s, l, t, d r m f s. The composite tone set of the bicinium is m, s, l, t, d r m f fi s l t d’. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–F5. Melodic turns employed are m-d; m,-d; s-m-d; r-m; d-r; d-r-m; s-m; l,-f; f-m-r-d; s-s,; s,-d; d-l,-s,; m-l; l-s; d-l,; l,-m; d-t,-l,-s,; l,-t,-d-r-m; d-t,-l,; s-fi-m-r.
Formal Features: The rhythmic form is a b bv a'. The melodic form is a b bv a. Phrase structure of the bicinium is A (4+3) B (2+3).
Polyphonic Features: Simple counterpoint is present in mm. 1-4. Tonal answer is present in mm. 5-11. Simple counterpoint is present in mm. 12-13.
Other Features: The melody of the bicinium is based on a folk song Musical symbols and terminology include: slur, B-flat accidental. The tempo indicated is Lépést (step); MM q= 100. Additional Hungarian text: Búcsúzó (farewell song).
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Texas Tech University, Daniel Todd, August 2014
No. 100:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\a A\aqa\ W\E\ra\ar\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f fi s l t d’. The tone set of Part II is r, m, f, s, l, t, d r m f. The composite tone set of the bicinium is r, m, f, s, l, t, d r m f fi s l t d’. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is G3–F5.
Melodic turns employed are l,-d'; m,-d; r-d'; m-d; m-r; l-r; d-r; m-r-d; m-s; m,-m; s-f-m; r- f; f-m-r; r-s,; s,-l,-d; s,-m; s-l; l-m; r-l,; l,-m; d-l,; d-t,-l,; r-t; t-l-s; r-t,; t-l-s; r-d-t,-l,-s,; l-t; t,-d; m-fi-s.
Formal Features: The rhythmic form is a b bv a'. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (4+3).
Polyphonic Features: Free imitation is present in mm. 3-4. Simple counterpoint is present in mm. 5-13 in the lower voice.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: slur, B-flat accidental. The tempo indicated is Lépést (step); MM q= 112.
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Texas Tech University, Daniel Todd, August 2014
5.1.3 Bicinia Hungarica, volume 3 (Nos. 101-120)
No. 101:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\Q\w. No external anacrusis is present.
Melodic Features: The tone set of Part I is l t d’ di’ r’ m’ fi’ s’. The tone set of Part II is l, r m f fi s l t d’. The composite tone set of the bicinium is l, r m f fi s l t d’ di’ r’ m’ fi’ s’.
The given key signature is F major; G = la. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is G3–F5. Melodic turns employed are m-r; m-r-d; d-r; l-s-f; f-r; f-s; f-m; l,-m; d-l,; m-l; l-s; d-t,; l,-t,-d; m-fi-s; t,-di-r; r-m-fi- s.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c d. Phrase structure of the bicinium is 4+4+4+4.
Polyphonic Features: Rhythmic canon and tonal answer are present in the lower voice.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: E-flat and B-natural accidentals. The tempo indicated is MM q=
126
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Texas Tech University, Daniel Todd, August 2014
No. 101a:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\Q\w. No external anacrusis is present.
Melodic Features: The tone set of Part I is l t d’ di’ r’ m’ fi’ s’. The tone set of Part II is l, t, d r m f fi s si l t d’ r’ m’. The composite tone set of the bicinium is l, t, d r m f fi s si l t d’ di’ r’ m’ fi’ si. The given key signature is F major; G = la. The scale of the melody is
Dorian, and the scale of the bicinium is minor. The tonality is minor. The range is G3–F5.
Melodic turns employed are m-d; d-s; m-r; m-r-d; d-r; s-m; s-f-m; m-f; l-s-f-m; l,-m; d-l,; s-l; l-m; r-l,; d-t,; d-t,-l,-s,; s-l-t; t-l; r-d-t,; t,-m; m-fi-s; t,-di-r; s-fi-m; ri-m-fi-s; s-fi; m-fi- si-l; l,-t,-di-ri-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c d. Phrase structure of the bicinium is 4+4+4+4.
Polyphonic Features: Simple counterpoint is present in the interior voice. Free imitation is present in mm. 3-6 in the lowest voice. Simple counterpoint is present in mm. 7-16 in the lowest voice.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: C- and F-sharp, E-flat, and B-natural accidentals. The tempo indicated is MM q= 126.
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No. 102:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\Q\t\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ r’ m’ f’. The tone set of Part II is l, d r m f s l t d’. The composite tone set of the bicinium is l, d r m f s l t d’. The given key signature is B-flat major; C = re. The scale of both the melody and complete bicinium is
Dorian. The tonality is Dorian. The range is G3–E-flat5. Melodic turns employed are r-m; r-d; s-f-m-r; r-m-f; f-r-l,; m-f; l,-f; f,-s,-l,-t,-d; l-f; f-d; f,-d; s-f-m-r-d; d-l,-s,; s,-r; r-l,; l,-d; r-l; m-l,; d-t,-s,; d-t,-l,; d-t,-l,-s,.
Formal Features: The rhythmic form is a a b a'v. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: Simple counterpoint is present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by József Lévay. Musical symbols and terminology include: slur. The tempo indicated is
Lassan (slowly); MM q= 63.
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No. 103:
Rhythmic Features: The meter of this bicinium changes between simple triple and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists of q\sd\Q\a A\w\ra\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is f s l t d’ r’ m’ f’ s’. The tone set of Part II is d r m f s l t d’ r’. The composite tone set of the bicinium is d r m f s l t d’ r’ m’ f’ s’. The given key signature is A major; B = re. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is B3–E5. Melodic turns employed are m-d; d-m,; m-r; r-s; r-m-f-s; s-f; f-d; f-m; f,-s,-l,-t,-d; -l-f-r; f-m-r; f,-d; l-f; m-f-s; l-s-f; s,-d; l,-r; l-s; l,-d; r-l; d-t,-l,-s,; d-t,-l,; l-t; t-l-s-f; s-l-t; t-s.
Formal Features: The rhythmic form is a a a a. The melodic form is a b bv a. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 72.
Additional Hungarian instructions: Elterjedt katonadal, szövege legkésőbb a XIX.-XX. századforduló idejéből. (Popular marching song, around the turn of the last century, nineteenth-twentith century).
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No. 104:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\a A \W\E\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f fi s l t. The tone set of Part II is r, m, f, fi, s, l, t, d r m. The composite tone set of the bicinium is r, m, f, fi, s, l, t, d r m f fi s l t. The given key signature is C major; the implied key is D = la. The scale of the melody is Dorian, and the scale of the bicinium is minor. The tonality is minor. The range is G3–
E5. Melodic turns employed are m-d; d-s; d-r-m; m-r; r-d; m,-r; r-s; s-m; s-f-m-r-d; s-f-m; l-f-r; s,-d; s,-m; s,-r; l,-m; l-m; m-d-l,; d-l,; r-l,; l-s; d-t,-l,; l-t; r-t; s-l-t; t-s; d-t,-l,-s,; m-fi- s; m-fi; fi-r.
Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm. 2-3 and 5-6. Tonal answer is present in mm. 7-10. Simple counterpoint is present in mm. 11-12.
Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést
(step); MM q= 112.
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No. 105:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\w\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f s l te t d’ r’. The tone set of Part II is f, s, l, te, t, d r m f. The composite tone set of the bicinium is f, s, l, te, t, d r m f s l te t d’ r’.
The given key signature is D major; D = do. The scale of both the melody and complete bicinium is major. The tonality is major. The range is G3–E5. Melodic turns employed are d-d,; s-d; d-m-s; m-d; d-r; r-m; s-f-m-r-d; s-f; s-f-m-r; s,-f; f-m-r; f-s-l; l,-f; m-f-s; s,-d; l,-r; d-t,; d-t,-l,; s-te; te-l-s; d-te,.
Formal Features: The rhythmic form is a b b' a'. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: Simple counterpoint is present in mm. 1-7 and 10-12. Free imitation is present in mm. 8-10.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: C-natural. The tempo indicated is Lépést (step); MM q= 116.
Additional Hungarian instructions: Elterjedt katonadal, szövege legkésőbb a XIX.-XX. századforduló idejéből. (Popular marching song, around the turn of the last century, 19th-
20th).
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No. 106:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\a A\aqa\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m f s si l t d’ r’ m’. The tone set of Part II is l, t, d r m f fi s l. The composite tone set of the bicinium is l, t, d r m f fi s si l t d’ r’ m’. The given key signature is C major; the implied key is E = mi. The scale of both the melody and complete bicinium is Phrygian. The tonality is Phrygian. The range is A3–E5.
Melodic turns employed are d-m; d-m-s; m-r; d-r; d-r-m; l-s-f-m; s-f-m-r-d; l-m; l,-d-m; m-l,; l,-l; m-r-d-t,; t,-m; l-t; l,-t,-d; m-r-d-t,-l,; r-d-t,; l-si; m-fi-s.
Formal Features: The rhythmic form is a a av a. The melodic form is a b c d. Phrase structure of the bicinium is 3+3+3+3.
Polyphonic Features: Motives are present in mm. 1-6. Simple counterpoint is present in mm. 7-9. Inversion is present in mm. 10-11.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: F- and G-sharp accidentals, slur. The tempo indicated is Lassacskán
(slowly); MM q= 88.
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No. 107:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m f fi s l t d’ r’ m’. The tone set of Part II is s, l, te, t, d r m f s l. The composite tone set of the bicinium is s, l, te, t, d r m f fi s l t d’ r’ m’. The given key signature is C major; the implied key is D = re. The scale of the melody is Dorian, and the scale of the bicinium is minor. The tonality is minor. The range is G3–E5. Melodic turns employed are m-d; m,-d; d-l; d-s; d-m-s; r-d; l-r; m-r-d; m-r; s-r; s-m; l-s-f; r-m-f; d-f; f,-d; l-f; s-f-m; s-f-m-r-d; f-m-r-d; f-m; r-m-f-s; l,-f; r-d-t,-l,; s,-d; m- d-s,; s,-r; r-l,; l-s; l-m; m-d-l,; l,-m; l,-l; l,-t,-d; d-l,; s-l-t; t,-d; t-s; r-d-t,-l,-s,; l-t; t,-s; d-t,- l,-s,; m-fi-s; m-fi; fi-r; d-te,; l-te.
Formal Features: The rhythmic form is a a a' a'v a' av b c a av. The melodic form is a b a4 c a b d e a b. A real shift is present. Phrase structure of the bicinium is A (8+8) B (8+9)
A' (8+8) C (8+9) A'' (8+8).
Polyphonic Features: The melody of the bicinium is split between both voices. Free imitation is present in mm.1-17 and 43-60. Simple counterpoint is present in mm. 21-32,
36-41, 61-63, and 67-82.
Other Features: The melody of the bicinium was composed by Kodály. Musical symbols and terminology include: p, f, dim., cresc., fermata, F-sharp and B-flat accidentals,
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Texas Tech University, Daniel Todd, August 2014 accent, slur, kissé lassítva (a little slower). The tempo indicated is Folyékonyan (fluently);
MM q= 126. Additional Hungarian instructions: csak elgondolt hangok (inner hear).
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No. 108:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a
A\w\W\ra\ar\gc. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d di r ri m f fi s l t d’. The tone set of Part
II is m, f, fi, s, l, t, d di r m f s l. The composite tone set of the bicinium is m, f, fi, s, l, t, d di r ri m f fi s l t d’. The given key signature is D minor; D = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is A3–F5.
Melodic turns employed are s-m-d; d-m,; m-d; r-s; m-r-d; m,-r; r-d; m-s; l-f; f-m; l-s-f; f- s; s-f-m-r; l,-f; f-m-r; d-r-m-f-s; s-f-m; m,-l,-d; r-l,; m-l; l,-t,-d-r-m; d-t,-l,; l-t; t,-t; t-l-s; d- t,; r-d-t,-l,; t,-m; d-t,-l,-s,; r-d-t,-l,-s,; s-fi-m-r; l,-t,-di-ri-m; s-fi; m-fi-s; l,-t,-di-r.
Formal Features: The rhythmic form is a a b a. The melodic form is a a4 b a. A real shift is present. Phrase structure of the bicinium is A (3+3) B (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium is based on a folk song. Musical symbols and terminology include: slur, F- and G-sharp, B-natural accidentals. The tempo indicated is Lépést (step); MM q= 116.
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No. 109:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\ar\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is t, d r m f fi s l t d’ r’ m’ f’. The tone set of Part
II is s, l, t, d r m f. The composite tone set of the bicinium is s, l, t, d r m f fi s l t d’ r’ m’ f’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is major. The tonality is major. The range is G3–F5. Melodic turns employed are m,-d; d-m; m-r-d; d-r; s-r; r-m; s-m; s-f-m; r-m-f; f-d; m-f; f-m-r-d; d-s,; s,- s; s-l; r-l,; l,-m; d-t,; s,-l,-t,-d; r-d-t,; t-l; t-m; r-t,; t-l-s; d-t,-l,; d-r-m-fi-s; s-fi.
Formal Features: The rhythmic form is a a' b a. The melodic form is a a5 b a. A real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Simple counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály. The bicinium is subtitled Köszöntő Vers (Welcoming Verses). Musical symbols and terminology include: repeat, 1st and 2nd ending. The tempo indicated is Frissen (freshly); MM q= 96.
Additional Hungarian instructions: szünetel (suspended).
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No. 110:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\a A\E\ra\ar\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, t, d r m f s. The tone set of Part II is d, r, m, f, s, l, t, d r. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s. The given key signature is A flat major; E flat = so. The scale of both the melody and complete bicinium is Mixolydian. The tonality is Mixolydian. The range is A-flat3–E-flat5.
Melodic turns employed are s-d; d-m; m-r-d; r-s; m-r; d-r; r-l; m-s; s-f-m; s-f; f-l; l-s-f; f- r; s-f-m-r; s,-r; s,-d; l,-r; l-m; d-t,; t,-m; t,-r; r-d-t,; t-s; s-l-t; d-t,-l,; l-t.
Formal Features: The rhythmic form is a b b'v a. The melodic form is a b bv a. Phrase structure of the bicinium is A (3+4) B (3+3).
Polyphonic Features: Rhythmic canon is present in mm. 1-10. Tonal answer is present in mm. 6-8. Free imitation is present in mm. 9-11. Simple counterpoint is present in mm.
12-14.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: C-, F-, and G-sharp accidentals. The tempo indicated is Lassan
(slowly); MM q= 60. Additional Hungarian instructions: Ism. (repeat).
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No. 111:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\a A\E\ra \ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ r’. The tone set of Part II is l, t, d di r m f fi s si l t d’. The composite tone set of the bicinium is l, t, d di r m f fi s si l t d’ r’.
The given key signature is C major; the implied key is D = re. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–D5.
Melodic turns employed are d-r; r-m; r-s; r-m-f; m-f-s; s-f; f-r; s-f-m-r-d; d-t,-l,-s,-f,; r-m- f-s; d-l,; s-l; l-r; l,-t,-d; t,-d-r; d-t,-l,-s,; t,-di-r; m-fi-s; fi-si-l; d-r-m-fi-s.
Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 a. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: Imitation-changing stress is present in mm. 1-6. Simple counterpoint is present in mm. 7-8.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: F-sharp and B-flat accidentals, slur. The tempo indicated is Frissen
(freshly); MM q= 144.
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No. 112:
Rhythmic Features: The meter of this bicinium changes between simple triple and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists of q\sd\Q\a A\xccc \w\sxc \W\gc\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, t, d r m f s l. The tone set of Part II is m, s, l, t, d di r m f. The composite tone set of the bicinium is m, s, l, t, d di r m f s l. The given key signature is C major; the implied key is D = la. The scale of both the melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is A3–D5. Melodic turns employed are s-d; d-m; l-r; r-s; d-r; m-r; d-r-m; m,-m; l-s-f-m-r; r-f; f-s; f-m; f-d; s- f-m; s,-s; s,-d; l,-l; s-l; m-l; r-l,; m-r-d-t,-l,; l,-d; l,-m; r-d-t,-l,-s,; d-t,-l,-s,; l-fi; fi-s; m-di; di-r.
Formal Features: The rhythmic form is a b c d a' b c' dv. The melodic form is a b c d a b c d. Phrase structure of the bicinium is A (2+2) B (2+2) A' (3+2) B' (2+2).
Polyphonic Features: Real answer and imitation-changing stress are present in mm. 1-3 and 10-12. Tonal answer and imitation-changing stress are present in mm. 4-5 and 14-15.
Free imitation is present in mm. 6-9 and 15-16. Simple counterpoint and drone are present in mm.17-18.
Other Features: The melody of the bicinium is a folk song. Musical symbols and terminology include: accent, slur, C- and A-sharp and F-natural accidentals, pp, p, f, cres.
The tempo indicated is Egyenletesen beszélve (smoothly spoken); MM q= 69.
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No. 113:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, te, t, d r m f s l. The tone set of Part II is d, r, ri, m, f, fi, s, l, te, t, d. The composite tone set of the bicinium is d, r, ri, m, f, fi, s, l, te, t, d r m f s l. The given key signature is E minor; E = la. The scale of both the melody and complete bicinium is Phrygian. The tonality is Phrygian. The range is G3–E5. Melodic turns employed are d-s; m,-d; d-l; m-r; r-d; m-r-d; r-s; m-f; r-m-f; s-f; d-f; s-f-m; f-m-r-d; l-s-f; f-r; l-f; l-f-r; s-l; r-l,; l,-d; d-t,-l,-s,; l,-t,-d; d-t,; d-te,-l,; s-l-te; s-fi-m; m-ri; r-te.
Formal Features: The rhythmic form is a a a a a a. The melodic form is a b c d e f. Phrase structure of the bicinium is A (4+3) B (4+3) C (4+3).
Polyphonic Features: Free imitation is present in mm. 2-15. Imitation-changing stress is present in mm. 15-21. Simple counterpoint is present in mm. 22-42. Drone is present in mm. 22-23, 25-26, 30-32, and 36-37.
Other Features: The melody of the bicinium is from Cantus Catholici, 1651. Musical symbols and terminology include: accent. The tempo indicated is MM q=100.
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No. 114:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\a
A\w\W\E\e \ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’. The tone set of Part II is m, l, t, d r m f s. The composite tone set of the bicinium is m, l, t, d r m f s l t d’. The given key signature is E-flat major; G = mi. The scale of both the melody and complete bicinium is
Phrygian. The tonality is Phrygian. The range is G3–E-flat5. Melodic turns employed are r-l; r-s; d-r; m-r-d; m-r; m-s; s-f; f-r; f-m-r; s-f-m-r; s-f-m; r-f; r-s,; s,-m; d-s,; l,-d; s-l; l,- m; l-m; d-t,; t-s; t-s-m; t-l-s; l,-t,-d; t,-r; d-t,-l,-s,; m-t,; t,-s; l-t.
Formal Features: The rhythmic form is a a' av b b bv. The melodic form is a b c a b c.
Phrase structure of the bicinium is A (2+2+2) A' (2+2+3).
Polyphonic Features: Free imitation is present in mm. 2-6. Simple counterpoint is present in mm. 7-13.
Other Features: The melody of the bicinium is from Cantus Catholici, 1651. Musical symbols and terminology include: fermata, slur. The tempo indicated is MM q= 84.
