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1985, Electrecord, Bucharest
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2 pages
1 file
Folk music from Ghimeş (Transylvania). Vinyl disc. For listening the recordings, click on the titles in the tracklist. A címekre kattintva a felvételek lejátszhatók.
Hungarian Heritage House & Hungarian Academy of Arts, 2020
Up to the present, no detailed synthesis of the musical accompaniment of folk dances in the Hungarian language area has been written. The main reason is that the attention of folklorists only gradually turned from textual folklore to folk music, and then to folk dance. Moreover, even within each field there may be delays of several decades, at times centuries, between the publication of collections or descriptions on the one hand and their scientific processing on the other. Hungarian folk music research reached the level of scholarly analysis and systematization, as well as interethnic comparison, in the first half of the 20th century, through the contribution of Béla Bartók and Zoltán Kodály. However, the examination of folk music from the angle of dance could not be initiated until ethnochoreology had come abreast of ethnomusicology in the 1960s...
2024
The importance of Darülelhan and the subsequent compilation tours in the Republican period is of great importance for the creation of the Turkish Folk Music repertoire. These compilation tours constitute a large part of today›s Turkish Folk Music repertoire. It is noteworthy that there were no non-Muslims as source persons in the compilation activities. We believe that Folk Music culture is not composed of people of a certain nationality or belief; but of the geography that is home to that culture; and that the sphere of influence of cultural elements is beyond the political borders that change in historical processes. Folk music genres with a wide range of performance areas have been more affected by this situation. As a result of our research, it was detected that most of the local people living in the Gokceada region of Çanakkale are non-Muslims and that no musical field research has been conducted in this region before. The lack of studies in the region has led to the lack of scientific determination of information such as the society›s connection with music, which instruments they use, and which genres are performed more in this region. It is thought that this study conducted in Gokceada is important in terms of identifying and recording the musical characteristics of that region. The study was conducted with the field research method in the Gokceada region. The findings were obtained by using the interview method with the source person identified as a result of the research. The musical culture of the Gokceada region was analyzed by using a qualitative research model. Four findings were obtained in line with the works performed by Timoleon Caknis, a Turkish citizen of Greek origin who performs the traditional music of Gokceada, and it was determined that the findings were in the «zeybek» genre. The obtained works were recorded during the interview. After the interview with the source person was completed, dictations of the works were made. The notes were written with the MuseScore4 program. The study is considered to be important in terms of carrying out field research and compilation trips, which are relatively neglected today, in an area that has not been visited before; determining that the zeybek genre exists even in the westernmost part of the country; recording the collected works before they are forgotten by the people living in that region; and contributing the four zeybek works to the music culture of the region and the Turkish Folk Music repertoire. It is suggested that more studies should be conducted in this field and new field research should be created.
Hungarian Heritage House & Institute for Musicology of the Research Centre for Humanities of the Hungarian Academy, Budapest, 2015
István Horváth was born in Magyarózd in 1909, the son of a peasant family. As one immersed in the traditional world of this isolated, early-20th-century village, he absorbed the intellectual legacy of his ancestors during a time when the process of urbanisation had not yet infiltrated to a significant degree. Later, when he returned to his relatives and acquaintances as a writer and poet, he penned a monograph (a “literary villagescape”) entitled The Foot of the Tower of Magyarózd that described everything folk memory had managed to preserve amidst the currents of a changing world... I have selected recordings that reveal the world into which Horváth was born as a peasant child of Magyarózd: the music that accompanied him into adulthood and that he would not long after consciously return to in the hope of preserving it for posterity.
Acta Ethnographica Hungarica, 2015
This fi eldwork-based ethnochoreological study focuses on traditional dances of Hungarian Romani/Gypsy communities in Transylvania (Romania) practiced to electronic pop-folk music. This kind of musical accompaniment is applied not only to the fashionable Romanian manele, but also to their traditional dances (named csingerálás 1 , cigányos). Thus Romanian electronic pop-folk music including Romani/Gypsy elements provides the possibility for the survival of Transylvanian Hungarian Romani/ Gypsy dance tradition both at community events and public discoes. The continuity in dance idiom is maintained through changes in musical idiom-a remarkable phenomenon, worthy of further discussion from the point of view of the continuity of cultural tradition.
Journal of Folklore Research
Ethnic-national discourse in traditional music and dance practice and theory in Central Transylvania is pervasive and persistent. Scholarship in the field has been deeply implicated in the elaboration and imposition of national ideologies by cultural elites and, while ethnicity is a naturalized category, the local practice of music and dance in social life need not be primarily so marked. The identification of traditional music and dance in this region as Romanian, Hungarian or Romani as established by 20th century scholarship and as institutionalized in practice is examined and critiqued. A theoretical perspective that moves away from the re-iteration of these categoies is suggested and the possibility of escaping from them in practice is considered.
Ten Years in Transylvania : Traditions of Hungarian folk culture, 2004
MUSIC IN THE TURKIC-MUSLIM WORLD: THE SECULAR AND THE RELIGIOUS, Proceedings of the International academic conference, MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION ZHIGANOV KAZAN STATE CONSERVATOIRE, Kazan, November 14–16, , 2022
Hungarian prehistory displays a peculiar duality of language and music: the language belongs to the Finno-Ugric family, while several pre-Conquest strata of the folk music are connected to Turkic groups. Intrigued by this phenomenon, Hungarian folk music researchers launched thorough comparative examinations quite early; to mention but the most important scholars: Zoltán Kodály [10] demonstrated Cheremis and Chuvash analogies in the first place; Béla Bartók [1, 2] drew still valid conclusions about the folk music of Anatolia from a relatively small material; Lajos Vargyas [36, 37, 38, 39] carried out the comprehensive historical investigation of the folk music of the Volga-Kama region; Bence Szabolcsi [30–35] demonstrated even broader international musical connections after surveying an enormous material; Katalin Paksa [12] studied the eastern relations of our narrow-range tetra- and pentatonic tunes; László Dobszay [5, 6] and László Dobszay – Janka Szendrei [4, 8] – applying a novel approach to the Hungarian folk music material – reviewed the international material in regard to the lament and psalmodic styles, among other things. In keeping with the noblest traditions of Hungarian folk music research, investigations authenticated by fieldwork have been going on to this day parallel with theoretical research. Most important among them for my present dissertation are Béla Bartók’s Anatolian collecting in 1936, László Vikár’s and Gábor Bereczki’s areal field research in the territory designated by the Volga, Kama and Belaya in 1957–1978 [Vikár 40–49; Vikár – Bereczki 50–53] and my field research activity among Turkic ethnicities since 1987 [14–29]. At the beginning, the main goal of this research series was to explore the eastern relations of the Hungarian folk music, which gradually broadened into the areal folk music research of the multi-ethnic Volga-Kama-Belaya region. I further expanded it into the comparative investigation of diverse Turkic-tongued groups living over the vast Eurasian territory. In the meantime, the study of Hungarian prehistoric connections was also going on.
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