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Text-Tune Relationships in the Hora Lunga Versions Collected by Bartók

Published online by Cambridge University Press:  14 February 2019

Jay Rahn
Jay Rahn*
Affiliation:
Columbia University, New York, USA
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Extract

The enigmatic union of a lyrical text with an improvisatory melody has earned for the hora lunga (or long song) a special place in the history of Rumanian folksong research. Béla Bartók first discovered this exceptional genre in the northern counties of Maramureş and Satu-Mare in the years 1912-13, and later remarked that this discovery had been the highlight of his career in Rumanian ethnomusicology (1967:24 and 1923:ii). Constantin Brailoiu (1970:405) noted the occurrence of similar improvisatory genres in other regions of Rumania, and suggested that the broader term doina be used for all such vocal improvisations, irrespective of region. In the last two decades, systematic investigations of this larger category, the doina, have been carried out by such scholars as Emilia Comişel (1959:147-74) and Mariana Kahane (1963:99-116). To facilitate a comparative study of the doina as a whole, Comişel proposed a broad classificatory scheme based on text content and social use. She also proposed an analytical framework for the study of those musical aspects which she felt were common to all doine. Kahane investigated the tonal aspects of the regional subtype found in Oltenia, and compared this specific genre with examples from Moldavia and Maramureş.

Type
Articles
Information
Yearbook of the International Folk Music Council , Volume 8 , 1976 , pp. 89 - 96
Copyright
Copyright © 1977 By the International Folk Music Council 

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References

Publications Cited

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