Sipos János (2017), Kyrgyz Folksongs – A New Book and an e-Book, Ín: Altay Communities – History Issues, Eds. İlhan Şahin, HanWoo Choi, Güljanat K. Ercilasun, Jack Snowden, Muhammed Bilal Çelik, İstanbul: İstanbul Esnbaf ve Sanatkarlar Odaları Birliği Yayını (İSTESOB), pp. 349-379
Sipos János (2017), Kyrgyz Folksongs – A New Book and an e-Book, Ín: Altay Communities – History ... more Sipos János (2017), Kyrgyz Folksongs – A New Book and an e-Book, Ín: Altay Communities – History Issues, Eds. İlhan Şahin, HanWoo Choi, Güljanat K. Ercilasun, Jack Snowden, Muhammed Bilal Çelik, İstanbul: İstanbul Esnbaf ve Sanatkarlar Odaları Birliği Yayını (İSTESOB), pp. 349-379
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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.
Türkmén kutatásomnak voltak magyar előzményei, többek között 1863-ban tett néprajzi megfigyeléseket ezeken a területeken Vámbéry Ármin, aki 1861‒1864 között bejárta Közép-Ázsia sivatagjait. A türkmének elsősorban az ő nevén keresztül ismerik a magyarokat. A másik fontos név itt (is) Bartók Béla, aki 1936-ban türkmén törzsek zenéjét kutatta a dél-törökországi Adana környékén, igaz, ezek a türkmének csak közvetve köthetők Türkmenisztán jelenlegi lakóihoz.
Az előadásban a tulajdonképpeni türkmén népdalokról most nem szólok, csak annyit említek meg, hogy szerkezetük igen egyszerű: az azeri népdalokhoz hasonlóan,ezek is két rövid, néhány hangból álló sorból épülnek fel. Egyszerű szerkezet jellemzi az évkezdő Nevruz ünnep mondzsuk adti varázsdalait, és a Süyt Gazan istenséghez, az anyagi javak szentjéhez és az eső irányítójához fohászkodó esővarázsló dalt is.
Ezzel szemben a türkmén epikáról, az eposzénekesekről, a bahsikról, zenei repertoárjukól és a repertoár magyar kapcsolatairól részletesebben esik szó. A türkmén bahsi költő, énekes és zenész egy személyben. Noha ma nincs sámán identitásuk, számos hagyományuk megegyezik a sámánokéval, például képességeiket egy álom során kapják, ezt hosszasabb betegség követ, majd egy csapásra mesterségük teljes birtokába kerülnek. A bahsik az előadásukat jol-nak ’út’ nevezik, ez is összhangban van a sámánok utazásával.
Összefoglalva elmondhatjuk, hogy a türkmén népi és vallási dalok ugyanolyan egyszerű és egységes képet mutatnak, mint az azeri dallamok, és egyben eltérnek a többi török nép dallamaitól. Jellemző az azeri repertoárban is oly gyakori, két rövid sorból építkező kis ambitusú fríg (ritkábban eol) dallam. A türkmén énekmondók repertoárját ezzel szemben a fokozatosan egyre magasabbra emelkedő kétsoros dallamok sorozata határozza meg, ezekben nem ritka a pszalmodizáló dallamokra emlékeztető forma.
János Sipos is professor at the Liszt University of Music, the Hungarian Representative of the International Council of Traditional Music, senior research fellow of Institute for Musicology, and Member of the Hungarian Academy of Arts. His main research area is the comparative study of the folk music of Turkic speaking people and also exploring the Hungarian relations. His collecting work began in 1987, where Béla Bartók stopped in 1936, and since then he has collected, recorded and analyzed more than ten thousand Turkish, Azeri, Turkmen, Karachay, Kazakh, Kyrgyz, Navajo and Dakota melodies. His 18 books, 168 articles and hundreds of hours of video and audio recordings can be viewed at www.zti.hu/sipos.
The articles of the Essays on the Folksongs of Turkic People give an insight into the work of Sipos. The titles of the chapters are as follows:
- A Folk Music Research Series Among Turkic People (1936-2019)
- About the Folksongs of some Turkic People
- In the Wake of the Ethnomusicological Research of Béla Bartók and Ahmet Adnan Saygun
- Dakota Folk Songs and their Inner-Asian Connection
- Ancient Hungarian Musical Styles and the Folksongs of Turkic People
- An Inner Mongolian Pentatonic Fifth-Shifting Style and its Relevance to Hungarian and Volga-Region Folk Music
- About the First Analytic and Comparative Monograph Written on the Folk Music of the Karachay-Balkar
- The volume is closed by the List of References, and the bibliography of János Sipos.
