The Hungarian Survey May Be Obtained from ·the Following Distributors

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Lajos Vargyas terial 'and newer results. In other words, only in further subdivisions of the groups the more modern and up-to-date it will be; he obtained by this method did he give If we take into account the fact that in metrical characteristics a role to play. The Last Legacy: t~e ,Ba~t6k~Kodaly 1924, when Bartok finalized his book for Their first scholarly publication of folk publication, the number of songs awaiting songs, 150 folk songs of Transylvania, I was Corpus ofFQlk'Music publication was 8,000, and it is now about arranged according to this system. But in 100,000, the long delay in the date of pub­ an extremely important book2 published lication would appear to be a gain: gaps ih 1924, Bartok proceeded first and fore­ have been filled in, the greater number of most on the basis of metrical classification, variants and types of songs more recently and gave classification by cadence a sec­ discovered have made the picture of Hun­ ondary place. Before he left Hungary he garhm folk song more complete. On the had worked out , the detailed metrical­ he Corpus Musicae Popuiaris Hunga­ authorities in 1913, directing their atten­ other hand, if we consider that during all rhythmical system of classification of Hun­ T' ricae, designed to be the complete tion to the significance of the several these years the work was deprived of in­ garian folk songs. All the material collected compendium of Hungarian folk music, of thousand folk songs they had already gath­ fluence in ' either 'scholarly fields; or in up to then existed in two copies, arranged which five bulky volumes have already ered and asking for help in their publica­ Hungarian music, and the greater mass of according to , each of the two systems of appeared, is the most ambitious project tion. The request was premature. Neither accumulated material makes the working classification, awaiting a final decision as accomplished by Hungarian folk music re­ the official circles nor the wider public of this influence even more difficult, then to which method would be followed. search. Bela Bartok and Zoltan Kodaty re­ could appreciate the importance of the we can assess the disadvantages of the This decision was expected to provide garded it the crowning achievement of all work at that time. Had it not been for the delay. an answer to a question of no small im­ their scholarly efforts, and, apart from achievements and success of the two men These considerations, however, do not portance. It was a cherished dream of both their work as composers, the main object as musicians and composers a real aware­ alter the fact that the war, and slow res­ Bart6k and Kodaly, and their often repeat­ of their life. This great undertaking not nesS' of what it all meant might never 'have toration of normal living after the war ed demand, that the folk songs should be only offers a picture of the tremendous arisen. It was only in fact in 1934 that the acted like the lack ofunder standing in the published according to a musical system scope of the music collected, but by their Academy of Sciences offered them an earlier period, in again delaying publi­ of classification. This would have been the mode of publication the volumes reflect opportunity for the publication of the cation to a later date, and when the volumes magnetic force disentangling the inchoate the standards of research applied through­ songs, and entrusted' Bart6k with the task' did begin to come off the press the work and tangled mass of melodies, and putting out the project. It represents the sum total of preparing the material. From that time had to be undertaken under the conditions them into an obedient system that would of years of theoretical research and the on Bartok was relieved of the burden of then, and still, prevailing. reveal their secrets. Almost every scholarly most important results of mature, scholar­ teaching music,and was able to devote all Kodaly, who by that time had become benefit required would follow from such a ly analysis. his time up to 1940, when his decision to responsible for launching the originally system, if it could be built on the real char­ It,took ye'ars of work, I repeat, to bring leave Hungary became final, to the publi­ joint project by himself, was faced with a acteristics of the songs. Without it the this series of volumes into existence, and cation of the folk songs. It was, however, new set of alternatives: he had to choose widely scattered variants of the songs behind them lie even longer years of the only six years after the war, and after the between his own and Bartok's theories of would lie undiscovered amidst several painstaking work of collection and analy­ death of Bartok, that the first volume of classification for the arrangement of the hundreds and even thousands of melodies, sis. After eight years of collecting music and the series came out in 1951, forty-six years songs, because at the time of Bartok's and the styles, types and specific character­ songs, Bart6k and Kodaly submitted a re­ after the work of collecting had begun-a death, this question had not been 'settled. istics of a mature folk music developed quest to the leading Hungarian cultural period of nearly two generations! The musical system devised by Kodaly was from a great diversity of influences would It is worth considering whether a long based in the first place on the melodic I Bela Bart6k-ZoItan KodAly: Erd~/y l magyarsdg, Nepdalok LAJOS VARGYAS, ethnographer and musico­ delay harms or benefits a work of this kind. characteristics of the songs; which he de­ (The Hungarians of Transylvania. Folk Songs). Budapest, logist, is a member of the folk music research Undoubtedly every year of delay is also fined by a grouping of the final notes in the 1923. (With introductions in English, French and German.) group of the Hungarian Academy of Sciences 2 Bela Bart6k: A magyar nipdal. Budapest, 1924. In English: an opportunity to make use of newer ma- lines, that is, classification by cadence, and Hungarian Folk MusiC. London, 1931. 116 Research -and Education Research and Education 117

