Village Music from Hungary and Transylvania

Compiled by: Jim Cockell is an Edmonton violinist and composer. He currently leads the Cifra Hungarian Folk Music Ensemble of Edmonton, Alberta Selected Bibliography Sources: Firstsearch RILM Abstracts; The Music Index on CD-ROM; The Music Index; University of Alberta holdings ; University of Calgary holdings; University of Toronto holdings; New York Public Library Research Libraries Division holdings; Library of Congress holdings. Last updated 04/27/97 8:48 PM. Alföldy Boruss,István. “A Patria népzenei hanglemezsorozat [The Patria series of Hungarian folk music recordings].” Artes Populares no. 12 (1985), p. 257-270. ISSN: 0139-4649. Hungarian. ABSTRACT: As early as the end of the previous century, Hungary had attained the foremost position as a producer of folk music recordings. This activity had commenced as early as 1890; subsequently, Bartók and Kodály undertook a series of recordings in order to document the dialectology of Hungarian folk music. The recordings of the Patria series were made in the period 1937-44 in the studio of the Hungarian state radio, under the direction of László Lajtha, Kodály, and Bartók. No less than 125 discs in the Patria series contain authentic folk music. (author) 90-05930-ap. Almási, István and Iosif Hertea. 245 népi táncdallam [245 Folk Dance Tunes]. Marosvásárhely, 1970. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Balázs, J. “Young people’s folk music movement in Hungary: revival or failure?”. ISME Proceedings [International Society for Music Education; ISME Yearbook] 10 (1983), 36-45. [MI CD-ROM]. UA Coutts Floor2 Education. 1. CALL NUMBER: MT 1 I62 [Book]. Bardos, Lajos (Budapest, Hungary). “Organika [The organic].” In: Tiz Újabb Irás, 1969-1974. 232-59. Music examples. In Hungarian. MAIN WORK: See RILM 74-01681. Hungarian. ABSTRACT: Besides thematic and motivic structures, there also occurs a form of melodic elaboration in which no element of the stature of a motive appears, but which nevertheless produces satisfactory music be means of varying of a nucleus of several tones. The phenomenon may be termed organische Arbeit; 4 examples drawn from works by J.S. Bach, a Hungarian folk song in modern style, and Zoltán Kodály’s choral work Norveg lanyok [Norwegian girls] illustrate organic structure. (Vera Lampert, abridged) 74-03903-ac Bartók, Béla. “Gypsy music? Hungarian music?”. In Suchoff, ed. Béla Bartók Essays[q.v.]. English. First published: Ethnographia [n.v.] (Budapest, 1931). Bartók, Béla. Bartók Béla összegyujtött írásai [B.Ö.I.; Béla Bartók’s collected writings] I. Ed. by András Szollosy. Budapest, 1966. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Bartók, Béla, Zoltan Kodály et al., eds. A Magyar népzene tára, a Magyar Tudományos Akadémia megbízásából. 6 vols. Budapest: Akadémiai Kiadó, 1953-73. v. ill. (part col.) maps. Added t-p: Corpus musicae popularis hungaricae. Unacc. melodies. CONTENTS: [köt.] 1. Gyermekjátékok. Sajtó alá rendezte Kerényi György. 2. kiad. [köt.] 2. Jeles napok. Sajtó alá rendezte Kerényi György. [köt.] 3a-b. Lakodalom. Sajtó alá rendezte Kiss Lajos. [köt.] 4. Párositók. Sajtó alá rendezte Kerényi György. [köt.] 5. Siratók. Sajtó alá rendezte Kiss Lajos és Rajeczky Benjamin. [köt.] 6. Népdaltípusok I. Sajtó al ‘rendezte Járdányi Pál és Olsvai Imre. [I. Children’s Game Songs; II. Golden Letter Day Songs; IIIa.&b. Wedding Songs; IV. Match Making Songs; V. Laments; VI. Folksong types.] (Citation: Erdély, “Folk music research in Hungary […]” [q.v], p.60). U of T CALL NUMBER: M/1706/M3 MUSI (1951-73).OTHER TITLE: Corpus musicae popularis hungaricae. OCLC #: 98510. U of T CALL NUMBER: M/1706/M3 MUSI #1-6(1953-1973). Bartók,Béla. Béla Bartók Essays. Benjamin Suchhoff, ed. New York Bartók Archive, Studies in Musicology, 8. New York NY: St. Martin’s Press; London: Faber and Faber, 1976. UA Rutherford N Flr. 2 CALL NUMBER: ML 60 B29 E5 1976. Bartók, Béla (1881-1945). The Hungarian Folk Song. Trans. of Magyar népdál. Edited by Benjamin Suchoff ; translated by M.D. Calvocoressi. Albany, N.Y. (State University Plaza, Albany 12246): State University of New York Press, 1981. lv, 399 p. : ill. ; 24 cm. SERIES: New York Bartók Archive studies in musicology. 13. English. UA Rutherford N Floor 2 Music. CALL NUMBER: ML 3593 B29 E5 1981 — c.1 — BOOK – Available Bartók, Béla. Hungarian Folk Music. Translated from by Michel D. CALVOCORESSI (New York: AMS, 1981) 218 p. English. ABSTRACT: Reprint of the 1931 edition (London: Oxford U.). 81-05633-bf . UA Rutherford N Floor 2 Music 1. CALL NUMBER: ML 3593 B29 — c.1 — BOOK – Available 2. CALL NUMBER: ML 3593 B29 — c.2 — BOOK — Available Bartók, Béla. Magyar népdálok: Egyetemes gyüjteménye Bartók szerkesztéseben [Hungarian folk songs: A collected edition by Bartók]. Budapest: Akadémiai, 1991. 1139 p. ISBN: 963-05-5789-4. Hungarian. ABSTRACT: The first of a series of volumes devoted to Bartók’s unpublished work on Hungarian traditional song. He studied some 13,000 songs up until his departure from Europe in 1940. This edition uses Bartók’s unique system of rhythmic characterization and includes melodies, complete texts, and his original commentary. The period covered is 1934-40, when he was affiliated with the Magyar Tudományos Akadémia. 93-06910-cw Bartók, Béla, comp.; Ed. by Kovács, Sandor; Ed. by Sebö, Ferenc. Hungarian Folk Songs: Complete Collection. I: Class AI, Nos 1-416. Budapest: Akadémiai, 1993. 1206 p. ISBN: 963-05-6315-0. Illus., music, index, maps, gloss. English. ABSTRACT: An English translation of RILM 93-6910. (Vikárius, László). 93-07220-cw Bellman, J. “Toward a lexicon for the Style hongrois.” The Journal of Musicology 9/2 (1992), 214-37. ISSN 0277-9269. [MI CD-ROM]. COMMENTS: Discussion of “S.h.” in 19th C. art music; mention of Gypsy, verbunkos, csárdás influences. UA Rutherford N Flr 2 CALL NUMBER: ML 1 J864. Benko, S. “Transylvania: Education, culture and the arts.” The Hungarian Quarterly 35 (Spring 1994), 72-82. U of A CALL NUMBER: DB 901 N532. Berlász, Melinda. “Dokumentumok az 1940-44-es Erdélyi gyüjtések és hanglemezfelvételezések történetehez [Documents of the Transylvanian collecting trips (1940-44) and the history of making LP recordings].” Magyar zene vol. 33, no. 2 (June 1992), p. 115-137. ISSN: 0025-0384. Facs. Hungarian. ABSTRACT: László Lajtha discovered previously unknown music during his Transylvanian trips to collect folk music in the early 1940s. In small villages such as Szék he found unique instrumental folk traditions. Data on this field work is kept at the Néprajzi Muzeum, Adattar, Budapest. (author) 92-07154-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Bodza, Klara; Paksa, Katalin. Magyar népi énekiskola. I [Singing Hungarian folk songs. I]. Budapest, Hungary: Tankonyvkiado, 1992. 238 p. ISBN: 963-18-4459-5. Illus., music, sound recording. Hungarian. ABSTRACT: A comprehensive handbook for the performance of Hungarian traditional music, comprising a method for acquiring an authentic style and technique. Includes original recordings and transcriptions of 170 songs. (Paksa, Katalin) 92-09817-bm Broughton, S. “Transylvanian twist.” Folk Roots 122 (Aug 1993), 12-13. Ill. U of C CALL NUMBER: ML 3545 .S68 [ISSN not confimed]. Buckley, A. “Professional musicians, dancing and patronage: continuity and change in a Transylvanian community.” World Music 36/3 (1994), 31-48. COMMENTS: Alt. periodical titles: The World of music = Le monde de la musique = Die Welt der Musik [Basel, Switzerland: Bärenreiter Kassel, 1957.]. Ethnographic account of Romanian communities in Transylvania. UA Rutherford N Floor 2 Music CALL NUMBER: ML 5 W92 — v. 36:no. 1 (08/1994) – v. 38:no. 2 (11/1996). Corpus Musicae Popularis Hungaricae. SEE Bartók, Béla, Zoltan Kodály et al., eds. A Magyar népzene tára, a Magyar Tudományos Akadémia megbízásából. Davis, C. W. “Bartók’s homeland.” High Fidelity/Musical America 31 (Mar 1981), 34-6. COMMENTS: Part of centenary tribute; a brief account of provincial Hungary. Il. [MI CD-ROM]. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 H636 Décsy, Gyula. “The pentatonic puzzle: Inheritánce or coincidence?” In: FUSAC ’88 ACEFO: Proceedings Of The Sixth Annual Meeting Of The Finno-Ugric Studies Association Of Canada. Lanham: U. Press of America, 1989. p. 3-8. New York: U. Press of America, 1989. Bibliog. MAIN WORK: See RILM 91-01216. English. ABSTRACT: During the 1920s and the 1940s many scholars, essentially nonmusicologists of Central Europe, claimed the pentatonic scale as a typical Hungarian music scale. However, recent research has shown that Hungarian art and folk music traditions are predominantly diatonic. The lack of a pentatonic tradition in the Balto-Finnic region, or in the northern part of the Eurasian forest belt, is not the result of a disappearance of this scale under the influence of the diatonic scale, but a maintenance of an original tradition. (Avorgbedor, Daniel K.) 91-09315-as. UA Rutherford North Flr 5. 1. CALL NUMBER: PH 1 F514 1988 — c.1 — BOOK — Available Dobszay, László (Budapest, Hungary). “Die Umgestaltung von Barockmelodien in der ungarischen Volkspraxis [The transformation of Baroque melodies in Hungarian folk practice].” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XVI/1-4 (1974) 15-23. Music examples. In German. ABSTRACT: Compares four melodies from the Cantus Catholici (1651) and their present-day folk variants. These tunes have lost their original character, but the lost features have been replaced by resources of the living folk music practice to yield a variant more viable than the original. The variant contains the same melodic ideal as the original and is in its own way equally valuable from an aesthetic standpoint. (Vera Lampert, abridged) 76-13151-ap. U of C CALL NUMBER: ML5 .S86. Dobszay, László. “A tipus-fogalom a magyar népzenékutatasban [The concept of type in Hungarian folk-music research].” Ethnographia (Hungary) Vol. LXXXIX/4 (1978) 497-509. Music examples, bibliography. In Hungarian; summaries in German, Russian. 78-05661-ap. U of C CALL NUMBER: GN1 .E78 [full title: Ethnographia: A Magyar Néprajzi Tarsasag folyoirata; not confirmed as of 27 April, 1997]. U of C CALL NUMBER: GN1 .E78 [full title: Ethnographia: A Magyar Néprajzi Tarsasag folyoirata; not confirmed as of 27 April, 1997]. Dobszay, László. A magyar dal könyve [The Book of Hungarian Song]. Budapest, 1984. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Dobszay, László. “Folksong classification in Hungary: some methodological considerations.” Studia Musicologica, Academiae Scientiarum Hungaricae (Budapest, Hungary) 30/1-4 (1988), 235-80. [MI CD-ROM]. U of C CALL NUMBER: ML 5 .S86. Dobszay, László and Janka Szendrei. Katalógus I. A magyar népdaltípusok katalógusa [A catalogue of Hungarian folksong types]. Budapest, 1988. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Dobszay, László and J. Szendrei. Catalogue of Hungarian Folksong Types: Arranged According to Styles. Magyar Tudomanyos Akademia Zenetudomanyi Intezet [Institute for Musicology of the Hungarian Academy of Sciences]. Budapest: Zoltan Falvy, 1992. 94 p. v. : ill. ; 29 cm. COMMENTS: Hungarian folk songs with unaccomp. melodies and Hungarian texts. Vol. I: “Introduction and chapters 2 and 4 by Laszlo Dobszay; chapters 1 and 3 by Janka Szendrei.” Vol. I: “Translated by Maria Steiner; translation revised by Brian McLean”–T. p. verso. Discography: v. 1, p. 54. Includes bibliographical references and indexes. OCLC ACCESSION: 27824789. Dobszay, László. A History of Hungarian Music. English translation of Magyar zenetörténet (1984) by Maria Steiner. [Budapest] : Corvina, 1993. 235 p. : map, music ; 18 cm. COMMENTS: Based on a rev. version of: Magyar zenetörténet. Includes bibliography and discography (p. [215]-229) and index. NYPL CALL # JMC 95-37. LOCATIONS: Performing Arts-Music. U of T CALL NUMBER: ML/248/D613/1993 MUSI. Dreiszinger, Kálmán. “Magyar néptánccsoportok felelössége [The resposibility of Hungarian folk dance groups].” Magyar Népmüvészet Kanadában [Hungarian Folk Art in Canada] 1/1 (Dec. 1983), 2-3. (Citation: Satory, “Táncház in Toronto […].”) Erdély, Stephen Lajos. Methods and Principles of Hungarian Ethnomusicology. Bloomington, Indiana University, 1965. viii, 150 p. music. SERIES: Uralic and Altaic series. v. 52. Includes bibliography. OCLC #: 105028. U of T CALL NUMBER: ML/3593/E73 MUSI. U of C CALL NUMBER: ML 3593 .E7 1965. Erdély, Stephen. “Record review.” Ethnomusicology (USA) Vol. XII/3 (September 1968), 475-76. English. ABSTRACT: Reviews Musik fran Ungarn: Csángósanger [Music from Hungary: Csángós songs), notes by Deben BHATTACHARYA (Expo Norr, The world of music series). COMMENTS: Cursory treatment. 76-13166-rr. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Erdély, Stephen. “Traditional and individual traits in the songs of three Hungarian-Americans.” Selected Reports in Ethnomusicology 3/1 (1978), 98-151. COMMENTS: Transcriptions; categorizes folk songs according to the system devised by Bartók and Kodály. UA Rutherford N Flr 2 CALL NUMBER: ML 3799 C152. Erdély, Stephen. “Folk music practices in Hungary and among American-Hungarians.” Journal Of Folklore Research vol. 21, no. 2-3 (May-Dec 1984), p. 241-242. ISSN: 0737-7037. English. ABSTRACT: In addition to performance in a formal context on state radio and television, a “natural” circulation of musical tradition continues among Hungarian folk musicians, especially in the context of wedding celebrations and social drinking. Folk music is used in Hungary to reinforce community identity and pride, and as a retreat from the pressures of contemporary society. In the Hungarian community in the U.S., music serves the functions of cultural preservation, pastime, entertainment, and identity maintenance, as a reassuring and soothing reminder of community and ethnic homeland. (Avorgbedor, Daniel K.) 90-06045-ap. UA Rutherford North Flr 4. 1. CALL NUMBER: GR 109 I392. Erdély, Stephen. “Folk-music research in Hungary until 1950: The legacy of Zoltán Kodály and Béla Bartók.” Current Musicology Vol. 43 (1987) 51-61. English. ABSTRACT: Though their backgrounds and approaches differed, the folk song collecting accomplished by Bartók and Kodály in Hungary in the early decades of the 20th c. codified the genres of a large body of folk melodies, and provided a springboard for a second generation of collectors. The effect of Hungarian folk music on their own compositions is evident. (Robert Richart) 88-05583-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 C98. Fekete, S. “Interview with Halmos Béla.” Karikázó: The North American Hungarian Folklore Scene I/2-4 (Fall 1995; Winter 1996; Spring 1996), 1, 6; 5-6; 7-8. Ill. COMMENTS: Transcript of interview conducted by author at the Ninth Hungarian Folkdance and Folk Music Symposium, June 1995, Enon Valley PA. Frigyesi, Judit. “Béla Bartók and the concept of nation and Volk in modern Hungary.” The Musical Quarterly 78/2 (1994), 255-87. U of A CALL NUMBER: ML 1 M984. Gabry, György. “Rustic life as reflected in Patria folk-music recording, II :Paraszti eletrajzok a Patria népzenei hanglemezek tükrében, II.” Magyar zene (Hungary) Vol. XXIII/3 (September 1982) 295-308. Portrait. In Hungarian. ABSTRACT: Includes biographical data for 35 performers (31 singers, 4 instrumentalists) from 11 villages. Also provides information on the method of hiring musicians and furnishes a description of the unusual gardon and accompanying fiddle of the Székely people. (Katalin Lazar, abridged) 83-03276-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Gergely, Jean. “Népzene es mai magyar tarsadálom [Folk music and Hungarian society today].” In: Harminc ev. 1956-1986. Bern: Europai Protestans Magyar Szabadegyetem, 1986. p. 239-279. Hungarian. ABSTRACT: Discusses Hungarian folk music, including a historical survey of Hungarian folk song research; folk music in the past and present; influences of peasant music on classical music; music education. Included in a collective volume commemorating the 30th anniversary of the 1956 revolution in Hungary by Hungarian emigrants in Western Europe. (Paksa, Katalin) 89-06527-ac Glass, H. “Harmonic ruptures in Hungary.” The Strad 104 (Jul 1993), 652-4. Il. COMMENTS: Mainly an account of music education and state support in post-socialist Hungary. [MI CD-ROM]. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 5 S89. Halmos, Béla. “Közjátékok egy Széki vonósbanda tánczenéjében [Ornamentation in the dance music of a string band from Szék].” Zenetudományi Tanulmányok (Budapest, 1981), 191-219. (Citation: Satory, “Táncház in Toronto […].”) Halmos, István (Budapest, Hungary). “Towards a pure instrumental form.” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XIX/1-4 (1977) 63-84. English. ABSTRACT: Hungarian instrumental folk music today consists essentially of vocal melodies; these differ from pure vocal music because of the instrumental accompaniment, the performance practice, and the particular instrumental form. Historically, instrumental folk music is structured around the repetition of independent sections. In the 18th and 19th c., however, Hungarian instrumental forms moved away from dance-like repetitions to abstract musical forms, a development due in part to the influence of Western dance music. (Tibor Tallian) 77-03299-ap. U of C CALL NUMBER: ML5 .S86. Halmos, István; Lanyi, Agoston; Pesovar, Ernö. Vas megye tánc es népzenei hagyomanya [The traditions of dance and music in Vas]. Szombathely, Hungary: Megyei Muvelodesi es Ifjusagi Kozpont, 1988. 305 p. Illus., music, bibliog., charts, tables. Hungarian. Summary in German and English. ABSTRACT: An ethnographic study of dance in Vas county by PESOVAR, kinetogram transcriptions of 24 dances (e.g. the broom dance, jumping and Gypsy dances, verbunkos, csárdás, Streirisch, and Ruszinka) by LANYI, and an overview of the musical tradition of the region, with a collection of tunes by HALMOS. (Gupcso, Agnes) 89-10500-bc Halmos, István. “Egy történeti reteg a magyar népzeneben [A historical stratum in Hungarian folk music].” Magyar zene vol. 32, no. 2 (June 1991), p. 161-173. ISSN: 0025-0384. Music. Hungarian. ABSTRACT: Besides some traditionally accepted factors (pentatonicism, rubato, descending melody, etc.) some new aspects of Hungarian folk music (particularly children’s games and music associated with traditional customs) have been delineated: (1) formation based on free-closed chains of binary or ternary measures; (2) strict giusto; (3) narrow range; (4) diatonic or protoharmonic setting; and (5) melody comprising a starting measure (repeated ad libitum) and a definitive closing-cadence measure. The relative importánce of an internal evolution as opposed to the acculturation and acceptánce of foreign influences is weighed. (author) 91-06556-as. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Halmos, István. “Zenes népszokasaink elterjedtsege [Hungarian regional musical folk customs].” Magyar zene vol. 32, no. 2 (June 1991), p. 174-176. ISSN: 0025-0384. Hungarian. ABSTRACT: With the exception of wedding songs and match-making songs and customs, all Hungarian folk musics can be placed into one of three groups: (1) music popular all over Hungary, even beyond the Carpathian basin (games, name-day greetings, Christmas carols); (2) music popular in the west (winter and Carnival customs); (3) music popular in the northwest (now mainly in Slovakia; summer and some winter customs–with relatively few tunes throughout the region). The peculiarities of wedding and match-making songs are considered. (author) 91-06557-as. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Hamrán, Zsuzsa. “Válságban a Táncház-mozgalom? [Is the Táncház movement a struggle to survive?].” Magyar Népmüvészet Kanadában 1/1 (Dec. 1983), 8. (Citation: Satory, “Táncház in Toronto […].”) Hirsch, E. “Pure sources, pure souls: folk nationalism and folk music in Hungary in the late 1930’s.” Dissertation Abstracts 57 (Sept 96), 1269A. Hokkanen, N. “Muzsikás: reviving Hungary’s folk tradition.” Strings 6/6 (1992), 36-40. Discog. [MI CD-ROM]. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 749.5 S918. Horvath, I. “Recent research by Chinese and Hungarian musicologists raises new issues concerning origin of Hungarians.” Chinese Music [Chinese Music Society of North America, Woodridge IL] 15/2 (1992), 33-6. Bibliog. [MI CD-ROM]. Jagamas, János and József Faragó, ed. Romániai magyar népdalok [Hungarian folksongs in Romania]. Bucuresti, 1974. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Jardányi, Pál. Magyar népdaltípusok [Hungarian folksong types] I-II. Budapest, 1961. Járdányi, Pál. “Die neue Ordnung der ungarischen Volkslieder [The new classification of Hungarian folk songs].” In: Methoden der Klassification von Volksliedweisen. 123-33. In German. MAIN WORK: See RILM 69-03353. German. ABSTRACT: Describes a classification system that will encompass both the main melodic types and groups of variants; it will be used in forthcoming volumes of the Corpus musicae popularis hungaricae [q.v.]. (Oskar Elschek) 69-04559-as. UA BARD CALL NUMBER: ML 3545 S93. Jobbágy, Ilona and István Kutny. Hungarian Folk Dances. Graphic designs and illus. by Julius Hargittay. Astor Park, Fla.: Danubian Press, [1969]. 62 p. : illus. (part col.), music. ; 27 cm. SERIES: Hungarian heritage books. v. 1. LCCN: 69019409. Kaposi, E. and E. Pesovár, Eds. The Art of Dance in Hungary. English Translation of: Magyar táncmuvészet by Lili Halápy [et al.].[Budapest] : Corvina, 1985. 