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No. 115:
Rhythmic Features: There is no meter or time signature. The rhythmic content consists of q\w\E\e . No external anacrusis is present.
Melodic Features: The tone set of Part I is t, d r m f fi s l. The tone set of Part II is d, r, m, f, fi, s, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, fi, s, l, t, d r m f fi s l.
The given key signature is G major; G = do. The scale of both the melody and complete bicinium is major. The tonality is major. The range is G3–E5. Melodic turns employed are d-m; m,-d; d,-d; d-r; r-m; m-r-d; m-s; d-r-m-f; m-f-s-l; r-f; f-m-r; s-f-m; l-f; f-m; s,-d; s-l; l,-d; m-l; d-t,; m-r-d-t,; t-s; s,-l,-t,-d; d-t,-l,; s-fi.
Formal Features: The rhythmic form is a av av a av. The melodic form is a b c d e. A real shift is present. Phrase structure of the bicinium is A (1) B (1) C (1) D (1) E (1).
Polyphonic Features: Real answer is present in m. 1. Tonal answer is present in m. 2 and mm. 4-5. Free imitation is present in m. 3. Free imitation is present in m. 5.
Other Features: The melody of the bicinium is from Psalm 124 as taken from the
Genevan Psalter, 1551. Musical symbols and terminology include: slur, fermata, C-sharp accidental. The tempo indicated is MM w= 66.
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No. 116:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\w\W\E\e . No external anacrusis is present.
Melodic Features: The tone set of Part I is s, si, l, t, d r m f s l t d’ r’. The tone set of Part
II is d, r, m, f, s, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, s, si, l, t, d r m f s l t d’ r’. The given key signature is G major; B = la. The scale of the melody and bicinium is Aeolian. The tonality is Aeolian. The range is F-sharp3–G5. Melodic turns employed are r-m; m-r-d; d-r; m-s; r-m-f; s-f-m; s-f-m-r-d; f-s; d-f; f-m; f-s-l-t; s,-d; m-l; s-l; l,-r; s-l-t; l-t-d; t,-d-r; t-l-s; d-t,; t-s; d-t,-l,-s,; m-r-d-t,; t,-s; m-t,; r-t,; t-m; t-l-si.
Formal Features: The rhythmic form is a a av a a av. The melodic form is a b c a5 b5 c5.
A real shift is present. Phrase structure of the bicinium is A (5+5+7) A' (5+5+7) Coda (3).
Polyphonic Features: The melody of the bicinium is split between both voices. Tonal answer is present in mm. 2-17 and 19-28. Imitation at the octave is present in mm. 29-32.
Simple counterpoint is present in mm. 32-37. Drone is present in mm. 34-37.
Other Features: The melody of the bicinium was based on a poem by Bálint Balassi and a sixteenth-century melody. Musical symbols and terminology include: slur, fermata, C- sharp accidental. The tempo indicated is MM w= 52.
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No. 117:
Rhythmic Features: There is no meter or time signature. The rhythmic content consists of q\w\E\e . No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s si l t d’ r’ m’. The tone set of Part II is l, t, d di r m f s l. The composite tone set of the bicinium is l, t, d di r m f s si l t d’ r’ m’.
The given key signature is C major; the implied key is D = re. The scale of both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3–D5.
Melodic turns employed are m,-d; m-d; r-l; r-m; r-d; r-s; m-r-d; m-r; m-s; s-f-m; f-m-r; s- f-m-r-d; f-m; l-s-f; f-r; l,-d; s-l; l,-r-d; l,-r; l-m; l,-m; d-t,-l,-s,; d-t,-l,; s,-l,-t,-d; l,-t,-d-r-m; l-t; t,-r; r-d-t,; r-d-t,-l,; l-si; r-di.
Formal Features: The rhythmic form is a a b c. The melodic form is a a b c. Phrase structure of the bicinium is A (2+2) B (3+3).
Polyphonic Features: Tonal answer is present in mm. 1 and 3. Free imitation is present in mm. 2 and 4-6. Simple counterpoint is present in mm. 7-10.
Other Features: The melody of the bicinium is from Psalm 33 as taken from the Genevan
Psalter, 1547. Musical symbols and terminology include: slur, fermata, C- and G-sharp accidentals. The tempo indicated is MM w= 72.
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No. 118:
Rhythmic Features: There is no meter or time signature. The rhythmic content consists of q\w\E\e . No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f s. The tone set of Part II is d, r, m, f, fi, s, l, t, d r. The composite tone set of the bicinium is d, r, m, f, fi, s, l, t, d r m f s.
The given key signature is G major; D = so. The scale of the melody is Mixolydian and the scale of the bicinium is major. The tonality is major. The range is G3–D5. Melodic turns employed are m-d; d-r-m; d-r; s-r; r-m; s-m; r-m-f; f-r; f-s; d-f; d-f-l; l-s-f-m; s-f-m; m-f; l-f; f,-l,-d; s,-r; s,-d; r-l,; l,-d; l-s; m-l; d-t,; d-t,-l,-s,; l,-t,-d-r; r-t,; t-l; t-l-s; l,-t,-d; t-s; r-d-t,; t-s-m; l-fi; fi-t; t-l-s-fi; m-fi-s; s-fi; fi-r.
Formal Features: The rhythmic form is a b c d. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Simple counterpoint is present in the lower voice. Sequence is present in mm. 5-6.
Other Features: The melody of the bicinium is from Psalm 126 as taken from the
Genevan Psalter, 1551. Musical symbols and terminology include: slur, fermata, C-sharp accidental. The tempo indicated is MM e = 72.
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No. 119:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2@and 3$. The rhythmic content consists of q\sd\Q\a A\w\t\W\E\e \ra\ar\gc\vh.
No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, t, d r m f s l. The tone set of Part II is d, r, m, f, fi, s, si, l, t, d di r ri m. The composite tone set of the bicinium is d, r, m, f, fi, s, si, l, t, d di r ri m f s l. The given key signature is E minor; A = re. The scale of both the melody and complete bicinium is minor. The tonality is minor. The range is G3–E5.
Melodic turns employed are d-m; s-d; m-r; m-r-d; d-r; r-s; m-s; m,-m; m-f; r-m-f; s-f-m; f-m-r-d; l,-f; f-s-l; f-r; d-f; f-s; l-f; r-f; s,-d; s,-m; l,-d; r-l,; l,-l; s-l; m-l; d-t,; t,-r; r-d-t,-l,-s,; d-t,-l,; t-l; t,-m; t,-s; r-di; s-fi; fi-m; m-fi-si-l; t-si; si-l; m-ri; ri-di; ri-t,; t-l-si;.
Formal Features: The rhythmic form is A [a1 (a a' b) a2 (a'v av b) a3 (a'v c b)] A' [a4 (d a' b) a5 (a'v a'v bv) a2 (e a' b)]. The melodic form is A [a1 (a b c) a2 (a b c) a3 (a5 b5 c5)]
A' [a4 (a b c) a5 (a5 b5 c5) a2 (a b cv)]. A real shift is present. Phrase structure of the bicinium is A [a1 (4+4+5) a2 (4+4+6) a3 (4+4+6)] A' [a4 (4+4+6) a5 (4+4+6) a2
(4+4+5)].
Polyphonic Features: The melody of the bicinium is split between both voices. Sequence is present in mm. 1-8. Free imitation is present in mm. 10-13, 23-27, 47-55, and 76-79.
Real answer is present in mm. 15-18. Tonal answer is present in mm. 19-22. Simple counterpoint and changing stress is present in mm. 27-35. Imitation at the octave is
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75 and 80-83. Drone is present in mm. 26-27, 40-41, 54-55, and 69-70.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Péter Bornemissza. The bicinium is subtitled Cantio Optima (Very Good Songs).
Musical symbols and terminology include: slur, fermata, pp, p, f, dim., cresc., C-, D-, G-, and A-sharp and F-natural accidentals, meno mosso, Tempo I, rall.. The tempo indicated is MM w= 52.
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No. 120:
Rhythmic Features: The meter of this bicinium changes irregularly between simple triple and asymmeterical; the time signatures are 3$and 5$. The rhythmic content consists of q\Q\w\ t\W. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m f s l t d’ r’ m’. The tone set of Part II is s, l, te, d r m f s si l te. The composite tone set of the bicinium is s, l, t, te, d r m f s si l te d’ r’ m’. The given key signature is C major; the implied key is A = la. The scale of both the melody and complete bicinium is Phrygian. The tonality is Phrygian. The range is G3–
E5. Melodic turns employed are d-r; m-r-d; r-m; s-m; l-f-r; r-f; f-s; f-m; l,-f; s,-d; m-d-l,; l,-d; l-s; s,-t,-d; d-t,; t,-m; l-t; f-r-te,; te,-r; r-d-te,; te-s; d-te,; te,-te; te-l-si.
Formal Features: The rhythmic form is a b a b a b. The melodic form is a b a av d e.
Phrase structure of the bicinium is A (2+2) A' (2+2) B (2+2).
Polyphonic Features: Tonal answer is present in mm. 1-4. Imitation at the octave is present in m. 5. Imitation-changing stress is present in mm. 5-8. Free imitation is present in mm. 9-10. Simple counterpoint is present in mm. 11-12.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Miklós M. Tótfalusi Kis. Musical symbols and terminology include: accent, fermata, G-sharp and B-flat accidntals. The tempo indicated is MM q= 108. Additional
Hungarian text: Siralmas panasz, 1697 (lamentable complaint).
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5.1.4 Bicinia Hungarica, volume 4 (Nos. 121-180)
No. 121:
Rhythmic Features: The meter of this bicinium changes irregularly between asymmetrical and compound duple; the time signatures are 5$and 6$. The rhythmic content consists of q\sd\Q\a A\W\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is si l t d’ r’ m’. The tone set of Part II is l, d di r m f fi s t. The composite tone set of the bicinium is l, d di r m f fi s si l t d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is minor. The tonality is minor. The range is A3–E5. Melodic turns employed are m-r; r-d; s-m; s-f; m-f; f-r; r-m-f; d-l,; r-l,; l,-t,-d; d-t,; t,-m; l-si,; m-fi-s; s-fi; fi-m; r- di.
Formal Features: The rhythmic form is a a a a. The melodic form is a b c cv. Phrase structure of the bicinium is 1+1+1+1.
Polyphonic Features: Real answer is present in mm. 1-2 and 3-4. Free imitation is present in mm. 3. Simple counterpoint is present in mm. 4.
Other Features: The melody of the bicinium is based on a Finnish folk song appearing in a collection of Béla Ford Vikar. The bicinium is subtitled Vejnemöjnën fohásza
(Kalëvala, 45.ének) (no translation available) . Musical symbols and terminology include:
C-, F-, and G-sharp accidentals. The tempo indicated is Mérsékelten (moderately); MM q= 80.
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No. 122:
Rhythmic Features: The meter of this bicinium is asymmeterical; the time signature is 5$. The rhythmic content consists of q\sd\Q\a
A\w\e \gc\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
G3–E5. Melodic turns employed are d-m-s; d-m; m-r; m-r-d; d-r; r-s; r-r'; m-s; s,-d; l-s; d- l,; l-s-m; m-l; l,-d-m; m-l,; l,-r.
Formal Features: The rhythmic form is a av a a a. The melodic form is a b a c cv. Phrase structure of the bicinium is A (2+3) A' (2+2) Coda (4).
Polyphonic Features: Free pentatonic counterpoint is present in mm. 3-5. Imitative pentatonic counterpoint and imitation changing stress are present in mm. 6-13.
Other Features: The melody of the bicinium is based on a Finnish folk song appearing in a collection of Béla Ford Vikar. The bicinium is subtitled Vejnemöjnën (Kalëvala, 3.
ének) (no translation available). Musical symbols and terminology include: pp, p, f, cresc., dim., fermata. The tempo indicated is Lassan (slowly); MM q= 66.
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No. 123:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t\E\ra\gc\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are d-m,; d-m; d-r; m-r-d; m-r; s-r; s-m; s,-l,-d; s,-d; s,-d-m; r-l,; l-s; d-l,; l-m; l,-l; m-l,.
Formal Features: The rhythmic form is a b c d. The melodic form is a b a5 b5. A tonal shift is present. Phrase structure of the bicinium is A (4+4) B (5+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-16.
Other Features: The melody of the bicinium is a Chermiss folk song with text from a poem by Sándor Weöres. The bicinium is subtitled éjjeli vendégëk (nocturnal visitors).
The tempo indicated is Élénken (lively or brisk); MM q= 144.
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No. 124:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l d’. The tone set of Part II is m, s, l, d r m s. The composite tone set of the bicinium is m, s, l, d r m s l d’. The given key signature is B flat major; C = la. The scale of the melody is authentic plagal la pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentaonic, minor character. The range is G3–E-flat5. Melodic turns employed are d'-s-m; s-m-d; m-r; r-d; d-r-m; m-s; s,-d; m-d-s,; l-m; l,-d; m-d-l,; l,-r; l-s.
Formal Features: The rhythmic form is a a b a. The melodic form is a a b c. Phrase structure of the bicinium is A (2+2) B (2+2).
Polyphonic Features: Rhythmic canon and free pentatonic counterpoint are present in the lower voice.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Weöres. The bicinium is subtitled lëánykérők (daughter of suitors). The tempo indicated is Frissen (freshly); MM q= 104.
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No. 125:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are d-m,; d-m; m-r-d; d-r; r-m; s-r; m-s; m,-m; s,-d; s-l; l,-d-m; r- l,; m-l; l,-d; l,-s; m-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Inversion is present in mm. 3-4. Free pentatonic counterpoint is present in mm. 7-8 and 13-16.
Imitative pentatonic counterpoint is present in mm. 9-13.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled bárcsak madár lëhetnék (wish I could be a bird). Musical symbols and terminology include: slur. The tempo indicated is Lassacskán
(slowly); MM q= 108.
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No. 126:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’. The tone set of Part II is s, l, d r m s.
The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is B flat major; C = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentaonic, minor character. The range is B-flat3–E- flat5. Melodic turns employed are m-s-d'; d-m; m-r; d-r; d-r-m; r-m; m-s; d-l,-s,; s,-d; l,-d; l-s-m; s-l; l-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic canon, changing stress, and imitative pentatonic counterpoint are present in mm. 1-8.
Free pentatonic counterpoint and changing stress are present in mm. 9-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled nyúl és kutya (rabbit and dog). The tempo indicated is Gyorsan (rapidly); MM q= 160.
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No. 127:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\w\sxc\xcd\ E\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are m-l-d'; d-m; d-s; l-d; d-r; d-r-m; s-m; s,-d; r-s,; s-l; l-m; l,-d; r-l,.
Formal Features: The rhythmic form is a a a a'. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (3+3) A' (3+3).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 3-5 and 9-10. Free pentatonic counterpoint is present in mm. 6 and 11-12.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Weöres. The bicinium is subtitled hazafelé (homeward). Musical symbols and terminology include: fermata, slur. The tempo indicated is Mélán (dreamy); MM q=
80.
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No. 128:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\a A\sxc\xcd\ E\ra\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s l d’ r’ m’. The tone set of Part II is s, l, d r m s l d’. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; C = do, F = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character. The range is C3–E5. Melodic turns employed are d-m; d-r-m; m-r; d-r; s,-d; s,-m; d-l,-s,; r-l,; l-s; l,-d.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-5 and 10-13. Free pentatonic counterpoint is present in mm. 6-8 and 13-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenc Jankovich. The bicinium is subtitled búcsúzó (farewell). Musical symbols and terminology include: slur. The tempo indicated is Frissen (freshly); MM a= 160.
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No. 129:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\a A\w\t\ra\ar\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is A3–E5. Melodic turns employed are m-s-d'; d-m; s-d; r-d; m,-r; d-r-m; m-r; s-r; s-m; s,-r; s,-d; l-s; r-l,; l-m; d-l,; l,-d-m; r-l; m-l,; r-l.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+5).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Weöres. The bicinium is subtitled visszanéző (no translation available).
Musical symbols and terminology include: fermata, slur. The tempo indicated is Lassan
(slowly); MM q= 80.
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No. 130:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\w\t\E\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is D major; A = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are m-d; d-m-s; s-d; m-r; m-r-d; m-s; r-s,; s,-m; r-l,-s,; d-l,; l-s; l- m; l,-d-m.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Drone is present in mm. 1-2. Augmentation and changing stress is present in mm. 1-4. Inversion is present in mm. 3-4. Imitative pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály. The bicinium is subtitled hosszú éjszaka (long night). The tempo indicated is Lassan (slowly); MM q=
76.
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No. 131:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\ar\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range is A3–E5. Melodic turns employed are d'-l-m; m,-d; d-m; s-m-d; d-r-m; d-r; m-r; r-l; s-m; s,-r; d-l,-s,; m-s,; l-s; r-d- l,; l,-d; l-m; l,-m; r-l,; l-s-m.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled nem mëhetünk haza (we do not go home).
The tempo indicated is MM q= 112.
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No. 132:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is G3–E5.
Melodic turns employed are d-m,; m-s-d'; d-m; d-m-s; d-s; l-d; r-d; m-r-d; m-r; s-m; s,-d; r-s,; d-l,-s,; s,-m; d-l,; l-m; l,-r; s-l; m-l,; l,-d-m.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled a haszontalan (useless, futile, naughty).
The tempo indicated is Lassacskán (slowly); MM q= 92.
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No. 133:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\sxc\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are d-m; d'-l-m; d-m-s; s-d; m-r-d; d-r; m,-r; s-m-r; r-s; s-m; d-s,; s,-m; d-l,-s,; r-d-l,; l,-r; m-l; m-l-s; l-s; m-l,; l,-d-m; l,-s; l,-r-d.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a3 b6. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Motives are present in mm. 1-3. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled Rontó Pálék (no translation available).
Musical symbols and terminology include: slur. The tempo indicated is Lassacskán
(slowly); MM q= 92.
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Texas Tech University, Daniel Todd, August 2014
No. 134:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\xccc\aqa\ra\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is m, s, l, d r m s l. The composite tone set of the bicinium is m, s, l, d r m s l d’ r’ m’. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l. The given key signature is C major; C = do, F = do. The scale of the melody is incomplete plagal so pentatone, and the scale of the bicinium is major. The tonality is major. The range is A3–E5. Melodic turns employed are d-m; d'-s-m; d-m,; m-r-d; d-r; m-r; s-r; m-s; s,-d; s,-r; r-l,; l-s; d-l,; l,-d-m; m-l.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-5. Free pentatonic counterpoint is present in mm. 6-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled tékozló fiú (prodigal song). Musical symbols and terminology include: slur. The tempo indicated is Élénken (lively or brisk);
MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 135:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\xcd\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; the implied key is A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E5. Melodic turns employed are m,-d; d'-s-m; d-s; r-d; m-r; r- s; r-l; s-m; l,-r; l-s; l-m; d-l,; m-d-l,; l,-m.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Inversion is present in mm. 2-5. Free pentatonic counterpoint is present in mm. 6-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled furcsa falu (quaint village). Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q = 132.
