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Performance Practice in Hungarian Folk Music and Its Relationship to the Style Hongrois

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Performance Practice in Hungarian Folk Music and Its Relationship to the Style Hongrois Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2019 Performance practice in Hungarian folk music and its relationship to the Style Hongrois Teresa Vinci Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Practice Commons, and the Other Music Commons "Never Far Away" [CD] can be purchased through [email protected] Recommended Citation Vinci, T. (2019). Performance practice in Hungarian folk music and its relationship to the Style Hongrois. https://ro.ecu.edu.au/theses/2265 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2265 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Performance Practice in Hungarian Folk Music and its Relationship to the Style Hongrois A dissertation -and- CD: “Never Far Away…” This dissertation is presented for the degree of Master of Arts (Performing Arts) Teresa Vinci Edith Cowan University School of Music, Western Australian Academy of Performing Arts 2019 ABSTRACT This study investigates style and performance practice within the oral traditions of Hungarian folk music, and explores intersections with the nineteenth-century idiom style hongrois. Interviews, lessons, and workshops were undertaken as part of a practice-based immersive research experience, and comparisons with the style hongrois made via analysis of scores and recordings of Jenö Hubay (1858-1937). The research strives towards an ‘Historically Informed Performance’ specific to these styles, and explores how they can inform each other. Findings are presented through a dissertation and a CD recording “Never Far Away…” comprising the researcher’s violin performance as leader of an Hungarian folk band. ii COPYRIGHT DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; iii. contain any defamatory material; iv. contain any data that has not been collected in a manner consistent with ethics approval. Signed: ____ ________ Date: _______________________ This copy is the property of Edith Cowan University. However, the literary rights of the author must be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute an infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. iii ACKNOWLEDGEMENTS I would like to thank my supervisors, Associate Professor Jonathan Paget and Dr Helen Rusak, for their continued guidance and support throughout my studies. I am also deeply grateful to Péter Árendás, Laurence Jackson, Rudolf Koelman, Csaba Ökrös, Mark Richards, Pál Richter, Vilmos Szabadi, and Erika Tóth. The knowledge, experiences, wisdom, and passion that they generously shared through interviews and violin lessons, have shaped this project in meaningful ways. Acknowledgment also goes to all musicians who collaborated in making the CD “Never Far Away…”, in particular Peter Sackett, József Kajcsa, and Bendegúz Bányai; it is always a joy to make music together. Finally, thank you to my family and friends, for their constant love, support, and encouragement. Teresa Vinci iv TABLE OF CONTENTS ABSTRACT .............................................................................................................................. ii COPYRIGHT DECLARATION ................................................................................................... iii ACKNOWLEDGEMENTS ........................................................................................................ iv INDEX OF FIGURES .............................................................................................................................. viii INDEX OF EXAMPLES ........................................................................................................................... viii I. CHAPTER ONE ................................................................................................................................. 1 A. INTRODUCTION .......................................................................................................... 1 B. AN OVERVIEW OF THE RESEARCH TOPIC .................................................................... 2 1. CONCEPTUAL OVERVIEW ....................................................................................... 2 2. RESEARCH QUESTIONS ........................................................................................... 3 3. DESCRIPTION OF CENTRAL RESEARCH QUESTIONS ................................................ 3 4. SIGNIFICANCE AND JUSTIFICATION ........................................................................ 3 5. STRUCTURE OF DISSERTATION ............................................................................... 6 II. CHAPTER TWO: LITERATURE REVIEW AND METHODOLOGY ......................................................... 8 A. DEFINITION OF TERMS ................................................................................................ 8 B. LITERATURE REVIEW ................................................................................................. 12 1. FOLK MUSIC .......................................................................................................... 12 2. STYLE HONGROIS .................................................................................................. 14 3. HUBAY .................................................................................................................. 16 4. PERFORMANCE PRACTICE .................................................................................... 18 5. EXPLORING THE INTERSECTIONS OF FOLK, VERBUNKOS, AND STYLE HONGROIS 20 C. METHODOLOGY ........................................................................................................ 25 1. METHODOLOGICAL LITERATURE .......................................................................... 25 2. METHODS/PROCEDURES ...................................................................................... 27 III. CHAPTER THREE: INTERVIEW SUMMARY REPORT ................................................................... 30 A. GROUP ONE .............................................................................................................. 31 B. GROUP TWO ............................................................................................................. 49 C. CONCLUSION ............................................................................................................ 60 IV. CHAPTER FOUR: FOLK CD ......................................................................................................... 61 A. LINKING THE ROMANI STYLE AND HUNGARIAN FOLK MUSIC .................................. 61 B. LEARNING HUNGARIAN FOLK MUSIC: THE JOURNEY ................................................ 63 C. CRITICAL REFLECTION ON CD: THE MAKING AND CD LAUNCH (2018) ...................... 65 D. GENERAL THOUGHTS ON THE RECORDING PROCESS .............................................. 67 v E. CRITICAL NOTES: THREE CASE STUDIES ..................................................................... 68 1. CASE STUDY 1: GÖMÖR ........................................................................................ 68 2. CASE STUDY 2: MAGYARPALATKA ........................................................................ 74 3. CASE STUDY 3: BONCHIDA .................................................................................... 77 F. CRITICAL NOTES AND REFLECTIONS .......................................................................... 79 G. CONCLUSION ............................................................................................................ 88 V. CHAPTER FIVE: HUBAY ANALYSIS ................................................................................................. 89 A. HUNGARIAN FOLK MUSIC AND THE STYLE HONGROIS ............................................
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