INDEX
RA.TEOZKY, B.: MusikforachWlg in Ungarn 1936-1960 ...... 225 KBo6, Gy.: Duke Bluebeard's Castle ...... 251 SZABOLOSI, B.: Le Mandarin Miraculeux ...... 341
LmmvAI, E.: Der wunderbare Mandarin ...... 363 VABGYAS, L.: Folk Music Research in Hungary ...... 433 L. VARGYAS KAB.PATI, J.: MeIodie, vera et structure stropbique dans la musique berbere (imazighen) du Maroc Central ...... 451 B6NIS, F.: Gustav Ma.hler und Ferenc Erkel ...... 475 Folk Music Research in Hungary DOCUMENTA Thoma.s Stoltzera Anstelhingsurkunde aus dem Jahre 1522 (von Z. FALVY) 487 Une lettre inedite de Romain Rolland (par B. SZABOLCSI) ...... , 491
RECENSIONES J8.nOS Mar6thy: Die Geburt des europaischen Volksliedes (von 1. IIALMOS) 4!l3 BrWlO Nettl: Cheremis Musical Styles (by L. VIKAB) ...... 497
SEPARATUH 01.64020 - Akad6mlal Nyomda. Budapeat - FeleJ& vezet6: BeruAt GyllrllY Studio. MusioologicaTomus I. faso. 3--4. 1961 Folk Music Research in Hungary
by L. VARGYAS
Academiae Scientiarum Hungaricae
A Magyar Tudomanyos Akademia zenetudomanyi foly6irata
Technlkal surkeszt.5: In the history of Hungarian folk music research each of the two FALVY ZOLTAN world wars marked the end of an era. The first, from 1905 to 1919, was devoted to intensive collecting and preparatory activity. In the time A szerkesztoseg cime: Budapest V., Nador u . 7. Ill. 338. between the two world wars the first important scientific works were born: the Transylvanian Collection - a classification by musical elements --- by BART6K and KonALY (1923), a£undamental descriptive analysis of A Studia Musicologica nemet, angol, francia, olasz cs orosz nyclven tudomanyos Hungarian folk songs by BART6K (1924; it appeared also in German in ertekezeseket kOzOI a zenetudomltny korebOl. 1925 and in English in 1931); a summary of Bart6k's comparative re - A Studia Musicologica cvente 1 kOtetbcn jelenik meg, mintegy 400 oldsl terje delemben. A kOtet 2, feievenkent m egjeleno fiizet formajahan keriil kiach,! pra. search work (1934; in German in 1935, in French in 1936); fillally, asum A kOzlesre szant keziratok, valamint a szerkeszt6segi levelezes az ahi bbi cimre mary by Koda.ly (1937; second edition: 1943). The first village mono kiildend6: graphs made their appearance and a bulky pUblication revealed the Sludia Musicologica music of the Hungarians of Moldavia. Folk music was gradually becom Budapest V., Nltdor u. 7. Ill. 338. ing a public necessity and to satisfy the need, popular collections were published bearing titles such as "101 Folk Songs, 102 Folk Songs" etc. In fact, these found their way into school instruction with the School Les Studia Musicologica, une revue de l'Academie Hongroise des Sp,iences, puhlient des travaux originaux du domaine de la musicologie cn flanfais, allemand, an::llais Song-Collection by KonALY and KERENYI (1943). - The death of Bela ou russe. BART6K at the end of the Second World War put a stop to this type of La. revue Studia Musicologica est publiee par semestre sous forme de fascicules qui seront r6unis en-un volume de cca 400 pages par an. development. On est prie d'envoyer des manuscrits destines iI. la r6daction iI. l'adresse suivante: A glance at folk music publications on buok-shelves that have Studia Musicologica appeared in the course of the last fifteen years will convince anyone Budapest V., Nador u. 7., Hongrie that development has not ceased, in fact, it has taken on greater impe Toute correspondance doit lltre envoyee iI. cette meme udresse. tus. During those fifteen years twice as many ethnomusicological works Le prix de l'abonnement est de 110 forints par volume. have been published than in the preceding era altogether: :15 in fifteen On peut s'abonner iI. l'entreprise pour le commerce exterieur de livres et joumaux years - 8 in forty. KULTURA The most important among these works, undoubtedly, i~ the series Budapest 62, POB 147, Hongrie representing the complete edition of Hungarian folk music; it is to be ou iI. l'etranger chez tous les representants ou depositaires. regarded as the centre of Hungarian folk music research_ La. revue Studia Musicologica est publiee par la maison d'edition de l'Academie Hongroise des Sciences Akademiai Kiad6 (Budapest V., Alkotmany u. 21., Hongrie). BART6K and KonALY submitted a plan to the cultural authorities for the publishing of a collected edition of the folk songs as far back as
14 SI.MUI~l L. Vargyas: Folk 111.usic Resem'ch in Hungary 435 434 L. Vargyas: Folk Music Resem'ch in Hungm'y
see the complete work. It is obvious that witli proper organization this 1913; the Academy decided then to "set aside" a certain sum for this preparatory work can be considerably reduced and those volumes that work (1934), but up to the end of the War the question did not get be follow the musical system will hardly require so much work, so that-they yond the preparatory stage. Today already five bulky volumes mark the can appear one after another at a rapid pace. results and bear witness to the extensive financial support which the With the third volume, however, a much more serious !-,roblem aroso, state devotes to the cause of folk music research. The work is going on the question of system. In our older collections, and abroad even today, under impressive conditions: a group of twenty persons, among them the musical material is arranged according to the types of the texts: twelve scientific collaborators, is working on the publication. Originally in the order of ballads, love songs, soldiers' songs, ceremonial songs and the work was begun in a small room at the Academy, with hardly enough the like, and the melodies belonging to them follow one another in utter accomodation for the two collaborators: Kodaly and Kerenyi, not to confusion. Even identical variants cannot be easily picked out from an speak of storage s!-,ace for material. Since then an independent Academy extensive collection, but it is completely impossible to determine and Research Group has been entrusted with the work; this Group has ade find the types and the musical characteristics of such kind of musical quate premises, a laboratory of its own, tape recorders, motor-cars and material. an imposing budget. The volumes already published give evidence of an Pre~iously it was regarded as a great achievement of Hungarian enterprise which is unequalled, except by the large-scale task in progress folk .musIC research that it evolved a classification method according to on the collected edition of German folk songs (Deutsche Volkslieder mit mUSICal characteristics and thereby laid the foundations for scientific ihren Melodien). But there it is the texts that are being published - to elaboration. Everybody expected the application of this method also gether with their melodies insofar as these are available and not the to the complete edition in consideration of the large amount of material comple~ material, just 1-2 patterns, 8 -10 in the larger groups of vari involved. But the volumes of the Corpus Musicae Popularis Hungaricae ants; only a listing of data reports on the rest of the variants. True, the w~re not begun with folk songs proper, but with special kinds of songs, ' absence ' of the complete material is compensated by the large-scale With those associated with customs, that differ from the mass of folk comparative elaboration of the first ballad volumes. But the Corpus songs. That solution - following Soviet examples - was once decided Musicae Popularis Hungaricae, aiming at completeness' from the musical upon at a conference of the interested. experts at the recommendation point of view, is considered unique due to its imposing proportions. of B. SZABOLCSI. The "Customs songs" were then understood to comprise While establishing the foregoing with pride, and being also aware such types as represent a separate style: children's songs, regos (regosh) that in its scientific requirements this series far preceded the works other songs and dirges. When publishing these in a separate volume we have nations have published so far, still we must report on a certain amount not departed from the principle of musical order, even though the songs of practical and theoretical concern that had ariscn in connection with are apparently grouped on the basis of one or the other popular custom. cer~ain volumes. Because when we say "dirge" for the sake of simplicity, we are thinking Regarding the pace of pu blishing the volumes, a.nxiety was already of ~ certai~ musical type, the numerous similar melodies which, adapted expressed before the appearance of the first volume. The "Dj Zenei Szem to ImprOVised prose texts, vary loose motives mostly on the lower five le" (New Musical Review) opened a discussion on the subject (Ujfalussy, six tones of the major scale, where they repose in irregular succession on Jardanyi, Vargyas) whereupon the first volume appeared in 1951: the second arid first grade. Gyermekjatekok (Children's Games) with songs. The following volumes It cannot, therefore, be regarded as a deviation from the musical appeared successively at two-year intervals: Jeles napok (Calendar principles we all hold if the first volume of the series contained the Customs) in 1953, the first part of the Lakodalom (Wedding Songs) in "~hildren'sSon?s".In fact we thought it of special advantage thatJil. 1955. this. section was only completed in 1956, thus in the third year. DAN~I. had deVised such a clever system of grouping this material, never The fourth volume: Parosit6k (Matchmaking Songs) left the press three claSSified before, that its types, characteristics were clearly outlined and years later, in 1959. If we estimate the remaining material only at twenty the heterogeneous material, the loose formS' became comprehensible to volumes, we would still have to reckon with further sixty years proceed everybody. ing at this pace, - in other words, the present generation would hardly
14* St. Musicologica I St. MWlicologica i 436 L. Vargya8: Folk MU81'c R eaea1'ch in Hunga1'y L . Vargya8: Folk MU8ic Re8earch in Hungary 437
The abov~-said partially holds good also in regard to the songs in It became, therefore, apparent that the continu... tion could not be the second volume: "Calendar Customs". Although strictly speaking only based on folk customs; the publishing of folk songs proper in a musical the regos songs show a similarly clear tendency of separation, a large order was not to be delayed. (The fourth volume is obliged to refer in part of the "Nativity Play" -Songs" does not; in fact, the traditional advance to melodies whose place in the series has not yet been de character of one or another of these song types may even be doubted; termined). the grouping within the various songs of tradition is not so successfully The solution was provided by the further reorganization of the work. done as in the first volume either, - still the ov~rwhelming part of the The musical classification and the publication of folk song proper will be material published here likewise separates from the proper type of folk started and continued parallelly with the publishing of further volumes songs. about customs. Thus two volumes will be published at a time, thereby A new situation arose with the third volume. There is no question speeding up publication on the whole. At last, the dirges will be included any more of a separate style of song. For the ceremony of the wedding in the material of folk customs in view of their representing the most in our country there does not exist any specific type of song; the most tyPical and most importa,nt type among the "songs of custom". (The varied folk songs clung to it, depending on the fact whether - by chance remaining songs of custom, as well as the songs referring to trades, - the texts of these songs were connected with a wedding or not. (guilds) night watchmen and the like, are of no particular importance In this way - on the one hand - melodies from various parts of the in folk music). . musical system were included in the volume, - on the other hand - All this became possible through the rationalizing of the organiza certain variants of the same melody were sometimes also considered just tion of the Research Group. A separate smaller group consisting of young because the text happened to be about the wedding, but at another time, people to be headed by JARDANYI and en~aged ~n ~lassifying a~d p.ub the variant was not included, because it had a different text. In other lishing the melodies, will work out the fmal prmClples of publIcatIOn. words, the classification was transferred from the music to the text We are looking forward with great expectations to the new typology, which meant that we reverted to the theoretical principle of systemati which in addition to the musical elements used up to now - dadences, zation valid before the appearance of BART6K and KODALY . formulae of rythm and form, range etc. - will make use of new criteria: In order to eliminate this frequently debated contradiction, a cer the relationship of parts of tunes to each other, the characteristics of tain compromise was arrived at in preparing the volume of the "Match the melody. If we succeed in eliminating contradictions and developing making Songs". A discrimination was made between songs which be a system in detail, in reconciling the requirements of dictionary-like longed there only through one or another of their variants. These "chance usability with the need for keeping the types and variants consistently match-makers" were not included, only reference was made to them. together, then we shall have advanced beyon~ results ~chieved hithe:to, However, the material regarded as folk songs proper was isolated from and realized the principles of a system that wlll be valId for a long tlme nonfolk songs. This differentiation may appear peculiar in a folk song to come. pUblication and is an indication to the effect that the pUblication which It is gratifying tha.t B. RAJECZKY has also joined the Group and will is being compiled on the basis of folk customs seems to be displaced in already co-operate in the editing of the volume of the dirges. We expect another direction too: it has been shifted from the serial pUblication of him to build up an apparatus for the comparative study of the musical existing folk songs in the direction of the serial publication of customs material. We are also certain that from now on the publishing work will that go hand in hand with the music. And if the musical material, dis proceed at increased pace, in keeping with correct conceptions and exaot covered' and most enthusiastically collected, of these folk customs is philological methods. It is hoped that, owing to the foreign-language largely a precipitation of modern musical tendencies, then it is that introduction and explanations of the volumes, hence scholars abroad material which also found its way iuto the publication. It was in the will better appreciate the results attained here, which are commensurate course of compiling the volume of "Match-making 8011gS" that all this be with the high standard of Hungarian folk music research and the gener- . came obvious; in order to observe the original aim, that type of material osity of state support. was separated and published in the form of a small score or a reference.