225
Texas Tech University, Daniel Todd, August 2014
No. 136:
Rhythmic Features: The meter of this bicinium changes irregularly between simple quadruple and asymmetrical; the time signature is 4$and 5$. The rhythmic content consists of q\sd\Q\aA\w\sxc\W\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
A3–E5. Melodic turns employed are d-m; d'-s-m; d-s; s-m-d; m-r; m-r-d; d-r; s-m-r; r-s; s-m; d-s,; s,-l,-d; s,-m; r-l,; l,-d; m-l; l,-r; s-l; l,-m.
Formal Features: The rhythmic form is a a a a'. The melodic form is a b a4 b4. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Motives are present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled mit érünk? (what do we get?). Musical symbols and terminology include: slur. The tempo indicated is Mérsékelten (moderately);
MM q= 84.
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Texas Tech University, Daniel Todd, August 2014
No. 137:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\w\t\W. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is m, s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l d’ r’ m’. The given key signature is B-flat major; C = la. The scale of the melody is authentic la pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor character. The range is G3–E-flat5. Melodic turns employed are m-d; m-s-d'; d'-l-m; m-r; r-s; d-r-m; d-r; s-m; d-s,; s,-m; l,-d; l-m; l-s; l-s-m; l,-r.
Formal Features: The rhythmic form is a b a' b'. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (3+4) A' (3+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and changing stress are present in mm. 1-3. Free pentatonic counterpoint is present in mm. 4-7. Augmentation is present in mm. 8-11. Free pentatonic counterpoint is present in mm. 12-14.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled a szëgény sorsa (fate of the poor). Musical symbols and terminology include: slur, grace notes, fermata. The tempo indicated is MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 138:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\aA\w\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s l d’ r’ m’. The tone set of Part II is l, d r m s.
The composite tone set of the bicinium is l, d r m s. The given key signature is C major;
C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5. Melodic turns employed are d'-l-m; d-m; d-m-s; d-r; m-r-d; m-r; m-s; s,-d; d-l,-s,; s,-m; d-l,; m-l; s-l; l,- r; l,-m.
Formal Features: The rhythmic form is a a a' a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 5-8. Imitation-changing stress is present in mm.
9-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled fekete szëmű (black-eyed). Musical symbols and terminology include: slur. The tempo indicated is MM q= 92. Additional
Hungarian instructions: Egyenlőtlen ütemre is meg kell tanulnunk lépni (Also need to learn to enter on an unequal beat).
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Texas Tech University, Daniel Todd, August 2014
No. 139:
Rhythmic Features: The meter of this bicinium changes irregularly between simple triple, asymmetrical, and compound duple; the time signatures are 3@, 5$, and 6$. The rhythmic content consists of q\sd\Q\w\snd\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d m s l d’ r’ m’. The tone set of Part II is l, d r m s. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of the melody is authentic do pentatone, and the scale of the bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is A3–E5. Melodic turns employed are d-m; d'-l-m; m,-d; d-m-s; d- s; d-r; d-r-m; s-r; r-m; s-m; d-s,; r-s,; s,-l,-d; d-l,; l-m; r-l,; s-l; m-d-l,; l,-m.
Formal Features: The rhythmic form is a b c d. The melodic form is a b c d. Phrase structure of the bicinium is 2+2+2+2.
Polyphonic Features: Imitation-changing stress and imitative pentatonic counterpoint is present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled mit bánkódol? (what grieving?). Musical symbols and terminology include: slur. The tempo indicated is Szélesen (broadly); MM q= 88.
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Texas Tech University, Daniel Todd, August 2014
No. 140:
Rhythmic Features: The implied meter of this bicinium is simple duple; the implied time signature is 2$. The rhythmic content consists of q\sd\a A \xcd. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are m,-d; d'-l-m; m-s-d'; d-m-l; r-d; s-r; d-r-m; m-s; d-s,; d-l,; l,- r; l-m; s-l; l-s-m; l,-d-m; l,-m.
Formal Features: The rhythmic form is a av av av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 1-8 and 13-16. Imitative pentatonic counterpoint is present in mm. 9-12.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled párod mért nincs? (your partner is not measured?). Musical symbols and terminology include: sf. The tempo indicated is
Allegro; MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 141:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\a A\w\sxc\xcd\ t\E\ra\ar\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is r, m, s, l, d r m. The composite tone set of the bicinium is r, m, s, l, d r m s l d’ r’ m’. The given key signature is A minor; A = la, F = do. The scale of both the melody and complete bicinium is authentic do hexachord ending on la. The tonality is pentatonic, minor character. The range is G3–E5. Melodic turns employed are m-d; d-l; m,-d; r-m; d- r; s-m-r; r-m; m,-r; r,-r; l-r; r-s; m-r-d; s-m; d-s,; d-l,-s,; r-l,; l-s; l,-d; m-l.
Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled sëhogy së jó (I could not well). Musical symbols and terminology include: slur, fermata, accent, dim. The tempo indicated is
Lassan (slowly); MM q= 72.
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Texas Tech University, Daniel Todd, August 2014
No. 142:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple quadruple; the time signatures are 2$and 4$. The rhythmic content consists of q\sd\Q\w\sxc\t\E. No external anacrusis is present.
Melodic Features: The tone set of Part I is s l d’ r’ m’ s’. The tone set of Part II is l, d r m s l d’ r’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’ s’. The given key signature is F major; B-flat = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
G3–F5. Melodic turns employed are m-d; d-m-s; d-l; s-d; d-r-m; m-r; d-r; s-r; s-m-r; m-s; s,-d; s,-m; s,-l,-d; r-l,; l-m; l,-d; l-s; l,-d-m; l,-m; r-d-l,.
Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 2-8. Inversion is present in mm. 9-12. Free pentatonic counterpoint and changing stress are present in mm. 13-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled hajnali elmélkëdés (morning meditation).
Musical symbols and terminology include: grace notes. The tempo indicated is Lassan
(slowly); MM q= 69.
232
Texas Tech University, Daniel Todd, August 2014
No. 143:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\Q\w\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is F major; B-flat = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
G3–D5. Melodic turns employed are m-l-d'; m,-d; m-d; s-d; d-r; r-m; s-r; r-l; s-m; s,-d; s,- r; m-l,; l,-d; l-s-m; r-l,; l-m; m-d-l,.
Formal Features: The rhythmic form is a a a a'. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled akit sënki sëm szeret (whom no one loves).
Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 116.
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Texas Tech University, Daniel Todd, August 2014
No. 144:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\w\E\ra\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’ The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is F major; B-flat = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
G3–D5. Melodic turns employed are m-d; d-m,; s-d; d-r-m; d-r; l-r; r-m; r-s; m-s; d-s,; s,- l,-d; s,-m; r-s,; m-l,; l,-d; l,-r; s-l; l-m; m-s-l.
Formal Features: The rhythmic form is a a'v a av. The melodic form is a b a4 b6. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Drone is present in mm. 10-11. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled mák és konkoly (poppy seed and tares).
Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 145:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\sxc \xcd\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’. The tone set of Part II is l, d r m s l d’ r’ m’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’ s’. The given key signature is F major; B-flat = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character.
The range is G3–F5. Melodic turns employed are d-m; d'-l-m; s-d; d-r; m-r-d; m-r; r-s; m- s; d-s,; d-l,-s,; s,-m; s-l; m-s-l; l,-r; d-l,; m-l; l,-d-r.
Formal Features: The rhythmic form is a av a av. The melodic form is a b a4 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic canon, imitation-changing stress, and imitative pentatonic counterpoint are present in mm. 1-8. Free pentatonic counterpoint is present in mm. 9-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled kalács (cakes). Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 120.
235
Texas Tech University, Daniel Todd, August 2014
No. 146:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, r m s l d’. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’. The given key signature is
B-flat major; E-flat = do. The scale of both the melody and complete bicinium is authentic so pentatone. The tonality is so pentatonic. The range is B-flat3–E-flat5.
Melodic turns employed are m-s-d'; d-m,; m-d; s-r; r-m; d-r-m; s-m; s,-d; d-l,-s,; s,-m; m- l; m-l,; l,-d; l-s-m; l-s; l,-r.
Formal Features: The rhythmic form is a a' a a'. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled pitypalatty (quail's call). The tempo indicated is Allegro; MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 147:
Rhythmic Features: The implied meter of this bicinium is simple duple; the implied time signature is 2$. The rhythmic content consists of q\sd\Q\a A\aqa\sxc\xcd
\ra\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’. The tone set of Part II is s, l, d r m s l d’. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ s’. The given key signature is B-flat major; B-flat = do, E-flat = do. The scale of the melody is authentic do hexachord and the scale of the bicinium is incomplete plagal do hexachord.
The tonality is pentatonic, major character. The range is G3–G5. Melodic turns employed are d-s; m,-d; m-r-d; d-r; m-s; m-f; d-s,; s,-m; m-r; d-l,-s,; d-l,; l-s; r-l,; m-d-l,; l-m; s-l-m; m-l,.
Formal Features: The rhythmic form is a a a' a'. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled leánykérők (girl suitors). Musical symbols and terminology include: grace notes, slur. The tempo indicated is Allegro.
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Texas Tech University, Daniel Todd, August 2014
No. 148:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are m,-d; d'-l-m; d-m; r-d; m,-r; s-r; m-r; s-m-r; m-s; s,-r; d-s,; d- l,; l-s; l-m; l,-d-r; l,-m; r-l,; l,-s.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a4 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled folyóviz az élet (river of life). Musical symbols and terminology include: slur. The tempo indicated is Largo; MM q = 66.
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Texas Tech University, Daniel Todd, August 2014
No. 149:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\w\t\W. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is
G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are d'-l-m; m,-d; d-r; s-r; l-s-r; r-m; s-m-r; m-s; d-s,; s,-r; r-d-s,; l-m; l,-d; r-d-l,; l-s; l,-d; m-s-l; r-l,.
Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled sënkim sincs (have no one). Musical symbols and terminology include: slur. The tempo indicated is Adagio ; MM q= 80.
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Texas Tech University, Daniel Todd, August 2014
No. 150:
Rhythmic Features: The meter of this bicinium changes regularly between simple triple and compound duple; the time signatures are 3$and 6*. The rhythmic content consists of q\sd\Q\a A\xcd\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is
G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are m,-d; m-d; d-s; r-m,; s-r; d-r; m-s; s,-r; d-s,; s-s,; s,-m; l,-r; s- l; l-m; s-l,; l,-d.
Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and imitation-changing stress are present in mm. 1-4. Imitative pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Sándor Weöres. The bicinium is subtitled ki a kertből (the garden). The tempo indicated is Hevesen, méltatlankodva (fiercely, indignant); MM a = 138.
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No. 151:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\W\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are d'-s-m; m-d; d-l; m-r; r-d; d-s,; d-l,-s,; m-l; l,-d; l,-r; s-l; l-s-m; m-l,.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled hidegët melegët tűrni (to bear hot and cold). Musical symbols and terminology include: slur. The tempo indicated is Lassan
(slowly); MM q= 84.
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Texas Tech University, Daniel Todd, August 2014
No. 152:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\vnb\sxc\xcd\E\ra\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–F-sharp5. Melodic turns employed are m-d'-l; m,-d; s-r; m-r-d; r-d; s-m; d-s,; d-l,-s,; l,-d; l-m; l-s; l,-r; l,-d-m; l,-m.
Formal Features: The rhythmic form is a av av av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint and augmentation are present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled szénagyűjtés (a gathering of hay). The tempo indicated is Allegretto; MM q= 92.
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Texas Tech University, Daniel Todd, August 2014
No. 153:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\sxc\xcd\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of the melody is authentic la pentatone and the scale of the bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5. Melodic turns employed are d-m,; d-d'; d-m; d-r; m-r-d; s- r; m-r; m-s; d-l,-s,; s,-d; s,-d-m; m-l; l,-d; r-l,; s-l; l-s-m; m-d-l,; m-l,.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a6 av6. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and imitation-changing stress are present in mm. 1-8. Free pentatonic counterpoint is present in mm. 9-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled táncdal (dance song). Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 108.
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Texas Tech University, Daniel Todd, August 2014
No. 154:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\a A\xcd\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is G major; B = la. The scale of the melody is authentic la pentatone, and the scale of the bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–F-sharp5. Melodic turns employed are m,-d-l; d-m; r-d; m-r- d; r-m-s; s-m; d-s,; s,-r; l,-d-r; l-s; m-s-l; m-l; l,-r; l,-d-m; d-l,; l,-m.
Formal Features: The rhythmic form is a a a av. The melodic form is a av a5 av5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic ostinato, changing stress, and free pentatonic counterpoint are present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled virág-bogáncs (thistle flower). Musical symbols and terminology include: slur. The tempo indicated is Tánclépés (dance step);
MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 155:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\sxc\ra\tie. An external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is G3–E5.
Melodic turns employed are d-r; s-d; m,-d; m-d; r-m; d-r; d-r-m; s-m; d-s,; s,-r; m-d-s,; s,- s; r-l,; l,-d; s-l; l-m; m-l,.
Formal Features: The rhythmic form is a a av a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 1-8. Imitative pentatonic counterpoint is present in mm. 10-16
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled eltévedt (lost). Musical symbols and terminology include: grace notes, slur. The tempo indicated is Lassú (slow); MM q=
80.
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Texas Tech University, Daniel Todd, August 2014
No. 156:
Rhythmic Features: The meter of this bicinium changes regularly between simple quadruple and asymmetrical; the time signature iss 4$and 5$. The rhythmic content consists of q\sd\Q\a A\w\aqa\ra\snd\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
A3–E5. Melodic turns employed are d-m; d'-s-m; s-d; d-m,; m-r-d; m-r; m,-r; r-d; s-r; m- s; d-l,-s,; s,-d; m-l,; l,-d; r-d-l,; l,-r; s-l; l,-d-m; l,-s.
Formal Features: The rhythmic form is a a a'v a'v. The melodic form is a b a3 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic ostinato, free pentatonic counterpoint, and changing stress are present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled utazás (travel). Musical symbols and terminology include: slur, fermata. The tempo indicated is Adagio; MM q= 66.
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Texas Tech University, Daniel Todd, August 2014
No. 157:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are d-m,; d'-l-m; m-d; d-m-s; s-r; d-r; d-r-m; m-r; m-s; s,-d; s-m; r-s,; s,-s; d-l,; s-l; m-l; r-l,; l,-d-m; l,-m.
Formal Features: The rhythmic form is a a a a'. The melodic form is a b a6 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic ostinato is present in mm. 1-8. Changing stress is present in mm. 9-12. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled alvég, fëlvég (lower, upper end of a village).
Musical symbols and terminology include: slur. The tempo indicated is Allegretto; MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 158:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\aqa\xcd\ E\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l. The tone set of Part II is d, r, m, s, l, d r m s. The composite tone set of the bicinium is d, r, m, s, l, d r m s l. The given key signature is D major; A = do, D = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character. The range is A3–F-sharp5. Melodic turns employed are m-d; d-m-s; s-d; s-r; r-m; s-m; d-s,; d- l,; l,-r; m-l,; m-l; l-s-m; l,-d-r; s-l.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-5 and 10-13. Free pentatonic counterpoint is present in mm. 6-8 and 14-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled a fenyő java (the best part of the pine). Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 126.
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Texas Tech University, Daniel Todd, August 2014
No. 159:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\a A\w\aqa\sxc\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character.
The range is A3–E5. Melodic turns employed are d'-l-m; m-d; m-r; r-l; d-r-m; r-d; r-s; s- m; r-d-l,-s,; s,-d; s,-r; l,-d; l,-r; m-l; l-s.
Formal Features: The rhythmic form is a av av av. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint, augmentation, and changing stress are present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled szëgény árva panasza (poor orphan complaints). Musical symbols and terminology include: slur. The tempo indicated is
Adagio; MM q= 63.
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Texas Tech University, Daniel Todd, August 2014
No. 160:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\w\aqa\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is d, r, m, s, l, d. The composite tone set of the bicinium is d, r, m, s, l, d r m s. The given key signature is D major; A = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character. The range is A3–E5.
Melodic turns employed are m-d; d-m-s; d-s; m-r-d; d-r; m-r; s-r;- m-s; r-s,; d-s,; s,-m; m- d-l,; l,-d; r-l,; s-l; l-m.
Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in mm. 2-4 and 7-8. Free pentatonic counterpoint and changing stress are present in mm. 5-6.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenc Jankovich. The bicinium is subtitled nagyok, kicsinyëk (large and small).
Musical symbols and terminology include: slur, fermata. The tempo indicated is
Mérsékelten (moderately); MM q= 72.
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Texas Tech University, Daniel Todd, August 2014
No. 161:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\w\aqa\E\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, s, l, d r m s l. The tone set of Part II is d, r, m, s, l, d r m. The composite tone set of the bicinium is d, r, m, s, l, d r m s l. The given key signature is C major; the implied key is E = la. The scale of both the melody and complete bicinium is extended la pentatone. The tonality is pentatonic, minor character.
The range is G3–E5. Melodic turns employed are m-d; m,-d; m-r; r-m-s; s-r; m,-r; m-m,; d-r; l-r; d-r-m; m-s; d-l,-s,; s,-d; m-s-l; l-m; d-l,; l,-r; l-s.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a3 b'. A substituting shift is present. Phrase structure of the bicinium is Intro (2) A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Counter- subject ostinato is present in mm. 3, 5, 7, 12-13, and 16-17. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenc Jankovich. The bicinium is subtitled bot és útitárs (stick and travel companion). Musical symbols and terminology include: slur. The tempo indicated is
Élénken (lively or brisk); MM q= 132.
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Texas Tech University, Daniel Todd, August 2014
No. 162:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\aqa\W\ar\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s l t. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l t. The given key signature is
C major; C = do, F = do. The scale of the melody is authentic do hexachord, and the scale of the bicinium is plagal do hexachord. The tonality is pentatonic, major character. The range is G3–E5. Melodic turns employed are m-d; s-m-d; d-s; m-r; d-r-m; d-r; r-s; m-s; s,-d-m; s,-r; s,-d; d-l,-s,; m-d-l,; l-s; l,-d; l-m; l,-m; s-l-t; l-t.
Formal Features: The rhythmic form is a b av bv. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint and changing stress are present in mm. 1-8. Simple counterpoint and changing stress are present in mm. 9-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled a nyúl élete (the rabbit's life). Musical symbols and terminology include: slur. The tempo indicated is Mozgalmasan (animated); MM q= 120.
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Texas Tech University, Daniel Todd, August 2014
No. 163:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\W\ra\ar\gc\vh\snd.
No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete do pentatone. The tonality is pentatonic, major character. The range is A3–
E5. Melodic turns employed are d-m; d-s; m-r-d; d-r; r-r,; r-s; m-r; m-s; s,-d; s,-l,-d; r-l,; l-m; r-d-l,; l,-d; l-s; l,-m.
Formal Features: The rhythmic form is a b av bv. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices.
Augmentation is present in mm. 2-5. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled feketék, szőkék (blacks, blondes). The tempo indicated is Lassacskán (slowly); MM q= 104.
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Texas Tech University, Daniel Todd, August 2014
No. 164:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signature iss 2$and 3$. The rhythmic content consists of q\sd\Q\w\aqa\xcd\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete do pentatone. The tonality is pentatonic, major character. The range is A3–
E5. Melodic turns employed are d'-s-m; d'-l-m; d-s; d-m-l; s-m-d; m-r; r-d; m,-r; d-r-m; l- r; m,-m; m-s; m-d-s,; s,-r; d-l,-s,; r-l,; l,-d; l-s; l-m; m-d-l,; l,-s.
