Verfügbarkeit: Az erdélyi magyar népi tánczene

Az erdélyi magyar népi tánczene:

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Bibliographische Detailangaben
1. Verfasser:	Pávai, István (VerfasserIn)
Format:	Buch
Sprache:	Hungarian
Veröffentlicht:	Kolozsvár Kriza János Társaság 2012
Schlagworte:	Geschichte Ungarisch Volksmusik Volksmusiker Siebenbürgen
Online-Zugang:	Inhaltsverzeichnis Abstract
Beschreibung:	Zsfassung in engl. und in rumän. Sprache
Beschreibung:	485 S.
ISBN:	9789738439658

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Datensatz im Suchindex

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adam_text	TARTALOM BEVEZETÉS n A témaválasztásról 11 Az erdélyi magyar népi tánczene kutatottsága 13 A kötet tartalmi és formai felépítéséről 21 A TÉMA ÉRTELMEZÉSE 25 A népi tánczene fogalma 25 Időkorlátok a hagyományőrzés és polgárosulás viszonylatában 28 A kutatott terület interetnikus jellege 36 A DOKUMENTÁLÁS TECHNIKAI KÉRDÉSEI 41 Kézi adatrögzítés 41 Irodalmi adatok 42 Ikonográfiái adatok 43 Néprajzi feljegyzések 45 Helyszíni zenei lejegyzés 46 Gépi adatrögzítés 48 Fényképezés 48 Hangrögzítés 54 Mozgókép-felvétel, komplex dokumentálás 70 STÁTUS, SZEREP, ETNIKUM 77 A hivatásos zenész státus 78 Táncos és zenész kapcsolata 80 A táncot kiszolgáló zenész 80 Éneklés és táncszók kiáltása tánc közben 86 Különleges elvárások a zenés-táncos kapcsolatban 92 6 Tartalom A táncdallam „tulajdonjoga 94 Gyűjtő és zenész kapcsolata 98 Interetnikus vonatkozások 99 Etnikum és etnikumváltás 99 A tánczenei repertoár etnikai kötődésének változásai 105 Népnevekből képzett táncnevek 108 Egy interetnikus táncrend 112 Interetnikus változások a nemzeti és regionális tudatban 116 TÁNCKÍSÉRŐ HANGSZEREK 121 Idiofon hangszerek 122 Alkalmi ritmuskeltő eszközök 122 Doromb 123 Membranofon hangszerek 125 Dob 125 Chordofon hangszerek 129 Citera 129 Cimbalom 1ЗЗ Koboz 139 Hegedű 144 Kontra 150 Bogo 157 Ütőgardon 163 Aerofon hangszerek 167 Furulya 167 Duda 171 Töröksíp, tárogató 181 Klarinét 184 Harmonika 187 Tartalom TÁNCZENEI KÍSÉRETTÍPUSOK 193 Önálló ritmuskíséret 193 Puszta dallamkíséret 194 Tánckísérő ének 194 Tánckíséret dallamhangszerekkel 200 Tánckíséret fúvóshangszerekkel 201 Tánckíséret dallamjátszó vonóshangszerekkel 204 Tánckíséret többféle dallamhangszerrel 207 Komplex kíséret 208 Vokális komplex kíséret 209 Komplex kíséret egyetlen hangszerrel 209 Doromb 209 Duda 210 Citera 214 Dallamhangszer párosítása komplex kísérőhangszerrel 215 Hegedű-duda 215 Fúvóshangszer-duda 216 Több dallamhangszer társítása komplex kísérőhangszerrel 217 Dallamhangszer párosítása ritmuskeltő hangszerrel 218 Ének ritmuskísérettel 218 Alkalmilag társított dallam- és ütőhangszerek 219 A síp-dob típusú kettős változatai 221 A hegedű-ütőgardon kettős és alkalmi bővülései 224 Pengetőkíseretes együttesek (hegedű-koboz, furulya-koboz) 227 Vonósokra alapozott népzeneegyüttesek 230 Hegedű-cimbalom-bőgő 233 Hegedű-kéthúros kontra-bőgő 237 Hegedű-kéthúros kontra-cimbalom-bőgő 238 8 Tartalom Hegedű-háromhúros kontra-bőgő 238 Hegedű-háromhúros kontra-cimbalom-bőgő 240 A kísérettípusok megválasztását befolyásoló tényezők 240 A TÁNCOK RITMUSKÍSÉRETE 249 Kontraritmus 254 Lassú dűvő 254 Sánta lassú dűvő 255 Egyenletes lassú dűvő 260 Gyorsdűvő 266 Ritka legényes táncok kísérete gyorsdűvŐvel 266 Gyors legényes táncok kísérete gyorsdűvŐvel 267 Párostáncok kísérete gyorsdűvŐvel 270 Esztam 273 Dallamritmus 278 Motívumismétlő ritmus 279 Kanásztánc ritmus 280 Dudaritmus 282 Szinkópás ritmus 283 Pontozott ritmus 284 Proporció 288 A TÁNCKÍSÉRET DALLAMI VONATKOZÁSAI 301 A tánckísérő dallamok hangszeres jellege 301 A tánchoz kapcsolódó dallamok száma és sorrendje 311 Tánc- és dallamszakaszok összefüggései 320 Közjátékok 321 SZEMPONTOK A NÉPI TÖBBSZÓLAMÚSÁG VIZSGÁLATÁHOZ 333 A zenei anyag hitelessége 334 A hitelességet befolyásoló adatközlési tényezők ЗЗ6 Tartalom Az adatközlő hitelessége 336 A zenekar összeforrottsága 337 A kísérőhangszerek viszonylagos függetlensége 339 A hitelességre ható gyűjtési tényezők 340 A gyűjtő-adatközlő kommunikáció problémái 340 Gyűjtő és adatközlő hatása egymásra 341 A gyűjtés körülményei 343 A harmonizálási elvek azonosításának fontossága 344 Burdonkíséret 345 Dallamkövető többszólamúság 346 Dallamhangszerek heterofóniája 346 Dallamhangszer-kísérőhangszer heterofóniája 351 Dúrakkord-mixtúrás kíséret 353 Funkciós harmonizálás 356 A harmonizálási elvek keveredése 358 A hangszerek és a játékmód technikai korlátai 359 A prímás és a kísérőhangszeresek metakommunikációja 365 A ritmuskíséret és a tempó hatása a harmóniára 367 A daliami j elleg harmóniai következményei 371 AZ ERDÉLYI MAGYAR NÉPI TÁNCZENE VIZSGÁLATÁNAK TANULSÁGAI 377 A MAGYAR NÉPI TÁNCZENE TÁJI TAGOLÓDÁSA ERDÉLYBEN 387 KUTATÓPONTOK 391 IRODALOM ÉS RÖVIDÍTÉSEK 399 CONCLUZII PRIVIND CERCETAREA MUZICII JOCURILOR POPULARE MAGHIARE DIN TRANSILVANIA 453 CONCLUSIONS OF THE RESEARCH ON TRANSYLVANIAN HUNGARIAN FOLK DANCE MUSIC 