About my collection of the among different Turkic groups

Since 1936, the oriental researches of Hungarian ethnomusicology were also buttressed by field-work. The three most important on-the-spot investigations were carried out by 1) Béla Bartók in , 2) László Vikár and Gábor Bereczki in the -Kama-Belaya region, and 3) by myself in , the and Anatolia. The successive steps of collecting, transcribing, analyzing, systematizing and comparing as the basic form of scientific elaboration has been characteristic of the collections from the beginning. The extent of the collections’ digitalization, cataloguing and processing is great. The value of the collections and the pertinent scholarly work is largely enhanced by the fact that in the case of some ethnicities the first and sometimes the only scholarly elaboration of their folk music can be found here. These folk music materials and the related studies also provide a good background to the interpretation of the pre-Conquest strata of Hungarian folk music and of its eastern relatives. I have been doing field-research among the Turks of (c. 3000 tunes), Azeris (600 tunes), Karachay people in the Caucasus and in Turkey (1200 tunes), western and Mongolian (600 songs), (1300 tunes), (500 songs) and North American Indians (700 songs) as well as in diverse Sufi (Bektashi, Alevi, Takhtaci) communities (700 songs). My investigations are extended to some non-Turkic-speaking groups living in these areas, e.g. Tat, Zakhur, Kurd, Jewish etc. communities (c. 1350 tunes). The majority of these tunes are in video recordings; a considerable part of the sound and video recording of the collection has been digitalized and is still being catalogued. I have transcribed the collected Anatolian, Azeri, Karachay-Balkar, Kazakh, Kyrgyz and Turkmen tunes and published ample selections from them in the audio and video supplements attached to my books. The books and studies are continuously uploaded on the internet, several being available on MTMT, on my homepage (www.zti.hu/sipos) and on academia.edu. I usually collected alone, sometimes with my wife Éva Csáki. In 1987-93 I collected at my own expense, from 1993 I was supported by western academic grants, from 1999 to this day grants won from the Hungarian National Research Fund OTKA ensured the financial background to my field-researches.

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The major items of the collection are the following: 1. Turkish (including Sufi ), 2. Aday Kazakh and Mongolian Kazakh, 3. Azeri, 4. Caucasian and Turkey-based Karachay- Balkar, 5.Kyrgyz, 6. Turkmen, 7. American Sioux and Navajo Indian collections.

About the eastern folk music archive In the large Turkic audio-, video- and photo collection the Azeri, Karachay and Kyrgyz material is representative and unique, but the respective Anatolian Turkish and Turkmen material is also significant. Since I have transcribed the majority of tunes, there is a large collection of Turkic scores also included in the archive. The following digitalized materials can be found in the archive.

Signs, explanations Serial number 1-6. = collection among Turkic groups; 7. = collection among North American Indians. Data of fieldwork Place of collecting; name of the collecting researcher or of the collection, (when otherwise not indicated, the item was collected by János Sipos). CD number of CDs and their duration (most of them 1 hour) VIDEO v/h = number of video cassettes/length of recorded material in hours. DAT D/h = number of DAT cassettes/length of recording on the cassette in hours. Catalogue - name of the completed catalogue file or - Prot.&rec. = one that can be made on the basis of protocols/collector’s notebooks.

Book, transcription B = a book was written on the basis of the collection, T = I have transcribed the tunes of the recording.

Serial Data of fieldwork CD VIDEO DAT Catalogue Book, number transcript ion 1.1 Turkey 120 1.1a. Anatolian collection, 1987– 74 1.1a. Anadolu cat 1988– L, K 1993 1993 1.1b. Muzaffer Sarısözen’s 3 1.1b. Sarısözen cat L collection, Adana, 1938 and 1942 1.1c. Béla Bartók’s collection, 2 Bartók 1976 L, K Adana, 1936 1.1d. from the archive of Konya 8 1.1d. Konya cat L Selcuk University, 1991 1.1e. tunes from students, 33 Prot.&rec researchers, archives 1.2 Turkey, Sufi groups 60v/84h

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1.2a. Bektashis of , 1999– 43v/66h 1.2a. Thrace cat L, K 2003 1.2b. Alevis around Ankara, 1989, 3v/ 6h Prot.&rec - 2010 1.2c. Takhtacis around Antalya, 6v/10h Prot.&rec - 1990, 2011 1.2d. Alevis around Eskişehir, 2013 6v/ 6h Prot.&rec - 1.2e. Hacibektaş, Alevia, 2012 2v/ 2h Prot.&rec - 1.3 Turkey, Sunnis 1 64v/62h 1.3a. Malatya, 2011 2v/ 2h Prot.&rec - 1.3b. Trabzon, 2011 5v/ 7h Prot.&rec - 1.3c. , 2006 1 4v/10h Prot.&rec - 1.3d. Burdur, 2011 10v/ 9h Prot.&rec - 1.3e-1 , 2006 18v/16h Prot.&rec - 1.3e-2 Osmaniye, 2007 7v/ 5h Prot.&rec - 1.3e-3 Osmaniye, 2011 3v/ 3h Prot.&rec - 1.3f. Kars, 2014 5v/10h Prot.&rec - 2. 11 19v/ K 15h 2.1 Almatı, 1995 2 2.1. Kazak Almati cat - 2.2 Aday and Mongolian Kazakhs, 9 1v/ 1h 2.2. Kazak BÖ+mong L cat 1997 2.3. Mangistaw_cat 2.3 Kazakh minstrels 9v/9h Prot.&rec 2.4 , 2006 9v/ 5h Prot.&rec - 3. 12v/18h 15D/22h K 3.1 Azeri video, 1999 12v/18h 15D/22h 3.1. Azeri video cat L 3.2. Azeri DAT cat L 4. Karachay-Balkar 5 22v/36h 9D/14h K 4.1 Karachay-Balkar, 2000 6v/ 9h 9D/14h 4.1. Karacay cat L 4.1. Karacay video cat 4.2 Karachay-Balkar, 2001, 2002 10v/13h Prot.&rec L 4.3 Karachay-Balkar, 2005 8v/16h Prot.&rec L 4.4 Tamara Bittirova’s CDs, 2000 5 Prot.&rec L 5. Kyrgyzstan 46v/32h K 5.1 Kyrgyz, 2002 17v/ 6h 5.1. Kirgiz 2002 cat L 5.2 Kyrgyz, 2004 19v/16h 5.2. Kirgiz 2004 cat L 6. 2011 8v/19h Prot.&rec L 7. North American Indians 124 27v/30h 7.1 Los Angeles, Dakota, 17v/17h 7.1. Dakota+LA cat - 2004–2005 7.2 Navajo, 2004–2005 10v/10h 7.2. Navajo cat - 7.3 Willard Rhodes’ collections, 124 Prot.&rec L 1941 Fig.1. János Sipos’ audio archive of folk music

