In tke wake of Bartók in Anatolia

225 Pages·2016·68.02 MB·English

János Sipos
In tke wake of Bartók
in A n a t o l ia
János Sipos
In the Wake of Bartók in Anatolia
European Folklore Institute
Bibliotheca Traditionis Europeae
Volume 2
Edited by MIHÁLY HOPPAL
János Sipos
In the Wake of Bartók in Anatolia
European Folklore Institute
Budapest 2000
Sponsored by Ministry of National Cultural Heritage of Hungary
My expeditions were supported by
the Stein-Arnold Exploration Fund of the British Academy,
the Soros Foundation and the Tokyo Foundation.
The CD was prepared with the generous help of the Turkish Republic.
English translation by Judit POKOLY
Translation revised by Aino PAASONEN
CD compiled by János SIPOS
© European Folklore Institute 2000
© János Sipos 2000
"Folk music is a phenomenon of nature...
Tliis creation develops with the organic freedom
of other living organisms in nature: flowers, animals, etc.
That is why folk music is just as beautiful, just as perfect.
It is the embodiment of the pure musical thought
that astonishes us with the conciseness and expressiveness
of form and the wealth of tools on the one hand,
and with its freshness and directness, on the other. "
(Béla Bartók, A népzene forrásánál
[At the source of folk music]
In: Muzyka 1925, vol. II, no. 6, pp. 230-233.)

Contents
INTRODUCTION 9
BÉLA BARTÓK'S TURKISH COLLECTION 13
ABOUT MY COLLECTION IN ANATOLIA 25
PRECEDENTS 25
MY FIRST COLLECTING TRIP IN TURKEY 28
FOLK MUSIC IN TODAY'S TURKEY 36
ABBREVIATIONS 43
ANALOGIES BETWEEN ANATOLIAN AND HUNGARIAN MELODIES... 45
REALIZATIONS OF THE SO-(FA)-MI-RE-DO NUCLEUS AND
THE RELATED TUNE TYPES 48
TWIN-BAR TUNES OF (SO)-MI-RE-DO CORE 48
Twin-bar tunes ending on do 48
Twin-bar tunes ending on re 52
Twin-bar melodies with mi finals 54
Similar twin-bar tune types of other peoples 55
HUNGARIAN AND TURKISH LAMENTS 57
Hungarian laments 58
Anatolian laments 60
Anatolian laments built from one musical idea 60
Anatolian laments built on two musical ideas 66
Single-core Anatolian laments with cadential descent 73
Anatolian laments with two musical ideas and a cadential descent 76
Strophic tunes developed from the lament 80
Anatolian laments in minor and Phrygian modes 82
Large forms developedfrom the small-form of the Anatolian lament 87
International relevances of Hungarian and Anatolian laments 93
THE HUNGARIAN AND TURKISH PSALMODIC TUNE STYLE 96
Hungarian psalmodic melodies 96
Anatolian and Hungarian psalmodic tunes in a low register 100
Turkish and Hungarian psalmodic tunes moving in a higher register 105
Psalmodic tunes based on two musical ideas 116
Psalmodic tunes in Béla Bartók's collection 119
DISJUNCT TUNES 129
Lower fifth-shifting Anatolian tunes 131
Tune class of 5(5)b3 cadences and AAAcB form 133
Fifth-shifting Anatolian tunes of major mode 136
Tunes with 'special fifth-shifting' 138
PARLANDO MELODIES WITH LARGE COMPASS 139
MELODIES WITH SEQUENCES 145
Descending sequences of bars 146
Sequences of lines, parallel lines 150
OTHER HUNGARIAN-ANATOLIAN MUSICAL ANALOGIES 153
Tri- and tetrachord tunes 153
Hungarian analogies to narrow-compass Anatolian tunes 154
Four-lined Anatolian and Hungarian melodies 165
Unique melodic outlines and scales in Anatolian folk music 166
Anatolian tunes of architectonic construction 168
TURKISH-HUNGARIAN CONTACT IN THE COURSE OF HISTORY 171
TURKIC RELATIONS OF THE HUNGARIANS 171
THE ETHNOGENESIS OF ANATOLIAN TURKS 173
THE INFLUENCE OF NEIGHBOURING PEOPLES UPON ANATOLIAN
FOLK MUSIC 176
POSTSCRIPT 177
TEXTS AND THEIR TRANSLATION INTO ENGLISH 179
ABBREVIATIONS, REFERENCES 215
Introduction
While the comparative linguistics of Turkic peoples has reached a high level of
scholarship, comparative ethnomusicological research into the music of Turkic
peoples lags far behind. No monographs indispensable to comparative analy
sis have been written, and attempts at tune systematization and comparative
investigation are also often missing.
This is so though the question of whether the folk music of different Turkic
peoples and of the Hungarians have features in common deserves general at
tention. Just as important would be to establish what the possible coincidences
can be attributed to.
It is imperative for Hungarian ethnomusicology to get an insight into the
old strata of Turkic folk music, for it is known that some Turkic ethnic groups
played a salient role in the emergence of the Hungarian ethnicity, Hungarian
culture and folk music. It is no wonder then that Hungarian researchers have
played a leading role in the comparative examination of Turkic and Hungarian
folk music.
Béla Bartók, from relatively little material, reached some conclusions still
valid today about the folk music of the Volga region and Anatolia,1 Zoltán
Kodály extended the analogies by studying the folk music of Cheremiss and
Chuvash people.2 On the basis of an immense collection from field-work among
Cheremiss, Chuvash, Mordvin, Tatar and Bashkir peoples, László Vikár de
scribed these musical traditions.3 From a study of publications, Lajos Vargyas
established a historical outline of the folk music of the Volga region.4 Having
studied an immense amount of material, Bence Szabolcsi demonstrated even
1 Bartók (1931, 1976)
2 Kodály (1937-76)
3 Vikár (1969, 1979, 1982, 1993), Vikár-Bereczki (1971, 1979, 1999)
4 Vargyas (1953, 1980, 1981)