Serbo Croatian Fol 00 Bart

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AND
INDIA
BY
GEOFFREY
CUMBERLEGE
OXFORD
TO THE
Balkan peninsula.
which they
a
vocabulary
inspired
by
the
folk-
by
Mr.
Bartok
and
his
Hungarian
the
Hungarian
through
the
warm
of this work.
and
time
and
the
energy
pianist,
writings
particular national culture,
of one
born in
that
great
to
features.
Musical
rhythm
a
the
melody, as is done here by means of the skeleton notations.
The more
It
may
be
kept
in
book
written
by
authorize
changes.
tematic
discussion
of
Yugoslav
folk
music.
(The
standard
collection
of
and
the
rewarded
by
the
interesting
melodies
and
poems.
has
been
recorded
in
full
—a
procedure
not
very
often
used
in
recordings
of
International
de
Cooperation
Intellectuelle,
Paris,
1939,
pp.
is
[xv]
INTRODUCTION
TO
PART
ONE
3
MORPHOLOGY
OF
THE
absolutely
true
notation
of
music
(as
well
of
much
signs,
the
current
,
respective
degrees
between
the
accidental
off-pitch
singing
decided
signs
above
the
notes
are
used.
An
signs
could
conceivably
in
mind
that
mind
a
quarter
note,
it
would
misprints
or
change. Similarly,
sponding
notes,
of
course),
even
if
seemingly
added
accidentally,
should
be
transcribed
and
restored
the
by
some
peculiar
features
of
the
melody
(rests,
climax
No.
14).
Yugoslav
symmetrical struc-
will
enable
us
to
eliminate
irregular
and
so
forth.
variants
for
comparison,
we
mental (or vocal)
cases,
or
unusually
short
in
accordance
with
well-
weighed
principles,
even
when
to express
ferable
to
use
cedure
of
giving
each
section
and
stanza
its
own
metronome
value
is
imperative
when
the
case
in
making
a
choice
transcription.
Signs
in
the
current
(for the
rather
senseless.
A
profusion
of
practice,
however,
we
have
signs,
to
transcribe
any
of
the
not
used
any
musical
way.
or
disad-
^
this
grouping
a
given
melody
may
be
easily
located,
but
each other
of the lexico-
used
in
the
present
work
(as
well
as
in
this
principle.
When
creating
a
system,
various
aspects
of
the
text
Introduction to
d^
as
final
note
L
indicates
a
so
to
proceed
from
Introduction to
Part One
at
first
sight
as
a
variant
of
the
other,
called
a
where
shall
the
new
group
begin?
Which
of
the
more
or
less
similar
melodies
not? Again subjective decisions
to
Introduction to
Part One
these
double
for
subjective
judg-
repeats
(that
is,
enter
into
the
structural
parlando-ruhato
a
between
art
music
and
folk
[19]
as against
but
with
same
work
of
art
music
by
the
same
performer
of
or art
never-changing form.
:
as a rule, though
of
seven,
eight,
nine,
have eight-syllable lines
is
of
some from
Srpski
Etnograj'ski
numbered
there.
22
as
Manojlovic.
from the
(in prewar Hungary, now Rumania). Five melodies. Cited
as Bart6k.
lections
of
Serbo-Croatian
folk
melodies
; the
Bosanske
sevdalinke
za
klavir;
disposal,
Hrvatske pucke popijevke iz
to
Hungary
proper.
The
material
collected
melodies,
a
rather
(that
is,
marked
as
Bulgarian,
ethnically
as
well
as
are taken
Bulgarian
dialect.
Two
facts,
however,
seem
to
first,
will, of
of
melodies
remain
for
our
purposes:
49
in
item
1;
in
the
first
column
the
current
in
the
remaining
columns,
the
respec-
tive
symbols.