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1. Collections from Turkey

The basis of the Turkish collection is my Anatolian collection begun in 1988 and continued to this day. Within the Turkish collection, the following major items need to be mentioned: 1.1a. János Sipos’ seven-year fieldwork in Anatolia in 1987-1993. The bulk of this collection is material from the southern areas populated by as well, but it includes tunes recorded in other regions e.g. along the Black and Aegean seas, Inner Anatolia, etc. The academic elaboration of the material is advanced, the overwhelming majority of the tunes are transcribed. I have published five books and several articles related to the recorded tunes. The archive contains 9 CDs on which a selection of tunes can be heard in the order presented in János Sipos: Turkish Folk Music I-II. The CDs and the books Turkish Folk Music I-II provide a reliable summary of several strata of Anatolian folk music. The collection has been catalogued and digitalized. The catalogue is in an Excel table format, and the words of several songs have also been written down. Temporary marks of the CDs containing Anatolian folk music include János Sipos’ collection of 1987-1993: SJ 1-57; summary CDs: ezgi 1-9; catalogue: Cat_Anatolia 1988-1993. Field-research is still going on in Turkey. 1.1b. Muzaffer Sarisözen’s collections around Adana in 1938 and 1941. The noted Turkish folk music researcher Muzaffer Sarisözen collected music in 1938 and 1941 in the area where Bartók did field research in 1936 and I have done several times after 1987. In the collection several of Bartók’s former informants are included, and the quality of his recordings is far better than Bartók’s. Sarisözen’s collection around Adana was put at my disposal by Professor Ahmet Yürür, then deputy director of the Hacettepe Conservatory in Ankara. In 1990 I transcribed the tunes and published a part of them. The temporary marks of the CDs containing the material are: SJ 75-78, Catalogue: Cat_Sarisözen. 1.1c. Bartók’s Anatolian collection. The detailed description of the material with scores and analyses can be found in different editions of Bartók’s Anatolian collection, e.g. in Bartók (1976). 1.1d. Tunes from the archive of Konya Selcuk University. With permission from Professor Saim Sakaoğlu, rector of Konya Selcuk University, I copied 260 laments, uzun hava (plaintive) song, lullabies, dance tunes as well as interviews from the university archive. This remarkable pool contains mostly freely performed tunes from different parts of Turkey, most of them laments, hence they are very valuable, although the quality of the recordings is not perfect. I put down the words of the tunes, and transcribed and analysed the tunes. Temporary marks: SJ 67-74, catalogue: Cat_Konya.

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1.1e. Tunes from pupils, researchers, other Turkish archives. During my stay in Turkey I received folk music materials from the Ankara Radio, some university archives, my students in Ankara, researchers collaborating with me, acquaintances, etc. This stock includes Turkish and minority (Kurd, Laz, etc.) tunes from different parts of Turkey. A detailed catalogue is made of the recordings, but the majority of the tunes are not yet transcribed. Salient among them is the freely performed uzun hava tune stock recorded in the middle of the 20th century and copied from the Ankara Radio. Marks of the CDs: SJ 79-102. 1.2. Material collected by János Sipos and Éva Csáki in Sufi communities in Thrace and Anatolia 1.2a. My wife and I carried on field research among the Bektashi Turks who fled from in the 20th century to the European part of Turkey, Thrace (we recorded 17 hours in 1999, 16 hours in 2002 and 32 hours in 2003). We transcribed the video-recorded tunes and texts and catalogued them. Mark of the audio CDs: SJ 103-113. We reported on our research among the (Sufi) Bektashis in a book and several articles. Our most important other Sufi collections are the following: 1.2b. Alevis around Ankara (1989, 2010 and 2011, 3 hours). 1.2c. Takhtacis around Antalya (1990 and 2010, 10 hours); 1.2d. Alevis around Eskişehir (2012, 5 hours). The thorough processing of these collections is still to be done, but there are fair chances as we wish to go on with the research. 1.2e. My smaller Alevi collection from around Hacibektaş is to be mentioned here (2012, 2 hours). 1.3. Miscellaneous material collected by János Sipos in Turkey. In addition to the above items, the following tune sets I collected in Turkey are included in the archive: 1.3a. the surroundings of Malatya (2011, 2 hours); 1.3b. the vicinity of Trabzon (2011, 7 hrs); 1.3c. the Barak tribe around Gaziantep (2006, 10 hrs), and 1.3d. the environs of Antalya and Burdur (2011, 9 hrs). 1.3e1-3. I carried out several field researches around Osmaniye where Béla Bartók collected in 1936: in 2006 (16 hrs), in 2007 with film-maker János Domokos working on a Bartók film (5 hrs), in 2010 after the opening of the Bartók room in Osmaniye (3 hrs), and in 2011 with Turkish film-makers during the shooting of another Bartók film (3 hrs).

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1.3f. My latest collecting trip in Turkey was in 2014, among the minority Karapapaks around Kars in Eastern Turkey (10 hrs). The collected Turkish material keeps permanently increasing.1 Main books related to the Turkish collections:

Sipos János (1994a), Török Népzene I. [Turkish folk music] (Műhelytanulmányok a magyar zenetörténethez 14), : MTA ZTI. Sipos János (1995), Török Népzene II. [Turkish folk music] (Műhelytanulmányok a magyar zenetörténethez 15), Budapest: MTA ZTI. Sipos János (1997a ), Bartók Béla törökországi gyűjtése egy nagyobb anyag fényében,[Béla Bartók’s Turkish collection in the light of a larger material] Budapest: PhD disszertáció MTA Bartók Archívum könyvtárában. Sipos, János (2000a), In the Wake of Bartók in Anatolia (Bibliotheca Traditionis Europeae 2), Budapest: Európai Folklór Intézet. Sipos János (2002a), Bartók nyomában Anatóliában,[In the wake of Bartók in Anatolia] Budapest: Balassi Kiadó. Sipos, János (2005a), Comparative Analysis of Hungarian and Turkic Folk Music – Türk- Macar Halk Müziğinin Karşılaştırmalı Araştırması, Ankara: TIKA (Türk İşbirliği ve Kalkınma İdaresi Başkanlığı) and the Hungarian Embassy in Ankara. Sipos, János (2009a), Bartók’un izinde Anadolu’da, İstanbul: Pan. Sipos, János – Csáki, Éva (2009), The Psalms and Folk Songs of a Mystic Turkish Order (with CD supplement), Budapest: Akadémiai Kiadó.