remain completely undeterminable. The tween two related melodies as great as cations up to that time, whereas the general dren-to introduce the youngsters in kin­ greater the mass of songs the more hope­ within the other system. After the mechan­ body of song were already quite well dergarten and primary school to the higher less the task of coping with such musical ical classification of the melodies further known and had been published in several realms of music. For the curriculum he material, recognizing its characteristics and acquaintance with the material revealed volumes, accompanied by scholarly notes built up singing exercises from little rhymes comparing it with other musical styles only more and more irregularities of this kind. and classification, as well as in a number repeating two notes, through motives of by relying on memory. As soon as the In the course of time a more profound of smaller popularizing pamphlets. And it three, four, five and more notes, adding material accumulated in the early period, knowledge of the material, made possible is true that these special song categories the difficulties, and a knowledge of music, in 'which variants of some song or another precisely by this classification, threw more­ represent an independent musical style, gradually. At the same time he used these occurred by tens and hundreds, the ne­ and more light on these irregularities and which differentiates them from the great little melodies for small choral works for cessity for some kind of musical classifi­ made further refinements inevitable. mass of folk songs; and if they are publish­ children. But when it came to a truly schol­ cation immediately arose. An example was Kodaly was perfectly aware of these ed in separate groups, the requirements of arly publication of a large mass of chil­ set by a people related to the Hungarians, possibilities of error. But it was not this musical classification are realized, be­ dren's songs, the task of classification pre­ the Finns. Their ethnographical collection alone that made him hesitate in making cause songs are classified in some style sented a completely new problem. It was is extremely large, and they were conse­ his decision. Had Bartok lived his choice group in which they are closely related to Pal Jardanyi, after a mechanical attempt by quently the first to deal with the problem would have been easier to make, but as it each other, and published en masse. Gyorgy Kerenyi, who discovered-by con­ of working out a rational system for all was, without him and his consent, a great After these preliminaries the series began tinuing Kodaly's educational practice-the kinds of folklore material. Kodaly, orient­ responsibility fell upon Kodaly-the de­ with the songs of children's games. It soon original and pioneering system under which ed by his Finno-Ugrian linguistic studies, cision would possibly have to be made con­ became evident, however, that a dear price the volume was finally published. Here the adapted Ilmari Krohn's system, and the trary to Bartok's ideas on the subject. had to be paid for the time gained for a final play songs made up of several motives were -two of them, Kodaly and Bartok, elabor­ Kodaly insisted that the great common formulation of the order of songs: these grouped according to their principal mo­ ated it further as required by the Hun­ venture remain their joint work even after special types constituted a newer task in tive-the core of the melody-starting with garian material. Bartok's death: for this reason the series classification, for which not even as much the simplest, and advancing to the most But the system was still not satisfactory. bears both their names, and for this reason preliminary work had been done as on the developed ones; singing on one note was In the first place, every system of classifi­ he tried to arrange everything to take folk songs proper. Their collection, more­ followed by primitive melodies consisting cation in fact stresses only {me character­ Bartok's views into consideration in every over, were by no means as complete as the of two adjacent notes, and then motives of istic. of the songs, and the others to a lesser possible way. When the state made funds other. And therefore not only work on mrd. sls. slsm. smd. etc. Separate indexes extent, or not at all. For this reason they available, and the undertaking was to be their classification, but a large-scale supple­ were made of the other melodies attached formulated two different systems, accord­ launched, Kodaly called a conference of all mentary work of collection had to be to the principal motive. This volume con­ ing to two main characteristics