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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.
Michel Beheim, a prominent 15th-century German author and musical composer — who was at the Siege of Nándorfehérvér (1456) in the entourage of King Ladislaus V (the Posthumous) of Hungary — wrote one of the first song-poems in reaction to the Fall of Constantinople in 1453. Entitled Von den Türken und dem adel sagt dis, these verses, translated here into English for the first time, have previously been neglected in scholarship. Beheim’s perspective is particularly important, documenting as it does an emotional reaction to a defeat that spawned invective-filled rhetoric, crusading propaganda, castigation of the Christian nobility for a failure to come together, and an interpretation of the Turks under Mehmed II as a scourge of God. Beheim here, and in his subsequent body of anti-Turkish works, including his detailed depiction of the Crusade of Varna (1443–1445), contributes to the shaping of a late mediaeval and early modern negative Türkenbild.
, when he answers Odysseus’ report about Agamemnon’s offer (IX 308–429): resolute not to give up his μῆνις, Achilles supports his decision with several arguments. Like earlier in I 162, 165–166, 168, here, too, Achilles laments the fact that others, i
, HWV 122, Venice/Hanover 1709–10) Bacchus Part II Orpheus and Eurydice Hendel, non può mia musa (HWV 117, Rome, 1707–8, Pamphili) Diana At the same time, Ellen T. Harris proposed the idea that Handel as Orpheus is lamenting Anne's permanent departure
Benjamin Rajeczky very much influenced the famous Hungarian school of ethnomusicology. He was very successful in organizing international studies of European folk traditions, too. In Poland he was especially interested in laments (from 1962). He took part in the field work. Some examples of Polish laments were published in 1971 (Bielawski). Rajeczky took part in the International Congress "Musica Antiqua Europae Orientalis" in Bydgoszcz (1966). The classical themes ant methods of the Hungarian musicological school are also continued in Poland. International relations become so frequent that the ideas could freely cross national borders.
Zoltán Kodály collected in the Székely land, in Csík county (the districts of Gyergyó and Kászon) in 1910 and 1912, and in Bukovina in 1914. Fourty-one tunes (in 50 variants), folk hymns and songs used in religious folk customs and 2 tunes played on the fl ute in the Bukovinan Nativity play can be found among the 650 tunes he collected during these journeys. Among the 41 songs, 12 are related to Christmas, 1 to Lent, 1 to Easter, 10 are about the Virgin and Jesus, 10 are funeral laments, 2 are Saint Peter’s laments, 3 are about the Wedding at Cana and 2 are miscellaneous religious songs. Among the 530 intact phonograph cylinders Kodály recorded 75 come from Bukovina (8 of them containing religious songs) and 73 from Csík county (7 of them containing folk hymns). 7 phonograph recordings from Kodály’s folk hymn collection are available to anyone.
Abstract
The paper discusses the often lamented lack of a theory of citations, and the lack of a sociological theory in particular. It draws attention to one proposed theory and discusses the potential reasons why it has not been generally accepted as the theory of citations, despite its merits in explaining many phenomena in the citation behaviour of scientists. This theory has been expounded by Latour and presented, in particular, in his book entitledScience in Action.
By analyzing enunciation in performance, this article shows the similarities among funeral laments, epic songs, exile songs and the playing of the duduk (oboe). Regarded as “words on” (kilamê ser), these four types of enunciation share melodic, metric, gestural and emotional elements. According to local typologies, the “words on” are opposed to songs (stran), a term referring mostly to wedding music and the zurna (oboe). The opposition between word and song is also related to a series of antinomic couples, such as exile vs. household, sadness vs. joy, or duduk vs. zurna. An analysis of these music and enunciation typologies of emotion allows an approach to Yezidi ritual and calendar time.
The aim of this paper is to discuss two previously unknown literary works which depict events preceding the death of two Karaims, Benyamin Turşu and Beraḫa Poyraz. Although laments of this type can be found in critical editions of Crimean Karaim mejumas, their contents and language have not yet been thoroughly examined. The vast majority of mejumas do not consist of original Karaim literature, therefore each work which can be determined as of purely Crimean Karaim provenance should be considered a valuable source of linguistic material.
Abstract
This paper reviews the literature on the concerns stemming from university patenting and licensing activities. Scholars investigated threats to scientific progress due to increasing disclosure restrictions; changes in the nature of the research (declining patents’ and publications’ quality, skewing research agendas toward commercial priorities, and crowding-out between patents and publications); diverting energies from teaching activity and reducing its quality. A small section explores problems lamented by industry. Each of these issues is presented and discussed, based on 82 papers published from 1980 to 2006. Some suggestions for further research conclude the essay.