Tabula-
tion
will
be
referred
—
com-
The
customs
The
next
explorer,
in
chronological
order,
1,400
melodies
to
the
stock
of
col-
lected
Serbo-Croatian
folk
music
on
the
basis
of
scale
structures.
This
material
The
Folk.
mus.
first
unequal syllabic
number) the
different.
D,
at
have
sections
of
equal
(two,
three,
pp.
numeral
with
a
comma
after
it
is
used
consistently
as
[30]
melody-stanza structure
In
publications consisting only of texts, in which texts are stripped from
their
melodies
(as,
for
8,
5,
and
8,
6,
text
lines,
there
are
real
thirteen-
(Kuha£
1122),
1356
(Kuhac
1385),
elevates
them
to
the
view,
points
of
view
or
will
give
a
different
interpretation
to
the
degree
of
importance
of
the
already
not so easy
especially
that
of
a^
and
b^,
is
subject
to
such
fluctuation,
even
in
the
performance
of
a
single
to
determine
representing three
/^,
aspect.
2*
a
substantial
part
remaining
third
stripped
from
only
structurally
independent
text
lines will
the
published
mentioned: im-
provisations based on certain patterns with text lines being rather in
prose
or
and
some
harvest
songs,
and
text
stanza
structures
originated
in
Western
Europe,
in
the
ancient
Greek
European
ancient
other
sources.
MELODY-STANZA
STRUCTURES
As
old
from
Asia
Minor,
manuscript
deposited
at
the
Music
Library
of
two-section and
a
two-section
and
the
''New
lines
isometric
melody
stanzas,
too.
syllable)
does
not
results:
Serbo-Croatian
heroic
a
word,
the
secondary
seldom.
The
our
5-
to
11-syllable
lines,
we
apply
to
the
7,
.^^
A
and
B.
permanent
[two]
6.)
[two]
7.)
[six]
17.)
6,=
4+
(1st
r.2)
04+
(2nd
r.2)
1
611
[two]
19.)
[nine]
6
24.)
[two]
25.)
10,6,10=
10l6Dl0i
[thirteen]
26.)
[two]
30.)
[two]
31.)
[thirty-nine]
18
27.)
leTght]
33
pre-
syllables
of
a
underlined figure or figures
in
the
main
line
(that
is,
In
collections,
in
The two
the same on
yet
rather
peculiar
prin-
consists
of
section
Nos.
A
B
B(v)
structures
in
isometric
l_J
L
melodies
and
A
A(^)
b
structures
in
isometric
J
l__|
melodies
b
A(v)
b
structures.
The
statistical
data
A(v)
a^,
due,
perhaps,
that
Our
investigation
has
followed
the
shorter
ones.
It
may
be
mentioned
as
an
evidence
of
the
great
difference
between
on
material
Tab.
Table 4
32 11
20
88
18
of
Mat.
No.
165b.).
1291 (Dordevic
presence
in
the
Serbo-Croatian
Turkish settlements in
of
them
in
the
printed
collections
(the
first
number
the
senseless
refrain
rindiri
baba
—a
neglecting
the
editors have
of the second section
foreign
melodies
with
the
and
No.
270,
tone
c^^,
both
performed
attacca
No. 321
and
No.
124a.
in
Phrygian
small
number
melody
Serbo-Croats,
however,
took
have
N.
g.
case
tively;
similar
process
of
will appear in this new and artificially widened garb as
very
well-known
diatonic
melody
types.
Therefore
this
is
rather
a
permitted
to
range
Arabic
rural
melodies,
however,
show
a
slight
resemblance
to
it
(see
first
of
the
heroic
mainly on
stanzas,
four-section
or
three-section
structure.
Such
subordination
of
the
melody
in which
part
singing,
there
is
an
extremely
peculiar
kind
of
two-part
singing
to a detailed
preludes on
any
other
interval.
heavy
patterns.^
When
we
look
.
on
tions
effected
by
—
There
is
a
extent of this
the
49.
Of
the
latter,
no rests between
No.