Béla Bartók 1936’da Türkiye’ye gelmiş, yüz dolayında türkü derlemiş, derleme çalışmalarının sonuçlarını yazdığı bir kitapla açıklamıştı. Bu kitap etnomüzikolojide önemli bir adım olduğu halde geniş bir yankı uyandırmamıştı. Bu ilgisizliğin çeşitli sebepleri olabilir. Ama akla gelebilecek sebeplerden biri hâlâ geçerlidir: Türkiye gibi çok çeşitli musıki geleneklerinin yaşadığı, nüfusu bugün 80 milyonu geçen bir ülkenin musıkisi Bartók’un küçük çaplı derlemesine sığmayacak kadar çok-yönlüdür. Kitabın Macar yazarı János Sipos bu noktadan hareket etmiş, 1500 dolayında türkü derleyerek Bartók’un incelemelerini kaldığı yerden gene onun perspektifiyle sürdürmüştür.
Anadolu’nun öz ezgisi nedir? Bu musıkinin en eski ezgi tabakası nedir? Hâkim ezgi çatısı pentatonik midir? Bu sorun 1930’larda Türkiye’de musıki çevrelerinin hararetli bir tartışma konususuydu. Ne var ki, 1940’larda da bir ölçüde süren bu tartışma yıllar geçtikçe Türk musıki çevrelerinin gündeminden nerdeyse düşmüştür dense yeridir. Anadolu ezgisinin hâkim kimliği sorunu da can alıcı bir sorun olmaktan çıkmıştır. Buna karşılık, Macar musıkisinin kimliği sorunu Macaristan’da araştırılmaya devam etmiştir. Bu araştırmanın bir yönü de eski Türk musıkisiyle eski Macar musıkisi arasındaki bağlantılardır. Sipos’un yayınları onun bu tartışmanın izini hararetle sürdüğünü gösteriyor.
Anadolu türküleri ile Macar halk şarkıları birbirinin benzeri midir? Aralarında ne gibi benzerlikler, ne gibi farklılıklar vardır? İşte bu kitap yazarın bu yöndeki çalışmalarının sonuçlarını ortaya koyuyor.
What may underlie this lack of scholarly interest? Disregarding for now all sorts of possible explanations, one argument still carries much weight: Bartók’s Turkish collection is so meagre that drawing conclusions valid for the folk music of a people numbering some sixty million is only possible with much caution and reservation.
When I taught at the department of Hungarology at Ankara University, in 1988–1993, I had the opportunity to collect some 1500 tunes. I began my collection in areas where Bartók had stopped his. Then, as fewer and fewer new tunes were found, I shifted my field of research gradually westward. A six-year stay on the spot, the mas¬tery of the Turkish language, and regular collecting, transcribing and analyzing work enabled me to prepare a large body of systematized Turkish material for publication.
Are there similar Hungarian and Anatolian tunes?
What can the similarities be ascribed to?
I attempt to answer these questions in this book.
This trilingual (English, Turkish and Hungarian) website presents a significant part of János Sipos’s Turkic folk music collection recorded since 1987.
On the left side we get information of the archives, the author, a Hungarian-Turkic comparative music research and much more. Above we focused on the actual presentation of the collected material.
Search allows us seeking out video and audio recordings according to genre, lyrics, musical instruments, informants and place of recordings. The “identifier” selects a whole record, for example “SJ_AZE_01_DAT” lists the complete material of the first Azerbaijani cassette.
Under E-books we can read e-books on the Kyrgyz and the Karachay folk music.
Books presents the PDF and the ISSUU format of János Sipos’s books. In the latter case, use full-screen mode, and return to the website by closing the ISSUU interface. Here and under Articles we are working on attaching video and audio recordings to the books.
Studies presents us János Sipos’s articles in PDF form (use Ctrl + F to search for subject titles).
In Audio, Video and Photo archives each recording is presented in unedited form. Later on, these recordings will be enlarged by a “map of recordings” giving a better orientation.
Dr. János Sipos is an ethnomusicologist at the Institute for Musicology of the Hungarian Academy of Sciences, Hungarian representative of the ICTM, founding member of the “Music of the Turkic Speaking peoples” ICTM Study Group, lecturer of the Franz Liszt Music Academy He has lived, travelled and researched extensively in Turkey and other countries where Turkic languages and cultures exist. He is the author of several analytical and comparative books on Turkic folksongs. (www.zti.hu/sipos)
Research into the musics of eastern ethnicities authenticated by on location collecting work has great traditions in Hungary (suffice it to mention the name of Béla Bartók, László Vikár and János Sipos). At the beginning, this work concentrated on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, Janos Sipos’s researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
The research of the Turkic-tongued area thus sheds light on a complex musical world, since the musics of these groups can largely differ, and the musics are differently interrelated than the languages.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of Sipos’s my collecting efforts: the songs were recorded, notated and analyzed by him.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis. Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Urgic and Turkic folk music. Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. Chapter 4 contains the classification of Kyrgyz tunes. A total of 94 representative songs are given to illustrate the tune groups, so the reader will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print. Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography. The last pages contain the list of the attached video recordings.