249 p. : ill. COMMENTS: Includes “List of illustrations” at end, and in pocket. Bibliography: p. 246. CONTENTS: The historical backgound / by Ernö Pesovár-Dance research and folk dance / by Ferenc Pesovár-Folk dancing and the folk dance movement / by László Maácz–Ballet in Hungary / by Gedeon Dienes-The teaching of dance / by Zsuzsa Merényi–Dance teacher training / by Edit Kaposi. OCLC #: 1699156. ISBN: 9631317269. U of T CALL NUMBER: GV/1688/H8M3413/1985 ROBA. Kaptain, Laurence D. “The Hungarian cimbalom.” Percussive Notes vol. 28, no. 5 (June 1990), p. 8-14. ISSN: 0553-6502. Illus., port., discog. English. ABSTRACT: The cimbalom is central to the national musics of Hungary, Romania, and neighboring countries. A type of expanded dulcimer played with mallets, it is related to the traditional Persian instrument, the santur. Its range is slightly over four octaves. Most often found in Gypsy orchestras, the cimbalom may also be heard on the concert stage. Composers who have written for the cimbalom include Liszt, Kodály, Bartók, and Davies. Aladar Racz (1886-1958) was Hungary’s most respected cimbalomist. In North America, several Hungarian and Gypsy players are now active, including Toni Koves-Steiner. (Horton, Anna J.) 90-08050-ap. UA Rutherford N Floor 2 CALL NUMBER: ML 1 P42. Kiss, Lajos (Budapest, Hungary). Lorincréve népzenéje. Karsai Zsigmond dálai [The folk music of Lorincréve. Zsigmond Karsai’s songs]. Series: Népzene-néptánc-táncház, Hungary (Budapest: Zenemü,1982) 256 p. Music examples, index. In Hungarian. ISBN/ISSN: 9633304385. ABSTRACT: Zsigmond Karsai, who has lived in Hungary since 1940, was born in Lorincreve (Leorint, Transylvania), a village of mixed Hungarian-Romanian population. The author has collected 860 of Karsai’s tunes, 244 of which are presented here. The material is divided into four groups: old-style folk music, new-style folk music, mixed-style tunes of folk customs, and Romanian music. An introduction presents the biography of the composer, a description of musical life in the village and local folk customs, and a study of the characteristic features of the musical material. (Béla Halmos) 83-03533-bm Kodály, Zoltán. “Pentatonicism in Hungarian folk music.” Ethnomusicology (USA) Translated by Stephen ERDÉLY. Vol. XIV/2 (May 1970) 228-42. Music examples, bibliography. English. ABSTRACT: A translation of Kodály’s Otfoku hangsor a magyar népzenében, which was first published in vol. 1 of Zene szemle (Temesvar, 1917). (Stephen Erdély) 70-02361-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Kodály, Zoltán, editor. Folk Music of Hungary. Translated by Lajos VARGYAS, Ronald TEMPES, and Cynthia JOLLY. Revised translation by Laurence PICKEN .New York: Praeger; London: Barrie & Jenkins, 1971. Illustration, music examples. English. ABSTRACT: A revised English-language edition of A Magyar népzene (Budapest: Zenemukaido Vallalat, 1952). Incorporates a large number of new musical examples together with annotations, drawn largely from Kodály’s notes. Also includes new information made available from v. 5 of the Corpus Musicae Popularis Hungaricae [q.v.], and from Bálint Sárosi’s study of instruments in Das Handbuch der europaischen Volksmusikinstrumente. English prose translations of 206 Hungarian folk texts are provided. 73-04091-bf. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 3593 K76 — c.1 — BOOK – Available. Third Edition: Microfilm. Watertown, Mass. General Microfilm. UA Rutherf N Flr2 Microshelves. CALL NUMBER: GR 15 L77 reel 0728:04 — c.1 — MICROFILM – Available. SEE ENTRY BELOW. Kodály, Zoltán. A zene mindenkie [Music belongs to everyone]. Edited by Andras SZOLLOSY. 2nd ed.; Budapest: Zenemu, 1975. 286 p. Bibliography. In Hungarian. 76-13281-bf Kodály, Zoltán. Folk Music of Hungary. Rev. and enlarged by Lajos VARGYAS (3rd ed.; Budapest: Corvina, 1982) 195 p. English. ABSTRACT: Originally published in Hungarian in 1937 as A magyar népzene; first issued in English translation in 1960. 87-05170-bf. Holdings data pending as of 27 April, 1997. Kodály, Zoltán. Zoltán Kodály Selected Writings. Ferenc Bónis, ed. Trans. Lily Halapy and Fred Macnicol. London: Boosey and Hawkes, 1974. UA Rutherford N Flr. 2 CALL NUMBER: ML 410 K76 E5 1974. Kodály Zoltán Emlekmuzeum es Archivum Bónis, Ferenc. “Zenetüdományi ulesszakra [Musicology conference].” Budapest, 1990. Magyar zene vol. 32, no. 2 (June 1991), ISSN: 0025-0384. Hungarian. ABSTRACT: Not included in the present conference report is a paper given by Ferenc Bónis, Mult szazadi elozmenyek: Történeti jelkepek a XIX. szezad magyar zenéjeben [Antecedents of a century ago: Historical symbolism in 19th-century Hungarian music]. The following contributions are cited separately in this volume of RILM: János BREUER, Opus 4: Egy Kodály-mu ket alakja [Op. 4: Two versions of a Kodály composition] (4435); László EOSZE, “Traduttori–traditori?” Gondolatok egy Kodály-korus angol es nemet kiadasa kapcsan [“Traduttori–traditori?” Some problems of the German and English versions of Kodály’s choral work] (4614); István HALMOS, Egy torteneti reteg a magyar népzenében [A historical stratum in Hungarian folk music] (6556) and Zenes népszokasaink elterjedtsege [Hungarian regional musical folk customs] (6557); Terez KAPRONYI, A Kodály archivum szerkezete es funkcioi [Structure and functions of the Kodály archive] (113); István KECSKEMETI, Kodály Zoltán zenemuveinek tematikus katalogusa [Thematic catalogue of Zoltán Kodály’s compositions] (414); Dezso LEGANY, Kodály Zoltán idegennyelvu levelei [Zoltán Kodály’s letters written in foreign languages] (4886); Imre OLSVAI, “Hol vagy István kiraly?” [“Where are you, King Stephen?”] (5026); Katalin PAKSA, Magyar népzénekutatas a XIX. szazadban: Mai tanulsagokkal [Hungarian folk music research in the 19th century: Some up-to-date aspects] (6025); Bálint SÁROSI, Egy “jaj-nóta” [A jaj-nóta] (6735); Olga SZALAY, A nagyszalontai gyujtes dokumentumai a Kodály archivumban [Documents of collecting in Nagyszalonta (Salonta) preserved in the Kodály archive] (6762); Sandor SZOKOLAY, A hit es a hazaszeretet Kodály muveszeteben [Religion and patriotism in Kodály’s oeuvre] (5318); György SZOMJAS-SCHIFFERT, Ereszkedo kvintvaltas a finn népzenében [Descending fifths-shift construction in Finnish folk music] (6763); Lajos VARGYAS, Lirai népdálaink [Hungarian lyrical folk songs] (6786); László VIKÁR, Mit tanacsolt Kodály a gyujtoutak elott? [What kind of instructions did Zoltán Kodály give his students preparing for folk music collecting trips?] (6053). 91-01029-bs. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Kolar, Walter W. and Agnes Huszar Vardy, Eds. The Folk arts of Hungary : papers presented at a symposium, Duquesne University, Pittsburgh, Pennsylvania, April 1980. [Pittsburgh, Pa.]: Duquesne University Tamburitzans Institute of Folk Arts, 1981. 201, [2] p. of plates : ill. ; 26 cm. OTHER ENTRY: Symposium on Hungarian Folk Culture (1980 : Duquesne University) ISBN: 093692201X (pbk.). LCCN: 80054019. [MI CD ROM]. UA Rutherford N Flr. 4 CALL NUMBER: NX 571 H8 F666 1981. Kovács, S. “Bartók’s system of folksong classification.” The New Hungarian Quarterly 22/83 (1981), 71-8. [MI CD-ROM]. UA Rutherford N Flr 2 CALL NUMBER: DB 901 N53. Kovalcsik, Katalin (Budapest, Hungary). “A Szatmár megyei olah cigányok lassú dálainak többszolamusaga [Polyphony in the slow songs of Vlach gypsies in Szatmár county].” Zenetüdományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetüdományi Intézete) (1981) 261-72. Index. In Hungarian; summary in English. ABSTRACT: The musical dialect of Szabolcs-Szatmár county shows a peculiar tendency toward polyphony in the originally monophonic slow-song type, the influence of which will probably spread to other areas as well. (Melinda Berlasz) 83-05858-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Kovalcsik, Katalin. “The place of the Gypsies’ tradition in the folk-music of the peoples of Eastern Europe.” In: Traditional Music of Ethnic Groups-Minorities. (Zagreb: Zavod za Istrazivanje Folklora, 1986) 195-203. In English; summaries in Hungarian, Croatian. ABSTRACT: The state of research into Gypsy music in Hungary and remarks on the theory of a Gypsy influence on Hungarian music. (Zdravko Blazekovic) 86-03992-as Krader, Barbara. “Record reviews.” Yearbook of the International Folk Music Council Int (see: Yearbook for traditional music, USA) Vol. IV (1972) 194-95. See also. same j., 183-84. English. ABSTRACT: Discusses Magyar népzene/Hungarian folk music I (4 discs; Qualiton LPX 10095-98), issued by the Hungarian National Academy of Sciences and the Hungarian Ethnographic Museum, with commentary in Hungarian and English, summaries in German and Russian, by Benjamin RAJECZKY. 76-13289-rr. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 I614. Laade, Wolfgang. “Record review.” Ethnomusicology (USA) Vol. XIV/3 (September 1970), 526. English. ABSTRACT: Review of Hungarian folk music (Qualiton LPX 1187). 76-13302-rr. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Lajtha, László. “Újra megtalált magyar népdaltípus [A re-discovered type of Hungarian folksong].” In Emlékkönyv Kodály Zoltán hatvanadik születésnapjára [Memorial volume for Zoltán Kodály’s 60th Birthday]. Ed. by Béla Gunda. Budapest, 1943. Pp. 219-234. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Lajtha, László (1892-1963). Széki gyüjtés [Collection from Szék].Budapest, Zenemükiadó, 1954. 363 p. SERIES: Népzenei monográfiák, 2. COMMENTS: Includes transcriptions of Hungarian folk dances of Szék, for instrumental ensemble, songs with instrumental acc., and melodies, unacc. LCCN: 63037228M. OCLC #: 98508. U of T CALL NUMBER: M/1706/L3S93 MUSI. Lajtha, László (1892-1963). Körispataki gyüjtés [Collection from Körispatak]. Budapest, Zenemükiadó, 1955. (Citation: Satory, “Táncház in Toronto,” [q.v.], 60). Lajtha, László (1892-1963). Dunántúli táncok és dállamok [Dances and songs from Transdanubia]. Budapest: [n.p.], 1962. (Citation: Sarosi, “Gypsy musicians and Hungarian peasant music,” [q.v.], 20.) Lange, B.R. “Gender politics and musical performances in the Isten Gyuelekezet: a fieldwork account.” Journal of American Folklore 109/431 (1996), 60. UA Rutherford N Floor 4 CALL NUMBER: GR 1 J86. László, Ferenc. “Bartók’s first encounter with folk music.” The New Hungarian Quarterly 19/72 (1978), 67-75. [MI CD-ROM]. UA BARD CALL NUMBER: DB 901 N53. Leach, John. “The cimbalon.” Music & Letters, Great Britain LIII (April 1972), 134-42. Illustration, portrait, music examples. English. ABSTRACT: The cimbalon [sic.], the Hungarian dulcimer, is described in detail, and a chart of the stringing most common in Eastern Europe and the method of tuning is provided. Musical illustrations of folk music and short extracts from works by Humphrey Searle (1962) and Heinz Holliger (1964) are included. 