S t. M U8icologicg, I S t. 111 usicolog'ica I L. Vargyas: Folk Music Research in Hungary 439 438 L. Vargyas: Folk Music Resem'ch in Hungm'y music history. The form in which this material appears'rai!SPs ot4er ques In importance, tlie volumes of the Corpus Musicae Popularis Hun tions. Arc the singers not influeneed by the collector'!; scientifiu concep garicae are followed by some works that are linked to the name of L. tion - , for example in respect of rhythm - or is he himself not influ LAJTHA: three Transylvariian collections of songs of the regions Szep enced 'by his own knowledge of llielodies, particularly in his re~earch kenyeruszentmarton, Szek and Korispatak, as well as the wake songs of coneerning relics of old Hungarian musical styles ' ~ 'J'hat is It. danger the county Sopron. While the sung tunes of the first two record the hi which c~n he avoided by every colledor only with thc greatest cau therto practically unknown archaic musical dialect of the M ezo-country tion, - yet undoubtedly it is our foremost task to study this typf;} of (revealed since then to a greater extent by the researchers of the Insti musical material. tutul de Folclor at Kolozsvar - Gluj -), the instrumental material, Two other pUblications may be added to this type of material. One the mode of notation and publishing of the second and third book are of of them presents the melodio t.reasury of the Gsang6 (tshango) people pioneering significance, both nationally and internationally. The nota of Molda\'ia who were resettled in Transdanubia; this, pUblication was tion of the performance of instrumental folk ensembles, the complete {)ompilcd by P. DOMoKos and B. HAJECZKY. The first volume has ap score , of a number of repetitions based on Hungarian experience in peared so far, mainly with dirges in Hajecz-,ky's excellent potation; the notation woul'd, in itself, be enough to ensure' first-rate significance for second volume is in thc press and the third is under prepa.ration. The these volumes. But the collected material in itself also represents great second publication wOIth mentioning here is & booklet by L. VARGYAS value. The ensemble of Szek is a modally harmonizing gipsy band, re about ancient songs of KiskunhaZa,s. Whereas the G8ango~ represent our minding us of 16th and 17th century composed music, - the collection most archaic ethnio group in music too today, tho region between the of Korispatak is an even more aI'chaic, primitively hett-rophonic poly Danube and the Tisza rivers has led in sodal development. The booklet phony, where thtl ornamented melodic lines developed independently is concerned with the most archaic melodies of this least archaic region of each other provide the "heterophony" with particularly hard disso and ;nakes an attempt at circumscribing the musical dialect of the Great nances. And their melodies preserve the entire riohness of the old Hunga Plain' and its significance in Hungarian folk music. rian dance music from the "lassu" (= slow) related to thtl dirge, up to A pUblication U11 the mu~ic of another Hungarian Great Plain pieces of the "verbu, nko~" era. The mode of playing also preserves many region appeared in the series of the Librctry of the Ethnographical So features of the performance style of the verbunkos. ciety: a monograph by r. lIALMOS 011 Kersemjen, a village in 8zatmar The llotation uf this richly ornamented, polyphonic instrumental county. This is already the third mmdcal village mOllograph so far pre performance is the most differentiated one that Hungarian ' folk music pared about a Hungarian language tcrritory. Through this task Hunga reseanh has produced up to now. (Here we must mt;ntion the oullabora riaJl folk music rtlscarch has solved a problem which outside of Hungctry tion of RAJECZKY, whose contribution was of considerable assistance in was only raised by BRAlLOIU as late as in the 1930's, but its realization producing the volumes). Such a degree of llotation, where even mathe was seen only in his posthumous book (La vie musicale d'un village. matical calculations were required to record the delicatentlss of rhythmic Paris, 1959). In our cOllIltry KODALY mentioned the problem in 1937 in divergencies raises the' question: has there not possibly prcvailed bome his preface to A magyar nepzene (Folk Music of Hungary); V ARGYAS subjective quality in the complex subtleties that were thought to bl') realized it in 1941, and JARm\.DNYI in 1943. Unfortunately, ~part from heard? Does not the striving towards the apprehension of objective some Single examples of melodies, the musical material of this work, too, reality become 'subjective of its own accord beyond certain limits1 Not is available in manuscript form only. Recently it was planned that the withstanding 'these considerations, the volumes of scores so far (and Nepmjzi Kozlemenyek (Ethnographic Publications) would issue the probably for a long time to' come) may be considered as unique accom- song material of the musical monographs in a series of booklets. The old plishments in international folk music research. ' material of Vargyas's collection has been published already (No. 2 --3, The wake-songs 'of 8opron again, represent the discovery of some 1960). other traditional material. The ancient chmch folk songs which have survived with the funeral customs represent a very ri(;h historicnl song treasure, whi(;h also deserves great attention from the standpoint of * St. Mmicolouica I St. M micologica I 440 L. VargYaB: Folk MU8ic Re8eat'ch Hungat·y in L. Va.rgYaB: Folk MU8ic Re8earch in Hungary 441
Besides the first publications of source v