Dr. János Sipos is an ethnomusicologist at the Institute for Musicology of the Hungarian Academy of Sciences, Hungarian representative of the ICTM, founding member of the “Music of the Turkic Speaking peoples” ICTM Study Group, lecturer of the Franz Liszt Music Academy He has lived, travelled and researched extensively in Turkey and other countries where Turkic languages and cultures exist. He is the author of several analytical and comparative books on Turkic folksongs. (www.zti.hu/sipos)
Research into the musics of eastern ethnicities authenticated by on location collecting work has great traditions in Hungary (suffice it to mention the name of Béla Bartók, László Vikár and János Sipos). At the beginning, this work concentrated on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, Janos Sipos’s researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
The research of the Turkic-tongued area thus sheds light on a complex musical world, since the musics of these groups can largely differ, and the musics are differently interrelated than the languages.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of Sipos’s my collecting efforts: the songs were recorded, notated and analyzed by him.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis. Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Urgic and Turkic folk music. Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. Chapter 4 contains the classification of Kyrgyz tunes. A total of 94 representative songs are given to illustrate the tune groups, so the reader will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print. Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography. The last pages contain the list of the attached video recordings.
https://media.harmattan.hu/webbook/nyito/
Chapter One is a brief survey of the expeditions whose aim was the exploration of the eastern connections of Hungarian folk music. Next, Sipos touches on the earlier field trips to the Caucasus which go back as far as the Dominican monk Otto’s journey in 1232. He also gives a short account of their field trips among the Karachays.
In Chapter Two the emergence and eventful history of the Karachay people can be read about from the beginnings to the mass emigration fleeing the Soviet expansion in the early 20th century and the deportation of the entire ethnicity in 1947 up to the present day. The earlier Russian and European travellers’ accounts about their social life, stratification, old customs, songs and deities are also conjured up.
In Chapter Three the reader gets the description and classification of Karachay tunes, together with links to the music of other Turkic groups. It is to be stressed that no synthesis like this of Karachay folk music has been written before. An important achievement of the analysis is the introduction of the collected 1200 tunes via a selection of 60 melodies after an acquaintance with which the majority of the rest of the tunes will appear familiar.
Chapter Four contains the scores of 287 tunes with lyrics that well represent the total of 1200 songs. For musically illiterate people an e-book will make this chapter more enjoyable with a selection of the recordings of the presented 350 tunes.
Chapter Five introduces the Karachay language and the lyrics with an introduction of the ethnographic background. The song texts in standardized Karachay and their English translation are given here.
We do hope that the book will be of use for historians, Turkologists, linguists and the wider public, apart from comparative folk music researchers and ethnomusicologists.
Dominican monk Otto’s journey in 1232, followed by Frater Julian’s and much later by the Jenő Zichy expedition. Since then, no important Hungarian
research has been undertaken in the region and the ones that targeted the area mainly traversed the southern part of the Caucasus. I give a short
account of our field trips among the Karachays to acquaint the readers with the studied group and the particular musical and cultural concepts necessary
for the understanding of the analytic section and the lyrics.
In Chapter Two the emergence and eventful history of the Karachay people can be read about from the beginnings to the mass emigration fleeing the Soviet expansion in the early 20th century and the deportation of the entire ethnicity in 1947 up to the present day. The earlier Russian and European travellers’ accounts about their social life, stratification, old customs, songs and deities are also conjured up.
In Chapter Three the reader gets the description and classification of Karachay tunes, together with links to the music of other Turkic groups. It is to be stressed that no synthesis like this of Karachay folk music has been
written before. An important achievement of the analysis is the introduction of the collected 1200 tunes via a selection of 60 melodies after an acquaintance
with which the majority of the rest of the tunes will appear familiar. That has great relevance to education, scientific comparison and cognition as well. The
relations between Hungarian and Karachay folk music are also examined.
Chapter Four contains the scores of 287 tunes with lyrics that well represent the total of 1200 songs. For musically illiterate people the e-book form will make this chapter more enjoyable with a selection of the recordings of the presented 350 tunes. Musical specialists can get a glimpse of the practical manifestations of the tune types introduced in the previous chapter.
Chapter Five describes the Karachay language and the lyrics with an introduction of the ethnographic background. The song texts in standardized Karachay and their English translation are given in this chapter.
We do hope that the book will be of use for historians, Turkologists, linguists and the wider public, apart from comparative folk music researchers and ethnomusicologists.
Bartók’s Anatolian and László Vikár’s Cheremiss, Chuvash, Tatar and Bashkir materials. I have also joined this strain of research with my Anatolian, Kazakh,
Kyrgyz, Azeri, North Caucasian Karachay-Balkar and Turkmen expeditions and publications over the past 26 years. At the beginning, this work concentrated
on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, my researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
My research focuses on ethnic groups of various Turkic tongues, but it avoids being monotonous since the musics of these groups can largely differ, and
their musics are differently interrelated than the languages. The research of the Turkic-speaking area thus sheds light on a complex musical world,
offering conclusion that may have relevance to the interpretation of the Hungarian and some other folk music.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the
music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of my collecting efforts: the songs were recorded, notated and analyzed by me. My fieldwork in Issyk-kul,
Narın and Bishkek in 2002 was followed in 2004 by research aound At-Başı and in Talas. I have read the accessible publications, and I transcribed and
examined Dávid Somfai Kara’s collections containing tunes from southwestern areas. A few years ago I seemed to have enough reliable material of Kyrgyz
vocal folk music to write the book Kyrgyz Folksongs.
