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Abstract
Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America, and in 1991 in Turkey. How Bartók's conclusions stand the test in the light of an examination on a larger Turkish material? I investigated this question in four of my books, and the detailed analysis points way beyond the scope of the present paper. This time I deal with a single melody, the No. 51 lament of Bartók's collection and with its larger Anatolian, Hungarian and other musical background. Can this melody be an important link between Hungarian and Anatolian folk music layers? If so, why did Bartók not realize this? Does Bartók's incredibly detailed way of transcription has practical benefits in the ethnomusicological research? Is the unique intonation of certain tones in some Anatolian and Hungarian laments accidental or do these tones show a consistent system? Can we find the musical form represented by this Turkish lament in the folk music of Turkic and other people; is yes, what kind of conclusion can be drown? Trying to find an answer to some of these questions I use the melodies and the results of my Turkish, Azeri, Karachay-Balkar, Kazakh, Mongolian and Kyrgyz researches of more then 7000 songs.
Zur Semiotik Einiger Musikinstrumente (Vorläufige Problemstellung)
Towards a Semiotics of musical instruments. Outlines of the problem
In spite of the promising recent development of comparative musicology (also including the study of musical instruments) and of semiotics (also including musical semiotics), there is no summarizing attempt to describe and analyze the “signs on musical instruments” phenomena, i.e. carved or painted parts of the instruments. The zoomorphic and anthropomorphic construction and forms of musical instruments, and of their parts, is a wide-ranging field of study. The paper shows some examples of ancient and folk music instruments, by using the common (Peircian) terminology in describing their signs in the proper sense of the word. Animal shells used as bodies of instruments, snake- and dragon-formed instruments, amorous heads on string instruments, human heads and devilish forms of bagpipes, paintings on piano’s wooden cases, emblems or coats of arms of the builders of the instruments — just there are some cases of signs of musical instruments. There are further allusions to musical signs as well.