73-04240-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 M981 Legányné Hegyi, Erzsébet. Stylistic Knowledge on the Basis of the Kodály-Concept. Translated by Susan Gray. Kecskemét : Zoltán Kodály Pedagogical Institute of Music ; [Budapest : Kultura, distributor], 1984. v. <1 > : music ; 24 cm. COMMENTS: Translated from the Hungarian. “Advanced level.” v. 1. Characteristics of folk music and renaissance style. U of T CALL NUMBER: MT/6/L35S8/1984 MUSI #1. Magyar, Kálmán and Judith Magyar (American Hungarian Folklore Centrum). “Hungarian folk dances in Hungary and in America.” In: The Folk Arts of Hungary. Papers Presented at a Symposium, Duquesne University, Pittsburgh, Pennsylvania, April 1980. Edited by W.W. KOLAR and A.H. VARDY [q.v.] (Pittsburgh: Tamburitza, 1981), 171-201. Biblio. Ill. Map. Mus. COMMENTS: An introduction to the basic concepts of Hungarian Folk Dancing. UA Rutherford North Flr 4. 1. CALL NUMBER: NX 571 H8 F666 1981 — c.1 — Book — Available Manga, János. Magyar népdálok, népi hangszerek [Hungarian folk songs and folk instruments]. Magyar népmuveszet, Hungary Vol. 2, (Budapest: Corvina, 1969) 89 p. Illustration, music examples. In Hungarian. ABSTRACT: Part 1 opens with a survey of the history of scholarly interest in Hungarian folk music, from the mid-18th c. to the time of Bartók and Kodály. Folk melodies are classified according to their adherence to the old or the new style; examples are given. Present-day folk song activity is described. Part 2 lists and illustrates Hungarian folk instruments: various types of recorders, reed pipes, the bagpipe, the drum, the zither, the hurdy-gurdy, and the cymbals. This book has also appeared in English, French, and German. 69-04571-bm Manga, János. Hungarian Folk Songs and Folk Instruments. Budapest: Corvina, 1988. 63 p. Illustration. Martin, György. “A botolo nóta: Proportiogyakorlat nyomai a magyar néptáncban es népi tánczenében [Shepherd’s dance with a crook: The vestige of a proportio practice in Hungarian folk dance and dance music].” Magyar zenetörténeti tanulmanyok (Hungary) Vol. 1 201-21. Music examples. In Hungarian. MAIN WORK: See RILM 69-03388. Hungarian. ABSTRACT: Martin discusses the alternation of odd and even tempi as a basis for the parallelism he sees between Hungarian folk dance and dance customs of the Renaissance. (Ferenc Bonis) 69-04573-ac. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Martin, György (Budapest, Hungary). “A magyar nép táncai [Hungarian folk dances].” Magyar népmuveszet (Hungary) Vol. 7, (Budapest: Corvina, 1974) 74 p. Illustration, music examples, bibliography, thematic catalogue, index. In Hungarian. ABSTRACT: Summarizes the small number of previous scholarly studies of Hungarian folk dances, and systematically discusses the living tradition. Considers Hungarian folk dances and the European folk dance culture, the old dance types (maidens’ dances, shepherds’ dances, men’s leaping dances, old pair dances), the recent Hungarian styles (verbunkos, czardas), and Hungarian dance dialects from the region between the Danube and Tisza in Transylvania. The living tradition is described with reference to folk customs, the music for the dances, the dances of neighboring peoples, and the former European dance styles. (Lujza M. Tari, abridged) 74-03430-bm Martin, György. “The relationship between melodies and dance types in volume VI of Corpus Musicae Popularis Hungaricae [q.v.].” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XII (1972) 93-145. Music examples, table, dance notation. English. 76-13327-ap. U of C CALL NUMBER: ML5 .S86. Martin, György, ed. Magyar Néptánchagyományok [Hungarian folk dance traditions]. Ed. B. Andrásfalvy et al. Budapest: Zenemükiadó, 1980. (Citation: Satory, “Táncház in Toronto […].”) Martin, György. Magyar tánctípusok és táncdialektusok [Hungarian dance types and dance dialects]. Budapest : Népmuvelési Propaganda Iroda, [1982?]. 266 p., [57] p. of music ; 20 cm. SERIES: Néptáncpedagógusok kiskönyvtára, 0324-6043. COMMENTS: Errata slip inserted. “Kiegészités az irodálom jegyzékéhez”: [2] leaves inserted. Includes bibliographies and indexes. OCLC #: 1739329. ISBN: 963562994X. U of T CALL NUMBER: GV/1688/H8M37/1982 ROBA. Martin, György. Magyar nép táncai [Hungarian folk dances]. English. 2nd rev. ed. New York: Puski, c1988. 74, [56] p. : ill. (some col.), maps. ; 18 cm. SERIES: Hungarian folk art. COMMENTS: “Published in co-operation with Corvina Kiadó, Budapest”–Verso t. p. Includes bibliographical references. ISBN: 0915951150 9631326144. U of T CALL NUMBER: GV/1688/H8M36713/ 1988 ROBA. McLeod, Mel. “20th century trad.” Folk Roots vol. 12 no. 3:87 (Sept 1990), p. 19, 21. ISSN: 0951-1326. Port. English. ABSTRACT: An interview with members of Vasmalom, a Hungarian traditionalist band. Because of the communist government’s repressive cultural policies, the Hungarian traditional music revival of the early 1970s had to depend on outside influences for inspiration, particularly non-Hungarian radio broadcasts and recordings. To compensate for the lack of villagers and teachers who could perform or teach traditional music, music camps were set up in Budapest by Béla Halmos and Sandor Csoori to teach folk instruments. The primary sources for Vasmalom, however, were recordings by Bartók and other ethnomusicologists, which survived in museums. The group mixes traditional songs from various parts of Hungary with various degrees of arranging. Its instrumentation includes viola, utogarden (a large viola), double bass, long flute, bagpipes, and Turkish drum. (Kassel, Richard M.) 93-07294-ap. U of C CALL NUMBER: ML 3545 .S68 [ISSN not confimed]. Michel, Ursula. “[Conference report] Perspectives of ethnomusicology its aims and tasks in the Federal Republic of Germany and Hungary (conference, April, 1990, Musicological Institute of the Academy of Sciences, Budapest) [sic].” The World of Music; Journal of the International Institute for Traditional Music (IITM) 32/2 (1990), 125-27. UA Rutherford N Flr 2 CALL NUMBER: ML 5 W92. O’Connor, Peter. Walking Good: Travels to Music in Romania and Hungary. London Weidenfeld and Nicolson 1971. vii,112p. OCLC #: 664488. U of T CALL NUMBER: ML/3593/O26 MUSI. Napocensis, Anonymus. “Methods of Rumanianization employed in Transylvania.” In Witnesses to Cultural Genocide. Ed. G. Schöpflin. New York: American Transylvanian Federation and Committee for Human Rights in Transylvania, 1979, 1979. 57-87. (Citation: Satory, “Táncház in Toronto […].”). UA Faculté Saint-Jean CALL NUMBER: DR 279.92 H8 W57. Paksa, Katalin (Budapest, Hungary). “Special structure transformation in the group ‘jaj-nóta’ of Hungarian folk songs.” Studia Musicologica (1976). [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Paksa, Katalin (Budapest, Hungary). “Hungarian folksongs amidst twin-bar and strophic structures.” Studia Musicologica (Budapest, Hungary) 19/1-4 (1977), 117. [MI CD-ROM]. U of C CALL NUMBER: ML 5 .S86. Paksa, Katalin. “Ornamentation system of the the melodies in Volume VI of Corpus Musicae Popularis Hungaricae [q.v.].” Studia Musicologica (Budapest, Hungary) 22/1-4 (1980), 137+. [MI CD-ROM]. U of C CALL NUMBER: ML 5 .S86. Paksa, Katalin (Budapest, Hungary). “Gyimesi tetraton-triton dálok diszitesi modja [Ornamentation of tetratonic-tritonic tunes in Gyimes].” In: Népzene es zenetörténet. Vol. IV 110-56. Music examples, tables. m In Hungarian. MAIN WORK: See RILM 83-03541. Hungarian. ABSTRACT: Investigates one of the most archaic strophic types of Hungarian folk music from the standpoint of the ornaments. Analyzes 198 strophes from 12 recordings. Describes the special way of embellishing this type of tune. Compares ornamentation by a soloist with that of a group, and also from different recordings by the same singer. Includes tables of the tunes and the ornaments. (Author) 83-03543-ac. U of T CALL NUMBER: ML/3593/N4 MUSI #1-3*4(1972-1982). Paksa, Katalin. “Stilusjelensegek a magyar népdáldiszitesben [Style and ornamentation in the Hungarian folk song].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1985) 157-67. Music examples. In Hungarian. LCCN: 84646914 /MN. ISSN: 0139-0732. ABSTRACT: Singers from widely separated, ethnically Hungarian regions show differences in regional song types. In the Zobor region (now in Czechoslovakia) the function of the song determines the ornamentation (e.g., a wedding song with a Gregorian origin differs in ornamentation from a recruiting song with 18th-c. roots), while in the Kalotaszeg region (in modern Romania) ornament completely obscures such differences: even new-style folk songs are adorned using old-fashioned formulas. (Author) 85-04420-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Paksa, Katalin. “Line starting ornaments in the Hungarian folk song.” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XXIX/1-4 (1987) 219-36. Music examples. English. ABSTRACT: Ornamentation at the beginning of the line is used in all five Hungarian dialect regions, but there are differences in specific applications. Initial ornamentation is less used in ‘new style’ songs. This type of ornamentation is widely spread in instrumental folk music and in folk hymns. (Marta Szekeres-Farkas) 87-05206-ap. U of C CALL NUMBER: ML5 .S86. Paksa, Katalin. “Népdáldiszites es népzenei dialektusok [Folk song ornamentation and folk music dialects].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1987) 151-71. Illustration, music examples. In Hungarian; summary in English. LCCN: 84646914 /MN. ISSN: 0139-0732. ABSTRACT: A study of the various ways different Hungarian-speaking areas ornament songs, including the variations between dialects. Ornamentation invariably underlines the strophic structure. (Author) 87-05207-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Paksa, Katalin. “Connection of style and dialect in the ornamentation of Hungarian folksongs.” Studia Musicologica 34/1-2 (1992), 73. U of C CALL NUMBER: ML5 .S86. Papp, Geza. “Stilelemente des fruhen Werbungstanzes in der Gebrachmusik des 18. Jahrhunderts. [Stylistic traits of the early verbunkos dance in Gebrauchsmusik of the 18th century].” In: Musica antiqua. III. (RILM 1973-00140-bs) 639-79. Music examples. In German; summary in Polish. ABSTRACT: The music of the verbunkos dance is an expression of Hungarian romanticism. The genre first appeared in the 2nd half of the 18th c. and quickly became very popular. It was performed by Bohemian musicians on the occasion of the recruitment of a soldier. The author analyzes the verbunkos dance and provides an account of its development. Elements of these dances are observable in the compositions of many Hungarian composers. (Maria Prokopowicz) 73-01036-as. U of C CALL NUMBER: ML36 .F46 V.3 1972. 