465 CUPRINS 475 CONTENTS 481 CONTENTS THE FOLK DANCE MUSIC OF THE TRANSYLVANIAN HUNGARIANS INTRODUCTION 11 About the subject и The research on Transylvanian folk dance music 13 About the structure of the volume 21 THE INTERPRETATION OF THE SUBJECT 25 The notion of folk dance music 25 Time limits regarding preservation of tradition and modernization 28 The interethnic character of the research area 36 TECHNICAL ISSUES OF DOCUMENTATION 41 Manual data recording 41 Literature data 42 Iconographie data 43 Ethnographic records 45 On-the-spot music notes 46 Mechanical data recording 48 Photography 48 Audio recording 54 Video recording, complex documentation 70 STATUS, ROLE, ETHNICITY 77 The status of the professional musician 78 The relation between dancer and musician 80 Musician serving the dance 80 Singing and shouting during the dance 86 Special requirements in the musical-dancing relation 92 482 Contents The ownership of the dance melody 94 The relation between ethnographer and musician 98 Interethnic aspects 99 Ethnicity and the change of ethnicity 99 Changes in the ethnic attachment of dance music repertoire 105 Dance names from folk names 108 An interethnic dance cycle 112 Interethnic changes within national and regional consciousness 116 DANCE ACCOMPANYING MUSICAL INSTRUMENTS 121 Idiophonic instruments 122 Casual rhythm tools 122 Trump 123 Membraphone instruments 125 Drums 125 Chordophone instruments 129 Zither 129 Cimbalom (Hungarian dulcimer) 133 Kobsa 139 Violin 144 Kontra 150 Bass 157 Hit Gardon 163 Aerophone instruments 167 Flute 167 Bagpipe 171 Zurna, tárogató 181 Clarinet 184 Accordion 187 Contents 483 DANCE MUSIC ACCOMPANY TYPES 193 Independent rhythm accompaniment 193 Pure melody accompaniment 194 Dance accompanist singing 194 Dance accompaniment with melody instruments 200 Dance accompaniment with wind instruments 201 Dance accompaniment with melody-playing string instruments 204 Dance accompaniment with diverse melody instruments 207 Complex accompaniment 208 Complex vocal accompaniment 209 Complex accompaniment with one instrument 209 Trump 209 Bagpipe 210 Zither 214 Melody instrument with complex accompanist instruments 215 Violin - bagpipe 215 Wind instrument - bagpipe 216 Several melody instruments with complex accompanist instruments 217 Melody instrument with rhythm instrument 218 Vocals with rhythm accompaniment 218 Casual coupling of melody and percussion instruments 219 Variants of pipe - drums duo 221 The violin - hit gardon duo and its casual completion 224 Duos with plucked instrument (violin - kobsa, flute - kobsa) 227 Folk music bands based on string instruments 230 Violin - dulcimer - bass 233 Violin - two-string kontra - bass 237 484 Contents Violin - two-string kontra - cimbalom- bass 238 Violin - three-string kontra - bass 238 Violin - three-string kontra - cimbalom - bass 240 Factors influencing the choosing of accompany type 240 RHYTHM ACCOMPANIMENT OF DANCES 249 Rhythm of the accompanying instruments 254 Slow „dűvő (accompanying rhytm in crotchets) 254 Unsymmetrical slow „dűvő 255 Symmetrical slow „dűvő 260 Fast „dűvő (accompanying rhytm in quavers) 266 „Esztam (accompanying rhytm in alternating quavers) 273 Melody rhythm 278 Motif-repeating rhythm 279 Swineherd dance rhythm 280 Bagpipe rhythm 282 Syncopated rhythm 283 Dotted rhythm 284 Proportion 288 MELODICAL ASPECTS OF DANCE ACCOMPANIMENT 301 The instrumental character of dance accompanying melodies 301 The number and order of melodies related to dance 311 Connections of dance and melody segments 320 Interludes 321 VIEWPOINTS FOR THE RESEARCH OF FOLK POLYPHONY 333 The authenticity of the musical material 334 The informing factors that influence authenticity 336 The authenticity of the folklore-informant 336 The symbiosis of the orchestra 337 Contents 485 The relative independence of the accompanying instruments 339 Factors of fieldwork influencing authenticity 340 Problems of communication between collector and informant 340 Mutual influence between collector and informant 341 Circumstances of collecting 343 The importance of identifying the principles of harmonization 344 Burdon-accompaniment 345 Melody-following polyphony 346 Heterophony between melody instruments 346 Heterophony between melody instruments and accompanying instruments 351 Major chord-mixture accompaniment 353 Functional harmonizing 356 Combination of harmonizing principles 358 Technical limits of instruments and playing 359 Meta-communication between leader and instrumentalists 365 The influence of rhythm accompaniment and tempo on harmony 367 Harmony consequences of the melodic character 371 CONCLUSIONS OF THE RESEARCH ON TRANSYLVANIAN HUNGARIAN FOLK DANCE MUSIC (in Hungarian) 377 TERRITORIAL ARTICULATION OF FOLK DANCE MUSIC IN TRANSYLVANIA 387 LOCATIONS OF RESEARCH 391 LITERATURE AND ABBREVIATIONS 399 CONCLUSIONS OF THE RESEARCH ON TRANSYLVANIAN HUNGARIAN FOLK DANCE MUSIC (in Romanian) 453 