2. Kazakh collections

The Kazakh collections comprise material from different Kazakh communities. 2.1. In 1995 I collected around Almati (SJ 168-169, 2 hrs). 2.2. In 1997 I collected in Mangislak in southwest Kazakhstan (SJ 170-175, 6 hrs), and Dávid Somfai Kara did fieldwork in Bayan- Ölgiy province in Western Mongolia in 1996 (SJ 179-180, 2 hrs). In the same year Éva Csáki worked among Mongolian Kazakhs in the village of Nalayh near Ulanbatar (SJ 176-178, 3 hrs). The archive contains all three Kazakh collections. 2.3. Additionally, there is a stock of songs of Kazakh minstrels (akin) (9 hrs) recorded during my Kazakh tour of 2006, and 2.4. a collection in Turkestan (2hrs). The video material is marked: Kazak_1997, Kazak_2006, and Kazak_2011. Most important books based on the Kazakh collections:

1 Turkish cassettes bought in trade. Compared to the cassettes of vocal music performed somewhat schematically (SJ 0159-0167) the instrumental folk music cassettes available in trade are usually good and contain authentic material. This is not surprising for in Turkey the musicians on TV, radio, in dance-music groups have still leant music making in function at home. The archive contains ten such cassettes (SJ 128-137). There are 21 cassettes with music of different Sufi communities in Turkey (SJ 138-158). 6

Sipos, János (2001c), Kazakh Folksongs from the Two Ends of the Steppe, Budapest: Akadémiai Kiadó. Sipos János (2001d), Népdalok a kazak sztyeppe két végéről [Kazakh folksongs from the two ends of the steppe], Magyar Zene 39:1, pp. 27–56; 39:2, pp. 183–200; 39:3, pp. 301–311; 39:4, pp. 425–440. Sipos, János (2005a), Comparative Analysis of Hungarian and Turkic Folk Music – Türk- Macar Halk Müziğinin Karşılaştırmalı Araştırması, Ankara: TIKA (Türk İşbirliği ve Kalkınma İdaresi Başkanlığı) and the Hungarian Embassy in Ankara

3. Azeri collections

In 1999 I did field research in a broad area in Azerbaijan, recording some 600 tunes. A part of the Azeri population are Turkified Iranians, and I recorded many tunes among the archaic Tats speaking a South Iranian dialect, whose music does not deviate from the simple and surprisingly unified Azeri musical repertoire. In the northern part of Azerbaijan at the foot of the Caucasus several different ethnic groups live, up to 24 in a town. There are , who have nothing in common but their name with the Avars living in the Carpathian Basin before the Hungarians. At least their language is neither Turkic, nor Mongolic or Iranian. During the Azeri fieldwork I recorded several Avar tunes, too: their music shows more similarity to Hungarian music than music in any other Azeri area. Marks of the CD copies of the Azeri DAT recordings is: SJ 204-229 (c. 26 hrs). The melodies and texts have been transcribed. The recordings of 2006 (3 hrs) and 2009 (11 hrs) mainly contain mugam (maqam) performances by Azeri and other people. The Azeri video recordings are marked: Azeri_1997, Azeri_2006 and Azeri_2009. Main publications based on my Azeri collections: Sipos, János (2004a), Azeri Folksongs – At the Fountain-Head of Music, Budapest: Akadémiai Kiadó. Sipos, János (2004b), The Central Style of Azeri Folksongs, Journal of Turkic Civilization Studies № 1, Bishkek: Kyrgyz-Turkish Manas University – Center for Turkic Civilization Studies, Kyrgyz-Turkish Manas University Publication: 62. Sipos, János (2005a), Comparative Analysis of Hungarian and Turkic Folk Music – Türk- Macar Halk Müziğinin Karşılaştırmalı Araştırması, Ankara: TIKA (Türk İşbirliği ve Kalkınma İdaresi Başkanlığı) and the Hungarian Embassy in Ankara. Sipos János (2009c), Azerbajdzsáni népzene – a zene forrásainál [Azeri folk music – at the fountain-head of music](with CD), Budapest: European Folklore Institute. Sipos János (2010a), Az azeri népzene kapcsolata a magyar illetve más török népek zenéihez [Connections of Azeri music with the folk music of Hungarians and other Turkic groups] , In Dévényi K. (ed.): Varietas Delectat, Tanulmányok Kégl Sándor emlékére (Keleti Tanulmányok – Oriental Studies), Budapest, pp. 115–130.

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4. Karachay-Balkar collections

4.1. The basis of my Caucasian Karachay-Balkar collection is a fieldwork among Karachay- in the Caucasus with Gergely Agócs in 2000 (9 hours video and 14 hrs DAT recording). 4.2-3. In 2001, 2002 and 2005 I collected material with Éva Csáki among in the villages around Ankara, Afyon and Eskişehir (27 hrs). Marks of the video material recorded here are: KB_2000, KB_2001, KB_2002, KB_2005; 4.4. In addition, the archive contains the Caucasian Balkar collection of Balkar ethnographer Dr. Tamara Bittirova (5 hrs). The Caucasian audio recordings are marked SJ 232-258. I have transcribed and analysed the tunes collected in the Caucasus and among the Karachays in Turkey, the words are also transcribed and partly translated into Hungarian. Main publications related to the Karachay-Balkar material: Sipos, János (2001b), Report on my Expedition in the Caucasus, In Károly, László – Kincses Nagy, Éva (eds) Néptörténet – Nyelvtörténet, A 70 éves Róna-Tas András köszöntése, pp. 155-184. Szeged: SzTE BTK Altajisztikai Tanszék. Sipos, János – Tavkul, Ufuk (2012), A régi magyar népzene nyomában - A kaukázusi karacsájok népzenéje [In the wake of early Hungarian folk music – The folk music of Karachays in the Caucasus], Budapest: l’Harmattan. Sipos, János – Tavkul, Ufuk (2015), Karachay-Balkar Folksongs, l’Harmattan – MTA BTK ZTI (e-book formats as well).