Formal Features: The rhythmic form is a av a' a'. The melodic form is a b a3 b5. A substituting shift is present. Phrase structure of the bicinium is A (5+4) A' (5+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled eladó lány (marriageable girl). The tempo indicated is Andante; MM q= 88.
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Texas Tech University, Daniel Todd, August 2014
No. 165:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\xcd\E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m f s l. The tone set of Part II is s, l, t, d r m s l. The composite tone set of the bicinium is s, l, t, d r m f s l. The given key signature is C major; the implied key is G = do, C = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character.
The range is G3–E5. Melodic turns employed are d-m-l; s-m-d; s-d; d-m; l-s-r; r-m; r-d; r-s; m-r-d; m-f; m-s,; s,-r; s,-l; d-s,; l-s; d-l,; l-m; d-t,.
Formal Features: The rhythmic form is a a'v a a'. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Double counterpoint is present.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled fenyő, nyír, lány (pine, birch, girls).
Musical symbols and terminology include: slur. The tempo indicated is Moderato; MM q= 84.
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Texas Tech University, Daniel Todd, August 2014
No. 166:
Rhythmic Features: The meter of this bicinium changes regularly between asymmetrical five and seven; the time signatures are 5$and 7$. The rhythmic content consists of q\sd\Q\w\t\W\e . No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is l, d r m s. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is G3–E5.
Melodic turns employed are d-m,; d-m; r-d; s-r; r-m; d-r-m; m-s; d-s,; d-l,-s,; s-l; l-m; l,- d; l,-r; m-d-l,; m-l,.
Formal Features: The rhythmic form is a av a'v av. The melodic form is a b a6 b6. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint and changing stress are present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-8. Changing stress is present in mm. 7-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled fekete szán (black carriage). Musical symbols and terminology include: slur, dim. The tempo indicated is Nyugodtan (calmly);
MM q= 100.
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Texas Tech University, Daniel Todd, August 2014
No. 167:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\Q\w\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is G3–D5.
Melodic turns employed are m,-d; d-m; d-s; r-d; m-r-d; m-r; s-r; s-m; s,-d; s,-r; s,-d-m; s,- l,-d; s,-s; r-l,; l-m; d-l,; r-d-l,; l-s; l,-m.
Formal Features: The rhythmic form is a av av av. The melodic form is a b a5 b6. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled nincsen sënkim (no one). Musical symbols and terminology include: slur, fermata. The tempo indicated is Lassan (slowly); MM q=
63.
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No. 168:
Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.
The rhythmic content consists of q\sd\Q\a A\aqa\sxc\W\ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is C major; C = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
A3–E5. Melodic turns employed are d-m; d-m,; s-d; m-s-d'; m-r; r-d; d-r-m; s-m-r; r-s; m-s; d-s,; s,-l,-d; s-l; m-l; l,-r; l,-d; m-l,; m-d-l,.
Formal Features: The rhythmic form is a av a' a'v. The melodic form is a b a3 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-5. Free pentatonic counterpoint is present in mm. 6-16.
Other Features: The melody of the bicinium was composed by Kodály. The bicinium is subtitled habozás (hesitation). Musical symbols and terminology include: slur. The tempo indicated is Frissen (freshly); MM q= 108.
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No. 169:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\w\aqa\sxc\xcd\W\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is A minor; A = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
G3–D5. Melodic turns employed are d'-s-m; s-d; r-d; s-r; m-r; d-r-m; r-m-s; r-l; s-m; d-s,; r-d-l,-s,; s,-r; m-d-,s; l,-r; m-l; d-l,; l-s; l,-m; l-s-m; m-d-l,.
Formal Features: The rhythmic form is a b a' b'. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and imitation-changing stress are present in mm. 1-3. Free pentatonic counterpoint is present in mm. 3-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled kendő (cloth, scarf, tissue, wipe). Musical symbols and terminology include: slur. The tempo indicated is Lassan (slowly).
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No. 170:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of q\sd\a A\w\aqa\ E\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is m, s, l, d r m s l. The tone set of Part II is s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l. The given key signature is
A major; A = do, D = do. The scale of both the melody and complete bicinium is authentic do hexachord. The tonality is pentatonic, major character. The range is A3–F- sharp5. Melodic turns employed are d-m; d-m,; m-r; m-r-d; r-d; m-s; s,-m; d-s,; d-l,-s,; s,- r; r-d-l,-s,; r-l,; d-l,; l-s; l,-m.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-5. Free pentatonic counterpoint is present in mm. 6-8 and 14-16. Imitation at the octave is present in mm. 10-13.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled kaszás legény (reaper lad). Musical symbols and terminology include: slur. The tempo indicated is Lassú (slow); MM q=
66.
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No. 171:
Rhythmic Features: The meter of this bicinium changes irregularly between simple duple, simple triple, and simple quadruple; the time signatures are 2$, 3$, and 4$. The rhythmic content consists of q\sd\Q\w\aqa\xcd\ W\E\ra
\vh\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’. The tone set of Part II is m, s, l, d r m. The composite tone set of the bicinium is m, s, l, d r m s l d’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is F-sharp3–F- sharp5. Melodic turns employed are m,-d; d'-s-m; m-d; m-r; r-s; m-r-d; r-d; m-s; d-l,-s,; r- s,; s,-d; d-l,; m-l; l-s-m; l,-m; l,-r; l-s; m-d-l,.
Formal Features: The rhythmic form is a b a bv. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+5).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 2-12. Free pentatonic counterpoint is present in mm. 13-17.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled az árva sorsa (the fate of orphans).
Musical symbols and terminology include: grace notes, slur. The tempo indicated is
Adagio; MM q= 63.
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No. 172:
Rhythmic Features: The meter of this bicinium changes regularly between asymmetrical five and seven; the time signature is 5$and 7$. The rhythmic content consists of q\sd\Q\a A\w\W\E\e \ra\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’. The tone set of Part II is s, l, d r m.
The composite tone set of the bicinium is s, l, d r mf s l d’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–D5. Melodic turns employed are d-m,; m-l-d'; m-r; r-l; s-r; d-r; d-r-m; m-s; s,-d; s,-r; d-l,; l-s; m-l; l-s- m; m-l,; l,-r.
Formal Features: The rhythmic form is a b a b. The melodic form is a b a6 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and imitation-changing stress are present in mm. 1-2 and 5-6.
Free pentatonic counterpoint is present in mm. 3-4 and 7-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled fiatalság (youth). Musical symbols and terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 96.
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No. 173:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\a A\w\aqa\W\ar\vh\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s. The given key signature is D major; A = do, D = do. The scale of both the melody and complete bicinium is incomplete plagal la hexachord. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are m-d; r-m; r-d; d-r-m; r-s; m-s; s,-d; d-l,-s,; l,-r; m--l,; l-s; r-d-l,; l,-d; l,-d-m.
Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A real shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint is present in mm. 1-3 and 5-7. Free pentatonic counterpoint is present in mm. 3-4 and 7-8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled bánat utca (Grief Street). Musical symbols and terminology include: slur. The tempo indicated is Adagio; MM q= 63.
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No. 174:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\w\xcd\W\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; D = do. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is A3–E5.
Melodic turns employed are d'-s-m; m,-d; m-d; d-s; r-d; s-r; m-r; s-m; m-d-s,; s,-d; l,-d; l,- r; l-m; l-s; s-l-m; m-d-l,; l,-m.
Formal Features: The rhythmic form is a a b b. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Motives are present in mm. 1-2 and 5-6. Free pentatonic counterpoint is present in mm. 2-3 and 6-
8.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled vásárfia (Fairing). Musical symbols and terminology include: slur, fermata. The tempo indicated is Andante; MM q= 76.
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No. 175:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\w\aqa\W\e \ra. No external anacrusis is present.
Melodic Features: The tone set of Part I is d m s l d’ r’ m’. The tone set of Part II is s, l, d r m s l. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’. The given key signature is G major; D = do. The scale of both the melody and complete bicinium is plagal do pentatone. The tonality is pentatonic, major character. The range is A3–F- sharp5. Melodic turns employed are d-m,; s-d; m-d; d-m-l; d-r; m-r-d; m-r; s-m-r; s-r; m- s; m,-m; s,-d; s,-r; s,-m; r-d-s,; d-l,-s,; r-l,; l,-d; s-l; l-m; s-l,; m-l,.
Formal Features: The rhythmic form is a a av av. The melodic form is a b a5 b4. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Ostinato is present in mm. 1-3 and 5-7. Free pentatonic counterpoint is present in m. 4 and mm. 8-
16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Ferenc Jankovich. The bicinium is subtitled harmat, könny (dew, tears). Musical symbols and terminology include: slur. The tempo indicated is Mérsékelten (moderately);
MM q= 104.
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No. 176:
Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is 4$. The rhythmic content consists of q\sd\Q\w\aqa\ra\ar. No external anacrusis is present.
Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; D = do. The scale of the melody is incomplete plagal do pentatone and the scale of the bicinium is incomplete do pentatone. The tonality is pentatonic, major character. The range is A3–E5. Melodic turns employed are m-d; d-m-s; d-r; m-r; d-r-m; m-s; r-l,-s,; s,-l,-d; s,-d; s-l; l,-d; s-l-m; l-m; l,-d-m.
Formal Features: The rhythmic form is a b c d. The melodic form is a b a4 b. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled szóvő nóta (weaving song). Musical symbols and terminology include: slur. The tempo indicated is Lépést (step); MM q= 120.
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No. 177:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\a A\w\t\W\ar\tie.
No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is B minor; A = do, B = la. The scale of both the melody and complete bicinium is incomplete plagal la hexachord. The tonality is pentatonic, minor character. The range is A3–F-sharp5. Melodic turns employed are d-m; d-s; m,-d; m-r; m-r-d; s-m-r; r-d; m-s; s,-m; d-s,; s,-r; d-l,-s,; m-d-l,; l,-m; l,-r; l-s; l,-d; s-l-m.
Formal Features: The rhythmic form is a a' a av. The melodic form is a av a5 av5. A real shift is present. Phrase structure of the bicinium is A (5+4) A' (4+5).
Polyphonic Features: The melody of the bicinium is split between both voices. Drone is present in mm. 1-3, 4-5, and 17-18. Changing stress is present in mm. 12-15. Free pentatonic counterpoint is present in the upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by Gábor Devecseri. The bicinium is subtitled bánat (grief). Musical symbols and terminology include: slur, fermata. The tempo indicated is Lassan (slowly); MM q=
72.
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No. 178:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\Q\a A\w\W\tie. No external anacrusis is present.
Melodic Features: The tone set of Part I is m s l d’ r’ m’. The tone set of Part II is l, d r m s l d’. The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key signature is E major; B = do. The scale of both the melody and complete bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is
G-sharp3–D-sharp5. Melodic turns employed are d-m; m-s-d'; d-m-l; d-s; d-m,; d-r-m; r- d; s-r; r-m; s,-d; s,-r; l,-d-s,; s,-m; d-l,-s,; m-l,; l-m; d-l,; r-l,; l-s.
Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (2+2) A' (2+2).
Polyphonic Features: The melody of the bicinium is split between both voices. Free pentatonic counterpoint and changing stress are present in upper and lower voices.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled ifjúság, vidámság (youth, happiness). Musical symbols and terminology include: slur, accent. The tempo indicated is Szélesen (broadly);
MM q= 92.
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No. 179:
Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.
The rhythmic content consists of q\sd\vnb\e \ra \ar\gc\vh. No external anacrusis is present.
Melodic Features: The tone set of Part I is si, l, t, d r m. The tone set of Part II is d, r, m, f, s, l, t,. The composite tone set of the bicinium is d, r, m, f, si, l, t, d r m. The given key signature is E minor; E = la. The scale of the melody is incomplete plagal la hexachord and the scale of the bicinium is extended la hexachord. The tonality is minor. The range is G3–B4. Melodic turns employed are d-m; m-r; m-r-d; r-s; r-d; m-s; l-s-f-m; m-f-s; s-f- m-r; d-r-m-f-s; d-l,; l,-m; s-l; m-l; l,-t,-d-r-m; m-t,; t,-r; r-d-t,; t,-d; l,-t,-d; r-d-t,-l,; l-t; l-si.
Formal Features: The rhythmic form is a a a a a a a. The melodic form is a b c d e av. A tonal in harmony shift is present. Phrase structure of the bicinium is A (2+2+2) B
(2+2+2).
Polyphonic Features: Sequence is present in mm. 1-4. Simple counterpoint is present in mm. 5-9. Real answer is present in mm. 9-11. Rhythmic canon is m. 9-12. Free imitation is present in mm. 11-12.
Other Features: The melody of the bicinium appears in a collection by Vikár B. For. The bicinium is subtitled Menyasszony Búcsúzó (Kalëvala, 24. ének) (Parting Bride). Musical symbols and terminology include: D-sharp accidental. The tempo indicated is MM q=
80.
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No. 180:
Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.
The rhythmic content consists of q\sd\Q\w\t. No external anacrusis is present.
Melodic Features: The tone set of Part I is l, d r m s l d’ r’. The tone set of Part II is s, l, d r m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’. The given key signature is G major; B = la. The scale of both the melody and complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is
A3–E5. Melodic turns employed are d'-l-m; d-m; s-m-d; r-d; s-r; m-r-d; r-l; s-m; d-s,; m- l; l,-r; l,-d; l-s; l,-m; r-d-l,.
Formal Features: The rhythmic form is a a'v a a'v. The melodic form is a b a5 b5. A substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).
Polyphonic Features: The melody of the bicinium is split between both voices. Imitative pentatonic counterpoint and imitation-changing stress are present in mm. 1-5 in the second verse. Free pentatonic counterpoint is present in mm. 6-16.
Other Features: The melody of the bicinium was composed by Kodály based on a poem by István Raich. The bicinium is subtitled asszonysors (her fate). Musical symbols and terminology include: grace notes, slur. The tempo indicated is Adagio; MM q= 63.
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5.2 Summary of Data
5.2.1 Rhythmic Features
Table 2 shows meter distribution grouped by volume in Bicinia Hungarica, and
Table 3 lists the meter of individual bicinium. It should be noted that simple duple may refer to the time signatures 2$or 2@. Simple triple refers to 3$, 3*or 3@; simple quadruple refers only to 4$, and compound duple may refer to either 6*or 6$. Nos. 166 and 172 are the only bicinia that contain two asymmetrical time signatures; both employ 5$and 7$.
Only a few instances exist in which bicinia contain contain two different beat units or change from simple to compound meters. No. 57 alternates between two beat units and three time signatures: 2$, 3$, 2*, and 3*. No. 119 alternates between two beat units, containing the time signatures for cut time and 3$. No. 139 contains time signatures of different beat units and alternates between simple and compound meters with the time signatures 2@, 5$, and 6$.
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Table 2. Distribution of meters by volume.
Meter Type Vol. 1 Vol. 2 Vol. 3 Vol. 4 TOTAL None 3 3 2 8
Simple duple 42 19 6 25 92 Simple triple 14 6 9 19 48 Simple quadruple 15 22 9 13 59 Asymmetrical 2 1 17 20
Compound duple 3 3
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Table 3. List of meter by bicinium number.
Meter Type Vol. 1 Vol. 2 Vol. 3 Vol. 4 None 63a, 70, 71 115, 117, 118 140, 147
Simple duple 1, 2, 4-6, 65, 66, 68, 69, 104-106, 109, 124, 126, 127, 9-17, 25- 74, 75, 77-79, 116, 119 132, 134, 135, 28, 30-37, 81-83, 87, 90, 137, 138, 142- 41-44, 48, 91, 94, 98-100 146, 152-154, 52- 60, 66 157, 158, 161, 163, 164, 167, 168, 170, 171
Simple triple 1, 7, 8, 18, 62, 64, 66, 72, 101, 103, 107, 123, 125, 128, 34-36, 38, 83, 94 110, 112, 113, 129, 133, 138, 39, 46, 47, 119, 120 139, 141, 143, 51, 57, 58 148, 150, 155, 161, 162, 164, 167, 170, 171, 180
Simple quadruple 3, 19-24, 62-64, 67, 73, 102-105, 108, 131, 136, 137- 29, 35, 39, 76, 80, 84-86, 110-112, 114, 139, 142, 149, 40, 45, 49, 88-97, 99, 100 150, 151, 156, 50, 59 171, 175, 176
Asymmetrical 61, 84 120 121, 122, 130, 136, 139, 156, 159, 160, 165, 166, 169, 172- 174, 177-179
Compound duple 121, 139, 150
Figures 1 through 4 show the rhythmic content, in terms of number of rhythmic values per bicinium. This shows the amount of rhythmic variety present throughout the collection. While the collection is progressive, musical elements are put together in
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Texas Tech University, Daniel Todd, August 2014 varied combinations so as to provide opportunites to develop several musical elements in each bicinium. It is also possible that there is a correlation to some of the peaks on this chart and the introduction of new melodic or formal features. This type of analysis may yield further insight into Kodály’s pedagogical sequenence, but is outside the scope of the current study.
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12
11
10
9
8
7
6
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Number of rhythmic of values rhythmic Number 5
4
3
2
42a
10 16 29 35 41 53 59 1 2 3 4 5 6 7 8 9 11 12 13 14 15 17 18 19 20 21 22 23 24 25 26 27 28 30 31 32 33 34 36 37 38 39 40 42 43 44 45 46 47 48 49 50 51 52 54 55 56 57 58 60
Daniel August Todd, 2014
Bicinia number
Figure 1. Number of rhythmic values present in volume 1.
12
11
10
9
8
7
6
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276 Number of rhythmic of values rhythmic Number
5
4
3
2
63a
62 70 79 88 97 61 63 64 65 66 67 68 69 71 72 73 74 75 76 77 78 80 81 82 83 84 85 86 87 89 90 91 92 93 94 95 96 98 99 100
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Bicinia number
Figure 2. Number of rhythmic values present in volume 2.
12
11
10
9
8
7
6
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Number of rhythmic of values rhythmic Number 5
4
3
2
101a
103 108 113 101 102 104 105 106 107 109 110 111 112 114 115 116 117 118 119 120
Daniel August Todd, 2014
Bicinia Number
Figure 3. Number of rhythmic values present in volume 3.
12
11
10
9
8
7
6
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4 Number of rhythmic of Number rhythmic values
3
2
122 124 137 139 152 154 167 169 121 123 125 126 127 128 129 130 131 132 133 134 135 136 138 140 141 142 143 144 145 146 147 148 149 150 151 153 155 156 157 158 159 160 161 162 163 164 165 166 168 170 171 172 173 174 175 176 177 178 179 180
Daniel August Todd, 2014
Bicinia number
Figure 4. Number of rhythmic values present in volume 4.
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5.2.2 Melodic Features
While many bicinia have the same tonality, there are very few instances of bicinium which have the exact same composite tone set. Variety is pervasive in Kodály’s use of tone sets, much like in the rhythmic content of the collection. The wide variety of tone sets used seems to confirm that Kodály intended to have at least one new musical element present in each bicinium. This may also suggest that Bicinia Hungarica is progressive and that much practice of new musical elements must occur before approaching the next piece, a fact supported by the large amount of exercises he wrote and by the pedagogical texts written by Kodály’s students which have been translated into English.1
The analysis of the tone sets can be facilitated by looking at the final pitch of each bicinium. A total of 110 bicinium have a composite tone set that ends on la, 43 composite tone sets end on do, 14 end on so, 8 end on re, and 8 end on mi. Most bicinia are written in a tonality with la as the hometone.