CONCLUSIONS OF THE RESEARCH ON TRANSYLVANIAN HUNGARIAN FOLK DANCE MUSIC (in English) 4^5 CONTENTS (in Romanian) 475 CONTENTS (in English) 481 CONCLUSIONS OF THE RESEARCH ON TRANSYLVANIAN HUNGARIAN FOLK DANCE MUSIC In the early stages of Hungarian folk music research the interest was oriented first of all towards the recording of vocal melody repertoire, thus instrumental music and functional research were given less attention. The first great results of instrumental and dance research assured the conditions for the starting of the research of folk music from the point of view of folk dance. The dissolution of the traditional peasant society had been coming off very differently, and in the same time in different places within different regions, and within this process, compared to other genre, the chances of survival were bigger for folk dance and dance music. That is why it was possible to continue the intensive fieldwork, necessary for the research of folk dance music even in the last few decades. For the whole observation of synchronie phenomena and the diachronic processes the research had to include both the exploration of the recent situation of folk dance music and the retrospective measurement of the previous situations based on the memory of the people. In this matter Transylvania proved to be a very suitable area, due to its geographically closed character, historical heritage, land structure and interethnic relations. The importance of this region is signaled also by the unanimous opinion of folk music and folk dance researchers, according to which it is not as researched as its richness would suppose. Its delimitation as an ethnographic region is easier than in the case of other great dialects of Hungarian folk music, which is due to its geographic, historic and ethnic relations. It is relatively easy to delimit those north¬ western territories, which historically speaking haven t always belong to Transylvania, and can be considered as transit areas even from an ethnographic point of view, respectively those groups of settlements near mountain passes, which have relations over the Carpathians. In the case of our research, setting an artificial time limit was not a proper solution, as the upper limit was of course outlined by the preservation of tradition, implicitly the possibilities of research, which can differ very much from one region to another. The setting of the lower limit is also not really justified, as the indirect sources (literature, iconography) on folk dance music can stretch back to several centuries. It is a different issue, that the incomplete and not always reliable information content of these does not make it possible to really reconstruct the 4б6 Conclusions evolutionary stages of folk dance music during centuries, but in some details they are (almost) satisfactory (e.g. the appearance of instruments, the formation of typical instrument groups, issues of proxemics related to musician and dancers etc.). Vocal folk music can be easily researched even in lack of technical tools. But the mostly instrumental folk dance music, often being polyphonic music, cannot be researched on a satisfactory level without the proper tools. Thus the fastening evolution of documentation s technical possibilities, from phonographs to contemporary digital and multimedia tools, made possible the more and more reliable documentation of previous research view points, respectively the introduction of such new part subjects, which were not accessible in lack of proper apparatus (playing technique, polyphony), or the information provided were approximate and available only through indirect sources. The knowledge on the technical possibilities of recording tools can contribute to such folk music research source criticism, that folk dance music and generally instrumental polyphonic folk music can rely on. Approaching the circle of folk dance music performers and consumers from a socio-ethnographic point of view, we might state that we can include in this model of analysis social groups, which can be interpreted as relatively closed, self-identified communities (at least in the aspect of dancing), having a repertoire that has been inherited mostly from the previous generation, through natural mechanisms, a homogeneous value consciousness and a convergent system of norms. At different levels of community coexistence well defined statuses are developed (musician, non- musician, dance coordinator, dancer, leader of the band, accompanying musician etc.), while the individual might fulfill one or more of them, based on the given situation or place. At the practicing of rights and obligations of the status in question, the most suitable role is being played, therefore the static status becomes dynamic through a role. From those dealing with instruments, the professional folk musicians have an outstanding role in the dance life of the community. Due to their material