5. Kyrgyz collections

I carried on several collecting trips in Kyrgyzstan in 2002 and 2004, visiting Issyik Kol, Narin and Talas provinces as well as Bishkek. The video recording of a total of 37 hours well represents Kyrgyz folk music today, of which no analytic summary monograph has been written before. The materials are marked Kirgiz_2002 and Kirgiz_2004. I have transcribed the 1300 or so tunes, and the words are also written down. My Kyrgyz monograph is based on the material in the archive: Sipos, János (2014a), Kyrgyz Folksongs, Budapest: l’Harmattan – MTA BTK ZTI (e-book, too)

6. Turkmen collection

In 2011, I collected some 500 tunes (19 hrs) in villages of Balkan county in Turkmenistan. The importance of the stock is enhanced by the fact that very few writings have been published of Turkmen folk music, and at present researchers rarely get a chance to do

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fieldwork in the area. The tunes have been digitalized, transcribed and analysed, the texts are written down. Mark of the material: Türkmén_2011. Publication related to the Turkmen fieldwork: Sipos János (2012), Népzenegyűjtés a zemzemek földjén – Türkmén expedíció [Collecting folk music in the land of the Zemzems – Turkmen expedition], Folkmagazin XIX:1, pp. 32–35; XIX:2, pp. 34–37.

7. North American Indian collections Though the American Indians do not belong to the , the music of some of their tribes is pentatonic. This fact and their Asian origin as presumed by several researchers might suggest that some of their groups might have genetic connection to some Asian Turkic groups having pentatonic music. The North American Indian material (a total of 700 tunes) is divided into two parts:  János Sipos’ Navajo and Dakota collection of 2004. During my Fulbright fellowship in Los Angeles in 2004-2005 I collected music among Dakota (14 hrs) and Navajo (16 hrs) Indians. The collection is catalogued but the texts and tunes are not transcribed yet. The marks of the material: Dakota_2004 and Navaho_2004.  The noted American ethnomusicologist Willard Rhodes’ North American Indian collections. I coped this large collection from the UCLA archive in 2004-2005. I transcribed and systematized the tunes and the texts are also put down in writing. The mark of this collection: Rhodes_UCLA. Publications connected to the North American Indian material: Sipos János (2005c), A sziú indián dalok ázsiai kapcsolatairól [On the Asian connections of Sioux Indian tunes]. In Birtalan Ágnes – Rákos Attila (eds)(2005): Bolor-un gerel. Kristályfény. Tanulmányok Kara György professzor 70. születésnapjának tiszteletére I-II, Budapest: ELTE, Belső Ázsiai Tanszék – MTA Altajisztikai Kutatócsoport, pp. 705–718. Sipos, János (2010f), Dakota Folk Songs and their Inner-Asian Connection, Acta Ethnographica Hungarica Vol. 55, No. 1/June 2010, Budapest: Akadémiai Kiadó, pp. 101‒112.

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About My Books Based on my Eastern Field Researches

I have notable Hungarian forerunners in comparative folk music research from whose work I have received guidelines and conclusions for further steps. Béla Bartók (1936, 1976, 2002) inferred conclusions of lasting validity about the folk music of the Volga-Kama-Belaya area and Anatolia from far smaller materials. Studying the folk music of Cheremis and as well as other groups living in the area, Zoltán Kodály (1937-1976) enlarged the circle of eastern folk music analogies. The publications of László Vikár (1969a,b, 1979, 1982, 1993) and of Vikár−Bereczki (1971, 1979, 1989, 1999) provided comprehensive overviews of Cheremis, Chuvash, Mordvin, Tatar and Bashkir folk music authenticated by field collections. Lajos Vargyas (1953, 1980, 1981, 2002) made a broad historical survey of the Volga-Kama- Belaya area, while Bence Szabolcsi (1933, 1934, 1936, 1940, 1947, 1956) outlined even broader international musical relations on the basis of examining a huge amount of tunes. Taking a wholly different approach to Hungarian folk music, László Dobszay (1983) and László Dobszay and Janka Szendrei (1977, 1992) reviewed the international contacts of the Hungarian lament and psalmodic styles. Katalin Paksa (1982) studied the eastern relations of the Hungarian narrow-ranged penta- and tetratonic tunes. My Anatolian collections from 1988-1993 as well as my Kazakh, Azeri, Caucasian, Turkmen and Kyrgyz research trips fit into this line of scholarship. I have published several books in English, Hungarian, Turkish and Azeri about the music of diverse Turkic groups, based on tunes the overwhelming majority of which was collected, transcribed and analyzed by myself.

Béla Bartók’s collection in Turkey in the light of a larger material (PhD dissertation)

In 1988-1993 I taught at the Hungarology department of the Faculty of Humanities at Ankara University, and during this period I collected some 1500 tunes. I started fieldwork in areas where Bartók stopped, and I gradually proceeded westward as I came across fewer and fewer new tune types. Besides, I read and took notes of all accessible Turkish tune publications and after critical analysis I added another three thousand tunes to my collection. Turkey is enormous where in addition to Turks diverse ethnicities live. At first I collected music from Turks along the Taurus Mountains, but with the help of the Turkish Radio and Television music publications, I drew other Turkish areas into the scope of 1

