11 Ergebnisse.

he editorial treatment of the second volume of Bela Bart6k's T Rumanian Folk Music is not dissimilar to that applied to Vol. I. The matter of poetic texts here, however, must allow for a sizeable increase in corrigenda and addenda. But first, let us delve into the source material upon which Vol. II is based. THE MANUSCRIPTS The various drafts of Vol. II fall into five basic categories of editorial process: music, texts, notes to the melodies (...

N January 30, 1944, Bela Bart6k, writing from Asheville, North O Carolina, where he had gone to regain his strength after a long period of ill-health in 1943, commented, Here I have started on a very interesting (and, as usual, lengthy) work, the kind I have never done before. Properly speaking, it is not a musical work: I am arranging and writing out fair copies of Rumanian folksong texts'! Although the date has not as yet been established, t...

n several of his writings on folk music Bela Bart6k recalls an incident I that happened to him in 1904 during a visit to a small village in Tran­ 1 syl vania. Quite by chance he heard there an eighteen-year-old Hun­ garian peasant girl singing Hungarian folk songs whose construction was 2 significantly different from the songs he had known until then. This experience appealed to his imagination far deeper than chance oc­ currences usually do. ...

he wealth and variety of artistic creations evolved by the Ru­ T manian people in the course of the centuries have long alerted the interest of foreign scholars whom circumstances brought to the lands of the Rumanians. The Polish chronicler Matthew Stryjcovski (16th century), the Genovese Franco Sivori, secretary of the 16th century reigning prince Petru Cercel, the Magyar poet Balassius (Balassa Balint 16th century), Paul Strassburg, the envo...

n the first volume of Rumanian Folk Music (Instrumental Melodies) I portions of Bela Bart6k's subsequently-discarded preface, concern­ ing the fate of his folklore publications, are presented in explanation of the editorial processes necessary for achieving the publication. 1 By way of introduction to this revised edition of a previous, although in­ complete, published version of the Rumanian Carols and Christmas Songs (Colinde), we refer agai...

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he wealth and variety of artistic creations evolved by the Ru­ T manian people in the course of the centuries have long alerted the interest of foreign scholars whom circumstances brought to the lands of the Rumanians. The Polish chronicler Matthew Stryjcovski (16th century), the Genovese Franco Sivori, secretary of the 16th century reigning prince Petru Cercel, the Magyar poet Balassius (Balassa Balint 16th century), Paul Strassburg, the envo...

he editorial treatment of the second volume of Bela Bart6k's T Rumanian Folk Music is not dissimilar to that applied to Vol. I. The matter of poetic texts here, however, must allow for a sizeable increase in corrigenda and addenda. But first, let us delve into the source material upon which Vol. II is based. THE MANUSCRIPTS The various drafts of Vol. II fall into five basic categories of editorial process: music, texts, notes to the melodies (...

n the first volume of Rumanian Folk Music (Instrumental Melodies) I portions of Bela Bart6k's subsequently-discarded preface, concern­ ing the fate of his folklore publications, are presented in explanation of the editorial processes necessary for achieving the publication. 1 By way of introduction to this revised edition of a previous, although in­ complete, published version of the Rumanian Carols and Christmas Songs (Colinde), we refer agai...

N January 30, 1944, Bela Bart6k, writing from Asheville, North O Carolina, where he had gone to regain his strength after a long period of ill-health in 1943, commented, Here I have started on a very interesting (and, as usual, lengthy) work, the kind I have never done before. Properly speaking, it is not a musical work: I am arranging and writing out fair copies of Rumanian folksong texts'! Although the date has not as yet been established, t...

n several of his writings on folk music Bela Bart6k recalls an incident I that happened to him in 1904 during a visit to a small village in Tran­ 1 syl vania. Quite by chance he heard there an eighteen-year-old Hun­ garian peasant girl singing Hungarian folk songs whose construction was 2 significantly different from the songs he had known until then. This experience appealed to his imagination far deeper than chance oc­ currences usually do. ...