interests, they have a two-way activity: in the one hand they are interested in the sustenance and transmitting of the old repertoire, as it is required by the community. On the other hand they have to satisfy individual or generational specific needs, for example they have to know the trendy melodies of the youth, and therefore they have their role in the modification and renewal of the repertoire. They consider that urban Gypsy musicians are superior to them, and they also try to get their knowledge (sheet music knowledge, urban Gypsy music, urban dance music, harmonizing etc.), trying to grow up to them. But from the view point of the research we can state that the performers of rural folk dance music outperform their urban colleagues by the variety of melodies, by the Conclusions 467 knowledge of the local customs of many neighbouring areas, by the adaptation to dance and by improvisation. The latter ones get their repertoire not only from tradition, but also from music sheets, and nowadays from audiorecordings, therefore they follow more rigid, more fixed forms. It is a general thing among the Transylvanian small city Gypsy musicians to go regularly out on the countryside to perform, to know both repertoires, thus in their case the opposition of the two models is more nuanced, more faded. Within their role to serve dancing, the rural folk musicians are really tied to their crowd. Usually they are dancers as well, they maximally go by the dancers, they play (often for money) their favorite melodies (that are named after them), they go by them regarding the tempo, and they outline rhythmically certain elements of the dance. Regarding the tempo and the rhythm, they also adapt to the shouting or sing¬ ing that is taking place during the dance, furthermore they play more vocal-like, avoiding complicated variants, and changing the melody. In the same time they don t like weak dancers, they make fun of them, in some places they know secret mocking melodies, played exclusively for them, referring to their incapacity. The joking tendency of the musicians is well known. Sometimes they mix religious songs into dance music, or even the national anthem of another ethnic group. But it is also a part of tradition that the joking mood of the community evokes special requests from the musicians (riding the wagon, lowering into the well, climbing trees, request for specific performance, driving out through music or dance etc.) As the collection of folk music mostly didn t take place within its original popular environment, but at the request of the collector, it is important to observe how the collector and the circumstances of collecting influence the professional folk musician, as he/she is put into the status of an informant. In this situation there are numerous factors that influence his playing, which, as a consequence, might differ from the one heard in a traditional environment. Recording dance music in lack of dancers might raise some problems in itself (the tempo is not totally authentic, the number of melodies used for one dance might change etc.). Another similar factor is the paying of the musician, displaying the specific knowledge of the collector or the show-off of his musician skills, exposing his incompetence etc. In these cases even the collector himself can become the victim of the musicians joking (they might improvise a csár¬ dás from a waltz for him etc.). Most of the professional rural folk musicians, playing regularly or at least from time to time for money or other allocations, are of Gypsy ethnicity or origin, but we also know several Hungarian or Romanian leaders who can play on the same (or al¬ most the same) level. (Previously there were also musicians or bands of Jewish origin in Transylvania). Regardless of their ethnicity, the musicians usually serve the musi¬ cal needs of diverse ethnic groups, thus they play a connecting role. The interethnic 4б8 Conclusions relations are favoured by the commonly organized dance occasions of smaller settlements with a mixed population, which can result in the appearance of local, ethnically mixed dance orders, as the locally institutionalized, controlled forms of interethnic relations (e.g. the dance order of Voivodeni). However, all this is not enough for the explanation of the cultural correspondences between the ethnic groups of Transylvania, which are outstanding especially on the fields of dance and dance music. The multitude of dance names related to ethnic groups (e.g. in Hungarian: féloláhos, szászka, cigánytánc [half Romanian, Saxon, Gypsy dance]; in Romanian: ungureşte, ţigăneşte, ştraiere [Hungarian-like, Gypsy- НкеЂ is also referring to the interethnic mobility of the repertoire. During history the mobility of the population, the ethnic change of entire villages and the co-existence of different ethnic groups led to such a cultural mixture in Transylvania, that often we have to look