1 LIBONLY. LOCATION: 9LT. Peer, Rene van. “The glass dance-house.” Musicworks: The Journal Of Sound Exploration no. 50 (summer 1991), p. 42-48. ISSN: 0225-686X. Illus., discog., maps. English. ABSTRACT: The folk music of the Hungarian people is being preserved with the help of the Magyar Néprajzi Intezet in Budapest. Contemporary traditional bands and recordings of Hungarian traditional music and dance by the Hungaroton record company are described. (Higham, Peter) 91-06686-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 205.5 M98. Pesovar, Ernö. “Lajtha László es a néptánckutatas [László Lajtha and folk-dance research].” Magyar zene vol. 34 no. 1 (Mar 1993), p. 54-56. ISSN: 0025-0384. Hungarian. ABSTRACT: Lajtha realized the importánce of recording dance and accompanying music simultaneously as early as the late 1920s, and was in favor of making sound films of folk dances. Together with Sandor Gonyey, whom he accompanied on collecting trips, he wrote the chapter on dance in Magyarsag néprajza (Hungarian ethnography) published in 1937. (Karacsony, Zoltán) 93-12240-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Pesovar, Ferenc. Beres vagyok, beres [I am a farm hand, a farm hand]. Székesfehervar: n.p., 1982. Illustration, portrait, facsimile, music examples, bibliography. In Hungarian. ABSTRACT: One hundred eighty-two songs, arranged in functional groups, representing traditional folk music of Fejer county, north-east of Transdanubia, Hungary. This area embraces two geographical and ethnographical regions: Mezofold and Vertesalja. Songs that were collected by the previous generations of music folklorists (Bartók, Kodály, László Lajtha and others) are included; however most of the songs were collected by Ferenc Pesovar. (László Felfoldi) 86-04025-cw. U of T CALL NUMBER: M/1706/B47/1982 MUSI. Póczonyi, Mária. Népzene és zeneirodálom [Folk music and music literature].[Budapest] : Népmuvelési Propaganda Iroda, [1983]. 160 p. ; 20 cm. SERIES: Néptáncpedagógusok kiskönyvtára. Includes music and indexes. Bibliography: p. 158-159. Hungarian. LCCN: 81474907 /MN. OCLC #: 1740994. ISBN: 9635630808 9635620195 : 21.00Ft. U of T CALL NUMBER: ML/3593/P6/1983 MUSI. Porter, James. “Record review.” Ethnomusicology (USA) Vol. XXVII/1 (January 1983) 165-67. English. ABSTRACT: Discusses Hungarian instrumental folk music (Magyar hangszeres népzene) (Hungaroton LPX 18045-47, 1980). Ed. with 28-page commentary in En and Hu by Bálint SÁROSI. 83-01320-rr. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Racz, Ilona (Budapest, Hungary). “Bartók Béla Csik megyei pentaton gyujtese 1907-ben [Béla Bartók’s pentatonic collection from the county of Csik (1907)].” In: Népzene es zenetörténet. 9-62. Facsimile, index. In Hungarian. MAIN WORK: See RILM 74-01708. Hungarian. ABSTRACT: During his first collecting expedition in 1907, Bartók found 47 pentatonic melodies (and 411 other melodies) in the 10 villages he visited. Bartók’s discoveries, together with the results of Kodály’s collecting in northern Hungary, undertaken at the same time, established the pentatonic scale as the oldest element in Hungarian music. Bartók’s methods of classification-the pentatonic melodies first comprised a special group and were later, beginning in 1938, placed in ‘Class A’ (old style)-are described, as are his techniques for indicating melodic variants. Nine of Bartók’s pentatonic melodies may no longer be regarded as truly pentatonic. (Lujza M. Tari, abridged) 74-03442-ac. U of T CALL NUMBER: ML/3593/N4 MUSI #1-3*4(1972-1982). Racz, Ilona; Szalay, Olga (Budapest, Hungary). “Mutatok Bartók dállamrendjehez [Indexes to Bartók’s system of melodies].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1981) 353-98. Index. In Hungarian. ABSTRACT: Reviews the history and the categories of the Bartók system of Hungarian folk music, and gives several indexes to enable easier access to the approximately 13,500 Hungarian tunes included by Bartók. The three indexes are organized by 1) place names, 2) former region, and 3) collector. (Melinda Berlasz) 83-04372-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Rajeczky, Benjamin (Budapest, Hungary). “A magyar népzenei hanglemezek [Recordings of Hungarian folk music].” Ethnographia (Hungary) Vol. LXXXIII/2-3 (1972) 370-73. Discography. In Hungarian. ABSTRACT: A historical survey of folk-music recordings in general with precise information on Hungarian folk recordings. Lists the names of Hungarian scholars and institutions that have developed and contributed to this field. Discusses technical developments, and gives information about series of folk recordings now available in Hungary. (Margit Toth) 74-03443-ap Rajeczky, Benjamin (Budapest, Hungary). “Zur Frage der asymmetrischen Rhythmen in der ungarischen Volksmusik [Concerning the question of asymmetrical rhythms in Hungarian folk music].” In: Hoerburger Festschrift. 85-95. In German. MAIN WORK: See RILM 77-00190. German. ABSTRACT: The rhythmic patterns dealt with by Brailoiu under the names giusto syllabique and aksak are only mentioned in passing by Bartók and Kodály; Vavrinecz’s discussion adopts Bartók’s description of the ‘Bulgarian rhythm’. The giusto syllabique rhythm is found primarily in ballad melodies throughout Hungary; one finds traces of it even in some parlando-type melodies. Asymmetrical modifications of sung melodies and their instrumental accompaniments can be attributed to dance steps. Distinct aksak rhythms appear in instrumental pieces and sometimes also in songs of Tschango sung in eastern Transylvania. As Hoerburger has shown, asymmetrical rhythms belong to the oldest stratum of European folk music. (Author) 77-01225-ae Rajeczky, Benjamin (Budapest, Hungary). Magyar népzene, III. A Magyar Tudományos Akadémia gyujtemenyebol. Hungarian folk music, III. From the collection of the Hungarian Academy of Sciences. Budapest: Hungaroton LPX 18050-53, 1981. 3 v. 20 p. Music examples. In Hungarian; summary in English. ABSTRACT: Contains transcriptions of the 110 folk melodies on the recordings with English translation, and also contains commentary and documentation in English, French, German, and Russian. The music is presented in the following order: the old style, the European-influenced historical and new style, instrumental music, and traditional songs. (Author) 83-03545-cr Rearick, Elizabeth C. (Elizabeth Charlotte), 1899-. “Dances of the Hungarians [microform].” [S.l.: s.n.] Teachers College, Columbia U., NY, 1939. viii, 151 p. : ill., mag. music ; cm. SERIES: Contributions to education. 770. Physical education theses on microfiche UO.74. COMMENTS: Describes folk customs in Hungary and Transylvania, state of music and dance research in pre-war Hungary and the west. UA Coutts Basemt Micromaterial. 1. CALL NUMBER: GV 02 0001 UO-74 0319-320 — (2 fiche) — MICROFICHE -Available. “Record reviews: Transylvanian Wedding Music.” Ethnomusicology 28/3 (1984), 584-5. [MI CD-ROM]. COMMENTS: Cursory treatment. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Sárosi, Bálint (Budapest, Hungary). “Gypsy musicians and Hungarian peasant music.” Yearbook of the International Folk Music Council Int (see: Yearbook for traditional music, USA) Vol. II (1970) 8-27. English. 76-13444-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 I614. Sárosi, Bálint (Budapest, Hungary) A hangszeres magyar nepzene. Budapest: Puski, 1996. 264 p.:ill.; 25 cm. Includes bibliographical references (p. 138-144) and indexes.ISBN: 9638256737. Sárosi, Bálint (Budapest, Hungary). “Elo népzene? [Living folk music?].” Urbe: Rivista romana (Italy) Vol. XII/1 (January 1972) 97-102. In Hungarian. ABSTRACT: A study of the cultivation of folk music and of our relationship to folk music. In Hungary, as everywhere else, the songs that were sung by the older generations do not represent living folk music, bur rather memories preserved from the time of their youth. The asks if people today have an interest in this music, and discusses the question of its revival. (Lujza M. Tari) 76-06728-ap Sárosi, Bálint (Budapest, Hungary). “‘Népmuveszek’ korszaka a magyar népzenében [The period of ‘folk artists’ in Hungarian folk music].” Néprajz (Hungary) (1972) 25-35. Portrait. In Hungarian. ABSTRACT: A discussion of the current forms of folk music in Hungary. Comments upon the significance of the work of the Hungarian radio and television. The most effective modern techniques must be employed to help oral folk tradition to survive in today’s society. (Margit Toth, abridged) 74-03446-ap Sárosi, Bálint. “Instrumental ensembles in Ungarn [Instrumental ensembles in Hungary].” Studia Instrumentorum Musica Popularis II (RILM 1973-00143-bs) 116-36. Music examples. German. ABSTRACT: The one-man band is relatively rare. Among ensembles composed of at least 2 people (frequently amateurs) and 2 instruments, certain standard groupings are recognized in Hungary: 1) bordun ensembles, such as bagpipe and violin, bagpipe and clarinet, hurdy-gurdy and clarinet, violin and Hungarian gardon, and workers’ orchestras, and 2) groups with harmonic accompaniment, such as gypsy orchestras. (Author, abridged) 73-01040-as Sárosi, Bálint (Budapest, Hungary). “A verbunkos bolcsojenel [The origin of the verbunkos].” Irodálomtorteneti Kozlemenyek /Literary History Communication (Hungary) LXXVII (May 1973) 563-66. Hungarian. ABSTRACT: Discusses the three principal sources of verbunkos : the performance practice of popular music, the musical style of the Near East, and certain elements of Viennese music which were very popular at the time. The gypsy ensembles created the “Hungarian” style in the last third of the 18th c. In their tours to Vienna and Pressburg they borrowed Western dances and Viennese music. (Gabor Graf) 75-01018-ap Sárosi, Bálint and Geza PAPP. “Zur Geschichte der ungarischen Tanzmusik, Probleme des Werbungstanzes [On the history of Hungarian dance music: problems of the courting dance].” In: Studia instrumentorum musicae popularis IV. Bericht uber die 4. Internationale Arbeitstagung der Study Group on Folk Musical Instruments des International Folk Music Council in Balatonalmadi 1973 [Studia instrumentorum musicae popularis. IV. Report on the 4th international workshop of the Study Group on Folk Musical Instruments of the International Folk Music Council in Balatonalmadi, 1973]. Series: Musikhistoriska museets skrifter. Ed. Erich STOCKMANN. Vol. 6, (Stockholm: Musikhistoriska museet, 1976). 147 p. In German, English. MAIN WORK: RILM NO. 76-00186-bs. 76-1366-as Sárosi, Bálint (Budapest, Hungary). “Instrumentale Volksmusik in Ungarn [Instrumental folk music in Hungary].” Studia Instrumentorum Musica Popularis 115-41. Music examples. In German. MAIN WORK: See RILM 76-00186. German. ABSTRACT: A survey of the research to date, and a summary of what is understood today by the term Hungarian instrumental folk music. Discusses the two large classes into which this music falls: the more archaic, simpler music played by the peasants, and the music of professional musicians, particularly gypsies. 76-01366-as Sárosi, Bálint. Gypsy Music. Translated by Fred Macnicol. [Budapest] : Corvina Press, c1978. 