Gyorskeresés

Cím	Abstract	Folyóirat	Oldalszám
„Így láttam...”	-	1987., 28. évf. 1. szám	38. - 39.o
A gyimesi csángó hegedûstílus	-	1978., 19. évf. 2. szám	176. - 183.o
A hangszeres magyar népi dallam : a hangszeres strófa I.	-	1989., 30. évf. 2. szám	115. - 135.o
A hangszeres magyar népi dallam : a hangszeres strófa II.	-	1989., 30. évf. 3. szám	250. - 274.o
A hangszeres magyar népi dallam : hangszeres táncdarab	-	1991., 32. évf. 4. szám	374. - 385.o
A hangszeres magyar népi dallam : példák a legújabb rétegbõl	-	1992., 33. évf. 1. szám	56. - 66.o
A hangszeres magyar népi dallam : sorok	-	1988., 29. évf. 1. szám	28. - 42.o
A hangszeres magyar népi dallam : sorpárok I.	-	1988., 29. évf. 2. szám	197. - 218.o
A hangszeres magyar népi dallam : sorpárok III.	-	1988., 29. évf. 4. szám	351. - 378.o
A hangszeres magyar népi dallam : utószó	-	1992., 33. évf. 3. szám	241. - 254.o
A hangszeres magyar népi dallam : változó strófák	-	1991., 32. évf. 3. szám	266. - 283.o
A hangszeres magyar népi dallam. Sorpárok II.	-	1988., 29. évf. 3. szám	237. - 250.o
A hangszeres magyar népzene ütempáros rétege	-	1987., 28. évf. 4. szám	335. - 378.o
Egy „jaj-nóta”	-	1991., 32. évf. 2. szám	181. - 184.o
Egy „többnyelvû” cigányzenekar Erdélyben	-	1984., 25. évf. 3. szám	236. - 244.o
Egy hangszeres dallam	-	1985., 26. évf. 1. szám	64. - 69.o
Étterem-monográfia	-	1966., 7. évf. 6. szám	587. - 598.o
Hangszeres dallamok szöveggel	-	1982., 23. évf. 1. szám	89. - 101.o
Magyar népdalok egyetemes gyûjteménye Bartók szerkesztésében	-	1993., 34. évf. 2. szám	201. - 206.o
Magyar parasztok és cigányzenészek	-	1972., 13. évf. 1. szám	24. - 37.o
Magyar parasztok és cigányzenészek [II. rész]	-	1972., 13. évf. 2. szám	144. - 163.o
Népzenei tartalmú Bartók-témák	abs. Themes of Béla Bartók with Folkloristic Content Bálint Sárosi According to Bartók, the highest degree of the influence peasant music exerts on art music is: “When neither peasant melodies nor imitations of peasant melodies can be found in [a composer’s] music, but it is pervaded by the atmosphere of peasant music.” Going along The Music for Strings, Percussion and Celesta and referring also to other “non folkloristic” works of his, I attempt to contribute with some glosses to a better understanding of Bartók’s quoted words. Just the first theme of the Music… can be closely paralleled with the stanza structure of a Székely-Hungarian ballad. The main characteristics of both, Bartók’s subject and folk tune are: four short lines, narrow compass, free (actually parlando) rhythm, unison presentation. The only, but of course substantial difference between the two is that in opposition to the incomplete pentatony of the ballad, Bartók’s theme has a chromatic scale filling up totally the fifth range. The case of the first subject of the 2nd movement is similar. Its structure is the same as that of a “new style” Hungarian folk song. Its rhythm and even more its scale however have no precedents in folk music. The rhythm of the main theme of the movement 3 has its root in the 19th century verbunkos music. Some of the further subjects of the Music… can be related to the so called old style fifth-shifting Hungarian tunes. Bagpipe tunes also served as model for several bartókian subjects. Bartók adapts as model to his themes not only folk tunes in the literal sense, but also such marginal occurencees of folklore as swineherd’s horn signals and even children’s rhymes.	2001., 39. évf. 2. szám	115. - 128.o
*Rec.* Tiberiu Alexandru: Instrumentele muzicale ale poporului romin. Lucrare aparuta sub ingrijirea institutului de folclor	-	1961., 1. évf. 7-8. (II/4-5). szám	205. - 206.o
Kodály, 2007	-	2007., 45. évf. 3. szám	225. - 230.o

Themes of Béla Bartók with Folkloristic Content
Bálint Sárosi

According to Bartók, the highest degree of the influence peasant music exerts on art music is: “When neither peasant melodies nor imitations of peasant melodies can be found in [a composer’s] music, but it is pervaded by the atmosphere of peasant music.” Going along The Music for Strings, Percussion and Celesta and referring also to other “non folkloristic” works of his, I attempt to contribute with some glosses to a better understanding of Bartók’s quoted words.
Just the first theme of the Music… can be closely paralleled with the stanza structure of a Székely-Hungarian ballad. The main characteristics of both, Bartók’s subject and folk tune are: four short lines, narrow compass, free (actually parlando) rhythm, unison presentation. The only, but of course substantial difference between the two is that in opposition to the incomplete pentatony of the ballad, Bartók’s theme has a chromatic scale filling up totally the fifth range. The case of the first subject of the 2nd movement is similar. Its structure is the same as that of a “new style” Hungarian folk song. Its rhythm and even more its scale however have no precedents in folk music.
The rhythm of the main theme of the movement 3 has its root in the 19th century verbunkos music. Some of the further subjects of the Music… can be related to the so called old style fifth-shifting Hungarian tunes. Bagpipe tunes also served as model for several bartókian subjects. Bartók adapts as model to his themes not only folk tunes in the literal sense, but also such marginal occurencees of folklore as swineherd’s horn signals and even children’s rhymes.

Sárosi Bálint