for the antecedents or connections of one ethnic group s cultural elements in another ethnic group s traditions. For example a part of the earlier Hungarian melody and dance repertoire got into the traditions of the Romanians and/or Gypsies, therefore without the research of the latter we cannot enlighten the processes that have been taken place, and it is not possible either the interpretation of the Hungarian folklore repertoire as a whole. On the other hand in some places the folklore elements taken over from the Romanians were kept by Hungarian communities, featuring even some that are not preserved any more by the Romanians. Therefore the research of Hungarian folk dance music can offer data for the Romanian research as well. In Transylvania folk dance music services are offered almost exclusively by instruments, bands. The presence of the instruments accompanying the dance can be relatively well documented from archive sources, starting with the 15-16* centuries. But their evaluation has to be done very carefully, as on the one hand the meaning of the names of the instruments have been constantly changing, and on the other hand the data provided by these sources do not always refer to folk life. The constant documentation of instruments in the recent folklore also meets difficulties, as the related data collection is quite imperfect. However, as a conclusion, we can state that during the previous centuries, there was a relatively rich assortment of instruments in use, and a part of it has disappeared from the Hungarian culture (bagpipe, Turkish pipe). Some groups of instruments had their role in the musical self-sufficiency, accompanying the dance at casual entertainments, usually within the frames of regional traditional orchestras. In the interest of the latter, some instruments specialized in melody playing, other as accompaniment, and some in both aspects. This specialization, respectively the various playing forms serving the rhythmical support of dancing, harden the classification of the folk instruments by the classical Conclusions 469 classification of Hornbostel and Sachs, especially in the subclasses of this classification, as the string bass is played either with a bow or by hitting it, while the cello-like gardon is regarded as a percussion instrument, or the flute is played with a specific gorging sound and so on. Similarly, the specialization to dance accompaniment resulted in the use of violin or viola as a kontra, with quite various tuning and playing modes in some places. It is especially important the documentation of the chord-playing kontra with linear string-holder and three strings, on a much more wide area than it was previously imagined. According to the perception of dance research, the accompaniment of dances can have three forms: independent rhythm accompaniment, pure melody accompaniment, and a complex accompaniment mixing the two. There are numerous literal, iconographie and recent folkloristic data which enable the following of the presence of dance accompanying forms in Europe, in the Carpathian Basin, and more detailed in Transylvania. From this information we find out that the forms in use are influenced by multiple factors: the local customs, the size and importance of the dance occasion, the community ordering the music, the social rank of the family, the present state of modernization of the local culture, the musical potential at hand. Within the dance music accompaniments there were some forms, considered locally ideal by the community, which were mostly preferred in optimal conditions. These orchestras can be classified into different types, and although they are related to each other, it can be documented within certain areas, that they had been partly identical for a longer time (through several generations). The world-wide, many centuries old wind instrument - percussion instrument couple led to the formation of the flute - hit gardon, respectively violin - hit gardon duo, known at the eastern Szeklers, at the Csángós of Ghimeş, and at the Romanians of the nearby regions, that is Bicaz and Topliţa. At the Transylvanian Hungarians the plunking accompaniment form survived only in Ţara Bârsei region, and it is more wide spread at the Moldavian Hungarians and the Romanians from Walachia. The combination of violin - dulcimer - bass that can be found on the western Szekler territories, although it might seem the remains of an urban Gypsy band, with its melody-playing dulcimer and bass is more like a transmission of an earlier tradition. The violin - two-string kontra - bass orchestra is more likely to follow the lineup of a Gypsy band from the city, but in Szeklerland and at the Romanians around Arad and in Bihor County the kontra, besides assuring the accompany rhythm, has a function of more like melody-doubling than harmony. Naturally, there are rural orchestras in Transylvania, which correspond to city Gypsy