Experiencing the pace of the disappearance of Kyrgyz folk music, I realized it was the highest time to complete this research. Just like in many other parts of the world, in Kyrgyz villages and towns one encounters the destructive impacts of the presentday media society upon authentic folklore, aggravated here by the effects of the one-time Soviet empire. In Kyrgyzstan, except for
laments, old tunes are only known by people above 65-70, and it often takes great patience and painstaking work to excavate them from their memory. It is truly the very last moment. In a few decades‘ time this generation will die out and with them even the memory of the old strata of Kyrgyz folk music will vanish. Actually, we can only collect relics of music today, too.
It enhances the value of our endeavour that no areal or tribal research of this sort had been conducted in Kyrgyzstan earlier. The recorded material is well
suited for linguistic and cultural analyses too besides musical examinations.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis and the main views concerning them. I touch on the Hungarian researchers’ earlier Kyrgyz investigations and give a
colourful account of my own Kyrgyz folk music collecting trips.
Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Ugric and Turkic folk music. I list here the main old Hungarian folk music styles and examine their possible Turkic
connections.
Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. The genres, formal features of tunes, the rhythmic and tonal bases
of Kyrgyz folk music are outlined. I touch on the Kyrgyz instruments, instrumental music, Kyrgyz epic works and the musical foundations of epic songs.
Chapter 4 contains the classification of Kyrgyz tunes. This is the most difficult chapter to read but it includes the largest amount of novel information. The aim is to present the Kyrgyz folksong types, groups, classes
and styles. A total of 94 representative songs are given to illustrate the tune groups, so the reader who attentively studies and possibly learns the melodies
will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print.
Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-Kama-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography.
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.
Türkmén kutatásomnak voltak magyar előzményei, többek között 1863-ban tett néprajzi megfigyeléseket ezeken a területeken Vámbéry Ármin, aki 1861‒1864 között bejárta Közép-Ázsia sivatagjait. A türkmének elsősorban az ő nevén keresztül ismerik a magyarokat. A másik fontos név itt (is) Bartók Béla, aki 1936-ban türkmén törzsek zenéjét kutatta a dél-törökországi Adana környékén, igaz, ezek a türkmének csak közvetve köthetők Türkmenisztán jelenlegi lakóihoz.
Az előadásban a tulajdonképpeni türkmén népdalokról most nem szólok, csak annyit említek meg, hogy szerkezetük igen egyszerű: az azeri népdalokhoz hasonlóan,ezek is két rövid, néhány hangból álló sorból épülnek fel. Egyszerű szerkezet jellemzi az évkezdő Nevruz ünnep mondzsuk adti varázsdalait, és a Süyt Gazan istenséghez, az anyagi javak szentjéhez és az eső irányítójához fohászkodó esővarázsló dalt is.
Ezzel szemben a türkmén epikáról, az eposzénekesekről, a bahsikról, zenei repertoárjukól és a repertoár magyar kapcsolatairól részletesebben esik szó. A türkmén bahsi költő, énekes és zenész egy személyben. Noha ma nincs sámán identitásuk, számos hagyományuk megegyezik a sámánokéval, például képességeiket egy álom során kapják, ezt hosszasabb betegség követ, majd egy csapásra mesterségük teljes birtokába kerülnek. A bahsik az előadásukat jol-nak ’út’ nevezik, ez is összhangban van a sámánok utazásával.
Összefoglalva elmondhatjuk, hogy a türkmén népi és vallási dalok ugyanolyan egyszerű és egységes képet mutatnak, mint az azeri dallamok, és egyben eltérnek a többi török nép dallamaitól. Jellemző az azeri repertoárban is oly gyakori, két rövid sorból építkező kis ambitusú fríg (ritkábban eol) dallam. A türkmén énekmondók repertoárját ezzel szemben a fokozatosan egyre magasabbra emelkedő kétsoros dallamok sorozata határozza meg, ezekben nem ritka a pszalmodizáló dallamokra emlékeztető forma.
János Sipos is professor at the Liszt University of Music, the Hungarian Representative of the International Council of Traditional Music, senior research fellow of Institute for Musicology, and Member of the Hungarian Academy of Arts. His main research area is the comparative study of the folk music of Turkic speaking people and also exploring the Hungarian relations. His collecting work began in 1987, where Béla Bartók stopped in 1936, and since then he has collected, recorded and analyzed more than ten thousand Turkish, Azeri, Turkmen, Karachay, Kazakh, Kyrgyz, Navajo and Dakota melodies. His 18 books, 168 articles and hundreds of hours of video and audio recordings can be viewed at www.zti.hu/sipos.