St. M uBico/oqica I St. Mmico/oqica I 442 L. Vargya8: Folk MU8ic Reaearch in Hunga1'y L . Vargya8: Folk MU8ic Re8earch in Hungary 443
Horvath" is at least as much a folk music publication, as it is music his the printed notes. According to the process worked out in our cuuntry tory and the same need not even be stressed in connection with the the cliche drJ. wings are printed with previously prepared lead moulds, Arany Janos nepdalgyuitemenye (Folk Song 'Collection of Janos Arany) thuy are not drawn. By this 'process flawless prints of notes are obtained which KODALY prepared for the press. All these publications were called in comparison to which the music supplements of the otherwise more into' existence at least as much by the wish for folk music research, as by lavish foreign publications fall far behind. The external appearance of the cl~im of the history of music. In literary history V ARGYAS'S book on our publications, therefore, is worthy of the standard of their conteI.tts. verse rhythm made use of the lessons of folkmusic material and at the . The situation in respect of researchers is similar to the possibilities same time also discussed specific folk music questions. of ·publishing. "Ve have the greatest number of folk music researchers We c.wnot judge either the many-sidedness or·the publishing faci in the world. The twelve research workers of the Academy Group have lities for our folk music research purely on the basis of books. The short eight assistants; besides, there is another group working under the di studies that appeared in periodicals are at least as important. The num rection of L. LAJTHA, which is engaged chiefly in the preparation of folk ber of periodicals where articles with folk music themes have appeared, music records ' and assists in the collecting work and the notations. The is not small. From a musical aspect the annual volumes of Zenetudo Folk Music Department of the Ethnographic Museum consists of three rnanyi Tunulmanyok (Studies in Musicology) are to be mentioned, as well folk music researchers. A part from these there are three more colleagues as the Ui Zenei 8zemle" (New Musical Review) formerly; furthermore, on the museum staff who are wholly or partly working in ·the musical there 'were available the Publications of Department I of the Academy, field. Some other colleagues, who hold teaching or other posts, are also and with respect to ethnography, the "Ethnographia", the "Neprajzi doing active research work. Beside such a staff, the Bucharest Folklore Ertesito" (Bulletin of the Ethnographic Museum), the "Nepraizi Koz Institute or the Polish 8tate Folk Art Institute seem insignificant, not to lemenyek" (Ethnographic Publications), a foreign-Ianguag~ publication, mention other states. If we take into consideration in addition that in the" Folia Ethnographica", which was succeeded by the "Acta Ethno our neighbouring countries, for example in Rumania there also live graphica". This enumeration also shows - we constantly experienced it Hungarian researchers, who edited the "Osango folk songs and ballads" ourselves - that there is hardly any work that does not soon appear and numerous popularizing folk song booklets, moreover if we think of in print, in fact, more than one pUblication is being prepared on commis BART6K's recently published books beyond our borders: his Southern sion, which means that the publishing facilities bring it into existence. Slavic notations (United States) and his Slovak collection published in Naturally, it is also evident that our colleagues have things worth while Bratislava not long ago - then we may truly say that we are now reap to be published. The significh.nce of the aforesaid still increases if we draw ing the harvest of forty years' work in folk music research. a parallel with the publishing activity abroad. COIRAULT, in his book on the development of the French folk song complains .how long he had * to wait for the pUblication of his manuscript, but finally, his friends The situation is not so uniform if we evaluate the domains cultivated contributed the necessary funds to have it published. The West German by our researchers; beside broad interest in general, the shortcomings Jahrbuch tur Volksliedtorschung has published only one single number and the tasks still to be accomplished step into the foreground. There - No. 8 - since the war. In volumes 1-3 of the Yearbook of the Institut also exist less studied branches of our folk music, so for example, tur Deutsche Volkskunde it was RAJECZKY'S and VARGYAS'S studies that instrumental music. VARGYAS alone examined the effect of bagpipe music represented folk music, which fact was separately emphasized by a on sung and fiddled dance melodies extending right up to certain pieces critic of the Journal of IFMC (XI, 112, 1959 a.nd X, 89 -90, 1958). of verbunkos character, although the rich instrumental song material BELYAYEV published his manuscript, written in 1926, in English and for violin, the shepherd's pipe and the bagpipe would deserve more at Russian in the BartOk Memorial Book. The attmction of the BartOk tention. The reviving dance research also sets new tasks for us: the si Memorial Book was due to no small ex.tent to these publishing conditiona. multaneous examination of music and dance, and the separate problem A comparison with foreign countries directs attention to yet another of dance melodies. Such problems have been revealed to the public so far t",xternal feature of our folk song publications, namely to the beauty of in the work entitled "8orrwgyi Tancok" (Dances of Somogy).