286 p., [22] leaves of plates : ill. (some col.) ; 20 cm. COMMENTS: Translation of Cigányzene. Includes indexes. UA Rutherford N Floor 2 Music. CALL NUMBER: ML 3593 S34 E5 1978 — c.1 — BOOK – Available Sárosi, Bálint (Budapest, Hungary). “Népzene 10. Szoveges népzenenk regi retegeirol [Folk music, 10. The old strata of our texted folk music].” Muzsika (Hungary) Vol. XXII/10 (October 1979) 39-44. Illustration, music examples. In Hungarian. ABSTRACT: The following groups of texted folk music are to be distinguished: 1) falling pentatonic melodies, many examples of which occur in the song repertories of other peoples, such as the Norwegians; 2) the speech-song style, encountered most frequently in laments, but also in 16th- and 17th-c. ballads; 3) psalmodic style, in which melodies are confined to the first three steps of the scale. Sometimes the three styles occur in hybrid forms. (Agnes Gador) 79-05321-ap Sárosi, Bálint (Inst. of Musicology, Budapest, Hungary). “Professionelle und nichtprofessionelle Volksmusikanten in Ungarn [Professional and non-professional folk musicians in Hungary].” Studia Instrumentorum Musica Popularis. 10-16. In German. MAIN WORK: See RILM 81-04363. German. ABSTRACT: From a social point of view, Hungarian amateur musicians are closely related to their environment. Their musical achievements, employing instruments such as the flute or zither, generally do not exceed simple reproductions of the vocal repertory. The professional musicians, however, live on the fringes of society, having a repertory of their own as well as a unique playing style. Formerly, their music was played on the bagpipe, while in more recent times their works have been performed by gypsy ensembles. Improvisations of professionals have become part of the repertory itself. (Author, abridged) 81-05685-ap Sárosi, Bálint (Budapest, Hungary). “Hangszeres dállamok szoveggel [Instrumental folk tunes with text].” Magyar zene (Hungary) Vol. XXIII/1 (March 1982) 89-101. In Hungarian. ABSTRACT: Reminiscences of instrumental folk-dance music can often be found among vocal songs. The text of such tunes can either be coarse or meaningless. If it has no meaning at all, it is intended to support the rhythm of the tune or to imitate the characteristic sound of the instrument (in most cases the bagpipe). (Author) 83-03549-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. (Budapest, Hungary). “Sackpfeifenrepertoire [Repertory for bagpipes].” In: Becker Festschrift. 358-65. Music examples. In German. MAIN WORK: See RILM 82-00156. German. ABSTRACT: The number of archaic instrumental melodies, consisting of repeated motifs, is comparatively low in Hungarian folk music. Many melodies of this kind have been incorporated into strophic and periodic forms. (Author, abridged) 82-01210-ae Sárosi, Bálint. “Bartók’s folk music recordings.” New Hungarian Quarterly vol. 25, no. 94 (summer 1984), p. 217-220. ISSN: 0028-5390. English. 92-07397-ap. COMMENTS: Mostly technical considerations: format, cataloguing &c.] UA Rutherford North Flr 3. 1. CALL NUMBER: DB 901 N53 Sárosi, Bálint. “Chromatik mit ubermassiger Sekunde in der ungarischen Volksmusik [Chromaticism with augmented seconds in Hungarian folk music.” Series: Reinhard Gedenkschrift 185-95. In German. MAIN WORK: See RILM 84-00659. German. ABSTRACT: In his book on the Hungarian folk song (1925), Bartók considers the augmented second to be a superficial and relatively foreign feature of Hungarian folk music. Results from later research have shown that the augmented second, brought from the Near East primarily through Gypsy music, is actually characteristic of some types of Hungarian folk music and is deeply rooted in it. (Author) 84-04442-ae Sárosi, Bálint. “An instrumental melody.” Yearbook of the International Folk Music Council Int (see: Yearbook for traditional music, USA) Vol. XVII (1985) 198-205. Facsimile, music examples, bibliography. English. ABSTRACT: Variant forms of the melody Csipd meg bogar [Sting-it bug] have been characterized as either a csárdás or slower jaj-nóta dance since its appearance in the early 19th c. (Barry J. Zaslow) 85-04441-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 I614. Sárosi, Bálint. “Methodische Erfahrungen bei der historischen Erforschung der instrumentalen Volksmusik in Ungarn [Findings and methods in instrumental folk music research in Hungary].” Beitrage zur Musikwissenschaft (Germany) Vol. XXVII/2 (1985) 167-173. Music examples. In German. ABSTRACT: In folk music, particularly in its instrumental branch, there are melodies that cannot be grouped according to their overall form, but only according to their motives or the musical processes associated with them. The authenticity of the types thus posited is confirmed to a great extent when the historical background, that is, the circumstances of their creation, is elucidated as well. Musical examples are given of three such melody groups (types) whose roots can be traced back to Haydn’s time. (Author) 86-04042-ap. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 5 B42 Sárosi, Bálint. “Egy hangszeres dállam [An instrumental monody].” Magyar zene (Hungary) Vol. XXVI/1 (March 1985) 64-69. In Hungarian. ABSTRACT: See RILM 1985-04441-ap for abstract of the English version. 86-04039-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. “The return to folk music.” New Hungarian Quarterly vol. 26, no. 98 (summer 1985), p. 206-209. ISSN: 0028-5390. English. ABSTRACT: A study of the Hungarian traditional songs collected by Bartók and Kodály. 92-07400-ap. UA Rutherford North Flr 3. 1. CALL NUMBER: DB 901 N53. Sárosi, Bálint. Folk Music: Hungarian Musical Idiom. Budapest: Corvina, 1986. 188 p. English. ABSTRACT: A popular survey of Hungarian folk music, based on a radio series. (Author) 86-04041-bm. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 3593 S339 E5 1986. SEE ALSO: Hungarian Instrumental Folk Music [sound recording]. Edited by Bálint Sárosi. Hungary : Hungaroton, p1980. 3 sound discs : 33 1/3 rpm, monaural ; 12 in. COMMENTS: Title on discs: Magyar hangszeres népzene. Program booklet (28 p., illus.) in Hungarian and English. CALL NUMBER: M 1706 H937 1980 — c.1 — MUSICSOUND – Available. Sárosi, Bálint. “A hangszeres magyar népzene ütempáros rétege [The twin-barred layer of Hungarian instrumental folk music].” Magyar zene (1987), 335-378. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Sárosi, Bálint. “A hangszeres magyar népi dállam. II-V [The Hungarian instrumental folk-tune. II-V].” Magyar zene, Hungary Vol. XXIX/1, 2, 3, 4 (1988) 28-42; 197-218; 237-50; 351-78. Music examples, bibliography. In Hungarian. ABSTRACT: Deals with the morphological substratum of Hungarian instrumental melodies. The half-period is considered in part 2 and whole lines (paired half-periods) in parts 3-5. A typology is given. For part 1, ‘A hangszeres magyar népzene utemparos retege’ [A motivic layer of Hungarian instrumental folk music], see Magyar zene XXVIII/4 (1987). (Author). U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. “Magyar nóta es néphagyomany [The Hungarian popular song and folk tradition].” Nyelvunk es kulturank no. 75, 1989, p. 49-64. Music. Hungarian. ABSTRACT: A considerable part of the body of magyar nóta, composed Hungarian popular songs of the 19th and 20th c., has been generally accepted by peasants and lives the life of unwritten traditional music. Thus, there is no reason to exclude this layer of songs from that which the music world has labeled “traditional music”. (author) 89-06706-ap Sárosi, Bálint. “A hangszeres magyar népi dállam. VI-VII [The Hungarian instrumental folk-tune. VI-VII].” Magyar zene vol. 30, no. 2, June 1989, p. 115-135. ISSN: 0025-0384. vol. 30, no. 3, Sept 1989, p. 250-274. Music, bibliog. Hungarian. ABSTRACT: A study of the strophic forms that occur in instrumental as well as vocal varieties of Hungarian folk music. Melodic examples are classified by type. Part 1 of the article appeared in Magyar zene XXVIII/4 (1987); for parts 2-5 see RILM 88-6195. (author) 89-06705-ap Sárosi, Bálint. “Forming of variants in the instrumental music.” In: Maqam–Raga–Zeilenmelodik: Konzeptionen und Prinzipien der Musikproduktion [Symposium: Berlin, 1988]. Berlin: International Council for Traditional Music, Nationalkomitee DDR, 1989. p. 325-330. Music. MAIN WORK: See RILM 90-01060. English. ABSTRACT: A discussion of Hungarian dance music. 90-06266-as. On order as of 27 April, 1997. Sárosi, Bálint. “Spezielle Fragen der Anordnung der instrumentalen Melodien [Special questions on the ordering of instrumental melodies].” Musicologica slovaca no. 16, 1990, p. 211-222. ISSN: 0581-0558. Music. German. ABSTRACT: A description of Hungarian traditional folk music, focusing on instrumental music and melodies. (Ferkova, Eva) 90-06268-ap Sárosi, Bálint. “Ein Melodietypus in der ungarischen Volkstanzmusik [A melody type in Hungarian folk-dance music].” In: Dorfliche Tanzmusik im westpannonischen Raum. Wien, Austria: Schendl, 1990. p. 255-262. MAIN WORK: See RILM 90-01104. German. 90-06267-as Sárosi, Bálint. “Egy ‘jaj-nóta’ [A jaj-nóta].” Magyar zene vol. 32, no. 2 (June 1991), p. 181-184. ISSN: 0025-0384. Music. Hungarian. ABSTRACT: The so-called jaj-nóta (song of woe) has developed from a strophic structure loosened under the influence of dance music. An example is the second theme of Kodály’s Marosszeki táncok. (author) 91-06735-as. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. “A hangszeres magyar népi dállam: Valtozo strofak [The Hungarian instrumental folk-tune: Changing strophes].” Magyar zene vol. 32, no. 3 (Sept 1991), p. 266-83. ISSN: 0025-0384. Music. Hungarian. ABSTRACT: Loose structures, existing today both in instrumental and vocal variants, came into being through instrumental dance music. Most such pieces can be reduced to four-line strophic melodies. See RILM 91-6733, 89-6705, and 88-6195 for related articles. (author) 91-06734-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. “A hangszeres magyar népi dállam: Hangszeres táncdarab [The Hungarian instrumental folk-tune: Instrumental dance pieces].” Magyar zene vol. 32, no. 4 (Dec 1991), p. 374-385. ISSN: 0025-0384. Hungarian. 91-06733-ap Sárosi, Bálint. “Form-extending dance tunes.” Studia Musicologica, Academiae Scientiarum Hungaricae (Hungary) 34/1-2 (1992), 45. U of C CALL NUMBER: ML5 .S86. Sárosi, Bálint. “A hangszeres magyar népi dállam. Peldak a legujabb retegbol [Hungarian instrumental folk tunes: Examples of the newest layer].” Magyar zene vol. 33, no. 1 (Mar 1992), p. 56-66. ISSN: 0025-0384. vol. 33, no. 3, Sept 1992, p. 241-254. Bibliog. Hungarian. ABSTRACT: See RILM 87-4707, RILM 88-6195, RILM 89-6705, RILM 91-6733, and RILM 91-6734 for earlier parts of this study. Tunes that originated in 19th-c. popular music, verbunkos, and csárdás represent the newest layer in traditional Hungarian peasant dance music. International research on traditional instrumental music is discussed, and new findings are highlighted. (author) 92-07398-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Sárosi, Bálint. “Southern and Eastern Europe: Hungary and Romania.” In Myers, Helen, Ed. Ethnomusicology. II: Historical and Regional Studies. London: Macmillan, 1993. xxviii, 541 p. ISBN: 0-333-57632-2; 0-333-44444-2. Series: The new Grove handbooks in music New York: Norton, 1993. ISBN: 0-393-03378-3. Port., bibliog. English. MAIN WORK: RILM NO. 93-05933-bc. 93-7411-ac. UA RuthN Flr2 Music Reserve. 