The articles of the Essays on the Folksongs of Turkic People give an insight into the work of Sipos. The titles of the chapters are as follows:
- A Folk Music Research Series Among Turkic People (1936-2019)
- About the Folksongs of some Turkic People
- In the Wake of the Ethnomusicological Research of Béla Bartók and Ahmet Adnan Saygun
- Dakota Folk Songs and their Inner-Asian Connection
- Ancient Hungarian Musical Styles and the Folksongs of Turkic People
- An Inner Mongolian Pentatonic Fifth-Shifting Style and its Relevance to Hungarian and Volga-Region Folk Music
- About the First Analytic and Comparative Monograph Written on the Folk Music of the Karachay-Balkar
- The volume is closed by the List of References, and the bibliography of János Sipos.
Béla Bartók 1936’da Türkiye’ye gelmiş, yüz dolayında türkü derlemiş, derleme çalışmalarının sonuçlarını yazdığı bir kitapla açıklamıştı. Bu kitap etnomüzikolojide önemli bir adım olduğu halde geniş bir yankı uyandırmamıştı. Bu ilgisizliğin çeşitli sebepleri olabilir. Ama akla gelebilecek sebeplerden biri hâlâ geçerlidir: Türkiye gibi çok çeşitli musıki geleneklerinin yaşadığı, nüfusu bugün 80 milyonu geçen bir ülkenin musıkisi Bartók’un küçük çaplı derlemesine sığmayacak kadar çok-yönlüdür. Kitabın Macar yazarı János Sipos bu noktadan hareket etmiş, 1500 dolayında türkü derleyerek Bartók’un incelemelerini kaldığı yerden gene onun perspektifiyle sürdürmüştür.
Anadolu’nun öz ezgisi nedir? Bu musıkinin en eski ezgi tabakası nedir? Hâkim ezgi çatısı pentatonik midir? Bu sorun 1930’larda Türkiye’de musıki çevrelerinin hararetli bir tartışma konususuydu. Ne var ki, 1940’larda da bir ölçüde süren bu tartışma yıllar geçtikçe Türk musıki çevrelerinin gündeminden nerdeyse düşmüştür dense yeridir. Anadolu ezgisinin hâkim kimliği sorunu da can alıcı bir sorun olmaktan çıkmıştır. Buna karşılık, Macar musıkisinin kimliği sorunu Macaristan’da araştırılmaya devam etmiştir. Bu araştırmanın bir yönü de eski Türk musıkisiyle eski Macar musıkisi arasındaki bağlantılardır. Sipos’un yayınları onun bu tartışmanın izini hararetle sürdüğünü gösteriyor.
Anadolu türküleri ile Macar halk şarkıları birbirinin benzeri midir? Aralarında ne gibi benzerlikler, ne gibi farklılıklar vardır? İşte bu kitap yazarın bu yöndeki çalışmalarının sonuçlarını ortaya koyuyor.
What may underlie this lack of scholarly interest? Disregarding for now all sorts of possible explanations, one argument still carries much weight: Bartók’s Turkish collection is so meagre that drawing conclusions valid for the folk music of a people numbering some sixty million is only possible with much caution and reservation.
When I taught at the department of Hungarology at Ankara University, in 1988–1993, I had the opportunity to collect some 1500 tunes. I began my collection in areas where Bartók had stopped his. Then, as fewer and fewer new tunes were found, I shifted my field of research gradually westward. A six-year stay on the spot, the mas¬tery of the Turkish language, and regular collecting, transcribing and analyzing work enabled me to prepare a large body of systematized Turkish material for publication.
Are there similar Hungarian and Anatolian tunes?
What can the similarities be ascribed to?
I attempt to answer these questions in this book.
This trilingual (English, Turkish and Hungarian) website presents a significant part of János Sipos’s Turkic folk music collection recorded since 1987.
On the left side we get information of the archives, the author, a Hungarian-Turkic comparative music research and much more. Above we focused on the actual presentation of the collected material.
Search allows us seeking out video and audio recordings according to genre, lyrics, musical instruments, informants and place of recordings. The “identifier” selects a whole record, for example “SJ_AZE_01_DAT” lists the complete material of the first Azerbaijani cassette.
Under E-books we can read e-books on the Kyrgyz and the Karachay folk music.
Books presents the PDF and the ISSUU format of János Sipos’s books. In the latter case, use full-screen mode, and return to the website by closing the ISSUU interface. Here and under Articles we are working on attaching video and audio recordings to the books.
Studies presents us János Sipos’s articles in PDF form (use Ctrl + F to search for subject titles).
In Audio, Video and Photo archives each recording is presented in unedited form. Later on, these recordings will be enlarged by a “map of recordings” giving a better orientation.
Dr. János Sipos is an ethnomusicologist at the Institute for Musicology of the Hungarian Academy of Sciences, Hungarian representative of the ICTM, founding member of the “Music of the Turkic Speaking peoples” ICTM Study Group, lecturer of the Franz Liszt Music Academy He has lived, travelled and researched extensively in Turkey and other countries where Turkic languages and cultures exist. He is the author of several analytical and comparative books on Turkic folksongs. (www.zti.hu/sipos)
Research into the musics of eastern ethnicities authenticated by on location collecting work has great traditions in Hungary (suffice it to mention the name of Béla Bartók, László Vikár and János Sipos). At the beginning, this work concentrated on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, Janos Sipos’s researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
The research of the Turkic-tongued area thus sheds light on a complex musical world, since the musics of these groups can largely differ, and the musics are differently interrelated than the languages.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of Sipos’s my collecting efforts: the songs were recorded, notated and analyzed by him.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis. Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Urgic and Turkic folk music. Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. Chapter 4 contains the classification of Kyrgyz tunes. A total of 94 representative songs are given to illustrate the tune groups, so the reader will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print. Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography. The last pages contain the list of the attached video recordings.