St. MUBicologica I St. M u8icologica I L. Va1'gya8: Folk Music Re8earch in Hungu1'Y 445 444 L. Vargya8: Folk MU8ic Re8earch in Hungary that there will be a possibility of continuing this work and that the re This work, at the same time, proved to give new stimulus to the cordings will soon hecome available in notation for st.udy. investigation of the musical dialect. In the course of collecting the Somogy The study of the specific music of the gipsies represents a new branch dance music, it was discovered that within the great Transdanubian of research. In this ff~spect the brothers CSENKI have done pioneering territory there is an archaic South-Transdanubiau (Somogy-Zala) area, work. So far a small booklet only of their collection has been published. for which a few generally widespread ancient songs are characteristic. Research in this respect was carried on regularly and with scientific Szabolcs-Szatmar county proved to be similar. From among the Hunga thoroughness by A. HAJDu, from whose important eollection a,nd the rians in Rumania, attention has now been focussed on new regions in publications that have appeared so far, there are beginning to appear stead of the Szekely people, such as: Moldavia, MezQseg and the region the characteristics of specific gipsy music. The dance researchers have along the Maros river (J AGAMAS reported on these in the Bart6k Memorial also collected a great many gipsy dance tunes and other gipsy musical Book). material. Not. long ago R. VIG, a member of the Academy Folk Music . But it is not enough to point out the regional and musical styles Research Group, took up this kind of collecting work. of our folk songs and publish them in the "Corpus Musicae Popularis There is no continuation to BART6K'S East European comparative Hungaricae"; they must be introduced in sound too. It is most regrettable research work, apart from greatly scattered melodic comparisons; this that the series reaching 125 up to the end of the War, has only been is very regrettable because newly published, and even unprocessed old continued with records ofinstrumental ensembles, and that we have not a Polish, Slovak, Yugoslav and Rumanian material offers a source for single recording of such representative types of our folk music as regos research. Our experts are not familiar enough with the old collections songs. But even those we have records of, are for the old speed, and and have not drawn the new pUblications into their sphere of investiga mostly there is but a single museum specimen left. We must continue tion either. More recently papers published by V ARGYAS, RAJECZKY and the series as lung as there remains something to be recorded and the DOMOKOS on West and East European parallels of certain songs have micro-groove new edition of the old records is a task that cannot be post broken the ice. "European musical ethnol~gy" can be based only on the poned !,In this sphere we have fallen far behind the western states. organized processing of the musically unclassified pUblications of the The most neglected theme of our research is the question of illfitru various nations. The material accumulated so far must be classified musi ments. Since the war only MANGA (bagpipe) and AVASI (hurdy-gurdy) cally by establishing a Central Catalogue of European Folk Music. Only have dealt with the problem. Here too we are less advanced than otner we can accomplish this task: it is in Hungary that we have the necessary countries. experience and an adequate number of experts. Professor WIORA em In the comparative work, the investigation of the folk music of the phasized that abroad this work was expected of us. To accomplish it Eastern related peoples is the most prominent. In his more recent editions would also be in the interest of seeing our own problems clearly: in of "Folk Music of Hungary" KODALY presented additional pentatonic recent times from all the sides of Europe there are emerging styles that comparisons besides his earlier ones; B. SZABOLCSI processed the Chinese have so far been regarded as expressly "eastern", pentatonic st.yles and Mongolian data, L. VI::KAR brought new material from Chinese and with transposition of the melody sections to the interval of fifth, fourth Cheremis study tours. In connection with the non-pentatonic music of (along the Mediterranean Sea, among the Danes) and ABBA form sol the related peoples, B. C. NAGY and L. V ARGYAS have further developed pentatonic melodies (among the English emigrants of the Appalachians); SZABOLCSI'S earlier Obugrian-Hungarian comparisons. Most recently it would be just ~s well to investlgate this question, as there are m:t.ny P. SZOKE embarked upon the bold task of portraying the internal history signs that the phenomena regarded as eastern are only eastern variants or-development of the Cheremis and Vogul-Ostyak folk song from the of old European or Eurasian style characteristics. known, very meagre material. Despite the interest devoted to the sub In the sphere of the resear'ch in music history relations, the publica ject we still cannot say that we have a clear picture of our Finno-Ugrian tion of great collections presents new possibilities (the collected edition or Turkish-Tartar relatives' music. The solution can be achieved by on of Gregorian chants and the volume of 16th century songs in the Antho the-spot collections only. V. Dr6szEGI's Siberian Shaman song recordings logy of Old Hungarian Poets). But RAJECZKY 'S articles on the relation- and L . VIKAR's Cheremis recordings have broken the ground; we trust St. MUllicologica I St. MU8ic%gica I 446 L. Vargya8: Folk MU8ic R e8earch in Hungary L. Vargya8: Folk MU8ic Re8ea1"Ch in Hungat·y 447 ship between the Gregorian chant and the folk song have already been Cs. 1'6TH, K.: A XVI. 8zazad magyar dallamai. (Hungarian Songs of the 16th Century.) Bp. 1958. Akad. aimed at exploiting the possibilities. Among the theoretical questions it DOMoKos, P. P.: A moldvai magyar8ag. (Hungarians of Moldavia). Csiksomly6, 1931. was rather the tonality problems that occupied the attention of our 2. kiad. Kolozsvar, 1934. 