1163
be
6,
7,
ingredient
of
the
melody,
to
it
in
the
most
duration
and
have
a
kind
are missing in the pub-
lished
collections.
and
others.
''''Ibid.,
Vol.
II,
observed by
Kuba (B.
word
rarity,
since
the
Rumanian
material
contains
some
specimens,
too:
Bartok,
Rumanian
the
consonant.
as
central-eastern Europe
and probably
Such elements
mistaken for
(for example,
When
a
two
(or,
in
a
few
else) sjedase,
lines
(and
(song
of
mourning)
II.
Events
of
e
men,
6.
songs for love-
b
or
similar
content
structures,
and
text-stanza
origi-
melodies have probably
satisfactory
com-
a
superficial
examination,
which
shows
two
main
differences.
(a)
Text
in
details may
see
pp.
249-252.
age
in
a
conspicuous.
She
Almasa
Zvizdic
keeps
no
changes
occur
two.
her
style
resembles
Ic,
etc.).
Each
section
of
a
melody
stanza
occupies
a
separate
staff,
except
in
No.
1,
in
which
a
notes
from
which
and
the
melodic
the Notes to
that,
the respective
Key
vibrato.
[90]
view,
and
is
dis-
regarded
when
establishing
the
structure
of
the
syllable
numbers.
[91]
Library.
Volksmusik
der
Rumanen
|
(
J^5^gJi^,îr^l(|);E^H|J>^J^f^Sp
5.
4.5ta-do-ê
i
J>J.
3.Ne-(û
\
\
ii
Ka
sta-de
sliri
12a (continued)
12b (continued)
r
12d (continued)
^
3.Ej,traî
4.Stou
4. Svi-je
2.D<t-vo-rugti-g'a-ia,lju- bo-vi
4.
R
r.
1^
r
20 (continued)
23b (continued)
24 (continued)
25 (continued)
25 (continued)
Var.(ref.toSt.6) St.35
II
R.
3553-6;
daeko
(Herc:egovLna),Cerima
Kurtovii,
May
21,1935
27b (continued)
m
JJM
27cl (continued)
^g^^
28a (continued)
28b (continued)
30 (continued)
pî
f^n-CT
31d (continued)
'
J)
^m
Him
^^:^îJ''
St.6
linfiS
-
41 (continued)
J>=300
44a (continued)
46 (continued)
-^..
52 (continued)
When the new bride's turn came,
5. When
8.
At
on no further
to
No.
9.
3)
and,
later
on,
the
break
(St.
5)
to be
here.
to
g^,
and
is
finally,
from
about
St.
singer
evidently
to
be
J
melody's place
would be
Notes to
the Music
tone
been
attained
by
a
St. 38.
the respective line.
eighth (last)
lower,
be
between
Nos.
1339
be
between
Nos.
1498
and
1499
in
Tab.
of
Mat.
41.
would
be
between
Nos.
1506
**
Notes to
the Music
specific sense
3567
any
rate,
of
sections,
especially
of
the
compressed
2/4
measure,
reminds
us
of
the
rhythm
in
certain
New-Hungarian
melody
types.
101, 627,
by
the
same
singer
no
Part Two
narrative heroic
to use
songs
are
divided
into
heroic
songs, which men sing to the gusle, and women's, which not
only women
the
manuscript
collection
of
a
in the year
The
work
started
badly
written
they
good
the rules
they
if
first-hand
accounts
of
us the
As
he
him-
self
said
in
conversation
which
coffee,
strong,
black
Turkish
by
far
the
most
being
a
townswoman
(gradanka),
not
goats
on
the
moun-
tains.
There
were
no
village,
Ahnasa's shriller,
more ornate
the
rumble
of
this accompaniment,
Turkish melodies
the
incumbent
in
1935,
was
a
gypsy,
a
he
was
in
jail,
because
when
he
was
free
he
would
beat
her.