bands in the way they play, too, even completed with a clarinet, but among these the important ones are featuring contra-accompaniment by three-string kontra. (Upper and Central Mureş region). Although in means of harmony they are really 47O Conclusions close to the functional style, the sound of this kind of orchestra is somehow different from the city bands, due to the solid sound of the three-string kontra, the dance- supporting rhythm of the dulcimer, and the special playing technique in the case of the violin. In most parts of Transylvania - including the Szekler part of Homoroadelor region - the general orchestra type is violin - three-string kontra - bass, without the dulcimer, some places with the doubling of the violin or/ and the kontra. Replacing the kontra with the accordion and the clarinet with the saxophone is a newer phenomenon. Its traditionalization is limited by the fact that nowadays rural weddings are being served also by orchestras with electric guitar, synthesizer and jazz drums, usually bringing a violinist with them, who knows the local customs and repertoire, playing the traditional part of the wedding music, certainly with the accompaniment of electric instruments. The documentation of these new (non- traditional) forms is also important from the view point of the folklore s change, but their detailed analysis doesn t concern traditional folk music research yet. In the case of the lame slow accompanied dances, which are the accompaniments for the slow asymmetric pair dances, the detailed analysis of the rhythm enables us to draw the conclusion that this kind of asymmetry is created by the periodical alteration of two parallel time sheets. If the contra-rhythm and the basic rhythm of the dance differ from each other, it refers to a music that was pulled on the dance afterwards. In these cases the motifs of a previously known, different rhythm dance are pulled on a new, trendy music. The identification of the types of accompanying rhythms in the dances of other ethnic groups gives a helping hand at the revealing of the dances interethnic relations. Melody rhythm is of a lesser importance than contra-rhythm in the identification of dance types. The most basic accompanying melody rhythm consists of motif- repetition, and it is present especially within more archaic dance types, for example in some part of Balkanic chain dances, thus in the dance music repertoire of Hungarians in Moldavia and Ghimeş region. In these places the other part of the dances are accompanied by melodies of swineherd dance rhythm. In Transylvania this has a great importance in the case of jumping, single dances, the old pair dances, even more, in the case of the new-style csárdás and some burgeois pair dances as well. In Szeklerland, along the river Şieu, there are some dances that are named ver¬ bunkos, featuring melodies of swineherd dance rhythm. To keep it simple, we call another form of melody rhythm bagpipe rhythm. These are formed by rigid isorhythmic verses or double lines, often being related to real bagpipe songs, but they appear in quite scarce dance types, especially in some fast csárdás types. Similarly, especially within the accompanying melodies of these types we find some, which are consequently of syncope rhythm. Conclusions 471 Finally, the punctuated rhythm within the S metric frames is characteristic to slow csárdás, its faster variants, respectively to certain slow men dances and the related circle dances from the Transylvanian Plain. Some of these use the milder variants (triplet, quintet) of punctuation; therefore in cases of simple singing data collection they suggest the fake illusion of a 5/8 or 6/8 metrum. It becomes obvious in these cases, that for a correct interpretation of rhythm the complete observance of melody, dance and contra-rhythm is required, as in this case the latter stick to the ƒ value basic rhythm. A part of the folk dance melodies are characterized by the rhythmical multitude, related to proportion that has been known all around Europe. In an ethno-musical interpretation this means not only the alteration of even and uneven tempo, but the connection of any two dance types differing by rhythm and tempo in a way, that the melody of the first is reinterpreted by the specific rhythm of the second (or even the third). Such a proficiency of the folk musicians makes the mentioned comical solutions (converting religious songs or national anthems into dance melodies), but it also leads to the fact that some melody types can appear in many different genres, even in non-dance musical ones. Because of the regular mixing of vocal and instrumental music during dance entertainments, we can observe not only the instrumentalization of vocal melodies, but the transformation of instrumental or instrumentalized melodies into secondary vocal ones. From the point of view of melody typology it is not very fortunate to talk about instrumental