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Strip-Chart Recording of Narrow Band Frequency Analysis in Aid of Ethnomusicological Data
Published online by Cambridge University Press: 14 February 2019
Extract
In his study on Serbo-Croatian folk songs Béla Bartók makes the statement that our current musical notation has intrinsic limitations and that “the only true notation of folk melodies are the sound tracks on the record itself.” While “these could be magnified, photographed and printed, instead of, or with, the usual notation, in view of the too complicated nature of the curves, [their use] would not be of much help; the human mind would not be able to translate the visual signs into tones.”
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- Copyright © 1973 By the International Folk Music Council
References
Footnotes
1. Béla Bartók and Albert B. Lord, Serbo-Croatian Folk Songs New York: Columbia University Press, 1951. p. 7.Google Scholar
2. For a historical survey of acoustics and acoustical measurements see the article of Werner Lottermoser, “Akustische Messmethoden” in MGG, I. pp. 210–259; also M Grützmacher and W. Lottermoser, “Über ein Verfahren zur trägheitsfreien Aufzeichnungen von Melodienkurven” Akustische Zeitschrift, II, 5 (September, 1937), 242–248.Google Scholar
3. Charles Seeger, “Toward a Universal Music Sound-Writing for Musicology”, Journal of the International Folk Music Council, Vol. IX (1957), 63–68. Other articles of Seeger: “An Instantaneous Music Notator”, Journal of the International Folk Music Council, Vol. III (1951), 103–106; “On the Moods of a Musico-logic”, Journal of the American Musicological Society, Vol. 13 (1960), 224–261; “Factorial Analysis of the Song as an Approach to the Formation of a Unitary Field Theory”, Journal of the International Folk Music Council, Vol. XX (1968), 33–39; “Version and Variants of the Tunes of ‘Barbara Allen”', Selected Reports, Institute of Ethnomusicology, Vol. I, (1966), University of California, Los Angeles, Cal., pp. 120–167.Google Scholar
4. Dusan Holy, “Instrumental and Vocal Performance of the Dance Music in the Hornacko District of South East Moravia”, Journal of the International Folk Music Council, Vol. XV (1963), 65–72.Google Scholar
5. Dusan Holy and Otokar Pokorny, “Uber die Anwendung der Graphischen Dynamik – und Rhythmusaufzeichnungen bei der Untersuchung der Musikfolklore”, Sbornik Prači Filosofičke Fakulty, Brnenske University, Vol. XII (1963), 107–116.Google Scholar
6. W. Graf, “Das biologische Moment im Konzept der vergleichenden Musikwissenschaft”, Studia Musicologica, Vol. X (1968), 91–113; also, “Zur Bedeutung der Klangfarbe im Musik-Erleben”, Ibid., Vol. XI (1969), 207–227.Google Scholar
7. P. Szöke, W.W.H., Gunn, M. Filip, “The Musical Microcosm of the Hermit Thrush”, Studia Musicologica, Vol. XI (1969), 423–439.Google Scholar
8. New York: McGraw-Hill, 1971.Google Scholar
9. c4 indicates middle C and c4 to b4 the range above middle C. According to this pitch indication c3 – b3 is the octave range below middle C and c5 to b5 the octave range above it.Google Scholar
10. See: Young, Robert W., A Table Relating Frequently to Cents. Ekhart, Indiana: C.G. Conn, 1952. 23 pp.Google Scholar
11. Cf. Harvey Fletcher, Speech and Hearing, New York: D. van Nostrand Company, 1928, pp. 28 ff., chapter of typical speech waves. The same observation is made for word patterns studied under the spectrograph. See: Potter, R.K., Kopp, G.A., Green, H.C., Visible Speech, D. van Nostrand Company, 1947; also: Ernst Pulgram, Introduction to the Spectrography of Speech, The Hague: Mouton & Co., 1964. A more detailed study of word patterns recorded on the spectrograph and strip-chart analyzer is yet to be made.Google Scholar
12. New York: A Corinth Book, 1960.Google Scholar
13. Cf. Kerényi Gyorgy, Népies Dalok, Budapest: Akademiai Kiado, 1961. p. 99.Google Scholar
14. Budapest: Corvina, 1956. p. 7.Google Scholar