She
knew
no
in Turkish
Bihac are lacking,
chiefly
on
musical
grounds.
to write them all
a
formance of the song.
following the name of the singer and the place and
date
of
the
recording.
been
sponsored
by
Robert
calf,
director
of
the
Dr.
Bartok
himself
has
aided
me
in
the
editing.
I
have
followed
his
advice
in
of
Nikola
Vujnovi^.
The
552,
but
B
is
complete
on
553.
The
transcription
given
8-10,
was
made
at
Yugoslav
musician;
lines
8-10
have
been
understood
his
need,
following
line.
is
the
first
time.
a
variant
text.
[264]
falcon,
10
6.
after
falcon
And
then
he
returned
to
Derdelez
Alija,
particularly the
first two,
[
6 c'
A 1.
Your
watch
inn.
and vary
little from
the published text. For A cf . Vuk, Vol. V, Nos. 401-402,
pp.
267-268.
For
the
and 10. There
sought
untasted
coolness,
Pa
on
tra2i
hladna
Ruke
su
one's
lips
are
his
the
singer
pauses,
and
I
is
sung
at
the
beginning
the
first
time.
while
his
picture
are
The
son.
And
Girl-Baby,
the
husband
threatens
to
kill
his
Gacko
is
the
musical
four
syllables
of
line
A
14.
6
four
When
they
approached
the
to the
an
error;
the
green
plain.
3133
To
dukati
brata
Alibega
40
I
spremi
je
svom
bijelu
dvoru.
Fata
Krajisnik,
Gacko
(Text
6366)
April
24,
1935
10b (continued)
It
is
true,
Nikola neglected to
Mr.
Bartok
it
however,
them are
actually
crossing
of
two
themes,
one
about
the
young
men,
more dictated
and
they
.
prenula.
10
6.
There is
all
from
Gacko
and
all
dictated.
12a (continued)
for
vet
or
ve'
48.
Melechana;
57.
You
are
not
carrying
away
lovely
Melechana,
Pa
uzjaha
dilber
Melechana.
65.
Odvede
je
love.
130
is
11.
not
line 2
by Ej,
5
this
repetition
is
at
me;
But
only
songs.
Lines
one
to
Sva
to
Matica,
Vol.
in
the
embroidery,
15
So
many
wounds
the
begin-
ning
with
of this Contest of Flowers song. In
line
common expression,
[
See, dear
Alexander
to
France,
George
to
Russia,
My
*
and
cut
next morning
in all
two.
No.
1646
is
wants
the
brothers
repeated
[313
1
Ne
grijes'te
Pivodica
30
The
old
mother
of
Pivodic.
first three stanzas is
clear on
the record.
poem
in
the
Parry
if
in the repeat.
i
after
the
eighth
'
the
pasha.^
2.
They
called
out
the
Jannissaries,
Jannissaries,
the
pasha,
Moric
Ibro
Collection. The
they were seized
the
variants.
No.
[
gathering
any
other
text
shows the
says
that
he
In
No.
11613a
the
mother
simply
tells
him
to
let
to
her.
[321
and
triplet, although both
^
motifs
over
the
text;
Ai
sons
the
captain
him,
thus
is
elided;
aj
first
line
of
with this
each
stanza
haj
and tragic poem with
overtones of magic. Our text is only the beginning of the song.
Beside
and
most
incomplete
of
when
bad
dream
which
a
vila
had
col-
lection.
and
[
at my window.
23b'
A
silk
blouse
her,
to
look
at
her,
or
to
take
her
away.
They
and
1-4
the
line
is
repeated
stanza
2.
first
time
5
My
true
theme,
but
the
[
3-9
by
Aj,
line
10
25 (continued)
be Alibeg.
between
ask
you
something.
25
I
have
begun
a
pattern.
14.
I
have
begun
a
pattern.
And
I
two
variants,
the
from
behind
destroy
you
3.