1. CALL NUMBER: ML 3799 E87 1992 Sárosi, Bálint. “Instrumental folk music in Transylvania.” The Hungarian Quarterly 35 (Spring 1994), 179-86. U of A CALL NUMBER: DB 901 N532. Satory, Stephen. “Táncház in Toronto: a transplanted tradition.” Canadian University Music Review/ Revue de musique des universités canadiennes 8 (1987), 45-61. [MI CD-ROM]. UA Rutherford N Flr.2 CALL NUMBER: MT 2 C232 no. 8 1987. Sebok, László. Magyar néve? Határokontúli helységnév-szótár/összeállítótta és a bevezetést irta [Reference guide to Hungarian place names beyond Hungary’s borders]. Budapest: Arany Lapok, 1990. 267 p. : ill., maps ; 23 cm. LC CALL NUMBER: DJK7 .S4 1990. COMMENTS: Hungarian, with some German, Romanian, Russian, Serbo-Croatian, and Slovak. ISBN: 9630284553: 168.00Ft. LCCN: 92-199490. (Citation: Sebok, “The demography of a minority.”) Sebok, László. “The demography of a minority.” The Hungarian Quarterly 35 (Spring 1994), 83-89. U of A CALL NUMBER: DB 901 N532. Siklos, László. Táncház. Budapest: Zenemukiado, 1977. (Citation: Balázs, “Young people’s folk music movement in Hungary […]” [q.v.], p. 41.) Slobin, Mark. “Review of recording: Hungarian instrumental folk music.” Ethnomusicology (USA) Vol. XXIX/2 (spring-summer 1985) 363-68. English. ABSTRACT: Discusses Hungarian instrumental folk music (Hungaroton LPX 18045-7, 1980), recorded by Bálint SÁROSI, et al., descriptive notes (28 p.). COMMENTS: Cursory treatment. 85-04450-rr. UA Rutherford N Floor 2 Music. 1. CALL NUMBER: ML 1 E84. Spur, Endre. “A supplementary note on the Gypsy orchestras of Hungary.” Journal of the Gypsy Lore Society (1937), 106-110. (Citation: Sarosi, “Gypsy musicians and Hungarian peasant music,” [q.v.], 8.) Spur, Endre. “The language and status of the Gypsy orchestras of Hungary.” Journal of the Gypsy Lore Society (1938), 46-58. (Citation: Sarosi, “Gypsy musicians and Hungarian peasant music,” [q.v.], 8.) Suchoff, Benjamin (Trustee, Béla Bartók Estate, NY). “Béla Bartók and Hungarian folk song.” In: The Folk Arts of Hungary. Papers Presented at a Symposium, Duquesne University, Pittsburgh, Pennsylvania, April 1980. Edited by W.W. KOLAR and A.H. VARDY [q.v.] (Pittsburgh: Tamburitza, 1981) 147-59. Facsimile, music examples. English. ABSTRACT: Beginning in the 18th c. three types of popular or urban folk songs were developed from the German Volkslied by Hungarian amateurs of the educated classes; old, new, and mixed styles. These songs – propagated by city-gypsy bands as well as by Liszt and Brahms – were considered to be genuine Hungarian folk songs. In 1904 Bartók heard certain of the melodies in modal and structural reorganization, which led him to the discovery of the autochthonous pentatonic Magyar products. He then studied thousands of recorded Hungarian folk songs and found that they fall into the same three styles but are morphologically quite different from urban specimens. Applying his findings to his compositions, he developed five stages for the use of folk-music sources in art music. (Author) 81-05690-as. UA Rutherford North Flr 4. 1. CALL NUMBER: NX 571 H8 F666 1981 — c.1 — Book — Available Szalay, Olga. “A moldvai dialektus nehany sajatossaga Veress Sandor gyujtese alapjan [Some peculiarities of the Moldavian dialect on the basis of Sandor Veress’s collection].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1988) 183-202. Music examples, charts, tables. In Hungarian; summary in English. ABSTRACT: An analysis of Sandor Veress’s folk-song recordings made in Moldavia in 1930 helps to establish a so-called fifth Hungarian folk-music dialect centered in Moldavia and Romania. Historical strata, variations, structures, and performance practice are considered; the variability of the melodies is a nótable feature of the dialect. (Author) 88-06230-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Szell, Jeno, editor. ‘Huzzad, huzzad Muzsikásom’: A hangszeres népzene feltamadasa [The revival of instrumental folk music in Hungary (‘Come on, play the tune, my musician!’)]. Budapest: Muzsak, 1986. 215 p. Illustration, discography. In Hungarian. ABSTRACT: A collection of articles and interviews relating to the early-1970s Hungarian folklore revival, including the so-called dance-house movement (based on the folk music and folk dance material collected by Bartók, Kodály, and their followers). The roles of the folk dance department of the Magyar Tudományos Akadémia and of the Sebö ensemble are described. (Ferenc Sebö) 87-01054-bc. U of T CALL NUMBER: ML/3593/H89/1984 MUSI. Szendrei, Janka (Budapest, Hungary). “Recitativ tipusok a magyar népzenében [Recitative types in Hungarian folk music].” In: Népzene es zenetörténet. 65-123. Music examples. In Hungarian; summary in English. MAIN WORK: See RILM 74-01709. Hungarian; English. ABSTRACT: In the recitative, music conforms to the textual element, and as a result, recitative types differ from songs and from music organized according to even meters. Recitatives are associated with events, and many speak of historical occurrences from Roman times. Medieval recitative types are sometimes liturgical. With the development of polyphony, recitative became restricted to folk music, and after the strophic forms came to be preferred, it assumed a subordinate position even among folk music types. Surviving recitative types from every part of Europe display common traits, and their connection with liturgical melodies is clear; the medieval origin of this repertory is thus proved. Within Hungarian folk music, there are 2 categories of recitative, a tenor recitative and a melodic recitative. Examples of recitative are further classified in accordance with their musical features. (Vera Lampert) 74-03457-ac. U of T CALL NUMBER: ML/3593/N4 MUSI #1-3*4(1972-1982). Tari, Lujza (Budapest, Hungary). “Die instrumentale Volksmusik im ungarischen Begrabnisriten [Instrumental folk music in Hungarian funeral rites].” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XVI/1-4 (1974) 55-87. In German. ABSTRACT: The use of instrumental music in funeral rites continues among the Széklers and the Csángós from Gyimes, and sporadically among gypsies. Among the Csángós the corpse is accompanied by a formally and melodically fixed tune played on the violin. Vocally performed laments from a number of Hungarian districts have motives which are most closely related to this instrumental tune; possibly the relationship indicates an early unified lament type. Motivic agreements are found among strophic melody types, the slow portion of a type of instrumental melody (a shepherd song), and even among Romanian and Bulgarian-Turkish examples. (Vera Lampert) 76-13494-ap. U of C CALL NUMBER: ML5 .S86. Tari, Lujza (Budapest, Hungary). “A becsi klasszikus zene es a verbunkos stilaris kotdese egy tematipusban [Stylistic relationship between Viennese Classicism and verbunkos in one type of melody].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1983) 33-51. Music examples, index. In Hungarian. ABSTRACT: Studies of Hungarian instrumental folk music have provided new data to support earier findings about the relationship between Viennese Classicism and verbunkos [recruiting music]. The author compares one tune, a variant of which was written by János Bihari, with composed pieces by Beethoven and Schubert. (Author, abridged) 83-05881-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Tari, Lujza (Budapest, Hungary). “Die Bedeutung Zoltán Kodálys in der Forschung der instrumentalen Volksmusik [The significance of Zoltán Kodály in instrumental folk-music research].” Studia Musicologica Academiae Scientiarum Hungaricae (Hungary) Vol. XXVI (1984) 175-99. In German. ABSTRACT: A historical analysis of the background of modern folk-music research in Hungary. Kodály’s achievements in instrumental folk-music research were as significant as those in vocal music. Dividing Kodály’s activity in folk-music research by periods and themes, the author analyzes his methods of collection and classification. (Author, abridged) 84-04072-ap. U of C CALL NUMBER: ML5 .S86. Tari, Lujza (Budapest, Hungary). “Strofaelvu temaepitkezes es motivikus periodizalas a hangszeres népzenében [Thematic construction in strophes and motivic periodization in instrumental folk music].” Magyar zene (Hungary) Vol. XXV/1 (March 1984) 73-91. Music examples. In Hungarian. ABSTRACT: Discusses Eurasian instrumental folk music from the point of view of its strophic construction. Shows that 4-, 8-, and 6-line strophic patterns are very common and that the periodization of symmetrical motivic patterns also plays a decisive role in the form of this music. Many examples of folk music from Hungary and other countries illustrate the study. The work of Denes Bartha, who analyzed strophic forms in the music of Haydn and Beethoven served as an inspiration for this study. (Author) 84-05868-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Tari, Lujza. “A jaj-nóta kérdés [The question of the ‘jaj-song’].” Magyar zene (1985), 148-200. [Citation: Sarosi, “Form-extending dance tunes.” Studia Musicologica 34 (1992), 45]. Tari, Lujza; Szell, Jeno. “Hungarian folk music on the Hungaroton label.” Hungarian Music News vol. 4, no. 1 (1987), p. 25-30. ISSN: 0441-5973. Port., discog. English. 91-00755-ap. U of T CALL NUMBER: ML/5/H86 MUSI v. 1(1984)-4(1987). Tari, Lujza. “Die ungarische Volksmusik [Hungarian folk music].” Zbornik Matice Srpske za scenske umetnosti i muziku no. 4-5, 1989, p. 51-71. ISSN: 0352-9738. Music. German. Summary in Serbian. ABSTRACT: An overview of different strata of Hungarian folk song. (Blazekovic, Zdravko) 89-06740-as Tari, Lujza. “Collection of instrumental folk music in Hungary and its systematisation.” Narodna umjetnost no. 3, special issue (1991), p. 243-258. ISSN: 0547-2504. Music. English. Summary in Croatian. ABSTRACT: Systematization of instrumental folk music in Hungary is being carried out at the Zenetudományi Intezet Konyvtara of the Magyar Tudományos Akadémia in two ways. Besides the filing of cards according to collector, instrument, and location, music is also systematized according to melodic style characteristics. 