3. enlarged ed. Kolozsvar 1941. DOMoKos, P. P.: Egy ballada dallama. (The Tune of a Ballad.) Ethn. 1952, 156. researchers: theory of scale systems (AvAsT, BARDOS), tonality struc DOMoKbs, P. P. - RAJECZKY, B.: 08ango1u~pzene. (Csang6 Folk Music.) 1. Bp. 1956. ture of melodies (JARDANYI) and rare modal forms in Europe (VARGYAS) . FARAG6, J.-JAGAMAS, J.: Moldvai c8ango nepdalok e8 nepballadak. (Moldavian Csang6 Folk Songs and Folk Ballads.) Bucharest, 1954. The discussions of AVASI on the harmonies of the bands of Szek, of GONYEY, S.-RAJECZKY, B.: 111 tancdal. (Ill Dance Tunes.) Bp., 1949. RAJECZKY on the modes of folk ornamentation and performance, and HAJDu, A.: Van-e cigany nepzene? (Does Gipsy Folk Music Exist?) Uj Zenei Szemle (UZSz) 1955. the article by VARGYAS dealing with collective creative work by the HAJDu,' A.: Meg nehany 8Z0 a cigany nepzenerol. (A Few More Words about Gipsy community, indicate the interest for various theoretical questions. Folk Music.) UZSz 1956, I. sz. 25. HAJDU, M.-HALAsz, K.: Viola. (Violet.) 93 Hungarian Folk Songs. Bp., 1953. Though even this is a step forward, we hope that through the solution of HALMOS, I.: A zene Ker8emjenben. (Music in Kersemjen.) Bp., 1959. problems regarding collection, typology and systematization, increasingly J AGAMAS, J.: Beitriige zur Dialektjrage der ungari8chen- Volk8mu8ik in Rumiinien. 5MBBS,469. more energy and interest will be released for investigations to arrive at JARDANYI, P.: A kidei magyar8ag vildgi zeneje. (The Secular Music of the Hunga similar, more remote conclusions. rians of Kide.) Kolozsvar, 1943. JARDANYI, P.: A magyar nepdalkiadvany kerde8e. Uj Zenei Szemle 1950. I. sz., 26. JARDA~, P.: Hang!"em tipu80k a magyar nepzeneben. (Types of Modes in Hunga rian Folk Muslc.) Kodaly-Emlekkonyv (Kodaly Memorial Book.) Zenetudo manyi Tanulmanyok (ZT) I, 1953. JARDANYI, P.: The Dete1·mining oj Scale8 and Solmization in Hungarian M u8ica,l Bibliography Folklore. 5MBBS, 301. KERENYI, G;. : ~~arka. !Little Bird.) 102 Hungarian Folk Songs. Bp., 1934. ADAM, J .: ·Tulipan (Tulip). 95 Hungarian Folk Songs. Bp., 1953. KISS, L .: Delmdeh Dal08konyv. (Song Book of the Southern Region.) 108 Hun AvASI, B.: A 8zeki banda harmonizaldsa. (The harmonization of the band of Szek.) garian Folk Songs. B., 1943. Neprajzi Ertesit6 (NE) 1954, 25 = Die Harmoniegestaltung eine8 ungari8chen KODALY, Z.: A Magyar Nepzene. (Folk Music of Hungary.) Bp., 2nd ed. 1943. 3rd Volk8musikorchester8. Acta Ethnographica Hung. (AE) 1955, 479. ed. The collection of examples was compiled by L 9jcs VARGYAS. 1952. AVASI, B.: Ton8Y8teme aU8 Intervall-Permutationen. Studia MemGriae·Belae Bart6k KODALY, Z.: Die ungari8che Volk8mu8ik. Bp., 1956. Sacra (SMBBS) 249~300, 7 tables. 1956. . KODALY, Z. - KERENYI, Gy.: I8kolai Enekgyiijtemeny. (School Song Collection.) AVASI, B.: OtjokUsagbOl hetjokUsag. (Heptatony from pentatony.) Ethnographia 1-11. Bp. 1943-44. (Ethn.) 1956, 262 = AU8 der Pentatonik zur Diatonik. AE 1958, 323. KODALY, Z. -GYULAI, A.: Arany Jan08 nepdalgyujtemenye. (Janos Arany's Folk AVASI, B.: A magyaror8zagi tekero hangke8zlete. (The tone stock of the hurdy-gurdy Song Collection.) Bp., 1952. in Htmgary.) NE 1959, 195. = Quelques donnee8 8ur la vielle hongroi8e. AE Koddly-emlekkonyv. (Kodaly Memorial Book.) ZT I. Bp. 1953. 1959, 293. . . . - LAJTHA, L.: SzepkenyeriiBzentmartoni gyujte8. (Collection of Szepkenyeruszent BARDos, L.: 101 Magyar Nepdal. (101 Hungarian Folk Songs.) Bp. 1929. marton.) Bp. 1954. ZenemUkiad6. BARDos, L.: NatUrliche TonSY8teme. 5MBBS, 209-248. 1956. LAJTHA, L.: Szeki GyUjte8. (Collection of Szek.) Bp., 1954. ZenemUkiad6. BARDos, L.: Gyongyvirag. 92 Hungarian folk songs. Bp. 1954. . LAJT~, L.: Kori8pataki gyujte8. (Collection of Korispatak.) Bp., 1955. Zenemu BARTHA, D.-KIss, J.: Vtodjel8zaz enekek. (Four htmdred and flfty songs.) Adam kiad6. Pal6czi Horvath's song collection from the year 1813. -Bp. 1953. LAJTHA, L.: Sopronmegyei virraszto enekek. (Wake Songs of Sopron County.) Bp., BART6K, B.: A Magyar Nepdal. Bp. 1924. = Das ungarische Volk8lied. Berlin, 1925. 1950. Zenemukiad6. = Hungarian Folk Music. London, 1931. A magyar nepzene trira. - Oorpus Musicae Populari8 Hungaricae. Editors: B. BAR BART6K, B.: N epzenenk e8 a 8Z0mBZed nepek nepzeneje. (Our Folk Music and that of T6K and Z. KODALY. I. Children'8 Games. Prepared for printing by Gy. thl3 Neighbouring Peoples.) Bp. .1934. = Die. Volk8musik der Magyf!'ren und ~RENYI. Bp., 1951. 2nd ed. 1953. Il. Calendar customs. Prepared for print der benachbarten Volker. UngarIsche Jahrbucher XV, 2.-3. Berlm 1935. mg by Gy. KERENYI. 1953. Ill. Wedding. Prepared for printing by L . KISS. = La musique populaire des Hongrois et de8 peuple8 voisin8. Archivum A.: 1955. B.: IV. Match-making Song8. Prepared for printing by Gy. KERE 'Europae Centro-Orientalis 1937. Il. NYI. 1959. Akademiai Kiad6. BART6K, B.-LORD, Albert B.: Serbo-Oroatian Folk Song8. New York, 1951. MANGA, J.: Nogradi Duda80k. (Bagpipers of N6grad.) Bp., 1950. BART6K, B.: Sloven8ke l'udove pie8ne. I. Bratislava, 1959. MANGA, J. : BeHlepCKUR BOllblHKU. Folia Ethnographica 1950, 1. BART6K, B. -KODALY, Z.: Az uj egyeteme8 nepdalgyujtemeny tervezete. (The Plan MATHIA, K.: 104 magyar katonadal. (104 Hungarian Soldiers' Songs.) Bp., 1942. of the New Universal Folk Song Collection.) Ethn. 1913, 313. MATHIA, K.: Nejelejc8. (Forget-me-not.) 98 Hungarian Folk Songs. Bp., 1955. BART6K, B.-KODALY, Z.: Erdelyi Magyar8ag. (The Hungarians of Transylvania.) MORVAY, P .-PESOVAR, E.: Somogyi tancok. (Dances ofSomogy.) Bp., 1959. From . Folk songs. Bp. 1923. " . page 231 to 249 in it: A Somogy megyei tancdallamok (Dance Tunes of Somogy BEKEFI, A.: Bakonyi nepdalok. (Folk Songs of the Bakony ..) Bp. 1955. County) (VARGYAS L.) and from page 250 to 275: Tancdallam gyujtemeny C. NAGY, B.: Egy 08ztyak dallam magyar valtozata. Eneksz6. Sept. 1946. (Collection of Dance Tunes) compiled by V ARGYAS. C. NAGY, B.: A 12-e8 nepdalaink eredete. Eneksz6 1949. novo . PECZELY, A.: Dunantuli Dal08konyv. (Song Book of Transdanubia.) 107 Hungarian C. NAGY, B.: A magyar nepdal eredete. Zenei Szemle 1947. dec. es 1948. szept. Folk Songs. Bp., 1947. CSENKI, I.: Bazaaroz8a. (Peony.) Bp. 1955. PECZELY, A.: ROz8a. (Rose.) 94 Hungarian Folk Songs. Bp., 1955.