and vocal types, as typology systemizes in fact melody frameworks, which in the case of instrumental melodies appear exactly when we ignore the specific figurations of instrumental performance, thus we artificially transform the melody into a vocal one. Instrumental and vocal music doesn t dissever in the perception of the informants, as it does in scientific research. We know that even the difference of melody and dance might get mixed up: the word csárdás means both the dance and its accompanying melody. For the people living in a traditional culture, the dance, the instrumental music, the singing, the scansion, the rite-context forms an organic unity. It depends of the genre; in what conditions does tradition preserve vocally, instrumentally or in both ways the same basic melody. Most of the melodies belong to the latter category. The grade of instrumentalization is by nature greater in the case of the genres which - by capability, possibility or by other principles of tradition - do not include vocals. In the genres which permit singing during instrumental music, usually the instruments playing the melody alternates the vocal-like and instrumentally figured performance in such a way, that during the singing the music sounds vocal-like. Of 472 Conclusions course, this doesn t mean that in lack of singing it automatically turns into figured performance. Usually we can observe that even in these cases they alter the two kinds of performance with a very good sense, and it is very rare when a whole melody verse is played in a figured way. The latter is strongly related to dancing, for example during slapping it supports very well the rhythm given by the sound effects of the dance, but this rule has no automatic validity. The determination of instrumental melody performance by dance requires further investigation. According to dance research interpretation, the relative number of melodies related to certain dance types is included into the categories of one, several or many. In one region or another, in the ancient, deeply rooted, continuously transmitted dances the number of melodies is relatively given. If a dance with many melodies spreads onto a neighbouring region, in a first phase it would appear there with only few melodies. Therefore the intruding character of these dances can be deducted at the beginning also from the number of its melodies. The position of the melodies within the dance items is also regulated by tradition. The item can start with some melodies, but cannot with others. Besides this aspect, the major part of the melodies can be freely varied, but mostly the melodies of identical tone are lined up next to each other. All this can be over judged by the custom according to which the musician has to play the favourite melody of the dancer in front of him. The larger frame of the melodies succession is determined by the dance order. Besides the natural connection to multi-melodic slow and fast single man dances from Central Transylvania, in other parts of Transylvania we can find exclusively local men dances with several items, each item with one melody (verbunk of Jeica, borica of Patra Sate). In dance melodies the half melodies of a period are often related to the dance itself. This is recorded also by the folk terminology, being named turn or point. There are some instrumental interludes, probably originated in the repeating of the last part of the melody, which generally can be played freely after several melodies, and are gathered around a few harmony frameworks. From the view point of function, they are related to bagpipe episodes (dudaapráják). The research on folk polyphony, a phenomenon strongly related to dance music practice, is still at its beginnings. That is why it might be important to sketch the point of view, which might be taken into consideration in such an analysis. The priority of the dance accompanying function requires exact rhythm and a familiar tempo from the musician, but from the view point of harmony, this crowd has no obligatory expectations, even if it can tell a good kontra player from a bad one. Therefore it is ethnographically authentic when the kontra or bass player uses his/her fingers casually on the strings, if his/her bow use is a proper one. Musically it is not authentic, as traditional musicians know the correct solution from the view Conclusions 473 point of their own harmony system, and if they can, they bring with them a kontra player, who is also familiar with it, even ifin practice this is not always possible Also the authenticity of an orchestra can frequently be questioned in cases when casually the musicians are not familiar with each other, but they are forced to play together, or when they are invited to farer regions, where they are not accustomed with the local customs. If we record their performance in such occasions, these recordings won t be authentic from the view point of