crossing the musicologists interested to listen to undertaken to make up for the deficiencies, tained the first musically comprehensive each other. But both systems only realized every possible argument. That was when and as a result, the volume containing the system of classification of children's songs, their specific aims to a certain limited ex­ the proposal was put forward that the songs of children's games3 only appeared which have an extensive kinship with simi­ tent. However important the cadence of series ought to begin with ritual melodies­ in 1951. lar songs throughout Europe, and was the lines in the structure of songs may be, songs of New Year's masquerades, songs of But in the meantime, these songs had received with wholehearted recognition on occasion they change, and then two children's games, laments-and grouped acquired special significance through Ko­ throughout the world. essentially identical melodies may be separ­ according to the function of the song, that daly's educational activities. In reviving the Two years later it was followed by an ated by classification of hundreds of songs is, according to the custom with which teaching of singing and introducing a even more bulky volume, the ritual songs away from each other; or if in the mean­ they were associated. By this means the whole new choral culture into the schools which accompany the seasons.4 One section time it had been noticed that they were final solution of the classification of melo­ based on the folk song he made use of these of these songs consisted of melodies pre­ identical and they had been placed side by dies not associated with any formal oc­ play songs- the music of the smallest chil- viously used and made popular by Kodaly side, then the consistency of the system had casion could be postponed. It was just in his lengthier and very effective children's been ignored. A slight diminution of the these customary songs, moreover, that had 3 Corpus Musicae Popularis Hungarlcae I. Gyermekjdtt1kok. (Children's Games.) Arranged for pubJication by Gyorgy 4 CMPH II. Jeles napok (Calendar Customs' Songs). Ar­ rhythm could easily result in a distance be- been most neglected in folk song publi- Kerenyi. Budapest, 1951. ranged 'for publication by Gyorgy Kerenyi. Budapest, 1953. 118 Research and Education Research and Education 119 choral works:.the Whitsuntfde, The Straw · .most yaluap)e material in this volume was the Research Group to end the ritual songs the first systematic collector in the northern Guy and othersJiketllem.For a proper again Kodaly's early collections from with a single volume, the laments, and so fringe .of our language frontier, among the .appreciation of them a full knowledge of Northern-Hungary (today Slovakia), where to begin . at last the tremendous series of pal6c (Palots) people-and later in other Western folk customs, from carnival time the richest Hungarian traditi.ons and . the lyrical and .bal1ad songs · in the system of sections of it. He not only recognized the to Whitsun Or the Spring Solstice, . js in­ greatest number of songs dating from musical classification that had evolved..in great significance of this ·. type of song, but dispensable: carrying out the winter, the medieval times .had survived. In this. area the meantime . had also intended to write a separate book choice of the Whitsun queen, the medieval .the old marriage customs had remained un­ The lamen~ is musically the.most interest­ about it, and by 1921 its pUblication had student songs for tl)e namedays of St Gre­ ;ouched up to our days, together with .their ingfor folklorists among alhhe ritual types already reached the stage of engraving the gory and·St Blaise, the ceremonial songs or ancient ritual melodies. These songs differ ofsong and as a type ·haslhelongesthisto­ musical examples. But he gave up the idea very . ancient songs connected · with the from othertypes of folk melody as much as ry ..Customs associated with death are more because he saw its shortco!11ings, and the mysteries of Midsummer Night, the magical do the songs ofthe New Year and the songs conservative than any other; the.custom of difficulties that needed to be. solved. As it ritual of leaping over the fire and similar ofchildren's games. These sQngs provided mourning is atradition going back to mail's was, only his collection and results were to traditions. So are the previously familiar the initial impulse for the publication of a prehistoric past: the .nearest .woman rela" hand when · a comprehensive paper· on New Yeaes sOngs, already known, bu~ separate volume dealing with such material. tiveofthedeceasedwas expected to mourn Bungarianfolk musics had to be prepared revealed in tremendous abundance, about Unfortunately the editors Went much too the departed one; singing with an impro­ in 1934, and what was known about the the Winter Solstice, the clowning, magic~ far in their .obsession with consistency and vised text. This improvised singing, there­ lament also had to be. included. When the making, greetings and customs of the New completeness-they even added material fore, has preserved, .together with texts introduction of the tape recorder opened Year, that have shed new light on their that should have been classified by style that are virtual1y in prose, a very early up new possibilities in. the recording of French and.Mediterranean-Byzantine con~ among the other folk songs; and which stage of melodic <;onstruction : a non­ improvised types of songs, examples of this nections. The volume also makes it pos~ were connected with weddings only in a strophic, motive-repeating chain like form type oCsong, which was extremely difficult sible to compare the Christmas custom of sporadic way. This criticism is .even truer of in which onlY the outlines .of the melody to collect, tremendously increased in col­ Nativity plays as carried out by the differ­ the following volume, known as "match­ are · given, ·and. only .certain stationary lection of the Research · Group, and soon ent peoples of Central · Europe. These making .songs."6 These volumes gave some points are connected with definite notes, several hundred authentic songs, among Nativity plays were formulated in Baroque justification for the mistaken criticism we but these fol1ow each other alternating them· a great wealth of subtypes, taken times, but they perpetuate very ancient heard from certain foreign scholars to the rather'freely. In only a few border areas of fro1)1 the entire territory where Hungarian traditions. effect that the Hungarians had abandoned Europe where archaic customs are still to is spoken, were available for large-scale The year the second volume was publish­ any form of musical classification and had be found, have similar types of melodies research work. ed was identical with the official founding adopted a system of classification exclusive­ survived, most strikingly among our direct . The Research Group was anxious to of the Research Group. This was when the ly according to function, that is, accord­ linguistic relatives, the Vogul, the Ostyak publish this material which was expected Hungarian Academy of Sciences organized ing to the occasion when the songs were and Mordvinianpeoples. It appears that to attract great interest, along new lines. In the Folk Music Research Group from the sung. But this was a misunderstanding:we this.musical style has survived amongst us view of the importance of the type, they staff which until then had functioned as only used function as a basis for classifica­ from the time that we lived together with wished to publish it with extensive compari­ the "editing committee." It was one of the tion (disregarding the excesses already men­ them, and preserved a very ancient Euro- sons with the laments . of other peoples. first research institutes of the Academy. tioned.in the two volumes), in so far as it pean musical tradition. . This proved to be extremely difficult, be­ The next subject in the series, weddings, served to separate an independent musical . This volume? is even more closely linked cause there had hardly been any publica­ divided into two sections, appeared under style such as these calendar customs' songs; with the collecting of songs and the re­ tion of lament melodies among other the auspices of the new organization. In the in everything· else,a musical classification search once undertaken by Kodaly. It was peoples, and only descriptions of the first section were the songs of wedding was followed. he who discovered the lament, again in the custom were available to any extent. At the ceremonies, and in the second the dance It was precisely the experiences of the Zobor region of Slovakia, and he was also same time the Group wished to satisfy in- melodies and descriptions of dances.s The third and fourth · volumes that prompted 7 CMl'H V. S lraldk (Laments). Arranged for publication by 8 Zoltan KodaJy: A magyar nepzene. Budapest, 1937. In 5 CMPH Ill/A. Lakoda/om (Weddings). Arranged for publi­ 6 CMPH IV. Paros/iOk (Match-making Songs). Arranged for Lajos Kiss and Benjamin Rajeczky. Translated by, Imre English: Fo.1k Music of Hungary. Budapest-London-New cation by Lajo. Kiss. Budapest, 1955.IIJ/B: 1956. pUblication by Gyorgy Ker~nyi. Budapest, 1959. Gombos. York, 1960. . 120 Research and Education Research and Education 121

creasing requests from abroad that this of the folk songs in the series, under this It is based on the premise that the vast After such melodies-the variants of highly important series or at least the system. majority of Hungarian songs consist of four which may possibly fill even two volumes­ explanations and commentaries should This new system was again worked out lines, and these follow each other, clearly come other songs with a different melodic appear not only in Hungarian, but also in by Jardanyi, who carried it to perfection separated, with differences in pitch and line, but also gradually descending, and a language widely spoken throughout the through discussions with colleagues, and well divided by cadences. Thus if we make then those whose first two lines are simi­ world. We accordingly issued all the then a "trial publication."9 His very first difference in pitch between the lines the larly pitched, then songs in which the third laments in two languages. Experts of other consideration was that the system should basis of the system, and within this the line is higher than the first, again gradually countries can now read both the explana­ reflect the historical-comparative results upwards or downwards direction of the songs where the difference in pitch between tory material as well as the texts of the that had been obtained in the meantime, melodic line, then we can grasp the most the first and fourth lines decreases; these laments in English translation. The English and in particular that the style known to be characteristic