1. Erzsébet Hegyi and Fred Macnicol, Solfège According to the Kodály-Concept: Chapters 1 to 5 (Kecskemét: Zoltán Kodály Pedagogical Institute of Music, 1975); Erzsébet Legányné Hegyi and Alexander Farkas, Solfège According to the Kodály-Concept: Chapters 6 to 9, vol. 2 (Budapest, Hungary: Editio Musica Budapest, 1979); Erzsébet Szőnyi, Musical Reading and Writing, Volume 1, trans., Lili Halápy (London: Boosey & Hawkes, 1974); Erzsébet Szőnyi, Musical Reading and Writing, Volume 2, trans., Lili Halápy (London: Boosey & Hawkes 1978). Erzsébet Hegyi and Erzsébet Szőnyi both wrote pedagogical texts outlining a sequence for music instruction based on Kodály’s philosophy. Both include material from Kodály’s compositions and exercises, as well as art music, chant, and folk music. Most interesting to the author is Hegyi and Szőnyi’s selection of material, which is usually limited to only a few measures to facilitate practice of the musical element or concept and then complemented by music from a variety of other sources or textures.
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Only nine key signatures have been used throughout Bicinia Hungarica. Though the number of key signatures used is small, a wide variety of keys are implied. The key signature of C major is used to represent both C = do and A = la, as well as E = la, F = do, G = la, D = la, D = re, and E = mi. The key signature of D major is used to represent
D = do and B = la, as well as A = do. The key signature of E major is used to represent the key of B = do. The key signature of F major is used to represent F = do and D = la, as well as C = do, G = la, and B-flat = do. The key signature of G major is used to represent
G = do and E = la, as well as E and A = re, B = la, D = so, and D = do. The key of A major is used to represent A and D = do, as well as B = re. The key signature of E-flat major is used to represent C = la, E-flat = do, and G = mi. The key signature of A-flat major is used to represent E-flat = do. The key signature of B-flat major is used to represent E-flat = do, C = la, and G = la. Figure 5 shows the number of bicinia per key signature.
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120 104
100
80
60
40 28
Number of times of Number present times 20 13 14 14 5 1 3 1 0 C major D major E major F major G major A major E-flat A-flat B-flat major major major Printed key signature
Figure 5. Frequency of key signatures.
Table 4 shows the distribution of tonalities employed in bicinia by volume. Table
5 shows the numbers of scales employed within each volume. Notice that (1) volume 3 is the only one not to include pentatonic music, (2) nearly all scales are employed in each of the volumes, but one scale is more prominent, and (3) “pentatonic, major character” appears more frequently in volume 4 than in the other three volumes combined. It is likely that Kodály choose to include Mari music in volume 4 as a means of exposing children to the major pentatonic tonality (major pentatonic tonality is infrequently found in Hungarian music). This would be fitting with Kodály’s assertion that studying the music of other cultures further develops a culture’s musical skill.2 It is possible these pieces were included at the end of the collection to aid in the reading of polyphonic art
2. “Ha pedig e ritmus és dallamforma teljességgel más, mint a mienk, általános zenei jártasságunk fejlesztésére job hasznát vesszük, mint a nyugati zenének.” Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, vol. 4, p. 50.
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Table 4. Distribution of tonality by volume.
Tonality Bicinia
Volume 1 Volume 2 Volume 3 Volume 4
Aeolian 1, 33, 36, 37, 72, 75, 79, 87, 100, 108, 112, 39, 40, 41 89-91, 100 116
Dorian 38, 43-47, 53 77, 78, 80, 81, 101, 102, 103, 83, 84, 88, 93- 111, 117 99
Ionian 76
Major 35, 42, 42a, 92 105, 109, 115, 134 48, 52, 58, 60 118
Minor 54-56 101a, 104, 121, 179 107, 119
Minor and major 59
Mixolydian 110
Pentatonic, 2-6, 9, 23 71, 73 123, 125, 127, major character 128, 130, 132, 133, 136, 138, 139, 142-145, 147, 155, 156, 158, 160, 162- 168, 170, 175, 176, 178
Pentatonic, 7, 8, 10-22, 63-70, 74, 82, 122, 124, 126, minor character 24-29, 31,32, 85, 86 129, 131, 135, 34, 49, 50, 51, 137, 140, 141, 57 148-154, 157, 159, 161, 169, 171-174, 177, 180
Phrygian 106, 113, 114, 120
So pentatonic 62 146
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Table 5. Total number of scale types.
Scale Bicinia
Volume 1 Volume 2 Volume 3 Volume 4 TOTAL
Aeolian 7 8 4 19
Dorian 7 14 5 26
Ionian 1 1
Major 7 1 4 1 13
Minor 3 4 2 9
Minor and major 1 1
Mixolydian 1 1
Pentatonic, major 8 2 32 39 character
Pentatonic, minor 28 14 24 63 character
Phrygian 4 4
So pentatonic 1 1 2
Due to the limitations of the developing child’s voice, the range of individual bicinia does not show much variance. Number 116 has the largest range, spanning two octaves and a major second. Furthermore, all other bicinia have ranges that lie within the boundaries of No. 116. The smallest range is that of an octave and only occurs in Nos. 5,
31, and 78. The most frequent range is that of an octave and a minor seventh, occurring in
48 bicinia.
Discussion of melodic interval trends can best facilitated by counting the number of intervals associated with a specific solfège syllable. Appendix A, summarizes important musical features found in each bicinium and displays the number of melodic
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As Kodály provides increasingly diatonic bicinia, Nos. 80-121, the number of melodic intervals involving fa and ti increase. The same may be said for the use of altered syllables, which are predominatly used in Nos. 101-121, suggesting a style approaching that of art music and functional harmony.
5.2.3 Formal Features
The most concise way to describe trends present in formal features is with the description of one-, two-, and three-part forms and through-composed. One-part form refers to a formal type in which there is not enough variance for the parts to be labeled a b. Two-part form is applied to bicinium with formal labels of a b, even if multiple a and b sections appear. Three-part form refers to material labeled a b c, while through-composed occurs when at least four different musical idea are present.
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The most common formal structures used in Bicinia Hungarica are one- and two- part forms, with three-part and through-composed forms occurring less frequently. A one-part rhythmic form occurs in 125 bicinia. There are 41 bicinia that have a two-part rhythmic form, 4 with a three-part form, and 13 with a through-composed form. In terms of melodic structure, 28 bicinia have a one-part form, 105 have a two-part form, 22 have a three-part form, and 28 are through-composed. The number of bicinia with one- and two-part phrase structures are nearly equal, 81 and 78 respectively. Three-part and through-composed structures appear 11 and 13 times.
There are 111 bicinia that contain a shift in the melody. Of this number, 50 bicinia contain a real shift, 53 contain a substituting shift, and 8 contain a tonal shift.
5.2.4 Polyphonic Features
The most prominent polyphonic features present in Bicinia Hungarica are imitation and counterpoint. There are 112 bicinia that contain some form of imitation and only 72 that contain no imitation. Imitative pentatonic counterpoint is the most frequent type of imitation, occurring in 51 bicinia. Free imitation occurs in 37 bicinia, imitation at the octave is found in 7 bicinia, and imitation at the unison appears in 3. Imitation- changing stress is found in 20 bicinia, and changing stress is used in 16.
There are 147 bicinia that contain counterpoint and 36 that do not make use of counterpoint. Free counterpoint is found in 80 bicinia and simple counterpoint is used in
64 bicinia. Double counterpoint is used in 6 bicinia. There are 81 bicinia that use both
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Figures 6 and 7 provide a graphic representation of these data.
Imitation Counterpoint 81 112 147
Figure 6. Frequency of imitation and counterpoint in Bicinia Hungarica. Numbers represent frequency of the compositional device.
No No Imitation 4 Counterpoint 72 36
Figure 7. Absence of imitation and counterpoint in Bicinia Hungarica. Numbers represent frequency of bicnia not containing the compositional device.
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The fact that these two compositional techniques appear consistently and pervasively throughout the collection suggests Kodály may have intended to emulate music from the Renaissance. The compositions may not look like compositions from that period due to several factors, including (1) length, (2) the use of folk music, and (3) the composer’s intent. However, it is important to note that many sources written by
Kodály’s students present his two-part pedagogical works alongside, or as preparation for, works from the Renaissance.
Answers and canons are the next most frequently employed compositional devices. Real answers occur in 6 bicinia, tonal in 18, and 5 bicinia contain both tonal and real answers. Rhythmic canons appear in 34 bicinia, while strict canons appear in only 7 bicinia. Numbers 87 and 88 include canons at the unison and/or octave, and canons at the fourth or fifth appear in Nos. 57, 60, 72, 79, and 116.
A split melody occurs in 119 bicinia and is most frequently found in volume 4. It is unclear why this device is so frequently used. The use of split melody in volume 4 may be due to the prominence of bicinium which include melodic shifts.
Other polyphonic features appear less frequently. Elision appears twice, and call and response is used once. A drone appears in 15 bicinia. Ostinatos appear only 7 times, four of which only employ rhythmic ostinatos. Counter-subject ostinatos appear 11 times, two of which are rhythmic counter-subject ostinatos.
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5.2.5 Other Features
Only 46 of the 183 bicinia in the collection are labeled by Kodály as having a
Hungarian folk song melody, but Kodály states that all 60 pieces in volume 4 and one in volume 2 are folk songs of Finnish or Mari peoples.3 Three more bicinia are based on folk songs (rather strictly quoting folk song melodies), and five melodies have come from the Cantus Catholici or the Genevan Psalter.
Tempo markings range from MM = 52 to 186. Metronome markings from MM =
52 to 76 appear in 38 bicinia, MM = 90–96 occur in 31 bicinia, MM = 100–120 are found in 57 bicinia, MM = 120–144 are used in 43 bicinia, and 8 bicinia have tempos over 152.
Three bicinia are marked with a range of tempos.
A majority of bicinia (173) are marked with a quarter note as the beat unit. There are 6 bicinia marked with a half note as the beat unit, 3 with an eighth note as the beat unit, and 1 with a whole note as the beat unit. Sequences appear in 6 bicinia.
Augmentation occurs in 10 bicinia, and diminution appears in 9 bicinia. Inversion is used
13 times, and retrograde is used twice. Retrograde inversion appears only in No. 68.
Motives (five of which are derived from the melody) occur in 15 bicinia.
Accidentals appear in 33 bicinia and occur most frequently in volume 3.
Accidentals are used 12 times in volume 1, initialy to fill in gaps in the pentatonic scale
(mi fi so) and later to provide functional harmony. Example 5 shows No. 38 (mm. 1–4), illustrating fi being used to fill in the gap between mi and so. Example 6 shows No. 56
(mm. 7-13), where altered solfège in the second voice provides functional harmony. In
3. “…három finn kivételével e füzet tartalma csupa cseremisz népdal…” ibid., vol. 4, p. 49.
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Example 5. Accidentals in No. 38 (mm. 1–4).
Example 6. Accidentals in No. 56 (mm. 7-13).
Frequently used symbols include: repeat sign, first and second ending, fermata, portamento, slur, accent, grace notes, and dynamic markings. No further data is presented because: (1) most of the symbols appear across the entire collection, negating a clear pedagogical sequence and (2) repeats, slurs, fermatas, portamenti, and grace notes are functions of the preexisting folk melodies. Portamenti, slurs, accents, and grace notes primarily appear in volume 4, adding to the complexity of the most advanced bicinia and providing suggestions for an authentic performance of foreign folk music.
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5.2.6 Conclusion
Kodály’s Bicinia Hungarica includes a wide variety of musical elements which appear throughout the collection in order to develop musical literacy. Musical elements are combined in each bicinium so that the collection progresses from easiest to hardest, but two adjacent bicinia may not reflect the smallest incremental increase in difficulty.
While not every musical element is presented in the collection, Bicinia Hungarica provides opportunities to develop music literacy through a wide variety of musical elements including meters, rhythmic patterns, key signatures, tonalities, melodic intervals, forms, tempi, and a variety of compositional devices. Bicinia Hungarica displays Kodály’s belief that music literacy is best acquired through the folk songs of one’s own country and later through those of closely related peoples.
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CHAPTER 6
DISCUSSION
6.1 Contemporary American Composers of Bicinia
6.1.1 Denise Bacon
Denise Bacon began her musical career as a piano soloist, a path which led her to teach piano and ultimately serve as the Head of the Music Department at Dana Hall in
Wellesley, Massachusetts. With the help of a Ford Foundation Grant, she founded the
Kodály Musical Training Institute in 1969, bringing together Hungarian music teachers with American teachers interested in adapting Kodály’s philosophies.1
Bacon was recognized for her efforts in the United States and abroad. In 1983, she was awarded the Pro Cultura Hungaria Award by the Hungarian government. Bacon was honored in 1989 by the Organization of American Kodály Educators with the
Outstanding Achievement Award. The International Kodály Society named her an
Honorary Member in 1993. She was twice recognized by the New England Conservatory for her “dedication to the Kodály cause,” earning both the Outstanding Alumni Award
(1984) and the Lifetime Achievement Award (2010).2
1. Ellen Pfeifer, "Death of Denise Bacon '54 '56 MM," New England Conservatory, http://necmusic.edu/death-denise-bacon-54-56-mm (accessed February 10, 2014).
2. Ibid.
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In addition to her contributions to the dissemination of the Kodály philosophy in the United States, Bacon also wrote several publications. Her articles regarding Kodály’s philosophy appear in the Kodály Envoy, Music Educators Journal, and Bulletin of the
International Kodály Society. Hold Fast to Dreams is a collection of articles and speeches made by Denise Bacon regarding her personal experiences studying a Kodály- inspiried curriculum in Hungary and the United States, implementing a Kodály-inspired
American curriculum in Massachusetts schools, and forming a teacher-training program for Kodály educators. She also edited My Singing Bird, a collection of 150 folk songs from the Anglo-American, African-American, English, and Irish traditions, with Ida
Erdei and Faith Knowles.
As noted, Denise Bacon also created pedagogical materials to be used in the classroom, including 46 Two-Part American Folk Songs (1973), 50 Easy Two-Part
Exercises (1977), 185 Pentatonic Exercises (1978), 24 Favorite Nursery and Folk Songs
(1993), and Let’s Sing Together (1971). She was also a choral arranger and composer, publishing 20 different titles through the Kodály Center of America, Alliance Music
Publishing, and Boosey and Hawkes.
6.1.2 Mark A. Williams
American music educator Mark A. Williams taught music courses around the world to musicians of all levels of experience. He began his career teaching in the U.S.
Virgin Islands through an invitation from the National Endowment of the Arts.3 After
3. Cathy Williams-Dietsch, e-mail message to author, March 3, 2014.
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Hong Kong Academy of Performing Arts, and Po Leung Kuk Choi Kai Yau School, among others.5 A founding member (in 1977) and the first president of the Organization of American Kodály Educators,6 Williams also helped to establish the International
Kodály Society.7
As a composer of choral music, Williams’ compositions have been published by
Shawnee Press and BriLee Music Publishing. His Two-Part American Folk Songs were published by Southern Music Company.
6.1.3 Mary Goetze
Dr. Mary Goetze is internationally known for her work with children’s choruses and multicultural music. At Indiana University, she founded the Indiana University
Children’s Chorus (1980) and the International Vocal Ensemble (1995), both still in existence today.8
4. Beth Pontiff, "In Memoriam: Mark Williams," Kodály Envoy 40, no. 1 (Fall 2013): 10- 11.
5. Cathy Williams-Dietsch, e-mail message to author, March 3, 2014.
6. Brent Gault, "Honoring Our Past: Oake Founders, Past Presidents, and Executive Secretaries," Kodály Envoy 35, no. 4 (Summer 2009): 27.
7. Pontiff, "In Memoriam: Mark Williams," 10.
8. Constance Cook Glen, “Mary Goetze.”
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As an author, Goetze collobrated with children’s choir directors Angela Broeker and Ruth Boshkoff to produce Educating Young Singers, a resource book for the teacher- conductor. She also served as an author for the Macmillian/McGraw-Hill K-6 elementary textbook series Share the Music (1995).
Goetze has written articles for the Music Educators Journal and the Kodály Envoy regarding children’s vocal development, the children’s chorus, and multicultural music.
Articles by Goetze also appear in “Mountain Lake Reader,” a publication of the
Mountain Lake Colloquium, founded by Mary Goetze and Nancy Boone Allsbrook to
“allow our established colleagues to reflect and offer guidance to us and encourage young faculty and graduate students to inspire us with their fresh perspective and optimism.”
The biennial conference aims to address “issues and concerns of partnering, public policy, educational structure and planning, presentation, cognition skills, and other topics related directly to the teaching and learning of music.”9
Goetze has arranged and composed many choral pieces specifically for the developing singer; her work is published by Alliance Music Publishing and in the Boosey
& Hawkes Mary Goetze Choral Series. Global Voices, a collection of primary sources of music from diverse cultures, is published by MJ Publishing (established by Jay Fern and
Mary Goetze).10 Simply Sung is a collection of two- and three-part a cappella folk songs arranged for treble voices. Her two- and three-part folk song arrangements with optional
9. "About Us," Mountain Lake Colloquium, http://www.mtnlake.net/Mountain_Lake_Colloquium/About_Us.html (accessed February 11, 2014).
10. "MJ Publishing", MJ & Associates http://www.mjpublishing.com/ (accessed February 11, 2014).
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Orff accompaniment, Sing We Noel and The Cat Came Back, are also published through
MJ Publishing and are discussed as part of an interview with the author.
Dr. Goetze has been recognized for her accomplishments and contributions to academia throughout her career. In 1985, her dissertation was named Oustanding
Dissertation by Music Educators National Conference and Council for Research in Music
Education. Additionally, Indiana University has honored her with a Distinguished
Teaching Award and the University of Colorado College of Music recognized her as
Distinguished Alumnus in 1992. Goetze was also named the Outstanding Educator of the year in 1993 by the Organization of American Kodály Educators.11
6.1.4 Contemporary Composers and Compositions
While there are few compositions outside of Hungary titled “bicinia,” there are several similar contemporary publications available in addition to the aforementioned examples. The following publications include a combination of unison exercises, intended to develop students’ musical literacy, and part-songs, through which students may apply their literacy skills. In a way, these publications represent the merging of two of Kodály’s pedagogical compositions, 333 Reading Exercises or Pentatonic Music and
Bicinia Hungarica.
The Folk Song Sight Singing Series, by Crowe, Lawton, and Gillies (1933-
1934).
11. "Mary Goetze", Alliance Music Publications, http://www.alliancemusic.com/peopledetails.cfm?iPeopleID=47 (accessed February 11, 2014).
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Essential Sight Singing, volume 1 and 2, by Crocker and Leavitt (2005-2006).
Experiencing Choral Music, by Crocker and Snyder (2004).
Sing on Sight, by Snyder (2007).
It should be noted that The Folk Song Sight Singing Series is a collection of folk song melodies from around the world that have been grouped by similar rhythmic and melodic elements. The exercises (presented without text) are sequenced progressively, and the series includes volumes of two-part music, thereby serving a similar pedagogical function as Bicinia Hungarica.