investigation. I mainly recorded and processed tunes sung by people who professed to be Turkish, but in the system I also included tunes of other ethnic groups. At last the material seemed to be enough for a volume to examine which statements in Bartók’s Anatolian collection of 1936 stood the test of time and which seemed to weaken or be disproved. In chapter 1 I give an account of the precedents to Bartók’s Anatolian collection, his journey, and the circumstances of his work. This is followed by Bartók’s introductory study in English and his annotated comments on the tunes and texts translated into Hungarian. In chapter 2 I address myself to the classifications of Hungarian folk music. First I review the final form of Bartók’s system and list other attempts at systematizing Hungarian folk music, first of all the system proposed by Járdányi centered on the concept of type, Lajos Vargyas’ synthetic study, and László Dobszay’s and Janka Szendrei’s system of styles. I also briefly touch on the Turkish folk music research and attempts at systematizing Turkish folk music. In chapter 3 I introduce my collection. After the description of the collecting fieldwork, I describe the material in general, in the following order of subjects: micro tones, tone scales and tone sets, symmetric and asymmetric rhythms, number of syllables, forms, cadences, tonal range, height of melody lines, refrains and extensions. In chapter 4 I make an attempt to compare Anatolian and Hungarian folk music. I arrange the studied Turkish material into types, styles and blocks, and examine their relations with Hungarian folk music and the music of some other ethnic groups. Chapter 5 deals with the interplay between texts and tunes. After a brief review of Anatolian folksong texts I embark on the dialectological description of the song texts in Bartók’s Anatolian collection. This is followed by a critical elaboration of the texts, pointing out some specific aspects of the interrelation of music and text. In chapter 6 I try to illumine the historical background to the comparison of Hungarian and Turkish folksongs. I review – in a nutshell – the Inner Asian and East European prehistory, and the Turkic elements joining the Hungarians. The chapter and the book is closed by the summary. In the Appendices I present Ahmet Adnan Saygun’s proposals for modification in Béla Bartók’s systematization, together with notated tunes that have Hungarian analogies.

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Turkish Folk Music I-II

In 1994 László Dobszay made room in a series of the Institute for Musicology of HAS, Műhelytanulmányok a Magyar Zenetörténethez, for my books Turkish Folk Music I and Turkish Folk Music II. In these books I tried to find out if any closely connected Turkish and Hungarian tune types, tune classes and musical styles could be demonstrated, and, not least, I wanted to give a synthesis of my Anatolian collecting work of six years with many tunes presented.

The field work described in the two volumes began in 1988 and lasted until 1993. I selected three centers along the Taurus Mountains: Antalya, Mut and Adana. I set out for the isolated small villages in the vicinity from these centers. I made eight longer trips each lasting two or three weeks on average. Occasionally I collected in other areas of Turkey, too (Ankara, Denizli, Trabzon, etc.). The majority of the material was recorded in houses or tents of peasants and herders, collecting a total of some 1500 tunes from 233 informants at 85 places. Of this stock I transcribed some one thousand tunes and analyzed 500 of them which were from 132 singers at 61 locations. The subdivision of the volumes is not unified, and both display the shortcomings of a beginning researcher. However, the majority of the included tune types came out in print for the first time, and the analytic, comparative chapters carried considerable novelties.

Turkish Folk Music I1 This book is chiefly devoted to Turkish tunes, tune groups and styles which have Hungarian relevance or analogies. In the first two chapters I review the special Turkish pitch relations, the asymmetric rhythms, the basic principles of classification and the musical system of the tune collection. Chapter 3 presets the main Anatolian tune groups, such as: 1) types of motivic constructions based on the (so’-fa-)-mi-re-do core (and similar types), 2) lament tunes, 3) psalmodic tune style, 4) class of tunes of AAAcB form and 5(5)b3 cadences and 5) class of wide-ranged parlando tunes. In chapter 4 I compare the Hungarian and Turkish tune groups and tune styles, with special regard to the tunes of children’s games as well as the lament and psalmodic styles.

1 Sipos János (1994a), Török Népzene I. [Turkish folk music I] (Műhelytanulmányok a magyar zenetörténethez 14), Budapest: MTA ZTI. 3

The tune anthology contains two hundred tunes. Out of the 500 tunes of the two volumes I selected two hundred for book I which display most obviously the Hungarian- Turkish musical relations. Attached to the anthology are a map, list of informants and places of collection, presentation of a peculiar tune type on 38 examples, and a bibliography. The appendix carries the texts of the songs and their Hungarian translation. At the end of the book the English translation of the studies can be found.

Turkish Folk Music II2 It is an organic continuation of Turkish Folk Music I. Unlike volume I, which highlights mainly Turkish tune groups with the (so’-fa)-mi-re-do core often comparable to Hungarian tune groups and even styles, in the second volume I present the survey and classification of the entire collected material of my seven-year stay in Turkey. In chapter 1 I discuss the precedents to my research and define the concepts (tune type, tune class, etc.) used in the analysis. In chapter 2 I analyze the tunes by musical characteristics (scale, form, syllable number, ambit, cadences, rhythm, relation of music and text, etc.). These examinations and statistics help discover the interrelations between tunes, gradually outlining certain tune types and tune classes. In chapter 3 I take a look at the refrains and closing extensions, and by way of illustrating the earlier discussed matters, I present three groups of variants. In chapter 4 I introduce the three phases of musical systematization: in step one I differentiate musically homogeneous tune groups, in step two I arrange the groups into classes on the basis of interrelations. The third phase is the detailed presentation of the Anatolian collection with regard to the relations between tune classes. Phase 3 also illustrates how a tune collection can be systematized on the basis of principles explicated in the first and second steps. The appendix contains the list of informants and places of collection, the Hungarian translation of the song texts and the bibliography, followed by a brief summary of the study in English. The book ends with an anthology of 298 tunes.

2 Sipos János (1995), Török Népzene II [Turkish folk music II] (Műhelytanulmányok a magyar zenetörténethez 15), Budapest: MTA ZTI. 4

In the Wake of Bartók in Anatolia3

My account of Bartók’s Turkish journey appeared in English, Hungarian and Turkish, each volume being the revised and enlarged edition of the previous one. The above-discussed PhD dissertation and the books also look at Bartók’s Anatolian collection of 1936 in the light of recent researches against a larger Anatolian (partly collected by me) and Hungarian material. In the first part of the book I detail Bartók’s Anatolian collections and its main achievements, before I enlarge upon my Turkish collection and the current state of folk music in Turkey. In part 2 I introduce the larger Anatolian tune groups that have correspondence to Hungarian tune groups, e.g. the tunes of children’s games, laments, the psalmodic style as well as other, less distinct tune groups. Also involving tunes of other peoples, I try to place the Anatolian-Hungarian similarities into a broad international perspective. In addition to similarities of tunes, I try to explain what the given similarities between Anatolian and Hungarian tune styles can be attributed to: are there general human, areal or even genetic connections in the background? I also touch on other Anatolian tunes belonging to Turkish folk music groups that have no Hungarian relations. I also show close or more distant parallels to several tunes in Bartók’s Anatolian collection. The book also contains a rich stock of scores (from my own collection) and photos, and in the appendix the texts of the songs can be found in Turkish and Hungarian. Published jointly by the European Folklore Institute and FONO Records, two CDs were also released to give life to the illustrative examples in the book. (www.fonorecords.hu)