feature of the melody, and are followed by those in which the first line is by the Hungarian translator of English the oldest, the melodies agreeing with those are in a position to gather all related songs and the last are in the same pitch, and the and Scottish ballads, who approached his of related peoples in the East, repeating a together, and arrange the various families two between rise like a cupola-which is, task with great care. The text was revised fifth below, based on the pentatonic scale, of melodies in a logical system according incidentally, a characteristic of the new by our folklorist friend in Cambridge, with a descending melodic line, would be to the degrees of relationship which link style of Hungarian folk music, and finally, Lawrence Picken. together, and separate from the rest. The them to one another. types where the last line is highest, which is Once again we can thank Jardanyi for other types should follow each other, pos­ The system of classification begins, found in songs which are in fact art songs the most suitable arrangement of the melo­ sibly chronologically, and according to the therefore, with songs in which the first line in their origin or which is peculiar to songs dies. This time the classification ·has been degree of kinship. Such a system of classi­ lies in the upper octave; it starts with the coming to us from other countries. according to territorial distribution, since fication, divided by styles, can never be as highest note in the octave, describes an This system accounts for the whole trend the lament and its subtypes show quite automatic as, for instance, the older system elliptical curve and finishes up on a high of the melodic line, not just the position of striking territorial distinctions. This system based on cadences, where the place of each note again; this is repeated in the second an important note, or two, which might on of classification, with the intelligent system melody is determined with almost mathe­ line, but the end of the line is on a lower occasion be changed; and the change of indexes, revealing this almost Protean matical precision and can be unequivocally note; this two-line period with its two would alter the place of the song in the form of music in its changes and variations located. Jardanyi separated the two re­ kinds of cadences then repeats itself a fifth whole system. This system finally solves the through full type-sketches and extracts, the quirements that could never be quite rec­ lower, that is, the third and fourth lines are indication and classification of the styles notation faithfully following all the nu­ onciled : the indication of the style ele­ lower and the line ends gradually sink to and types of Hungarian folk music. ances of the performance, and not least, the ments from the easy discovery of the melo­ the closing note. This is the family of Under this system the Research Group musical material itself, the moving, some­ dies. According to his system the songs can melodies that Kodaty elaborated in his has already issued a selection of songs,ll times poetic texts and their humorous be found through the use of indexes, which composition of variations for orchestra; a Where the chief types follow each other parodies, all go to make this volume an enable them to be located according to folk song expert in Cheremiss music in with one or two of their most characteristic outstanding representative of the series. cadence, strophic structure, tonal range Moscow exclaimed on hearing it: "Why, variants, accompanied by an explanation With the laments, the publication of and form; and the actual classification of this is a Cheremissian melody I" The of the system. At the Budapest conference ritual songs has ended for the time being. the songs can then be devoted entirely to Research Group was also aware of variants of the International Folk Musik Council, The melodic material of a few less signifi­ revealing the style elements and relation­ of it widespread in the Volga region. 10 This Jardanyi outlined his system to a body of cant customs is under preparation, as well ships. The newer system gives both, and identity of style, together with many other international experts. All preliminary in­ as the songs of peddlars, beggars and reveals in particular the family connections H ungarian-Cheremissian-Chuvash melodic dications-the advantages observed in the tradesmen; in the meantime, however, the of the song expressed in the melodies, parallels, indicates that such melodies have course of testing the system out, as well as new system of musical classification to whereas the rhythmic system is often of been preserved in Hungarian tradition ever its favourable reception in professional cover the general folk songs had been secondary character. For this reason the since the Magyars left their ancient land, circles-go to show that at last the enor­ completed, and Kodaty's foremost efforts system is built upon melodic characteristics. the Volga region, at least 1,500 years ago. mous aesthetic and historical qualities of in his last years were directed towards the 9 Pal Jardanyi: Magyar nepdaltlpusok (Types of Hungarian publication of the most important sections Folk Songs). Budapest, 1961. . 10 See: Kodaly: Folk Music of Hungary, song example No.6. 11 See note 7. 122 Research and Education Research and Education 123