Dr. János Sipos is an ethnomusicologist at the Institute for Musicology of the Hungarian Academy of Sciences, Hungarian representative of the ICTM, founding member of the “Music of the Turkic Speaking peoples” ICTM Study Group, lecturer of the Franz Liszt Music Academy He has lived, travelled and researched extensively in Turkey and other countries where Turkic languages and cultures exist. He is the author of several analytical and comparative books on Turkic folksongs. (www.zti.hu/sipos)
Research into the musics of eastern ethnicities authenticated by on location collecting work has great traditions in Hungary (suffice it to mention the name of Béla Bartók, László Vikár and János Sipos). At the beginning, this work concentrated on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, Janos Sipos’s researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
The research of the Turkic-tongued area thus sheds light on a complex musical world, since the musics of these groups can largely differ, and the musics are differently interrelated than the languages.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of Sipos’s my collecting efforts: the songs were recorded, notated and analyzed by him.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis. Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Urgic and Turkic folk music. Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. Chapter 4 contains the classification of Kyrgyz tunes. A total of 94 representative songs are given to illustrate the tune groups, so the reader will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print. Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography. The last pages contain the list of the attached video recordings.
https://media.harmattan.hu/webbook/nyito/
Chapter One is a brief survey of the expeditions whose aim was the exploration of the eastern connections of Hungarian folk music. Next, Sipos touches on the earlier field trips to the Caucasus which go back as far as the Dominican monk Otto’s journey in 1232. He also gives a short account of their field trips among the Karachays.
In Chapter Two the emergence and eventful history of the Karachay people can be read about from the beginnings to the mass emigration fleeing the Soviet expansion in the early 20th century and the deportation of the entire ethnicity in 1947 up to the present day. The earlier Russian and European travellers’ accounts about their social life, stratification, old customs, songs and deities are also conjured up.
In Chapter Three the reader gets the description and classification of Karachay tunes, together with links to the music of other Turkic groups. It is to be stressed that no synthesis like this of Karachay folk music has been written before. An important achievement of the analysis is the introduction of the collected 1200 tunes via a selection of 60 melodies after an acquaintance with which the majority of the rest of the tunes will appear familiar.
Chapter Four contains the scores of 287 tunes with lyrics that well represent the total of 1200 songs. For musically illiterate people an e-book will make this chapter more enjoyable with a selection of the recordings of the presented 350 tunes.
Chapter Five introduces the Karachay language and the lyrics with an introduction of the ethnographic background. The song texts in standardized Karachay and their English translation are given here.
We do hope that the book will be of use for historians, Turkologists, linguists and the wider public, apart from comparative folk music researchers and ethnomusicologists.
Dominican monk Otto’s journey in 1232, followed by Frater Julian’s and much later by the Jenő Zichy expedition. Since then, no important Hungarian
research has been undertaken in the region and the ones that targeted the area mainly traversed the southern part of the Caucasus. I give a short
account of our field trips among the Karachays to acquaint the readers with the studied group and the particular musical and cultural concepts necessary
for the understanding of the analytic section and the lyrics.
In Chapter Two the emergence and eventful history of the Karachay people can be read about from the beginnings to the mass emigration fleeing the Soviet expansion in the early 20th century and the deportation of the entire ethnicity in 1947 up to the present day. The earlier Russian and European travellers’ accounts about their social life, stratification, old customs, songs and deities are also conjured up.
In Chapter Three the reader gets the description and classification of Karachay tunes, together with links to the music of other Turkic groups. It is to be stressed that no synthesis like this of Karachay folk music has been
written before. An important achievement of the analysis is the introduction of the collected 1200 tunes via a selection of 60 melodies after an acquaintance
with which the majority of the rest of the tunes will appear familiar. That has great relevance to education, scientific comparison and cognition as well. The
relations between Hungarian and Karachay folk music are also examined.
Chapter Four contains the scores of 287 tunes with lyrics that well represent the total of 1200 songs. For musically illiterate people the e-book form will make this chapter more enjoyable with a selection of the recordings of the presented 350 tunes. Musical specialists can get a glimpse of the practical manifestations of the tune types introduced in the previous chapter.
Chapter Five describes the Karachay language and the lyrics with an introduction of the ethnographic background. The song texts in standardized Karachay and their English translation are given in this chapter.
We do hope that the book will be of use for historians, Turkologists, linguists and the wider public, apart from comparative folk music researchers and ethnomusicologists.