A small number of compositions which may be called bicinia or “bicinia-like” are currently in publication.
Four and Twenty, by Crocker (1990).
The Owl Sings, compiled by Taylor-Howell (1997).
Sourwood Mountain, compiled by Tacka and Taylor-Howell (1986).
Music, a Universal Language, published by the International Kodály Society
(2006).
All Around the Buttercup, by Boshkoff (1984).
It should be noted that The Owl Sings and Sourwood Mountain are collections of bicinia written by members of the Organization of American Kodály Educators, but they have not been progressively sequenced.12 Music, a Universal Language is a collection of
12. Philip V. Tacka and Susan Taylor-Howell, Sourwood Mountain: 28 North American & English Songs Arranged for Two Voices, 5th ed. (Moorhead, MN: Organization of American Kodály Educators, 1986); Susan Taylor-Howell, The Owl Sings: 22 Folksongs Arranged for 2 or 3 Voices, 2nd ed. (Moorhead, MN: Organization of American Kodály Educators, 1997). 297
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6.2 Pedagogical Implications for Teaching
6.2.1 Interviews
An interview was conducted with primary informant Mary Goetze. The interview was conducted via Skype and transcribed with Microsoft Word. The discussion focused on ways in which the composer was influenced by Kodály’s Bicinia Hungarica and how her compositions differ from Kodály’s, both in material and purpose. Anecdotal interviews were conducted with Dr. Kathy Hickey and Ann Miller. Dr. Hickey was a close professional colleague of Mark Williams in Southern California during Mr.
Williams’ tenure at the Colburn School.15 Ann Miller became a friend and colleague of
13. Music, a Universal Language: 31 Folksongs from 21 Different Countries, with an Arrangement of Each Song for 2- or 3-Part Children's or Youth Choir, (Budapest: International Kodály Society, 2006).
14. Roger Sams, Where Go the Boats, Crooked River Choral Project, vol. 1 (OH: Music is Elementary, 2011); Roger Sams, Marching Song, Crooked River Choral Project, vol. 2 (OH: Music is Elementary, 2011); James Carr, Star, Crooked River Choral Project, vol. 3 (OH: Music is Elementary, 2011); James Carr, Hazrat Bibi Maryam, Crooked River Choral Project, vol. 4 (OH: Music is Elementary, 2011); Cyndee Giebler, The Erie Canal Song, Crooked River Choral Project, vol. 5 (OH: Music is Elementary, 2013).
15. Kathy Hickey, interview by author, via Skype, February 22, 2014.
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Mark Williams during her years of teaching elementary music in the Houston area, at which time Mr. Williams was teaching in San Antonio. Mrs. Miller later reconnected with Mr. Williams while both were teaching in China.16
Questions, techniques, and procedures for interview were developed in accordance with Qualitative Research and Case Study Applications in Education by
Sharan Merriam.17 Additionally, a previously-completed interview with Denise Bacon
(located in Appendix D) is included as part of the current discussion. The Institutional
Review Board (IRB) has approved the project, in order to protect the rights and welfare of the human subjects involved with this study.
Through these interviews, the investigator concluded that the value of Bicinia
Hungarica lies in the pedagogical opportunities suggested by the pieces. Although the pieces may be used purely for performance, they provide opportunities for students to practice a number of musical skills, including arranging, composition, and improvisation.
6.2.2 Arranging
In a student-centered learning environment, the learner may be afforded the opportunity to make choices about the arrangement to suit his or her musical tastes. With continued practice, this process will help establish critical listening skills in the student.
The melody of the bicinium may be performed a number of times without the printed harmony in class or for performance. It is sometimes effective to perform the
16. Ann Miller, interview by author, via Skype, February 22, 2014.
17. Sharan B. Merriam, Qualitative Research and Case Study Applications in Education, 2nd ed. (San Francisco: Jossey-Bass Publishers, 1998).
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Regarding her own bicinia, Dr. Goetze states: “It’s easy to develop your own little arrangement of them by singing the melody, adding a voice or adding an ostinato then bringing in the melody, and finally adding the third voice. … When I present my own compositions and crafted arrangements with accompaniment, I usually free the teachers to arrange as needed for the group. I think that they should feel free to do that.”18 This type of freedom allows teachers to use the same musical material to meet the needs of a variety of students and customize the learning and musical experience based on students’ skill levels.
Although Kodály advocated a cappella singing, it may be useful and appropriate to add simple artistic accompaniments to bicinia for performances. Mary Goetze’s Simply
Sung appears in an Orff series; additionally, Sing We Noel and The Cat Came Back both include suggestions for Orff accompaniment. Denise Bacon published her own piano accompaniments for unison melodies in Twenty-Four Nursery Songs.19 Teachers may
18. Mary Goetze, interview by author, via Skype, January 28, 2014.
19. Denise Bacon, interview by author, via telephone, April 30, 2006. It should be noted that several folk songs appear with piano accompaniment in Béla Bartók, Mikrokosmos (NY: Boosey & Hawkes, 1995).
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Music for Children by Carl Orff and Gunild Keetman.20
Many examples of arranging bicinia for performance can be found on the
Hungaroton recording of Bicinia Hungarica.21 For instance, Nos. 101 and 101a have been performed as if the two bicinia were subsequent verses of the same bicinium.
6.2.3 Composition/Improvisation
Denise Bacon mentions improvisation as a means for students to access part- singing. Bacon specifically recalls her teaching partner, Peter Erdei, improvising a harmony part while students sang a melody, which was later introduced as one of the bicinia from Bicinia Hungarica. Bacon also suggests using material from Bicinia
Hungarica as a basis for question and answer, where a teacher sings a question and students improvise an answer.22
Mary Goetze recalls improvising in a homophonic style as a child and thinks this can aid in the development of homophonic singing. Although homophony does not exist in Bicinia Hungarica, teachers can still provide opportunites for homophonic improvisation. Bicinia which make use of tonal and real answers can be used for students to improvise within a given tone set. Example 7 shows a real answer between the melody
20. Carl Orff and Gunild Keetman, Music for Children, vol. 1 (London: Schott & Co., 1958).
21. Zoltán Kodály, Kodály Complete Edition, Choral Works: Bicinia Hungarica & Tricinia, Ilona Andor, Hungaroton, 2012.
22. Denise Bacon, interview by author, via telephone, April 30, 2006.
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Texas Tech University, Daniel Todd, August 2014 and harmony in the first two phrases. A teacher could ask a student to improvise a harmony part starting on la and following the same melodic contour of the melody. This is an example of how a teacher might take the printed material and modify it to fit the curricular goals. (The same example can also be used to facilitate the improvisation of an answer as suggested by Bacon.)
Example 7. Real answer in No. 72.
The previously referenced recording of Bicinia Hungarica provides examples of text composition in the performance of several textless bicinia.23 While this is a basic level of composition, it affords students the opportunity to explore principles of textual emphasis and the inherent rhythm of language.
Teachers may consider providing students with specific parts of a bicinium to facilitate composition. For instance, providing students with the rhythm of a harmony part from a bicinium and asking students to compose with a given tone set gives students the opportunity to immediately perform two-part music which has been customized for their individual skill levels. Futhermore, this provides an opportunity for discussion and
23. Kodály, Kodály Complete Edition, Choral Works.Specifically, Nos. 4–8, 12, 26, 29, and 31 have been performed with texts.
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Example 8. Composition example derived from No. 72.
6.2.4 Teaching Strategies
Denise Bacon suggests using small parts, even single measures or motives, from
Bicinia Hungarica in teaching situations.24 Some of the examples already given might illustrate how bicinia were used in Hungary or by Peter Erdei.
Mary Goetze suggests that the path to teaching harmony begins by teaching the melody long before introducing the harmony. After the melody has been learned, she suggests extracting the harmony parts and having students read them in isolation from the melody. After this is done, each part may be added to the melody to create an arrangement like those found in her collections. 25 It is safe to assume that this modular
24. Denise Bacon, interview by author, via telephone, April 30, 2006.
25. Mary Goetze, interview by author, via Skype, January 28, 2014.
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Texas Tech University, Daniel Todd, August 2014 approach can be applied to Bicinia Hungarica or any polyphonic piece with a clearly predominant melody.
Goetze’s strategy falls in line with suggestions put forth by Klinger and
Rappaport in articles discussing the development of part-work skills.26 Both of these articles describe how to integrate part-singing with monophonic material, such as folk songs. Their suggestions are pertinent to the current discussion because Kodály frequently modifies the melody of a bicinium in a way that creates part-singing. Before children can sing two independent parts, half the class must be able to sing the first phrase followed by the other half singing the second phrase. Example 9 shows the melody of No. 2 being passed from the lower voice to the upper voice, with harmony occurring in measures 4 and 8. The procedure described above would be an appropriate first step in preparing students to perform or read the bicinium in Example 9.27
Example 9. Melody shared between two voices in No. 2.
26. Rita Klinger, "Introducting Part Music to Children," Kodály Envoy 15, no. 4 (1989); Jonathan C. Rappaport, "The Sequential Development of Part Work," Kodály Envoy 12, no. 3 (1986).
27. Ildikó Herboly-Kocsár provides similar suggestions for teaching polyphony in her book Teaching of Polyphony Harmony, and Form in Elementary School (Budapest: Zoltán Kodály Pedagogical Institute of Music, 1984).
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The following strategy has been successful when teaching bicinia which make use of a melodic shift. Example 10 shows No. 13, which is comprised of a melody shared between the upper and lower voices; the melody is first presented with A = la (measures
1-6) and then with D = la (measures 7-12). Students learn the melody using solfège, up to the point where a melodic shift occurs (measures 1-6 in Example 10). When they can perform the melody confidently, students will sing the same melody in the tonal area where the melodic shift occurs (measures 6-12 in Example 10). At the end of this teaching episode, the teacher should play or sing the melody in the first tonal area and ask students how the melody is the same and how it is different, leading them to discover that it has the same melodic contour and solfège, just in a higher key. During a separate teaching episode, students will sing the melody from the first half of the bicinium followed by the teacher singing the second half. The teacher draws the students’ attention to the relationship between the final note in measure 6 and the first note in measure 7.
The teacher may then sing the first half of the bicinium, asking students to sing the last three notes (measure 6) with him or her and then finish singing the melody in the new tonal center. After some further practice of these steps, students should be able to sing the melody as written. These same steps may be followed whether the melody is being aurally or visually presented; however, when the material is notated for students, they will be most successful if the melody is presented on a single stave. From this point, the teacher may assign specific students to sing only the melody on the top stave or the
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Example 10. Teaching strategy for melodic shift present in No. 13.
6.3 Recommendations
6.3.1 Further Research on Bicinia Hungarica
The current study explains musical elements present in Kodály’s Bicinia
Hungarica which are frequently discussed in university-level music theory classes. There are some elements of Hungarian folk music which have not been discussed because they are unique to a Hungarian style of folk song analysis. A study of the cadences employed would be a useful addition to the current study. How does one address elements unique to folk music in a polyphonic style when terminology exists to describe elements in each genre separately? Hungarian folk music analysis also accounts for the relationship and structure of rhythmic patterns. The level of rhythmic analysis found in Joób’s dissertation regarding 333 Reading Exercises would also be pertinent to a study describing the influence of folk song upon art music.28
28. Árpád Joób, A Magyar Népzene Rendszere És Szelleme Kodály Zoltán 333 Olvasógyakorlatában (Kecskemét, Hungary: Kodály Intézet, 1996). Summarized in Árpád Joób, "The System and Spirit of Hungarian Folk Music in Kodály's 333 306
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Due to the polyphonic nature of the collection, a study of the use of non-chord tones might also be useful, especially if presented in a pedagogical fashion for choral directors integrating a Kodály-inspired approach. A study of how audiation is integrated into the bicinia would be of pedagogical value to the music educator. This could seek to explain how starting pitches in accompanying voices may be found and how difficult intervals may be tuned with the aid of the accompanying voice.
Bicinia Hungarica could better be understood, and thus used more effectively in
American classrooms, through pedagogical analysis. While the collection is progressive, there seems to be much room for practice of new musical elements between each piece.
When looking at the musical features, one wonders if there is also a relationship between rhythmic content and melodic elements. It seems that the rhythmic content is simplified when new melodic elements are first introduced; later, Kodály explores many different types of rhythmic values using the same melodic element.
6.3.2 Suggestions for Further Investigation
Interestingly, the current Hungarian edition (edited by András Wilheim) includes material which is not included in any of the English editions published by Boosey &
Hawkes. Kodály’s notes not only provide valuable technical information, but also provide some insight into the Hungarian culture that seems to be missing from the current
English versions. An English translation of the material Kodály intended to be published
Exercises," in Zoltán Kodály--Composer, Musicologist and Educationist. A Festschrift for Professor Mati Vainio, ed. Pekka Kuokkala et al.(Jyväskylä, Finland: University of Jyväskylä, 1996).
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Similarly, Hungaroton released a recorded collection of Bicinia Hungarica and Tricinia in 2012. Although these pieces are primarily intended for classroom use, recordings of the pieces in English might be useful for American teachers and students. An interactive series that would include source recordings of the folk song alongside cultural information about Hungary could make Bicinia Hungarica more relevant for today’s music classroom.
Pedagogical analysis of Bicinia Hungarica and Kodály’s other pedagogical works would further make these materials relevant to a Kodály-inspired American curriculum.
Kodály’s materials are a model for successful music literacy training. While his pedagogical works are used in teacher training courses, it is sometimes difficult to integrate these works into classroom teaching because of the large quantity of exercises a teacher must analyze in order to use the most pertinent few. Specifically, an index of musical elements present in bicinia which are most useful for prepration or practice of elements could be useful to a Kodály-inspired curriculum.
Kodály also wrote several volumes of textless two- and three-part exercises which explore polyphony throughout the common practice period. Replication of the current study with material from the Two-Part Exercises and Tricinia would provide more insight into how Kodály sought to teach polyphony and music literacy.
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6.4 Conclusion
This study involved analysis of Kodály’s Bicinia Hungarica for the musical and stylistic elements present in each bicinium. It became clear that a wide variety of musical elements are present and frequently combined to create rich opportunities for musical skill development. While the collection is progressive in difficulty, neighboring bicinia appear to have very different musical content, suggesting that Bicinia Hungarica was intended more for the practice phase of learning musical elements rather than the preparation or presentation phase of learning.
Interviews with composers of contemporary bicinia provided insight regarding their reasons for creating these works and ways in which they may be used in American classrooms. Informants agreed that the goal of teaching students to sing in parts or in a polyphonic style was part of the genesis for their compositions. Composers recommended teaching the melody of a piece before approaching harmony and using improvisation as a basis for introducing the harmony to students.
There is need for further study of Kodály’s Bicinia Hungarica, including pedagogical analysis of material found in the collection. Further analysis may bring about more suggestions regarding the teaching of polyphony to young students so they may have greater access to polyphonic vocal works.
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Zemke, Lorna. The Kodály Concept: Its History, Philosophy, and Development. Champaign, IL: M. Foster Music Co., 1977.
______. "USA." In Reflections on Kodály, edited by László Vikár, 234-240. Budapest: International Kodály Society, 1985.
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APPENDIX A
ANALYIS CHART
Table 6. Summary of important musical features by bicinium. Meter: D = duple; T = triple; Q = quadruple; F = asymmetrical 5; S = asymmetrical 7. Tonality: P = pentatonic; M = major; N = minor; A = Aeolian; O = Dorian; IO = Ionian; X = Mixolydian; H = Phrygian; SO = so Pentatonic. Formal Features: 1P = one part; 2P = two part; 3P = three part; TC = through composed.