St. MU8icologica I St. MU8ic%gica' I 448 L. Va7'gya8: Folk MU8ic Re8earch in Hungary L. Vargyas: Folk Music Research in Hungary 449
RAJECZKY, B.: Adatok a magya7' gregoridnumhoz. (Data of the Hungarian Gregori V ARGYAS, L.: Die W irkung des Dudelsacks auj die ungarische Volkstanzmusik. an.) KodaJy Memorial Book. ZT I, 279, 1953. 5MBBS, 503. 1956 = enlarged. A duda hatdsa a magyar nepi tanczenere. (The RAJECZKY, B.: Nepdaltortenet ea gregoridn kutatds. (Folk Song History and Gregori- Influence of the Bagpipe on Htmgarian Folk Dance Music.) A MTA I. Oszt. an Research.) Kodaly Memorial Book. 1945. . K6z1emenyei (Publications of the First Department of the Htmgarian Aca RAJECZKY, B.: Melodiarium Hungariae Medii Aevi. I. Hymni et sequentiae. Bp., demy of Sciences), 1956, 241. 1956. Zenemiikiad6. VARGYAS, L.: Francia parhuzam regosenekeinkhez. (French Parallels to our Regos RAJECZKY, B.: Parallelen spiitgregorianischer Verzierungen im ungarischen Volk8- Songs.) Nepr. K 1957, 1-2. • lied. 5MBBS, 337, 1956. VARGYAS, L.: Das Musikleben im ungarischen Dorj und die Methoden seiner Erjor RAJECZKY, B.: Adatek jelvideki lakodalmasaink dallamstilusdhoz. (Contribution to schung. Jahrb. f. deutsche Volksktmde 1957, 447. the Melodic Style of Our Wedding Songs in Northern COlmtry.) Neprajzi VARGYAS, L.: Some Parallel8 oj Rare Modal Structures in Western and Eastern K6z1emenyek (Nepr. K) II/3-4., 121, 1957. Europe. Journal of IFMC 1958, 22. RAJECZKY, B.: »Kaszds e joldon a haldk ("Mower on This Land is Death.") Nepr. VARGYAS! L:: Egy kdjoni dal jrancia parhuzama. (A French Parallel to a Song of K III/I-2., 26.1958. Ka.JODl.) Nepr. K 1957. No. 3-4. 95. RAJECZKY, B.: Ungarische Klagelieder. Jahrb. f. deutsche Volksktmde 1958. VARGYAS, L.: Nemet pdrhuzam regi magyar dallamhoz. (A German Parallel to an RAJECZKY, B.: Old and New Singing Styles in Hungarian Folk Song. Journal of Old Htmgarian Song.) Nepr. K III/4. 1958, 18. IFMC XII, 56. 1960. VARGYAS, L.: Egy jrancia-magyar dallamegyezea tanulscigai. (Lessons Drawn from SCREAM, F.: Magyar Nepballaddk. (Htmgarian Folk Ballads.) Bp., 1955. the Identity of a French and a Hungarian Song.) NE 1958, 155. = Paralleles SCREAM, F.: Szol a sdrgarigo. (The Yellow Thrush Sings.) 100 Htmgarian Folk entre melodies franltaises et hongroises et quelques conclusions. Acta Ethn. Songs. Bp., 1957. 1960, 397. Studia Memoriae Belae Bartok Sacra. (SMBBS) Edited by B. RAJECZKY-L. VAR VARGYAS, L.: Dallamegyezesek magyar, szlovak ea morva balladcikban. (Identities of GYAS. Bp., 1956. 2. ed. 1957. 3. ed. (English) 1959. Melodies in Htmgarian, Slovak and Moravian Ballads.) Nepr. K IV/4 1959, 3. SZABOLCSI, B.: Osztydk h6sdalok - magyar siratok melodidi. (Ostyak epic songs VIKAR, L.: Chinese !,ol~ Song.s with Ansu;ers at the Int~rv.al oj a Fifth. AE 1-958, 429. - melodies of Hungarian Dirges.) Ethn. 1933, 71. VnuR, L.: f1olgav~ehmar~ ~e~aJtes. (Ch.eremlsslan Folk Song Collecting in SZABOLCSI, B.: Osztydk es vogul dallamok. (Ostyak and Vogul Songs.) (Newer data the Volga RegIOn.) PubhcatlOns of the First ·Department of the Htmgarian to the problem of the Htmgarian folk dirge melody.) Ethn. 1937, 340. Academy of Sciences. 1960, 191. SZABOLCSI, B.: A magyar zenetortenet kezikonyve. (Handbook of Htmgarian Music History.) Bp., 1947. 2. ed. 1955. SZABOLCSI, B.: A melodia tortenete. (The History of Melody.) Sketches from the History of Musical Styles. Bp., Cserepfalvy. 2. ZenemUkiad6 1957. In Ger man, 1959. SZABOLCSI, B.: Nepzene 138 tortenelem. (Folk Music and History.) Bp., 1954. Akad. Kiad6. SZABOLCSI, B.: Zenei Tanulrruinyuton Kinaban. (On a Musical Study Tour in China.) A MTA I. Oszt. K6z1emenyei. Publications of the First Department of the Hlmgarian Academy of Sciences. 1955. SZABOLCSI, B.: Uj Kinai nepdalgyujtemenyek. (New Chinese Folk Song Collections.) Kodaly Memorial Book. ZT I, 758. 1953. SZOKE, P.: A melodia belso jejlodesenek dialektiktija, a nepzenek sokjelesegenek egy sege. (The Dialectics of the Inner Development of Melody, the Unity of the Diversity of Folk Musics.) 