the Hungarian folk song can be revealed on the project gave the dominant tone to must be built up by collective effort for the Europe. In our ritual songs many of the in a suitable setting. the whole collective creation. use of Hungarian research workers. Thus songs of ancient Europe are recognizable, It is sad that neither Kodily nor the in­ His entire life was one long demonstra­ Hungarian research arrived, finally, and in other Hungarian folk songs there ventor of the system, Jardinyi, lived to see tion of an incredible intell~ctual flexibility through East European and then Northern are a number of medieval specimens which the appearance ofthe first volume classified and capacity for work. Even as he struck Asian connections to entirely European may even be of more interest to workers in under the new system. It almost appears as out on a new road at the start of his career­ problems. the general European field than to Hun­ if the whole venture had been plagued by with the rediscovery of the folk song - so he And if we see Europe in the Hungarian garians. Even a specifically Hungarian fate; three men working on it died before oriented himself with equal assurance be­ folk song, undoubtedly the foreign scholar song, or something new, like the new style they glimpsed the "promised land." Before fore the tasks of scholarship that faced will see it as well. And not only Europe, but of Hungarian folk song, may serve as an the whole series was even started, Bart6k him. In. the course of his career he was also Asia, though indeed that part of it example of how a modem, national style of died abroad; Kodily, who had a long life, capable of renewing himself again and which had always been associated with it song can arise among a people through an brought the series into existence, but not again, of widening his knowledge with new geographically and historically. If in our amalgamation of various European art the section that had for many years been horizons, of acknowledging the results of ancient songs it is rather the East European­ music influences and old national melodies. his particular task t9 classify and publish; others, of revising his own, and of devoting Asian relationships, that is, the Eastern The Hungarian treasury of folk song, and just before it was ready to go to the printers his life unconditionally to one great pur­ features that emerge in greater relief, they the work of scholarship in which ' it has he died, without experiencing the joy of pose. This is the real reason why he was are after all not entirely alien to the West: been assembled and made available, the seeing in print what he had worked so long able to develop his plan for the publication similar features have also appeared there, Corpus Musicae Popu/aris Hungaricae-the to prepare. Even more tragic was the fact of the folk songs from a splendid individual and more than once' our melodies have splendid work of Bart6k and Kodaly-has that Jardanyi, who was only in his forties, accomplishmentinto the vast work needing served to illuminate the wider and older gone far beyond any national significance: died even before his teacher, Kodily, and a full research group for its accomplish­ riches of the bqdy of European folk music. it has become a source publication for all he also never saw his greatest work in full ment, and to further research into folk If we place Cecil Sharp's collection of the European folklorists and students of folk completion. It almost looks as iffate meant music beyond the horizon he and Bart6k wonderful Appalachian pentatonic songs music. It can moreover serve as a guide and the work to pass from hand to hand, from had first envisaged when they took the beside our melodies, then perhaps from the reminder to all the nations looking for the the older to the younger, to become acollec­ first steps : they had embarked on a search differences will emerge the large territorial expression of a general humanity in their tive creation like the folk song itself; that for the national roots of Hungarian music, units, groupings in the musical history of own musical heritage. from the personal life-work of two great and the more deeply they penetrated their men, it should broaden out to become the material the wider the prospect grew (and common product, the collective accom­ the more urgent the need for comparative plishment of many people. studies). Bart6k investigated the music of Kodaly held the relay baton longest of the peoples of neighbouring nations; Ko­ all. He was there at the start, when the first dily turned to the geographically remote ideas were formulated, he was present at peoples related to the Hungarians, seeking every stage ofthe undertaking, and without connections in the distant past on the one his judgement, precision, organizing abil~ hand, and to more distant European rela­ ity, constant attention and supervision the tionship and folk music survivals deriving work would never have been born, would from earlier art music in Hungary, on the never have come this far and would never other, discovering broader European and have grown to this extent. Without him later historical relationship. These widen­ there would have been no successors to ing horizons convinced him that the explor­ carry it to final realization, for the people ing instincts and recording abilities of in­ working on the project are all his pupils. dividual researchers were not enough, and The extraordinary work he accomplished that a European comparative catalogue