91-06767-as. On order as of 27 April, 1997. Tari, Lujza. “Lajtha László hangszeres népzenegyujtesei: 1911-1963 [László Lajtha’s collection of instrumental folk music (1911-1963)].” Magyar zene vol. 33, no. 2 (June 1992), p. 141-190. ISSN: 0025-0384. Illus., facs., music. Hungarian. ABSTRACT: A summary of Lajtha’s work as a collector of instrumental folk music. The first period of his ethnomusicological work, lasting until 1940, was the most significant. During this period, he began to understand the role Gypsies played among peasant musicians and the importánce of studying the music of different geographical regions and the traditions of different minorities. He began to formulate his surprisingly modern anthropological approach during this period as well. (author) 92-06586-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Tari, Lujza. “Lajtha László, a paloc hangszeres zene kutatoja [László Lajtha: Researcher of Paloc instrumental folk music].” Magyar zene vol. 34 no. 1 (Mar 1993), p. 60-84. ISSN: 0025-0384. Facs., music, charts, tables. Hungarian. ABSTRACT: Lajtha’s important research in northern Hungary, conducted over a 40-year period, is discussed with respect to chronology, location, and instruments and performers studied. (author) 93-07491-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Vargyas, Lajos. Folk Music Research in Hungary. Budapest Akadémiai Kiadó, Pub. House of the Hungarian Academy of Sciences 1964. OCLC #: 233670. U of T CALL NUMBER: ML/3593/V37 MUSI. Vargyas, Lajos. “A magyar foklor-hagyomany es Kelet-Europa [Hungarian folklore tradition and Eastern Europe.” In: Szabolcsi Festschrift. 391-98. Music examples. In Hungarian; summaries in German, English. MAIN WORK: See RILM 69-03346. Hungarian; German; English. ABSTRACT: Summarizes the results of comparative research on Hungarian folk music, ballas, popular belief, and folk dance, from which it draws methodological and theoretical lessons: (1) the problem of melodies borrowed from meighboring peoples can be resolved satisfactorily only where we have a full knowledge of all European (and Asiatic) interrelationship; (2) the dissemination of a tune has nothing to do with its aesthetic value; (3) the broad dissemination of a folkloristic phenomenon can be ensured only if it represents a new phase of development and can become stylish. (Ferenc Bonis) 69-04586-ae Vargyas, Lajos, ed. Népzene es zenetörténet II [Folk music and the history of music, II]. Budapest: Ed. Musica, 1974. 235 p. F 48. Illustration, facsimile, music examples, bibliography. In Hungarian; summary in English. ABSTRACT: The authors and RILM numbers under which abstracts of their articles appear in this issue are as follows: László VIKÁR (3464), Janka SZENDREI (3457), László ZOLNAY (1890), and Rudolf VIG (3463). Also included are folk songs from the Szatmár district compiled by István HALMOS. (Vera Lampert) 74-01709-bc. U of T CALL NUMBER: ML/3593/N4 MUSI #1-3*4(1972-1982). Vargyas, Lajos, ed. Népzene es zenetörténet, III [Folk music and music history, III]. Budapest: Musica, 1977. 284 p. Ft 45. Illustration, music examples. In Hungarian; summaries in English, German. ABSTRACT: Includes the following essays (titles in English translation): László DOBSZAY and Janka SZENDREI, The third stylistic group in the ancient stratum of Hungarian folk music; Janka SZENDREI, The first Hungarian folk hymn to be notated: a history of the Te Deum melody in Hungary; and Kornel BARDOS and Kalman CSOMASZ-TOTH, Hymns in Hungarian Protestant Graduals. (Vera Lampert) 77-03320-bc. U of T CALL NUMBER: ML/3593/N4 MUSI #1-3*4(1972-1982). Vargyas, Lajos. “Protohistoire de la musique hongroise.” Studia Musicologica, Academiae Scientiarum Hungaricae 20/1-4 (1978) 3-73. Bibliog. Il. [MI CD-ROM]. U of C CALL NUMBER: ML5 .S86. Vargyas, Lajos. A magyarság népzenéje [The folk music of the Hungarians]. Budapest : Zenemukiadó, c1981. 623 p. : music ; 24 cm. Includes indexes. Bibliography: p. 383-391. OCLC #: 1511909. ISBN: 9633303001 : 124.00Ft. U of T CALL NUMBER: ML/3593/V374 MUSI. Vargyas, Lajos. “Bartók and folk music research.” The New Hungarian Quarterly 22/83 (1981), 58-70. UA Rutherford N Flr 2 CALL NUMBER: DB 901 N53 Vargyas, Lajos (Budapest, Hungary). “Magyarság a népzenében: A vilagosan tagolt forma [What makes a folk music Hungarian: The clearly divided form].” In: Keleti hagyomany – nyugati kultura. Edited by Lajos VARGYAS. Budapest: Szepirodálmi Konyvkiado, 1984. 156-65 In Hungarian. ABSTRACT: Analyzes Hungarian folk music prior to the late 19th c. Points out that all of this music has a clear formal structure, which is further underscored by the performers’ use of ornamentation. (Katalin Paksa, abridged) 84-04465-ac Vargyas, Lajos. “A népies mudál es az uj stilusu népdál kapcsolatai [The connection between the Hungarian popular art song and the new-style folk song].” Zenetudományi dolgozatok (Budapest: Magyar Tudományos Akadémia Zenetudományi Intézete) (1985) 133-39. In Hungarian. ABSTRACT: In Hungary, the popular art song and the new style of folk song emerged simultaneously around the mid-19th c. Structural analysis reveals that each genre influenced the other, specific forms (including AABA) being taken over from the art songs, and other specific forms (including ABBA) being taken over from the folk songs. Other art-song forms had no effect on folk songs. (Katalin Paksa, abridged) 85-05953-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Vargyas, Lajos. “Miert valasztottuk a La-pentatoniat? [Why did we choose La-pentatonic?].” Magyar zene (Hungary) Vol. XXIX/3 (September 1988) 232-36. Music examples. In Hungarian. ABSTRACT: Of the five cadential finals possible in pentatonicism, Hungarian folk music exhibits a preference for the scale degree la. With this choice, (1) the range of a seventh is available, (2) the resultant pitch-structure is symmetrical, (3) the trichord do-re-mi is positioned in the center, and (4) two fourths (la-re and re-sol) correspond to each other. In various styles of Hungarian folk music, these characteristics appear to be used quasi-consciously. (Peter Halasz) 88-06247-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Vargyas, Lajos. “Népzene [Folk music].” In: Népzene, néptánc, népi jatek. Budapest: Akadémiai, 1990. p. 5-183. Music. MAIN WORK: See RILM 90-06029. Hungarian. ABSTRACT: Analysis of stylistic layers, dialect areas, and historical and geographical relations in Hungarian traditional music. Music for nearly 200 tunes is included. 90-06328-ac Vargyas, Lajos, ed. A magyar népzene tara. 8/A-B: Népdáltipusok. III [Collection of Hungarian folk music. 8/A-B: Folksong types. III]. Budapest: Akadémiai, 1992. 2 vols. 1741 p. ISBN: 963-05-6450-5. Budapest: Balassi, ISBN: 963-05-6451-3. Music. Hungarian. Summary in English. ABSTRACT: Third part of a series on Hungarian folk music, discussing 30 tune types based on 3500 variants. The tunes are structured following the quintal-shift practice. They are mostly dance and wedding songs whose styles are part of the oldest Hungarian musical heritage. The large number of variants accurately represents the use of variation. (Rudas, Marta) 92-07465-bm Vargyas, Lajos. “Kodály, a tudos [Kodály the scholar].” In: Kodály Zoltán es Szabolcsi Bence emlekezete. Kecskemet: Kodály Intezet, 1992. p. 16-21. MAIN WORK: See RILM 92-01129. Hungarian. Summary in English and German. ABSTRACT: Kodály and Bartók worked jointly to collect and record the folk music of Hungary, paying special attention to the significance of the border areas. They recorded most of their material on phonograph cylinders using the most advanced methods of their day. Realizing the need to classify the collected material, Kodály published a series of important studies. His book A magyar népzene (Budapest, 1937) provides a valuable historical and philological survey of Hungarian folk music research. (Rudas, Marta) 92-05720-ae Vari Fabian, László, ed.; Transcribed by Horvath, Jozsef G.; Transcribed by Rudas, Marta; Comm. by Paksa, Katalin. “Vannak ringo bolcsok”: Karpataljai magyar népballadak [“There are cradles to rock him”: Hungarian folk ballads in Sub-Carpathia (Ruthenia)]. Series: Karpataljai magyar konyvek no. 6. Ungvar: Intermix, 1992. 407 p. ISBN: 963-8129-03-4. Budapest: Intermix, 1992. Music. Hungarian. ABSTRACT: A collection of Hungarian folk ballads collected between 1970 and 1987 in 33 villages in Sub-Carpathia, mainly by writers and poets living there. Both the texts and melodies are included. (Rudas, Marta) 92-07466-bm Verdery, Katharine. Transylvanian Villagers. Berkely: U. of California Press, 1983. (Citation: Satory, “Táncház in Toronto […].”) UA Rutherford Flr. 3 CALL NUMBER: DR 280.4 V48 1983. Veress, Bulcsú. “The status of minority rights in Transylvania: international legal expectations and Romanian realities.” In Transylvania: the Roots of Ethnic Conflict. Ed. J.F. Cadzow et al. Kent OH: Kent State U. Press, 269-88. (Citation: Satory, “Táncház in Toronto […].”) UA Rutherford Flr. 3 CALL NUMBER: DR 279.8 T77 1983. Vikár, László. “Szoveg es dállam kapcsolata [The relationship of text and melody].” NyelvTudományi Kozlemenyek/Linguistic Studies vol. 85 no. 2 (1983), p. 449-453. ISSN: 0029-6791. Hungarian. ABSTRACT: A linguistic approach to the analysis of Hungarian folk song. 92-10925-ap Vikár, László (Budapest, Hungary). “Nehany szo a magyar pentatoniarol [Some thoughts on Hungarian pentatonicism].” Magyar zene (Hungary) Vol. XXV/2 (June 1984) 207-09. Music examples. In Hungarian. ABSTRACT: Presents some pentatonic patterns found in Hungarian folk melodies, with special emphasis on patterns containing the perfect fourth and major second. (Author) 84-05767-ap. U of T CALL NUMBER: ML/5/M33 MUSI evf 1(1960); 2, sz. 1-5; 3, sz. 2-6; 4(1963)+ CURRENT ISSUES IN: MUSIC. Vikár, László. “Also kvartvaltas a volga-kamai es a magyar népzenében [Lower-fourth shifts in Hungarian folk music and in that of the Volga-Kama region].” Zenetudományi dolgozatok (Budapest : Magyar Tudományos Akadémia Zenetudományi Intézete) (1986), 125-39. In Hungarian. ABSTRACT: Constructions based on lower-fifth shifts are well-known in both classical and traditional music. In the Hungarian oral music tradition and that of the Volga-Kama region there also are a great number of melodies with structures based on lower-fourth shifts. (Author)86-04080-ap. U of T CALL NUMBER: ML/55/Z48 MUSI 1987. Voigt, Vilmos. “Ungarn ein Musterbeispiel fur Volksmusikpflege? [Can Hungary serve as a model for the cultivation of folk music?].” In: Tradition und Innovation in der Volksmusikpflege. Modling: Internationale Organisation fur Volkskunst, 1991. p. 29-46. MAIN WORK: See RILM 91-01168. German. 91-06793-as Williams, Patrick. Les tsiganes de Hongrie et leurs musiques [The gypsies of Hungary and their musics]. Arles: Cite de la musique: Actes sud, 1996. 142 p.: ill.; 18 cm. + 1 sound disc (42 min.: digital; 4 3/4 in.). SERIES Musiques du monde. Includes bibliographical references (p. 135-[137]), discography (p. 138-[139) and index. ISBN: 2742709436. Yaxiong, Du. “The ancient quint-construction in Hungarian folksongs.” Chinese Music [Chinese Music Society of North America, Woodridge IL] 15/2 (1992), 24-33. Bibliog. Map. Mus. Table. [MI CD-ROM]