1. A mari ea a csuvas nepzenei dallamossag belso jejlodeae. (The Inner Development of the Melodiousness of Cheremissian and Chuvash Folk Music.) 2. A manysi-hanti nepzenei dallamossag belso jejlodese. (The Inner Development of the Melodiousness of Manysi - Hanti.) Bp. 1959. ZenemUkiad6. SZTARECZKY, Z.: Kekedi nepdalok. (Folk Songs of Keked.) Bp., 1960. UJFALUSSY, J .: A magyar ne1Jda.lkiadvany kerdeae. (The Problem of the Htmgarian Folk Music Publication.) Dj Zenei Szemle 1950 1. SZ., 29. , VARGYAS, L.: Ajjalu zenei elete. (Musical Life of the Village of Aj.) Bp., 1941. VARGYAS, L.: Hozzdszolds az Akademiai Nepdalkiadvdny kerdeaehez. (Remarks to the Question of the Academy's Folk Song Publication.) UZSz 1950. VARGYAS, L.: Ugrische Schicht in der ungarischen Volksmusik. (Ugrian Stratum in Hungarian Folk Music.) Koda,ly Memorial Book, 611. 1953. V.oillGYAS, L.: Hogyan gyujesunk nepzenet? (How Should We Collect Folk Music?) Bp., 1952. Nepmfiv. Int. VARGYAS, L.: A magyar vers ritmusa. (The Rhythm of Htmgarian Verse.) Bp., 1952. V_oillGYAS, L.: Regi nepdalok Kiskunhalasrol. (Old Folk Songs from Kiskunhalas.) Published from Lliszl6 Nagy Czirok and Lajos Vargyas's collection. Bp., 1954. Zenemfikiad6. V ARGYAS, L.: Kollektives Schajjen in der Volksmusik. AE 1955. 395.
SI. MU8icologica l 15 St. M tuioologica I Die Zeitsf·hrift Sludia MU8icoiogica der Ungaris( hen Alwdemie cler Wissenschnften verOffrnllif,ht Abhandlungen aus dem BeJeiche cl er Musikwil'~I.'IISf haft in deutsf'her, englisf hrr, f~nzosi~chf'r, r.ussisch~r un.d italieni.sfher S'pT'f\f'~e. . . . . Die Zeltsf'hrlft Studta' MU81C%glca erschclllt zWClmal JahI'lll'h ID fieften, dIe e!Dcn ctwa 400 seitigen Band biIden. Die zur VerOffentlichung bestimmten Manuskripte sind an folgcnde Adrcsse zu senden: Studia Music%gica Budapest V., Nador u. 7. UngarD. An die gleiche Anschrift ist auch jede fUr die SchriftIeitung und den Verlag be stimmte Korrespondcnz zu richten. Abonnementspreis pro Band: 'llO Forint. Bestellbar bei KULTURA Ungarisches Buch- und Zeitungs-Aussenhandelsunternehmen Budapest 62, Postfach 147 odeI' bei seinen Auslandsvertretungen und Kommissioniiren. Die Zeitschrift Studia Musicologica wird durch den Verlag del' Ungarisf·hen Almdemie del' Wissenschaften Akadhniai Kiad6 (Budapest V., Alkotmany u. 21, UngarD) herausgegeben.
The Studia Musicologica, a periodical of the Hungarian Academy of Sciences, publishes papers on musicology in English, German, French, Russian and Italian. The Studia Musicologica appears twice a year in issues making up a volume of some 400 pp. Manuscripts and correspondence with the editors should be addressed to Studia MU8icologica Budapest V., Nador u. 7., Hungary The rate of subscription to the Studia Musicologica is 110 forints per volume. Orders may be placed with KULTURA Hungarian Trading Company for Books and Newspapers Budapest 62, P. O. Box 147 or with representatives abroad. The Studia Musicologica is published by the Publishing House of the Hungarian Academy of Sciences Akademiai Kiad6 (Budapest V., Alkotmany u. 21, Hungary).
}l{ypHaJI AKaAeMJUf HaYK BeHrplul (,studia MusicologiC'ID) nYOJIHKyeT HaytlHhle TpaKTaThI H3 OCiJIaCTH MY3h1KOJIOrHH Ha PYCCKOM, HeMe~KOM, IjIpaH~Y3CKOM, aHrJIHAcKOM H HTaJIMIHCKOM jl3h1Ke. }l{YPHaJI *Studia MusicologicID) BhlXOAHT no nOJIyrOAH~ BhlnyCKaMH, COCT3BJUIIOI.l.\HMH OAMH TOM (npHOJI. 400 CTp.) B rOA. npeAHa3Ha'leHHhle AJIjI nYOJIHKa~HH pYKonHcH CJIeAyeT HanpaBJIjlTb no ap,pecy Studia MU8icologica Budapest V., Nador u. 7. no 3TOMy me a.npecy HanpaBJIjlTb BCjlKyro KoppecnoHAeH~HIO P.JIjI pep,aKlUfH. nOAnHCHajl ~eHa mypHaJIa ~tudia Musicological) - 110 1jI0PHHTOB sa TOM. 3aKa3b1 npHHHMaeT npep,npH}lTHe no BHellIHeA TOprOBJIe KHHr H raaeT KULTURA Budapest 62, POB 147 HJIH ero sarpaHH'IHble npeACTaBHTeJIbCTBa H ynOJIHOMO'leHHhle. }l{ypHaJI ~tudia Musicologicll* H3AaeTCjI H3AaTeJIbCTBOM AKaAeMHH HaYK BeHrpHH .Akademiai Kiad6. (Budapest V., Alkotmany u. 21.)