the research of folk dance music s traditional forms. Regarding folk harmony, we have to take into consideration that rural bass and kontra players do not try to create a specific sound by completing each other, they are relatively independent. We have already mentioned the influence of the collecting situation on the informant, but it is important to draw the attention on this aspect again, in relation with folk harmony. Especially when the collector is an urban dance house musician, the informant might harmonize differently. For example he would play things in a more simple way, to avoid the collector stealing his precious knowledge, or on the contrary, he considers the collector his colleague, and he urges to prove his knowledge, complicating the chords. Therefore mostly the so-called functional recordings are suitable for exploring the natural forms of folk harmonization. There were several principles of harmonization inherited in the Transylvanian folk music, some of them being present clearly, others in differently mixed forms (burdon-accompaniment, melody-accompanying harmony, functional harmony). The simpler form of melody-accompanying harmony (on two-string kontra) was formed from the combination of heterophony and the burdon-principle (playing the string next to the one playing the melody), respectively from the modeling role of contra- rhythm. In the case of the three-string kontra this is realized by playing the major chords corresponding to the pillar notes of the melody (major mixture heterophony). Naturally, the bass will play the same main notes. Functional harmonization was formed within urban Gypsy music at the influence of European classical-romantic music, and from there, it was overtaken by the per¬ formance of rural musicians, in a ratio differing from region to region and from generation to generation. Its basic principle is the following: each and every next step is reached through a previous dominant chord. As the principles are used independently by all accompanist musicians, the doubling of the dominant note is quite frequent, and parallel quintets and sounds might occur. Melody-accompanying and functional harmonization can be continuously mixed up even within one piece; that is why it is so important the continuous identification of harmonization principles during the analysis. The character of harmonization is also influenced by the technical possibilities of the accompanying instruments, by the 474 Conclusions meta-communication of the band leader and the accompaniment, by the tempo and rhythm structure of the given piece, respectively by the character of the melody. With the collective observance of all the factors from above, determining harmony, we can differentiate the real variations, being a part of the style (alternative improvisation), from the casual mistakes (stochastic improvisation). Thus we can model the duplicity of ethnographic and musical authenticity even with the notion- couple of competency - performance, used within cognitive sciences.
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physical	485 S.
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spelling	Pávai, István Verfasser aut Az erdélyi magyar népi tánczene Pávai István Kolozsvár Kriza János Társaság 2012 485 S. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. und in rumän. Sprache Geschichte gnd rswk-swf Ungarisch (DE-588)4120374-4 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Volksmusiker (DE-588)4426423-9 gnd rswk-swf Siebenbürgen (DE-588)4054835-1 gnd rswk-swf Siebenbürgen (DE-588)4054835-1 g Ungarisch (DE-588)4120374-4 s Volksmusik (DE-588)4063854-6 s Volksmusiker (DE-588)4426423-9 s Geschichte z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026847797&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026847797&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle	Pávai, István Az erdélyi magyar népi tánczene Ungarisch (DE-588)4120374-4 gnd Volksmusik (DE-588)4063854-6 gnd Volksmusiker (DE-588)4426423-9 gnd
subject_GND	(DE-588)4120374-4 (DE-588)4063854-6 (DE-588)4426423-9 (DE-588)4054835-1
title	Az erdélyi magyar népi tánczene
title_auth	Az erdélyi magyar népi tánczene
title_exact_search	Az erdélyi magyar népi tánczene
title_full	Az erdélyi magyar népi tánczene Pávai István
title_fullStr	Az erdélyi magyar népi tánczene Pávai István
title_full_unstemmed	Az erdélyi magyar népi tánczene Pávai István
title_short	Az erdélyi magyar népi tánczene
title_sort	az erdelyi magyar nepi tanczene
topic	Ungarisch (DE-588)4120374-4 gnd Volksmusik (DE-588)4063854-6 gnd Volksmusiker (DE-588)4426423-9 gnd
topic_facet	Ungarisch Volksmusik Volksmusiker Siebenbürgen
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026847797&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026847797&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT pavaiistvan azerdelyimagyarnepitanczene

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