Will
you
tell
me
knocked
out.
17.
He
with
.
repeated.
2
In
repetition of the last
the
last six syllables the singer inserted by error nebo prolomilo,
vedro
nebo,
de
se
vedro
the
door.
7.
Mother-in-law,
unhappy
one,
daughter-in-law
May
God
grant
20
That
where
it
this
published
song
which
I
brought
in this book.
Parry
published
text.
The
wife's
reveals
yet
10
6.
By
heaven,
light-gray
falcon.
What
kind
deed
did
another.
If
he
went
away',
And
horse from the stable
down
version
Have
10
20
Meho
Jaric,
Livno
(Text
504)
Sept.
21,
1934
1
joj
(stanza
2),
and
aj
(stanza
9).
2
Line
But
he
asks
the
light-gray
falcon:
3.
Falcon
mine,
28;
Ristid,
No.
39,
p.
53;
syllable.
(The
You
variants
of
the
published
text.
Sretila
je
the
to
me,
the
and add
(Karamfil
prepares
for
a
journey
and
sings).
The
repetition
of
sprema
is
this
wrote it down
song is different from the others which begin with the
same
lines.
After
be
taken
to
says:
Give
him
the
I
myself
own
funeral,
and
breathes
22
to
10
to
make
us
some
Turkish
cakes.
The
pastry
was
the
singing
by
making
Text
scribed
example, line
When
young
Meho
heard
that,
hands
20
And
belong
to
another
stock
( Mujo
kuje
konja
variants
and
is
somewhat
Meho's
arms
and
is
carried
away
10
Ni
3. Divan cini Salih
following
musical
a
letter
Salih pasha
wrote in
10
and
sang
are
published
here.
I
tu
[376]
And
cried
out
from
his
white
throat:
Listen
to
But
Na
[
35 (continued)
Fi
23.
Na
drugi
je
atu,
F4
Ni
Treci bogaz
35 (continued)
B
Neka
B2F R.
to
him:
Himzibeg,
son
of
the
sultan,
What
And Himzibeg
For you
Let
version
of
Parry Collection.
I
u
medna
usta
Ijubiti,
Ko
ti
dade
zlatne
kljuci
od
harema
mog?
the tongue.
and
Syria.
4.
Tell
of
the
poem
in
the
Parry
Collection.
Nos.
dependent
upon
songbook
texts.
Although
it
has
5
bush, but
a
short
you.'

a
the
old
man
puts
and after the
this
published
text,
one
the
father
thread,
God.
A
note
te
jad,
Jer
ce
dzelat
tvoju
'
other
instances
him
to
die.
text
so
that
it
might
be
known
that
an embroidered handkerchief
Vet se
slusa.
of it in
that
with
his
brother.
Then
See
notes
on
the
music
svile.
Brzo
Ljuto
kune
Zajimova
majka:
Nit'
mi
dosla,
ni
repeated.
destined
for
us
May
she
never
walk
beneath
my
roof
Zajim
Osmanaga
heard
that.
10
Quiet,
explains
to
gifts
which
he
cheek and
the
spot.
One
text
to
play
with.
No.
Zajim
is
sure
that
she
line
leaking
says
that
25
Evo
But
mufBed.
As
soon
as
Ema
heard
this.
She
fell
to
the
green
grass.
girl
has
run
Hajrija
real
variants
and
2
The
number
indicates
and
has
gledaju.
Na
Progovara
Sarajka
djevojka:
The
maid
hands,
in
which
were
three
flowers.
to go
she tells him that she is going to marry someone
else
Zvizdid,
in
the
the line
Grana javora
the Parry
Vols.
I,
V.
V
(Zenske
Pjesme),
Index of
Index of
(31d,
C),
369
The
(31d,
B),
369
Thirty
maids
sat
embroidering
Index of
Bano.L^002

Serbo Croatian Fol 00 Bart

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