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For those who have ears to hear. Individual Signatures in Sardinian Multipart Singing
No full textPersonalizations of sounds are essentially inevitable in multipart
singings performed by a single voice for each vocal part. According to the
different music practices, this kind of performative mechanism has an exclusive
character, since it requires special capabilities of the singers, each of
whom has to bring him/herself completely into play. Everyone’s contribution
is a necessary element of a collective making event, so that the individual
performance includes a large component of personal responsibility because
of possible individual mistakes which could compromise the musical
outcome, altering or damaging the collective action. At the same time, the
mechanism allows very relevant possibilities to express individual musical
personality. Every part works like a pattern (here, it does not really matter
if it is a mnemonic trace, a written source, etc.), tolerating a certain amount
of re-invention on the basis of recurrent features. Multiple elements contribute
to every performative act, both according to and beyond the will of
a single performer, basically referring to the expected music overlapping.
The actual working of the mechanism is fully understood and interpreted
by all the singers involved in the performance and by the other
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persons sharing the exclusive knowledge requested by that specific music
practice. External listeners (including musicologists) might not understand
in detail the mechanism, elaborating representations more or less
different from the inner ones.
On the basis of my researches on orally transmitted confraternal multipart
singing in Sardinia, I shall deal with significant examples of both
clear and intentional “signatures” of part renditions, and singing passages
that might be differently understood. Interpretations from my analytical
point of view will be integrated with the performers’ representations within
the dialogical approach I have experienced in some of my recent works
Vortragsweisen Ungarischer DÖrflicher und StÄdtischer Zigeunermusiker in Historischen Tonaufnahmen. Allgemeine Bemerkungen, Forschungsgeschichtliche Ausblicke
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Instrumentale Melodieanfänge und ihr Verhältnis zur Form am Beispiel historischer und gegenwärtiger ungarischer Tanzmelodien
No full textThe aim of this study is to analyze the beginning of different dance tunes in connection with variously performed dance tunes. The purpose of this paper is also to draw attention to the need for micro-analysis, which has been neglected for a long time in instrumental folk music research, in order to better understand instrumental musical melody creation. The selected musical examples come from different (partly historical) eras and different geographical areas of Western Transdanubian and Transylvanian Hungarian folk music collections. Typical starting elements (fifth-forth changes, direction of moving of scales, etc.) are related to dance music with different names. The analysis ignores the evolution of tempo and variation throughout the piece, as well as the ensemble's “Primas” ornamentation, timbre, harmonies and unique solutions of the accompaniment. At the same time, the author paid attention to the form and structure of the entire piece in addition to the beginnings of the melody. The study was written in honor of the 100th birthday of Walter Deutsch, the creator of modern Austrian ethnomusicology
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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