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase
Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 1 DTI 2@3@ 9 A 2 5 1 12 3 8 5 5 TC TC 2P
TexasUniversity,Tech 320 2 D 2$ 3 PM 1 2 1 0 2 6 0 0 1P 3P 2P
3 Q 4$ 4 PM 4 0 0 0 1 1 0 0 2P 2P 2P
4 D 2$ 4 PM 1 3 1 0 3 1 0 0 2P 3P 3P
5 D 2$ 5 PM 1 5 1 0 3 4 0 0 2P 2P 2P
6 D 2$ 3 PM 3 4 1 0 1 4 0 0 1P 2P 2P
7 T 3$ 3 PN 1 4 1 0 3 4 0 0 1P 3P 2P
8 T 3$ 3 PN 2 5 1 0 1 4 0 0 1P 2P 2P
Daniel August Todd, 2014
9 D 2$ 6 PM 2 4 1 0 3 4 0 0 1P TC 2P
10 D 2$ 3 PN 1 4 1 0 3 5 0 0 2P 2P 2P
11 D 2$ 6 PN 1 3 0 0 0 7 0 0 2P 2P 1P
12 D 2$ 6 PN 1 4 1 0 0 8 0 0 1P 1P 1P
13 D 2$ 5 PN 0 4 1 0 2 4 0 0 1P 1P 1P 14 D 2$ 5 PN 0 2 1 0 3 5 0 0 1P 1P 1P
15 D 2$ 5 PN 0 4 1 0 3 2 0 0 1P 2P 2P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 16 D 2$ 6 PN 3 4 1 0 3 3 0 0 1P 2P 2P
17 D 2$ 4 PN 1 4 1 0 2 6 0 0 1P 2P 1P
18 T 3$ 5 PN 5 4 1 0 2 7 0 0 1P 2P 1P
19 Q 4$ 4 PN 2 3 0 0 1 4 0 0 2P 3P 3P
20 Q 44$ 4 PN 0 2 1 0 2 5 0 0 1P 2P 2P
21 Q 4$ 7 PN 2 5 1 0 3 6 0 0 3P 2P 1P
22 Q 4$ 8 PN 2 4 0 0 2 2 0 0 2P 2P 2P
23 Q 4$ 9 PM 3 3 1 0 1 5 0 0 1P 2P 1P
TexasUniversity,Tech
321 24 Q 4$ 7 PN 1 3 1 0 2 5 0 0 2P 2P 2P
25 D 2$ 6 PN 5 4 1 0 4 6 0 0 1P 1P 1P
26 D 2$ 8 PN 1 4 1 0 3 5 0 0 1P 2P 1P
27 D 2$ 7 PN 3 5 1 0 2 8 0 0 1P 1P 1P
28 D 2$ 6 PN 3 5 2 0 6 8 0 0 1P 2P 2P
29 Q 4$ 4 PN 1 3 1 0 0 3 3 0 1P 2P 1P
30 D 2$ 6 PM 2 3 1 0 3 2 5 0 2P TC 2P Daniel August Todd, 2014
31 D 2$ 5 PN 2 3 1 0 3 4 2 0 2P 2P 2P
32 D 2$ 6 PN 2 4 1 0 2 5 1 0 1P 2P 1P
33 D 2$ 5 A 1 3 2 2 1 5 2 0 1P 1P 2P
34 DTI 2$3$ 5 PN 0 4 2 4 2 7 6 0 TC TC TC
35 DQTI 3$4$2$ 4 M 3 1 0 4 1 4 3 0 1P 1P 2P
36 DTI 3$2$ 5 A 2 4 0 2 0 3 2 0 1P 1P 2P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 37 D 2$ 6 A 2 4 0 3 1 3 3 0 1P 1P 2P
38 T 3$ 4 O 0 3 0 0 2 6 3 1 1P 2P 1P
39 QTI 3$4$ 6 A 2 5 0 1 0 4 6 0 1P 2P 2P
40 Q 4$ 6 A 2 2 1 2 1 5 2 0 2P 2P 2P
41 D 2$ 7 A 1 4 1 0 0 5 3 0 2P 2P 2P
42 D 2$ 6 M 3 2 0 2 1 1 3 1 2P 2P 2P
42a D 2$ 6 M 3 2 0 2 1 1 3 1 2P 2P 2P
43 D 2$ 4 O 1 3 0 1 0 3 3 1 1P 2P 1P
TexasUniversity,Tech
322 44 D 2$ 4 O 3 5 1 0 3 5 1 1 1P 2P 1P
45 Q 4$ 6 O 2 4 1 0 1 5 6 2 1P 3P 2P
46 T 3$ 7 O 3 4 0 1 1 3 2 5 1P TC TC
47 T 3$ 5 O 1 1 1 0 1 4 4 1 1P 2P 2P
48 D 2$ 5 M 3 3 1 5 2 4 1 0 1P TC 2P
49 Q 4$ 5 PN 1 3 1 3 1 4 0 0 1P 2P 1P
50 Q 4$ 5 PN 0 2 0 3 1 3 3 0 2P 1P 1P Daniel August Todd, 2014
51 T 3$ 4 PN 0 1 0 2 1 2 0 0 1P 2P 1P
52 D 2$ 3 M 3 4 1 7 3 3 6 0 1P 2P 1P
53 D 2$ 4 O 1 2 0 5 0 5 3 0 2P 3P 3P
54 D 2$ 5 N 1 1 0 0 0 4 5 1 1P 2P 2P
55 D 2$ 6 N 2 4 2 0 0 6 6 3 1P 2P 2P
56 D 2$ 7 N 4 4 1 4 2 5 3 4 3P TC 2P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 57 DTI 2$3$2*3* 6 PN 0 2 0 0 0 1 0 0 TC TC 2P
58 DTI 3@2@ 10 M 4 4 1 8 1 5 8 4 TC TC 2P
59 DQI 4$2$ 11 N M 4 5 2 13 4 5 6 4 TC TC 2P
60 D 2$ 7 M 4 3 0 9 1 3 7 2 TC TC 3P
61 F 5$ 9 PN 2 4 2 0 1 9 0 0 1P 2P 2P
62 QTI 4$3$ 7 SO 1 4 1 0 4 3 0 0 1P 2P 2P
63 Q 4$ 6 PN 3 3 0 0 1 8 0 0 1P 2P TC
63a 7 PN 2 4 1 0 4 8 0 0 1P TC TC
TexasUniversity,Tech
323 64 QTI 3$4$ 6 PN 3 4 1 0 2 5 0 0 1P 3P 3P
65 D 2$ 5 PN 4 4 1 0 2 3 0 0 1P 3P 2P
66 DTI 3*2* 4 PN 2 3 0 5 1 4 0 0 1P TC TC
67 Q 4$ 5 PN 1 3 0 0 1 5 0 0 2P 3P 3P
68 D 2$ 7 PN 2 5 1 0 3 6 0 0 2P 2P 2P
69 D 2$ 4 PN 3 2 0 0 2 7 0 0 1P 2P 2P
70 (4$) 5 PN 2 3 1 0 1 6 0 0 1P 1P 1P Daniel August Todd, 2014
71 (2$) 6 PM 4 4 0 0 1 3 0 0 2P 2P 2P
72 T 3$ 8 A 1 3 0 0 2 3 0 0 1P 1P 2P
73 Q 4$ 5 PM 4 4 1 0 3 3 0 0 2P 2P 2P
74 D 2$ 7 PN 3 6 1 0 2 8 0 0 1P 3P 2P
75 D 2$ 5 A 1 3 1 3 1 5 2 0 1P 3P 3P
76 Q 4$ 6 IO 2 3 0 7 2 3 0 0 1P 1P 2P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 77 D 2$ 4 O 0 2 0 0 1 5 4 0 1P 2P 2P
78 D 2$ 4 O 1 2 0 0 0 2 3 0 2P 2P 2P
79 D 2$ 3 A 1 2 0 0 0 2 3 0 1P 2P 2P
80 Q 4$ 4 O 1 3 0 5 0 3 3 0 1P 3P 3P
81 D 2$ 7 O 1 5 0 0 0 5 2 1 1P 2P 1P
82 D 2$ 7 PN 1 4 1 0 0 5 2 0 1P 3P 2P
83 DT 3$2$ 10 O 1 4 1 1 2 9 1 0 TC TC 2P
84 QFI 4$5$ 7 O 0 4 0 3 1 6 2 0 1P 1P 1P
TexasUniversity,Tech
324 85 Q 4$ 7 PN 3 3 1 0 2 6 4 0 2P 2P 2P
86 Q 4$ 7 PN 2 3 2 0 0 4 5 0 1P 2P 2P
87 D 2$ 6 A 2 1 1 2 0 2 2 0 2P 2P 2P
88 Q 4$ 5 O 1 2 1 2 2 3 4 0 2P 2P 2P
89 Q 4$ 7 A 3 4 1 4 0 5 5 0 3P 3P 2P
90 DQI 4$2$ 5 A 4 2 0 4 2 3 3 0 2P 2P 2P
91 DQI 4$2$ 6 A 2 3 2 4 2 4 7 0 2P TC TC Daniel August Todd, 2014
92 Q 4$ 5 M 3 3 1 6 1 5 2 0 2P 1P 2P
93 Q 4$ 6 O 3 3 1 1 2 4 5 1 1P 2P 2P
94 DTQR 2$3$4$ 9 O 1 2 1 2 1 4 6 0 1P 2P 2P
95 Q 4$ 6 O 2 2 1 4 1 6 4 0 2P 2P 2P
96 Q 4$ 9 O 0 6 0 8 2 5 3 0 1P TC 2P
97 Q 4$ 6 O 1 3 1 1 1 5 4 1 2P TC TC
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 98 D 2$ 5 O 1 3 0 7 0 5 4 0 1P 3P 2P
99 DQI 4$2$ 7 O 3 3 1 2 3 4 3 1 2P 2P 2P
100 DQI 4$2$ 10 A 4 4 2 3 3 5 8 1 2P 2P 2P
101 T 3$ 4 O 0 3 0 4 0 4 2 3 1P TC TC
101a T 3$ 3 N 2 3 1 3 0 5 6 7 1P TC TC
102 Q 4$ 4 O 0 2 0 10 2 4 3 0 2P 2P 2P
103 QTI 3$4$ 7 O 2 2 0 11 1 4 6 0 1P 2P 2P
104 DQI 2$4$ 7 N 2 5 1 3 3 6 6 3 2P 2P 2P
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325 105 DQI 4$2$ 6 M 4 2 0 8 1 1 2 3 2P 2P 2P
106 D 2$ 5 H 2 3 0 2 0 4 6 3 1P TC TC
107 T 3$ 7 N 5 5 1 12 3 6 9 5 2P TC 3P
108 Q 4$ 8 A 3 4 1 9 0 3 10 5 2P 2P 2P
109 D 2$ 6 M 2 4 1 5 2 3 8 2 2P 2P 2P
110 TQI 3$4$ 7 X 2 5 1 6 2 2 8 0 2P 2P 2P
111 Q 4$ 6 O 0 3 0 7 0 3 3 4 1P 1P 1P Daniel August Todd, 2014
112 QTI 4$3$ 10 A 2 5 1 6 2 7 2 4 TC TC 2P
113 T 3$ 7 H 3 4 0 10 0 3 3 5 1P TC 3P
114 Q 4$ 8 H 0 5 1 6 3 4 10 0 2P 3P 1P
115 none 4 M 3 3 1 7 1 3 5 1 1P TC TC
116 D 2@ 5 A 0 3 1 7 1 3 12 1 1P 3P 1P
117 none 4 O 2 6 1 6 0 6 8 2 3P 3P 2P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 118 none 4 M 1 4 1 10 2 4 10 6 TC TC TC
119 DTI 2@3$ 12 N 2 4 2 11 2 5 7 10 TC 3P 1P
120 TFI 3$5$ 5 H 0 3 1 5 1 3 4 7 1P TC 2P
121 CFI 5$6$ 6 N 0 2 1 5 0 3 4 7 1P 3P 3P
122 F 5$ 8 PN 2 5 1 0 1 7 0 0 1P 3P 1P
123 T 3$ 9 PM 2 4 1 0 3 6 0 0 TC 2P 2P
124 D 2$ 3 PN 2 3 1 0 2 5 0 0 2P 3P 2P
125 T 3$ 5 PM 2 4 2 0 1 7 0 0 1P 1P 1P
TexasUniversity,Tech
326 126 D 2$ 4 PN 2 4 2 0 2 4 0 0 1P 2P 1P
127 D 2$ 8 PM 4 2 1 0 2 4 0 0 1P 2P 1P
128 T 3* 8 PM 1 3 0 0 3 3 0 0 1P 2P 1P
129 T 3$ 7 PN 3 5 1 0 2 8 0 0 1P 2P 1P
130 F 5$ 7 PM 3 2 1 0 3 4 0 0 1P 2P 1P
131 Q 4$ 6 PN 4 4 1 0 3 7 0 0 1P 2P 1P
132 D 2$ 4 PM 6 3 1 0 4 6 0 0 1P 2P 1P Daniel August Todd, 2014
133 T 3$ 6 PM 4 5 1 0 3 9 0 0 1P 2P 1P
134 D 2$ 9 M 3 4 1 0 2 5 0 0 1P 2P 1P
135 D 2$ 6 PN 3 4 1 0 0 6 0 0 1P 2P 1P
136 QFI 4$5$ 7 PM 4 5 1 0 3 6 0 0 1P 2P 1P
137 DQI 4$2$ 6 PN 3 4 1 0 2 5 0 0 1P 2P 1P
138 DTI 3$2$ 4 PM 3 3 1 0 3 5 0 0 1P 2P 1P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 139 TCFI 5$6$3@ 6 PM 5 4 1 0 3 6 0 0 TC TC TC
140 (2$) 4 PN 4 3 1 0 1 7 0 0 1P 1P 1P
141 T 3$ 11 PN 3 9 1 0 2 4 0 0 1P 1P 1P
142 DQI 2$4$ 7 PM 4 5 1 0 3 7 0 0 1P 2P 1P
143 DTI 2$3$ 6 PM 4 4 1 0 2 6 0 0 1P 2P 1P
144 D 2$ 7 PM 3 5 1 0 4 6 0 0 1P 2P 1P
145 D 2$ 6 PM 3 4 1 0 3 6 0 0 1P 2P 1P
146 D 2$ 6 SO 3 3 1 0 3 6 0 0 1P 1P 1P
TexasUniversity,Tech
327 147 (2$) 8 PM 2 2 1 1 4 7 0 0 1P 1P 1P
148 T 3$ 7 PN 3 5 1 0 2 7 0 0 1P 1P 1P
149 Q 4$ 5 PN 2 5 1 0 3 7 0 0 1P 2P 2P
150 TCR 3$6* 7 PN 3 3 1 0 4 5 0 0 1P 2P 1P
151 Q 4$ 6 PN 3 2 0 0 2 6 0 0 1P 2P 1P
152 D 2$ 9 PN 2 3 1 0 2 6 0 0 1P 1P 1P
153 D 2$ 6 PN 3 4 1 0 3 7 0 0 1P 1P 1P Daniel August Todd, 2014
154 D 2$ 5 PN 2 3 1 0 2 8 0 0 1P 1P 1P
155 T 3$ 7 PM 4 3 1 0 4 5 0 0 1P 2P 1P
156 QFR 4$5$ 9 PM 4 5 1 0 2 7 0 0 1P 2P 1P
157 D 2$ 3 PN 4 4 1 0 4 6 0 0 1P 2P 1P
158 D 2$ 7 PM 3 2 1 0 1 7 0 0 1P 2P 1P
159 F 5$ 8 PN 2 5 1 0 3 4 0 0 1P 2P 1P
Table 6. Continued
Bicinium Rhythmic Features Melodic Features Formal Features Number of Rhythmic Rhythmic Melodic Phrase Meter Time Signature Tonality Number of melodic intervals Values form form structure
d r m f s l t altered 160 F 5$ 7 PM 3 4 1 0 3 5 0 0 1P 1P 1P
161 DTI 2$3$ 6 PN 2 8 1 0 2 5 0 0 1P 2P 1P
162 T 3$ 8 PM 3 4 1 0 4 5 2 0 1P 2P 1P
163 D 2$ 8 PM 2 5 1 0 2 6 0 0 1P 2P 1P
164 DTI 2$3$ 7 PM 5 5 2 0 3 6 0 0 1P 2P 1P
165 F 5$ 7 PM 4 5 0 1 4 3 1 0 1P 1P 1P
166 FSR 5$7$ 7 PM 2 4 1 0 2 6 0 0 1P 2P 1P
167 DTI 2$3$ 5 PM 3 4 1 0 5 6 0 0 1P 2P 1P
TexasUniversity,Tech
328 168 D 2$ 8 PM 4 5 1 0 2 6 0 0 1P 2P 1P
169 F 5$ 8 PN 2 6 1 0 4 7 0 0 1P 2P 1P
170 DTI 2$3$ 7 PM 2 3 1 0 5 4 0 0 1P 2P 1P
171 DQTI 2$4$3$ 11 PN 3 4 1 0 3 7 0 0 1P 2P 1P
172 FSR 5$7$ 10 PN 2 5 1 0 2 6 0 0 1P 2P 1P
173 F 5$ 10 PN 1 4 1 0 2 6 0 0 1P 2P 1P
174 F 5$ 8 PN 4 3 1 0 2 7 0 0 2P 2P 1P Daniel August Todd, 2014
175 Q 4$ 7 PM 4 5 2 0 5 6 0 0 1P 2P 1P
176 Q 4$ 6 PM 2 3 1 0 3 5 0 0 TC 2P 1P
177 F 5$ 9 PN 3 4 1 0 4 6 0 0 1P 1P 1P
178 F 5$ 7 PM 5 4 0 0 5 5 0 0 1P 2P 1P
179 F 5$ 6 N 1 4 1 4 0 4 8 1 1P TC 2P
180 T 3$ 5 PN 3 4 1 0 1 6 0 0 1P 2P 1P
Texas Tech University, Daniel Todd, August 2014
APPENDIX B
HUMAN SUBJECTS APPROVAL
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APPENDIX C
RECRUITMENT EMAIL
Dear [Name of Subject];
I am currently working on research for my dissertation to complete a Ph.D. in Fine Arts degree at Texas Tech University. My primary research is to analyze each piece in Zoltán Kodály’s Bicinia Hungarica for the musical elements present and the sequence in which these elements are presented. Additionally, I would like to determine to what extent American composers of bicinia and bicinia-like compositions have been influenced by Bicinia Hungarica.
I believe that you have written compositions which fall into the category of bicinia and would like to conduct an interview with you regarding your [Title of composition]. Your name and the information you provide will be included as part of my dissertation, and will include a discussion based on my theoretical findings and your interview. My final results, and a copy of the interview will be made available to you for your approval.
I anticipate the interview to take no more than one hour of your time. While I know that this may be a busy time of the year, I would greatly appreciate your help with this very important project.
If you are willing to participate, please respond via email ([email protected]). Include in your reply specific dates and times that you would be available to conduct the interview via Skype or telephone (please use your local time zone or specify times based on Central Standard Time). Once I receive your response, I will send a PDF of a consent form that must be filled out before the survey.
This study is taking place with the approval of the Texas Tech University Institutional Review Board for Human Subjects. If further information is needed, please feel free to contact myself ([email protected]) of Dr. Susan Brumfield, Professor of Music Education at Texas Tech University ([email protected]).
Thank you for your time and consideration,
Daniel Todd, M.M.Ed. Texas Tech University Doctoral Candidate [email protected] (806) 292-0739 332
Texas Tech University, Daniel Todd, August 2014
APPENDIX D
DENISE BACON INTERVIEW
Date: 30 April 2006
Place: Telephone
Interviewer: Daniel Todd
Respondent: Denise Bacon, former director and founder of The Kodály Center of America and The Kodály Music Teacher Training Institute
Re: 46 Two-part Exercises
TODD. What was your inspiration for the Bicinia?
BACON. When we started a model school, we taught six grades at a time. Where in Hungary, teachers don’t get a job where they teach all six grades at once. We were in desperate need for some easy two-part writing in our own model school, which did go through sixth grade. I studied some of Kodály’s Bicinia during my year in Hungary. I guess I used those as models.1
1. The following was not recorded, but occurred as a continuation of the discussion regarding Bacon’s inspiration for writing the bicinia and was transcribed from the author’s notes.
BACON. I wrote 50 Two-part Exercises before the 46 Two-Part American Songs. The Two-Part American Songs came after we wrote the 150 American Folk Songs. Helga Szábo helped me write the Two-Part American Songs. Kodály said that in order to sing in unison in tune, you must first start with singing in two parts. It is easier to sing in two parts because you can adjust to the other part. So, I was inspired to write them after my studies in Hungary.
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TODD. Did you write the Bicinia with a logical sequence of elements in mind or was it ordered progressively afterwards?
BACON. No. [laughs] Well, I think I ordered it progressively afterwards. I just picked the songs that I liked and set them immediately.
TODD. Who was your target audience?
BACON. They were written basically for elementary school youth. I wrote them particularly because the graduates we had needed material that conformed to Kodály’s ideas. And so, my original audience was our own model schools. We had two or three of them.
TODD. Kodály’s Bicinia was part of his “Choral Method.” Do you feel that your work serves the same function for the US?
BACON. That was my intention, yes. And the trouble with the Bicinia that I discovered was they were completely dependent on the personality of the teachers.
Because the trouble was with the cadences with the falling fourth, which sounds foreign to American’s ears. So, we weren’t so successful at teaching them the Bicinia, which prompted me to write these with an American flavor, but conforming to Kodály’s ideas.
TODD. How are the Bicinia used in the Hungarian curriculum?
BACON. I can’t remember exactly. But I do know that they use them very early, probably by second grade. I’d have to go back and look at my notes. I kept little notebooks of all the classes I took.
TODD. So they were used as a very early introduction to two-part singing?
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Texas Tech University, Daniel Todd, August 2014
BACON. Yes, but did a lot of improvising of little bits of things to introduce two- part singing. They didn’t go straight to the Bicinia. They start with the teacher singing a long, held note against the class. I remember Péter Erdei, in the model school he taught in, he taught the Bicinia in the second grade, but I know he preceded it with a lot of improvised teacher ostinato. I remember visiting his class one day when Péter had invented a little pentatonic ostinato and a little boy saying: “Mr. Erdei that sounds exactly like the new song we learned yesterday.” And the new song was one of the Bicinia.
[Bacon hums the tune.]
TODD. How did you intend for the music to be used in the classroom? Does it have a place outside the classroom, on the concert stage?
BACON. When we gave a spring concert, we always sung [sic] them. The parents knew the kids were doing well, but they couldn’t understand why there was no piano.