Mystic Islam in Turkey4

The book is about the religious tunes and folksongs of a mystic Islam community, the Bektashis of Thrace living in the European part of Turkey. The Bektashi is one of the most important orders in Turkey: when the Seljuc Turks began to settle in Anatolia from

3 Sipos, János (2000a), In the Wake of Bartók in Anatolia, Budapest: European Folklore Institute, 2000. 350 p. (secondary edition on DVD: Az Európai Folklór Intézet Kiadványai, Európai Folklór Intézet, Budapest, 2005); Sipos János (2002a), Bartók nyomában, Anatóliában, [In the wake of Bartók in Anatolia] Budapest: Balassi Kiadó, 201 p.; Sipos, János (2009a), Bartók'un izinde Anadolu'da, İstanbul: Pan Yayınevi, 225 p. 4 Sipos, János – Csáki, Éva (2009), The Psalms and the Folk Songs of a Mystic Turkish Order, Budapest: Akadémiai Kiadó, 665 p. 5

Central Asia after their victory over the Byzantines at Manzikert in 1071, Sufi Islam also spread together with orthodox Islam. The music of Sufi religious communities is mostly unprocessed in scholarly terms; Turkish research into this special area has just recently started. The main reason was the tension between the majority Sunni and minority Alevi-Bektashi religion and system of norms. Until the early 1990s the Sufi orders including the Alevi and Bektashi were suppressed so they could only function in secret. Fieldwork began in November 1999 when Éva Csáki and I had the opportunity to attend the meeting of the religious leaders (babas) of the Bektashis in Turkey: this opened several doors to us. In 1999-2003 we video-recorded over 900 tunes in 24 Thracian villages from 150 men and women professing to be Bektashi. By the end of the research we thought we had achieved our goal: we had recorded the majority of their religious songs and several folksongs. This appeared sufficient material to introduce the musical realm of this community. The examination of the music of living between Anatolia and Hungary fits in well with a series of broad international comparison of folk music. The ancestors of Thracian Bektashis got to the area of today’s Bulgaria from Anatolia, then their persecution over the 19-20th centuries sent them fleeing back to Turkey in several waves. This implies that a study of their folk music requires the examination of its relations to Anatolian as well as Bulgarian folk music. I also touch on the contacts between Bektashi music and the music of other Turkic peoples and Hungarians. The first chapters briefly outline the ideological precedents to the Bektashi order, the 800 years of its history and the religious interactions (old Turkic belief system, Zoroastrianism, Christianity and Islam). They introduce the dogmas of Islam mysticism (Sufism) with the help of original texts, quoting excerpts from one of the books attributed to the founder of the religion Haji Bektash Veli and from writings of the dervish Kaygusuz Abdal who lived in the 14-15th century. In chapter 4 the types and processes of Bektashi ceremonies are presented, the tasks of the religious leaders and assistants, the prayers, meals, songs, instruments and dances included in the rituals. Chapter 5 reports on the principles of systematizing Bektashi music, while the detailed musical analysis is found in chapter 6. That is followed by an anthology of 602 tunes, the detailed description of the secular and religious song texts and their bilingual (Turkish- English) version. The book is completed with a glossary, bibliography and indices.

6

There are several novelties in the book. First, there are hardly any studies, particularly books that address themselves to the religious hymns of Turks from a musical point of view, too, whereas popular religions do preserve several elements of pre-Islam Turkic . This is why this research is a primary contribution to the understanding of Turkish identity, Turkish ethno- and cultural genesis, among other things. It is also a novelty that the folksong texts and sung poems by Bektashi poets are given in English translation, too, and there is a vocabulary to explain the special terms and notions. All the tunes in the book were recorded and transcribed by the author, so they are from first-hand experience and their authenticity is unquestionable. The quality of the collected material allowed the most typical Bektashi tunes to be presented on a CD appended to the book.

Kazakh folk music5

My Kazakh researches have also been realized as part of the comprehensive comparative musical project. As is known, on the western side of the huge territory peopled by Turkic groups we find the Chuvash, Tatar, Bashkir, Kazakh, Turkmen, Azeri and Anatolian , listed here from north to south. Hungarian attempts to explore the music of Turkic groups in this vast area had been done earlier, too. In the northern stretches of the region László Vikár collected a large amount of Chuvash, Tatar and Bashkir folk music and brought valuable data for the analysis of a musical style on the border area between the Cheremis and Chuvash ethnicities which is very similar to the Hungarian pentatonic fifth-shifting style. In the south, Béla Bartók’s fieldwork in Turkey in 1936 launched the exploration of Anatolian music for the purpose of comparative research, continued by my collection in Anatolia in 1987-1993 in the course of which it was discovered that although there is no fifth- shifting style in Anatolia, there is surprising similarity between the Hungarian and Anatolian folk music as regards the psalmodic and lament styles. Between the Volga-Kama region and Anatolia the Azeris and Turkmens speaking Oguz Turkic tongues are closer to the Anatolian Turks, while the Kazakhs of this area – like

5 Sipos, János (2001c), Kazakh Folksongs from the Two Ends of the Steppe, Budapest: Akadémiai Kiadó, 302 p.; Sipos János (2001d), Népdalok a kazak sztyeppe két végéről 1-4, [Kazakh folksongs from the two ends of the steppe] Magyar Zene, 39:1, pp. 27–56; 39:2, pp. 183–200; 39:3, pp. 301–311 and 39:4, pp. 425–440. 7