Bartók’s Anatolian and László Vikár’s Cheremiss, Chuvash, Tatar and Bashkir materials. I have also joined this strain of research with my Anatolian, Kazakh,
Kyrgyz, Azeri, North Caucasian Karachay-Balkar and Turkmen expeditions and publications over the past 26 years. At the beginning, this work concentrated
on the exploration of the eastern elements in Hungarian folk music but it soon became areal through the study of the folk music of the multi-ethnic Volga-Kama region. Before long, my researches got enlarged into a comparative ethnomusicological analysis of a vast Turkic-speaking territory.
My research focuses on ethnic groups of various Turkic tongues, but it avoids being monotonous since the musics of these groups can largely differ, and
their musics are differently interrelated than the languages. The research of the Turkic-speaking area thus sheds light on a complex musical world,
offering conclusion that may have relevance to the interpretation of the Hungarian and some other folk music.
The present book is to be read in view of this broader frame, since via the music of the Kyrgyz people the Kazakh folk music can be linked up with the
music of other Turkic and Mongolian people living more to the East. On the other hand, the exploration of Kyrgyz music has a value of its own, as there are very few analytic and comparative publications specifically highlighting it.
The material of the book is chiefly the result of my collecting efforts: the songs were recorded, notated and analyzed by me. My fieldwork in Issyk-kul,
Narın and Bishkek in 2002 was followed in 2004 by research aound At-Başı and in Talas. I have read the accessible publications, and I transcribed and
examined Dávid Somfai Kara’s collections containing tunes from southwestern areas. A few years ago I seemed to have enough reliable material of Kyrgyz
vocal folk music to write the book Kyrgyz Folksongs.
Experiencing the pace of the disappearance of Kyrgyz folk music, I realized it was the highest time to complete this research. Just like in many other parts of the world, in Kyrgyz villages and towns one encounters the destructive impacts of the presentday media society upon authentic folklore, aggravated here by the effects of the one-time Soviet empire. In Kyrgyzstan, except for
laments, old tunes are only known by people above 65-70, and it often takes great patience and painstaking work to excavate them from their memory. It is truly the very last moment. In a few decades‘ time this generation will die out and with them even the memory of the old strata of Kyrgyz folk music will vanish. Actually, we can only collect relics of music today, too.
It enhances the value of our endeavour that no areal or tribal research of this sort had been conducted in Kyrgyzstan earlier. The recorded material is well
suited for linguistic and cultural analyses too besides musical examinations.
Chapter 1 is a brief introduction to Kyrgyzstan, followed by the main factors of Kyrgyz ethnogenesis and the main views concerning them. I touch on the Hungarian researchers’ earlier Kyrgyz investigations and give a
colourful account of my own Kyrgyz folk music collecting trips.
Chapter 2 acquaints the reader with Hungarian ethnomusicology’s tradition in researching Finno-Ugric and Turkic folk music. I list here the main old Hungarian folk music styles and examine their possible Turkic
connections.
Chapter 3 begins with a review of the earlier Kyrgyz folk music publications, followed by the description of the musical features of Kyrgyz folksongs. The genres, formal features of tunes, the rhythmic and tonal bases
of Kyrgyz folk music are outlined. I touch on the Kyrgyz instruments, instrumental music, Kyrgyz epic works and the musical foundations of epic songs.
Chapter 4 contains the classification of Kyrgyz tunes. This is the most difficult chapter to read but it includes the largest amount of novel information. The aim is to present the Kyrgyz folksong types, groups, classes
and styles. A total of 94 representative songs are given to illustrate the tune groups, so the reader who attentively studies and possibly learns the melodies
will have a good insight into the basic tunes and musical interrelations of Kyrgyz folk music.
Chapter 5 is an anthology of 332 folksongs, providing an interpretive background to the tune groups described in the previous chapter. At present, it is the largest single collection of Kyrgyz folksongs in print.
Chapter 6 contains the Kyrgyz song texts and their English translation.
Chapter 7 offers a comparison of Anatolian, Azeri, Turkmen, Karachay, Volga-Kama-region (Tatar, Bashkir, Chuvash) and Kazakh folk musics from a bird’s-eye-view.
Chapter 8 contains maps and detailed indices of the places of collection, singers, genres, song texts, musical forms, tonal ranges, cadences, scales and rhythmic formulae. The volume ends with a rich bibliography.
(Hooker, Lynn M. 2013. Redefining Hungarian Music from Liszt to Bartók. New York: Oxford University Press. 320 pp. Reviewed by János Sipos, Institute of Musicology, MTA Research Centre for the Humanities)
Türkmén kutatásomnak voltak magyar előzményei, többek között 1863-ban tett néprajzi megfigyeléseket ezeken a területeken Vámbéry Ármin, aki 1861‒1864 között bejárta Közép-Ázsia sivatagjait. A türkmének elsősorban az ő nevén keresztül ismerik a magyarokat. A másik fontos név itt (is) Bartók Béla, aki 1936-ban türkmén törzsek zenéjét kutatta a dél-törökországi Adana környékén, igaz, ezek a türkmének csak közvetve köthetők Türkmenisztán jelenlegi lakóihoz.