These kids sound so thin compared to those that sing regular music. It was really a job to educate the parents why we were doing this. That is why I set the 24 Nursery Songs with piano accompaniment. They were all either from the 46, the 150, or the Let’s Sing
Together, which you probably don’t have. Boosey refuses to reprint it and that’s for 3, 4, and 5 year olds. That book is in now, it was 20 years ahead of its time. That one is ordered just the same way, beginning with just two little notes. In fact, I’ve found in several series books “I See the Moon,” which I wrote for 3, 4 and 5 year olds, is now a traditional folksong, and the same thing with “Peas, Porridge Hot” and a couple of these.
Anybody could have written those, because they were written on purpose to be so easy for 3- and 4-year-old children. I finally realized that, after people knew the 46 Two-Parts,
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Texas Tech University, Daniel Todd, August 2014 and really knew them well, and didn’t depend on a piano to bang the parts out or anything, that I could provide a very useful thing for concert time by introducing the idea of making those songs into art songs by providing an imaginative accompaniment. Do you have that book?
TODD. Yes, I do.
BACON. If you look it up, you will notice that several of them are from the 46.
But my intention of those was really to introduce the idea of art music at an early age.
But, not until they really knew the song.
TODD. And that’s also a way of transferring what’s going on in the classroom to a concert setting.
BACON. That’s right. That’s right.
TODD. What preparation should come before using these songs in the classroom?
What should follow?
BACON. Goodness. You watch any of these Hungarian teachers and they will take a particular measure that is difficult and, without any reference to the song, and just use it, either rhythmically or pitch wise, and draw attention to a particular spot in the song. So, a person almost knows the song before they’ve ever seen it. In fact, Keith
Knighton wrote a book called Ta and Ti Bones. He did a very interesting thing. He took the most familiar pentatonic songs, like from 150 [American Folk Songs to Sing, Read and Play], and he reduced them all to either quarters and eighths, and called it Ta and Ti
Bones. The first half of the book is all very very simple. On the cover of the book is the skeleton of “Hush Little Minnie.” Nothing but quarters and eighths, and then it shows the
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Texas Tech University, Daniel Todd, August 2014 transfer of a phrase to the whole song so that through doing a whole bunch of those you turn to the back of the book and they know the whole song. Follow up is just all the kinds of things you can do with the song. Follow up is really the matter of practicing the songs.
TODD. Are they stepping stones, or preparation for other specific repertoire?
BACON. Oh yes definitely. The point is Kodály’s idea of sequence and brick building. It’s logical that those songs are very good to lead into art music of other composers, and they’re also good for improvisation. You take a measure out of them and say: “Now we’re going to play a game with question and answer.” I’ll give them the question, and it could be a measure or two of the song, and the kid has got to answer it in their own way.
TODD. Do you know of any other bicinia or similarly-inspired pedagogical materials?
BACON. Yes, well, Szőnyi’s collection Bicinia Americana. As a matter of fact, somebody from Australia sent me a book and asked me to critique it. Which was years ago [laughs], and I haven’t gotten around to it yet. Probably a lot of people are writing their own bicinias. You have to be careful. I think it’s not a terribly good idea to call them bicinias. I would Americanize it, because I find that Hungarians are a little bit touchy, I find, on the idea that somebody has taken their idea and run with it. I learned that the hard way.
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APPENDIX E
MARY GOETZE INTERVIEW
Date: 28 January 2014
Place: Telephone
Interviewer: Daniel Todd
Respondent: Dr. Mary Goetze, Professor Emerita of Music (Music General Studies), Jacobs School of Music, Indiana University Bloomington
Re: Simply Sung, Sing Noel, and The Cat Came Back
TODD. Hi Dr. Goetze. How are you?
GOETZE. I’m good. How are you?
TODD. I’m doing well, thank you.
GOETZE. Great!
TODD. I’m so glad we’re getting a chance to do this.
GOETZE. So you’re about to finish your dissertation?
TODD. I am about to finish. Hopefully I will do the defense this semester and then graduate in August.
GOETZE. Congratulations!
TODD. Oh, thank you. I appreciate that. Well, how have you been lately?
GOETZE. Oh, kind of busy. I was away from home last week and got back
Sunday.
TODD. Well great. Can we get started?
GOETZE. Sure, let’s do it. 338
Texas Tech University, Daniel Todd, August 2014
TODD. All right, so, our purpose today is talking about your collection of two- and three-part songs, Simply Sung. I think for that matter you also have a couple other collections, like Sing We Noel and The Cat Came Back that could probably fall into the same category.
GOETZE. They would.
Todd: Ok, great. So, Simply Sung was written in 1981. Could you just briefly describe where you were living and working, what your research interests were at that time?
GOETZE. I was actually still teaching elementary school at that time, although I was doing some graduate work at Indiana University. I was doing coursework towards a doctorate which I eventually finished in Colorado. I had basically begun arranging based on both the Kodály and Orff training that I had gotten in the ‘70s. These pieces came out of that experience and out of my curriculum at the elementary school. I was fitting them into my K-5 curriculum, so I was using them with fourth and fifth graders, and most of those songs were developed for those children and then presented as a collection.
TODD. Great! So you would say your inspiration for Simply Sung and the other collections came out of your own teaching needs?
GOETZE. Absolutely. I was observing a lot of people who influenced the choices
I was making.
TODD. When you wrote these collections, did you write them with a logical sequence of elements in mind, or did you progressively order them afterwards?
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GOETZE. They were ordered afterwards. I think most of the time I started with the song, which may or may not have come from a curricular decision about the sequence of elements. Most often I was looking for an interesting song that I could set with a fun way using interesting contrapuntal writing.
TODD. Good. And the curriculum you’re referring to was a state curriculum, a local curriculum, or one that was inspired by your own studies of Kodály and Orff?
GOETZE. The curriculum I was following was set out by Jean Sinor. She was actually my Kodály teacher in the summer programs. For five years at my school, Jean taught one class per year and developed her curriculum for first through fifth grade. She would teach one of my first grade classes and I would replicate her lesson with one of the others. We continued that each year all the way through to the fifth grade.
TODD. That’s great. You said that you wrote these for your students to fit a need in your curriculum, but since you’ve published them, was your audience the same type of students, or were you trying to reach a different audience?
GOETZE. Well, you know, you put it out there. [laughs] If you’ll notice, it was in an Orff Series; Simply Sung was actually written for Orff. Around this time I was teaching in Orff courses as well as Kodály certification programs. I was doing an hour of vocal work with Orff courses which we titled “Choral Orff,” which was a really bad pun since his name was Carl Orff. So that became part of the curriculum. Simply Sung follows both Kodály and Orff principles of part writing.
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TODD. You also state in Simply Sung that: “There seems to be a gap between the skills developed in singing rounds, canons or partner songs and the demands of holding an inner part.” What experiences led you to this conclusion?
GOETZE. Observing kids as they learn to sing in parts. When something was more homophonic they struggled more than if it was polyphonic, with a more melodic character. That was definitely part of what guided my writing. I put the melody in the middle as a way to help children tolerate pitches above and below their individual vocal part. Many of those have a descant above the melody and an alto part below the melody.
TODD. So, in a way your collection is trying to emulate an American polyphonic style, leading them to more homophonic singing. Is that a fair assessment?
GOETZE. That was kind of the sequence I placed the pieces in.
TODD. I think you’ve kind of answered this, but do you feel like there are musical gaps that the United States has as a culture that you have tried to bridge or we still need to bridge?
GOETZE. We’ve changed as a culture. It’s very different at least from the one I grew up with. You all in Texas may be a little different than what I see around here, but I grew up in a singing culture. We were harmonizing by ear in a more homophonic style, obliviously all during my grade school and high school years, but I can remember improvising harmony in elementary school. I would say that is not as prevalent today. I may be missing out this, but outside of maybe choir trips where kids are singing on the bus, it’s not as much of a singing culture. I don’t know that the experiences kids have in music classes are strategically leading them to feel confident to improvise by ear on their
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Texas Tech University, Daniel Todd, August 2014 own. I was attempting to do that in the classroom and we continued that with the children’s choir. I taught and encouraged them to harmonize by ear through some warm- ups we did. I saw improvisation happening when we would take trips on the bus. I can’t speak for the culture at large, but I would estimate that it’s not a common focus of kid’s lives, because they have ear-buds in their ears, instead of singing. They don’t make their own music as much.
TODD. Do you feel like part of that comes from improvisation? So, it’s not completely a lack of their musical skill, their musical understanding. Do you feel like some of the loss of polyphonic singing and harmonizing comes from the lack of trying things out (seeing if something works or doesn’t and kind of being thoughtful musicians)?
GOETZE. Well, I’m not sure about the thoughtful musician part, but yes, I think they may not be encouraged in that direction. I don’t know. Having written series textbooks I don’t think that was in the curriculum, that they would exit improvising. We gave them opportunities to improvise, both instrumentally and vocally, but it’s an optional activity. I wouldn’t begin to guess that it’s consistent throughout the country.
TODD. Is the collection a stepping stone for other types of music, or preparation for other specific repertoire?
GOETZE. Not specific repertoire. Skill-wise I would say that those three collections were moving from polyphonic to homophonic, which would pave the way for kids to sing in a homophonic style, because they would be hearing parts above and below
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Texas Tech University, Daniel Todd, August 2014 and because some of the parts moved closer to homophony. For instance, Shenandoah steps down to chordal tones. Does that make sense?
TODD. It absolutely makes sense. I think I agree as well. I think you’re telling me that the gap is moving from unison singing to homophonic singing. What’s missing in the literature is polyphonic material.
GOETZE. It depends on what literature. I think Kodály’s materials are somewhat polyphonic quite often. A lot of publications that are coming out are attempting to bridge the gap that I saw in 1980. Nancy Boone Allsbrook and Glenda Goodin are currently writing pieces in my series that that exemplify this idea. Jay Broeker is writing to fill that gap in appropriate and musical ways.
TODD. Were there specific musical elements you tried to teach in your collection? Maybe even elements that fall outside of homophony or polyphony.
GOETZE. As I recall a lot of them were pentatonic and heptatonic and would fall into fourth, fifth, and sixth grade Kodály curriculum easily. I probably started there.
TODD. What preparation, do you think, should come before using these songs and arrangements in the classroom? What should follow them?
GOETZE. Children should have a chance to enjoy unison singing and teachers should get excited about a true unison for kids. It is an achievement when a whole class, or a whole choir, can sing a nice unison, move together, and blend their voices. I see that as something that should come before teaching these pieces. I know that there are other thoughts on that. Joyce Eilers recommended singing in parts earlier, but I think that was suggested for middle school because of the limited range that the kids have. She
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Texas Tech University, Daniel Todd, August 2014 recommended parts as a way of getting them involved in singing. I teach unison before parts; other people rush that in the second grade curriculum. My search into children’s vocal development led me to postpone part singing, especially independent parts, until third grade. On the other hand, we did lots of rhythmic canons and rhythmic activities, where they held independent parts. But vocally, I didn’t feel that they were able to monitor their voices well enough, to match securely in unison while hearing a different pitch and maintain the unison. It seemed sort of a challenge for second graders.
TODD. So from your research you found that developmentally children have the readiness skills to sing in parts in third grade.
GOETZE. Yes.
TODD. How did you intend for the music to be used in the classroom? Does it deserve a place outside the classroom, on the concert stage, or is it purely for the purpose of teaching skills and these musical elements we’ve been discussing?
GOETZE. I used them on concerts, but I leave it open to the teacher. All of them can work in two-parts. Almost any two parts work together without the third. It’s easy to develop your own little arrangement of them by singing the melody, adding a voice or adding an ostinato then bringing in the melody, and finally adding the third voice. It could work in any number of ways as a performance piece. I remember hearing my kids singing them on their way home some days. I suppose they can live outside of the classroom. I would hope they stand as something musically appealing that could be used in any of those settings, even though they offer advancing pedagogical skills.
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TODD. Did you teach them in your classroom as an evolution of something you were singing, or did you give them notation of their part?
GOETZE. I never showed those arrangements as a full score. I might teach them any number of ways. They might learn any number of the parts. Most likely though, they knew the melodies in advance of learning the arrangements. They may have even learned the melody in the previous year of music classes before we put it together with one or two parts. They probably wouldn’t have been able to read any of those parts because of the way the curriculum was done. Typically I would show it on the overhead or write the ostinato on the board and they would sight-read it and then we would put it right together as an arrangement.
TODD. I think it’s really good for teachers to have the freedom to teach an arrangement that meets their students’ needs. It’s nice to hear how a composer used it in the classroom.
GOETZE. When I present my own compositions and crafted arrangements with accompaniment, I usually free the teachers to arrange as needed for the group. I think that they should feel free to do that.
TODD. You include comments on each of the songs in Simply Sung. Why did you feel it necessary to include them in this collection? (Most don’t give comments for each composition.)
GOETZE. It seemed appropriate to make suggestions and help them know what to do with the pieces, and how to teach them. I assumed it might be helpful.
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TODD. I’ve noticed that similar collections don’t always include comments like you did.
GOETZE. That’s true. I don’t know if it was the publisher that asked for it. If you look at other ones in that series from Schott, most of the Orff arrangements do include some instructions. It’s probably less common in the choral or bicinia publications. Maybe the Orff materials had that as a model.
TODD. You seem to be guiding the teacher to understand what the composer has written pedagogically.
GOETZE. I think that’s a fair assumption.
TODD. Do you know of any other Bicinia or similarly-inspired pedagogical materials?
GOETZE. I think Ruth Boshkoff did that same sort of thing in All Around the
Buttercup. I think she kind of modeled it after Simply Sung. It maybe even was a little more for younger kids than Simply Sung. There are collections published by OAKE.
Those could lead you to other people thinking in those terms, because I know there were lots of contributions. I don’t remember if Denise Bacon wrote a collection, but certainly she wrote in that style. I would assume these are all names you are already familiar with?
Or is this a qualifying exam question for me?
TODD. [laughs] I am familiar with them. I did have a chance to speak with
Denise Bacon about her collection, before she passed away this year. I’m aware of the
OAKE collections and came across Ruth Boshkoff’s collection a few weeks ago.
GOETZE. Well, Ruth is alive and well if you wanted to contact her.
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TODD. I’ll probably see her at OAKE in a few months. That’s all I have for you at this time. Thank you so much for participating. You had some really good insights and
I will be in touch once this chapter is finished and get your approval. Thank you so much
Dr. Goetze, I really enjoyed this.
GOETZE. Good to see you. Good luck.
TODD. Thank you so much. Goodbye.
GOETZE. Bye.
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GLOSSARY
anacrusis. One or more notes before the downbeat of the first full measure. External anacrusis refers to a note or notes that occur before the first full measure of music. Internal anacrusis refers to a note or notes that occur before the first full bar of a new phrase. augmentation. The modification of a rhythmic figure by multiplying the rhythmic duration of the original figure or the lengthening of textual rhythm presented in the melody. call and response. Melodic material presented in one voice (call) which is answered by material in another voice (response). The material in the secondary voice may or may not be the same. The response frequently reappears unchanged after each statement of the call. canon. The exact repetition of material presented in another voice, either melodic, rhythmic, or both, and separated by a specific rhythmic duration after the initiating voice. counter-subject ostinato. An ostinato that appears with each appearance of the theme or recurs which specific parts of the theme. diminution. The modification of a rhythmic figure by dividing the rhythmic duration of the original figure or the shortening of textual rhythm presented in the melody. double counterpoint. An independent melody which contrasts the theme and contains an exchange of voices. drone. A sustained or repeated note that sounds while the other voice presents melodic material. elision. The end of one phrase presented in a voice, occuring simultaneously with the start of the next phrase in the other voice. This may occur with a single note or an entire measure. free imitation. A harmony part which retains the basic melodic contour of a melody but occurs slightly after the melody is stated and slightly alters rhythmic or melodic elements from the original melody. free pentatonic counterpoint. An independent melody which contrasts the theme, may or may not have the same rhythm as the theme, and is pentatonic. imitation-changing stress. The modification of syllabic or metrical stress of an original melody in a secondary voice. imitative pentatonic counterpoint. Free imitation which is confined to a pentatonic system.
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Texas Tech University, Daniel Todd, August 2014 inversion. A form of imitation in which the direction of each melodic interval is reversed. key. Expressed by the letter name of the final pitch or home tone of the bicinium. ex. F = do key signature. The pattern of sharps or flats that appears at the beginning of a staff. This may be contradictory to the actual key of the bicinium. melodic form. The similarity/dissimilarity between melodic phrases or motives as expressed with lowercase letters. May refer to an individual part, both parts, or the form of the entire bicinium. melodic interval. Two or more notes which sound in a single voice immediately after each other. Will be organized into categories based on how the intervals are presented in a Kodály-inspired American sequence. melodic sequence. A melodic figure is presented and immediately repeated at ascending or descending pitch levels. meter. Is defined in terms of simple/compound and duple, triple, quadruple, or asymmetrical. motive. A recurring subject or theme that does not meet the criteria for a phrase and is derived from a melodic or rhythmic motive presented in another voice. one-part form. A formal type in which there is not enough variance for the parts to be labeled a b. ostinato. A repeated melodic or rhythmic figure which is not derived from the melody. phrase. A complete musical thought. phrase organization. Graphic representation of the length of each musical thought, expressed with arabic numerals followed by cadence type. range. An expression of the overall range of the bicinium with pitch classes and numbers, listing the lowest pitch followed the highest. “Middle C” is defined as C4. real answer. A form of contrapuntal imitation in which a melody is stated in an accompanying voice and no rhythmic differences occur, all intervals are a perfect fifth or fourth above or below the original statement, and the imitation continues for the length of at least one phrase. retrograde. Pitches which are performed backwards from the original presentation. retrograde inversion. The backwards mirror image of an original presentation.
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Texas Tech University, Daniel Todd, August 2014 rhythmic content. A listing of all rhythms present in bicinium. Certain one- and two-beat motives will be listed as a unit, because they are taught as a group ( xccc , aqa, sxc xcd, raar, gc vh, snd, and tie). rhythmic form. The similarity/dissimilarity between rhythmic phrases or motives as expressed with lowercase letters. May refer to an individual part, both parts, or the form of the entire bicinium. scale/mode. Defined with three parts: (1) incomplete or extended, authentic or plagal, and (2) the solfège of the final melodic pitch, and (3) a prefix describing the number of pitches in the tone set and suffix to define the construction of the scale. (E.g., extended do pentatone) simple counterpoint. An independent melody that contrasts the theme and may or may not have the same rhythm as the main melody. split melody. When the melody of the folk tune, or composed melody, appears in one voice and later in another voice. three-part form. A formal type having three different parts which can be labeled a b c. through-composed. A formal type having four or more differet parts. tonal answer. A form of contrapuntal imitation in which a melody is stated in an accompanying voice, and no rhythmic differences occur, and the imitation continues for the length of at least one phrase, but where the intervals between the answer and original statement do not remain constant. The predominant interval between the two melodies will usually be a perfect fourth or fifth with slight alterations. tonality. Is determined by the intervals in the song and the overall sound. May be expressed as Pentationc (major or minor character), Major, Minor, or Modal (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian), depending on if functional harmony is implied. Other possibilities include so, re, and mi Pentatonic. tone set. The collection of pitches in the bicinium, expressed with solfège and ordered from lowest to highest, with the final pitch in bold font and underlined. two-part form. A formal type having two different parts which can be labeled a b, even if multiple a and b sections appear.
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