the – speak a Turkic tongue. Supported by the Stein-Arnold Exploration Fund of the British Royal Society, I managed to realize several research trips to the Kazakhs. We could get an insight into the music of Kazakhs in Mongolia and Kazakhs who had moved to Turkmenistan and resettled in southwest Kazakhstan in recent decades. Thus, the book provides an overview of the music of two Kazakh groups living some 3000 km apart, the Mongolian Kazakhs and the Aday Kazakhs living on the short of the . Apart from the systematization and description of the collected material, I also made an attempt to compare the tunes of the two Kazakh groups and look at the contacts of their music with the folk music of other Turkic groups and the Hungarian musical styles. Chapter 1 described the Hungarian field researches among Turkic groups from Béla Bartók’s trip in 1936 through my Anatolian collection in 1987-1993 down to the extension of research to Kazakh folk music. Chapter 2 gives a brief account of Kazakh history, chapter 3 presents the author’s and his fellow researchers’ trips (Éva Csáki, Dávid Somfai Kara) to three Kazakh areas (Mangistan, Bayan Ölgiy and Nalajh). In chapter 4 the analysis of the southwestern tunes can be read: Kazakh epic poems, narrow- and broad-ranged tunes involving the minor third, Kazakh lament and psalmodic styles, broader-ranged “melodious” tunes, unique – but apparently authentic – tunes, as well as tunes of other ethnicities living in the area. This is followed in chapter 5 by the introduction of the tune types of Mongolian Kazakhs (laments, “melodious” first lines, first lines jumping on tri-tetrachord/tone, unique tunes, fourth- and fifth-shifting). In chapter 6 a comparison of the two Kazakh areas in terms of music is presented. The book contains an ample anthology of tunes followed by the account of the linguistic and poetic specificities of the song texts and their transcription. Finally, the texts are given in two (Kazakh and English) languages. In the supplement there are several musical incides (of form, syllable scheme, range, cadence, informant, place of collection). The enclosed CD presents the most important tune types of the two Kazakh groups.

8

Azeri folk music6

My Azeri book first appeared in English, then in Azeri and finally in Hungarian. There are considerable differences between the editions; the English version is the most complete, its corrected variant is the Azeri edition, but the Hungarian version is shorter. The reason is that the latter was published with support from the Azeri Embassy in Budapest whose request was to omit the historical review, the account of the field trips and the chapter on minorities in Azerbaijan, but it received a foreword by the Azeri Ambassador to Budapest. In the following I present the three publications on the basis of the English edition. In chapters 1 & 2 I discuss the history of Azerbaijan and my Azeri field trips, with lots of photos and maps. These chapters are left out of the Hungarian edition. Chapter 3 is the core of the book in which I present in a comparative context the strata of Azeri folk music, its classification and relation to musical prehistory. Chapter 4 gives Anatolian parallels to Azeri folk music with a lot of tune examples I recorded. Chapter 5 enlarges on some basic characteristics of Azeri folk music such as the mode of performance by Azeri minstrels (asiks), tonal sets, melody motion, multi-part singing, rhythm, syllable patterns as well as instrumental folk music. In chapter 6 I introduce the music of some (Tat, Avar, Zakhur, Jewish, Russian and Hemsilli) minorities living in the area. This chapter is also omitted from the Hungarian version. In chapter 7 I look closely at the relations between Azeri music and other Turkic musics, as well as Hungarian folk music. The anthology of 326 tunes initiates those interested into Azeri folk music even without reading the scholarly exposition. The anthology is followed by an account of the Azeri language and the song texts, and finally the English and Hungarian translations of the texts can be read. The book ends with indices and notes. A CD is attached to the book with the most typical Azeri tunes of the collection.

6 Sipos, János (2004), Azeri folksongs – At the Fountain-Head of Music, Budapest: Akadémiai Kiadó, Sipos, János (2005b), Azerbaycan El Havaları – Musiqinin İlk Qaynaqlarında, Baku: Ebilov, Zeynalov ve ogulları, Sipos János (2009c), Azerbajdzsáni népzene – a zene forrásainál, [Azeri folksongs – at the Fountain-head of Music], Budapest: European Folklore Institute (the edition of latter on DVD also appeared on: Publications of the European Folklore Institute (E 1178, CD 6/126), Budapest: European Folklore Institute). 9

Karachay-Balkar folk music7

The field researches in the southern Caucasus were followed by research trips to the Northern Caucasus, first of all the land of the Karachays and Balkars. I complemented the Caucasian material with an important collection. In the late 19th and early 20th century Karachays fled the to Turkey in large numbers, then the deportations of the Caucasian ethnic group to Inner Asia in 1944 triggered off migration from the Caucasus southward. Unlike several other minorities who assimilated quickly, the Karachay-Balkars living in and around the towns of Konya and Eskişehir stick to their traditions closely to this day. The examination of their musical culture is also part of the book. In chapter 1 I make a short survey of earlier Hungarian researches in the Caucasus that go way back in time to the Dominican friars Otto and later Julian and their companions around 1232. Despite several attempts in the 19th century (János Ógyallai Besse, later the Zichy expedition) no truly successful Hungarian research was completed, and investigations and visits in the 20th century also mainly targeted the southern slopes of the Caucasus. I describe out field work among the Karachays in 2000-2007, acquainting the reader with the studied ethnicity, and with the musical and cultural concepts necessary for the understanding of the theoretical part and the song texts. Chapter 2 written by Professor Ufuk Tavkul embarks on the ethnogenesis and diverse history of the Karachay-Balkar people from the beginning through their flight from the Soviet expansion in the early 20th century and the deportation of the Karachay-Balkars in 1947 to the current situation. Tavkul takes stock of the available sources about the group by European and Russian authors from the 15-19th centuries, discusses their social life and stratification. In this chapter I outline the old customs, songs and the Karachay set of beliefs. In chapter 3 I review and systematize the Karachay tunes, and look at this music’s connections with the music of other Turkic groups; earlier, no similar synthesizing musicological work had been written about this folk music. An important asset of the book is the illustration of the collected and analyzed 1800 tunes on a selection of 60 tunes the knowledge of which will accustom the listener’s ears to Karachay music in general. This can be useful in education, scholarly comparisons and further cognition. I take a close look at the relations between Hungarian and Karachay folk music, too.

7 Sipos János – Ufuk Tavkul (2012), A régi magyar népzene nyomában - A kaukázusi karacsájok népzenéje, Budapest: l’Harmattan – MTA BTK ZTI. English version: Sipos, János–Ufuk, Tavkul (2015), Karachay-Balkar Folksongs, Budapest: l’Harmattan – MTA BTK ZTI. 10

Chapter 4 contains the notation and texts of 287 tunes that adequately represent the collection. For readers not well-versed in reading musical notation this chapter is made enjoyable by the CD supplement with a selection from the discussed 350 tunes. Musical specialists can get acquainted with the wide-ranging variations of the types described in the previous chapter. In chapter 5 there is a study on the Karachay language and song texts with an outlook to the ethnographic background. The song texts in standard Karachay and in Hungarian translation are presented here. The chapter is the work of Éva Csáki.

