By Béla Bartók (auth.), Bartók Béla (eds.)

he editorial remedy of the second one quantity of Bela Bart6k's T Rumanian people track isn't really numerous to that utilized to Vol. I. the problem of poetic texts the following, despite the fact that, needs to enable for a large raise in corrigenda and addenda. yet first, allow us to delve into the resource fabric upon which Vol. II is predicated. THE MANUSCRIPTS a number of the drafts of Vol. II fall into 5 uncomplicated different types of editorial technique: track, texts, notes to the melodies (and texts), preface, and 1 miscellaneous reference fabric. M usic.-The first draft includes box recording transcriptions, and notations made immediate whilst recording was once impossible. Bart6k left at the back of the majority of this fabric while he emigrated to the USA in October, 1940 (The entire poetic textual content appears to be like including the track in each one transcription).2 the second one draft, uncorrected, contains 304 pages published by means of picture­ three offset strategy from grasp sheets. The 3rd draft, reproduced from 667 pages of grasp sheets, is 1 All are inside the long island Bartok documents (hereinafter often called the BA) in envelopes certain by way of the writer as Nos. 82-83, 85-86, 88, 90-97, a hundred, 102, and 106-107. See fn. 12 of the editorial Preface to Vol. I for the entire directory of the Rumanian people' track MS.

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For each of the six (or eight) bars, with the obligatory prolongation at the main caesura and at the end of the melody. The most striking features, however, appear in the performance of the melodies. Ornament groups, tone emission, and singing technic are totally different from those observed in the Bihor area. Though detailed 33 There are hundreds of specimens recorded on cylinders, yet only two on disks-as far as I know. Let us hope these disks will be issued some day for the public. In anticipation of this event, their transcription has been published in Appendix II of this Volume (see the description on pp.

17 ] Introduction to Volume Two Some explanations must be given for the last three scales. They are diatonic scale fragments consisting of the first five or six degrees of an j major or minor scale (the second scale as a variety of the latter, with augmented fourth) and with the second degree (gl) as final tone. 35 Therefore, we have every good reason to believe that their presence in a Rumanian area adjacent to Serbo-Croatian territory indicates Serbo-Croatian influence. At a time when the Serbo-Croatian material was not yet well-known to me, I inclined toward attributing the preponderance of four-section melody structures (many of them heterometric) and the frequent use of refrains in the Banat area to Serbo-Croatian influence.

This circumstance is due to the great variety shown in the final tones of the sections, with a relative majority of ] VIII IVIlj structures. There are other remarks in Vol. I (pp. 47-48) concerning the occurrence of A5B5AB structure, pentatonic scale, and so forth. The tempo is too slow in many of the sung pieces in Class C. It seems that the human voice is too lazy to keep to the real tempo of the dance melodies when it is not prodded by simultaneous dance-motion or instrumental performance. Sometimes we find imitations of instrumental music produced by the voice, such as ta ra ra and like syllables (No.

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