Az előadásban a tulajdonképpeni türkmén népdalokról most nem szólok, csak annyit említek meg, hogy szerkezetük igen egyszerű: az azeri népdalokhoz hasonlóan,ezek is két rövid, néhány hangból álló sorból épülnek fel. Egyszerű szerkezet jellemzi az évkezdő Nevruz ünnep mondzsuk adti varázsdalait, és a Süyt Gazan istenséghez, az anyagi javak szentjéhez és az eső irányítójához fohászkodó esővarázsló dalt is.
Ezzel szemben a türkmén epikáról, az eposzénekesekről, a bahsikról, zenei repertoárjukól és a repertoár magyar kapcsolatairól részletesebben esik szó. A türkmén bahsi költő, énekes és zenész egy személyben. Noha ma nincs sámán identitásuk, számos hagyományuk megegyezik a sámánokéval, például képességeiket egy álom során kapják, ezt hosszasabb betegség követ, majd egy csapásra mesterségük teljes birtokába kerülnek. A bahsik az előadásukat jol-nak ’út’ nevezik, ez is összhangban van a sámánok utazásával.
Összefoglalva elmondhatjuk, hogy a türkmén népi és vallási dalok ugyanolyan egyszerű és egységes képet mutatnak, mint az azeri dallamok, és egyben eltérnek a többi török nép dallamaitól. Jellemző az azeri repertoárban is oly gyakori, két rövid sorból építkező kis ambitusú fríg (ritkábban eol) dallam. A türkmén énekmondók repertoárját ezzel szemben a fokozatosan egyre magasabbra emelkedő kétsoros dallamok sorozata határozza meg, ezekben nem ritka a pszalmodizáló dallamokra emlékeztető forma.
The fieldwork described in the two volumes began in 1988 and lasted until 1993. the author selected three centers along the Taurus Mountains: Antalya, Mut and Adana. Sipos set out for the isolated small villages in the vicinity from these centers. he made eight longer trips and collected in other areas of Turkey, too.
The majority of the material was recorded in houses or tents of peasants and herders, collecting a total of some 1500 tunes from 233 informants at 85 places. Of this stock the author transcribed some one thousand tunes and analyzed 500 of them which were from 132 singers at 61 locations.
A kötet Bartók Béla 1936-os kis-ázsiai népzenei gyűjtőútjának eredményeit mutatja be. A mű most jelenik meg először magyar nyelven, és elsőként tartalmazza a török versszövegek magyar fordítását, valamint a gyűjtés hanganyagát (utóbbiakhoz a megadott weboldalon keresztül lehet hozzáférni).
Hosszú szünet után ez volt Bartók első és egyben utolsó terepmunkája. A török népzene később is annyira foglalkoztatta, hogy Amerikába való emigrálása előtt komolyan gondolkozott a törökországi letelepedésen.
Ez a kevéssé ismert kutatás a magyar őstörténet egy fontos forrása, ugyanis gyűjtőútja során Bartók nagy számban talált magyar dallamokhoz hasonló török dallamokat. Jellemzi lelkesedését, ahogyan felkiált egy dél-törökországi kis faluban: „Alig hittem füleimnek: uramfia, hiszen ez mintha egy régi magyar dallamnak változata volna[...] a második, Bekirtől hallott dallam – megint csak egy magyar dallam rokona: hisz ez már szinte megdöbbentő”. A kötetben a szakembereken kívül hasznos és élvezetes anyagokat talál a nagyközönség is. Bartók tanulmánya, egyedülállóan részletes lejegyzései és a dallamokhoz fűzött megjegyzései mellett a kották tanulmányozásával egy időben meghallgathatjuk a felvételeket és olvashatjuk a török dalszövegeket, valamint magyar fordításukat.
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The volume presents the results of Béla Bartók’s trip in Asia Minor in 1936 where he traveled to collect and study folk music. It is the first time that the book is published in Hungarian and it is also the first time that the Hungarian translation of the Turkish poems and the sound track of the collection is included (available via the indicated website).
After a long interval, that was the first-and-last-collecting trip of Bartók and before immigrating to America, his profound interest in Turkish folk music made him consider resettling in Turkey.
This barely known research is an important source of Hungarian prehistory as during his collecting trip Bartók found many Turkish tunes similar to Hungarian melodies. His enthusiasm is clearly reflected by his exclamation in a small Southern Turkish village: “I could hardly believe my ears: good heavens, this is like a variant of an old Hungarian tune! [...] The second tune I heard Bekir sing was again the kin of a Hungarian tune: that's quite shocking, I thought.”
For the non-professionals and professionals alike, this book offers a useful and enjoyable reading as besides Bartók’ study and uniquely detailed descriptions and comments on the tunes, the readers can simultaneously study the scores, listen to the records and read the Turkish texts, as well as their Hungarian translations.
online: www.ekonyv.hu, https://www.ekonyv.hu/hu/konyv-reszletei/ethnologia-multidiszciplinaris-szaktudomanyi-folyoirat--comparative-theories-and-methods-of-international-and-development-economics-world-economics-1?eid=29500