Shaman songs8

In the first half of the book Mihály Hoppál introduces the shamans as chanters and healers. In the second part I discuss the 37 shaman songs recorded by Hoppál. The examined tunes were sung by Yakut, , Kyrgyz, Kazakh, Buryat Mongol, Bargu Mongol, Khorchin, Nanay, Manchu, Dakhur, Japanese and Korean shamans. In the musical analysis I examine the tonal sets, structure, melody arcs, metric specificities and first of all the melody outlines. On the basis of the latter I make an attempt to classify the collected tunes. The analysis has revealed that the majority of shaman songs have simple motivic or twin-bar structure with the dominance of hill-shaped or descending lines on (la-do)-re-do-la or (do-re)-mi-re-do backbone. These are most probably the forms belonging to the most general, typical and possibly the most archaic musical stratum. There are relatively few one-, two- and three-lined tunes, and only three four-lined tunes were found apart from the Khorchin songs. Similar simplicity applies to rhythm: a steady pulsation is prevalent, but sometimes there is a shift between the vocal part and the drum accompaniment. Here, too, it is important to note that the linguistic relations do not always coincide with the musical relations. The book also contains the notated music and the audio recordings of the tunes, giving an insight into the shamanic repertoire of a vast area. The 37 tunes on the CD were not recorded in a studio but in function during rituals, some are decades old, yet the tunes are enjoyable and instructive. Listening to the whole CD is like taking a trip through Asia from the Turkic people through the and Manchus to the Japanese and Koreans.

8 Sipos, János – Hoppál, Mihály (2010), Shaman Songs, Budapest: International Society for Shamanistic Research, 72 p. 11

Kyrgyz folk music9

The great part of the material of the Kyrgyz volume was also collected, transcribed and analyzed by me. In 2002 I did field research around the Issyk-Kul, in Narin province and Bishkek, followed by collecting around At-Bashi and Talas province in 2004. I read all accessible publications and transcribed and examined the Kyrgyz collection of Dávid Somfai Kara in which there are tunes from the southwest around Osh, too. Seeing the pace at which Kyrgyz folk music is disappearing one must realize that this research was carried out in the 24th hour. Like in so many parts of the world, it is obvious that the present-day media society and earlier the Soviet empire had and has destructive influence on the authentic culture of villages and towns. Except for laments, in Kyrgyzstan the more archaic tunes are only known by people in their sixties or seventies, and even in their case it takes much time and energy to bring these tunes back into their memories. In a few decades’ time this generation will die out and with them even the memory of the old strata of Kyrgyz folk music will disappear. Actually, only musical relics can be collected even today. Musical research of this kind that takes into account areal and tribal specificities had not been conducted in Kyrgyzstan earlier. At the same time, the recorded and published material may be useful for linguistic and cultural inferences as well, in addition to the musical conclusions. In chapter 1 the brief introduction of Kyrgyzstan is followed by the main factors of Kyrgyz ethnogenesis and the most important pertinent theories. I touch on the earlier Kyrgyz researches by Hungarian scholars and give a colourful account of my Kyrgyz collecting trips. In chapter 2 I review the traditions of examining Finno-Ugrian and Turkic music in Hungarian ethnomusicology, take stock of the most important old Hungarian folk music styles and look at their Turkic, possibly also Kyrgyz, relations. In chapter 3 I first survey the Kyrgyz folk music publications, then I explicate the musical features of the Kyrgyz tunes according to: genre, formal characteristics, rhythmic and tonal peculiarities, instruments, instrumental folk music, epic poems and epic songs. Chapter 4 contains the classification of Kyrgyz tunes. Like in my other books, the hardest part to digest – which at the same time contains the greatest amount of novelties – is the chapter that defines the tune types, groups, classes and styles. The tune groups are

9 Sipos, János (2014a), Kyrgyz Folkongs, Budapest: l’Harmattan, 610 p. 12

represented by 94 music examples, thus the attentive reader who examines, and maybe learns the presented examples may get a reliable overview of the main Kyrgyz folk music tunes and their interrelations. The study is followed by an anthology of 332 folksongs providing an interpretive background to the tune groups exposed in the previous chapter. At present it is the most complete Kyrgyz tune collection ever published. After the anthology I present the song texts in English and Hungarian translation, too. The chapter after the song texts contains my attempt to compare Anatolian, Azeri, Turkmen, Karachay, Volga-Kama region (Tatar, Bashkir, Chuvash) and Kazakh folk music in a comprehensive perspective. The appendix carries maps and detailed indices of places of collection, singers, genres, song texts, tonal range, cadences, tonal scales and rhythm patterns. Finally, a detailed bibliography makes orientation in the special literature of the theme easier. The book has an e-book version and an electronic version with also includes the audio and video recordings connected to the notated tunes.

A summary volume10

The Turkish-language first part of the bilingual English-Turkish summary volume of 2005 contains the proceedings of the conference in Ankara’s Gazi University held in 2004. The foreword by Hungarian ambassador István Szabó is followed by Professor Ali Uçan’s speech opening the conference. Next, I give an overview of Hungarian researchers’ folk music field work among Turkic peoples. Éva Csáki wrote about the Hungarian-Turkic contacts. Part 1 ends with the papers of professors Necati Gedikli and Ali Uçan about folk music research in Turkey and about the Turkish-Hungarian cultural and folk music relations. Then come the biographies of the participants and the description of János Sipos’ archive. Part 2 of the book gives a selection of my English-language studies in the following order: 1) An Inner-Mongolian Pentatonic Fifth-Shifting Style and its Relevance to Hungarian and Volga-Region Folk Music, 2) Kazakh Folksongs from the Two Ends of the Steppe, 3) A Few Words about the “Psalmodic” Style of Turkic Peoples, 4) Azeri Folksongs – At the Fountain-head of Music, and 5) Report on my Expedition in the Caucasus Mountains.

10 Sipos, János (2005a), Comparative Analysis of Hungarian and Turkic Folk Music – Türk-Macar Halk Müziğinin Karşılaştırmalı Araştırması, Ankara: Hungarian Embassy (Ankara) and the TIKA, 320 p. 13