Kralovánszky Alán – Palágyi Sylvia szerk.: A Veszprém Megyei Múzeumok Közleményei 13. – Történelem (Veszprém, 1978)
BÉKEFI ANTAL: A bakonyi pásztorok zenei élete II. Népi hangszerek, hangszeres zene
their tonic scale, but the tunes found west of this region close on the tonic of the tunes, except for two horn tunes. These 39 swine-herd horn tunes comprise the greatest number of tunes published of a narrow region. A relative of the swine-herd-horns is the bark horn. Our shepherds still know its method of making. But nowadays they only make them from respect to their elders very seldom. The Bakony shepherds know the wide family of fluepipes. After the description of the making of reed-pipes and the tunes sung while making them, the study turns to the recorders. The flute in the Bakony is called a side blown recorder (ódalfujós furugla) According to the data once this was more popular than the recorder with the plug (dugós)* or recorder blown at the end (végrü fujt furugla)*. Presently though the recorder blown at the end is in the majority. These are made of elderwood s copper pipe, or plastic tubes. The so called long recorder (hosszifurugla) disappeared from use completely. We still managed to discover two of these in our region. These were placed by careful handa in the National Ethnographic Museum in Budapest, and in the Balaton Museum at Keszthely. The study publishes the precise description, photographs and sound treasury of these instruments. The three holed Jewish pipe (sidósip)* and the three and five holed crock-pipes and the ocarina are surveyed also. They used the goose quill-pipes, reed-pipes, gourd bagpipes, bark bagpipes, so called guttural music (gigamuzsika)*. They placed a flattened double reed made of bark of a willow into the funnel of the bark bagpipe which was also made of bark. The survey of the Bakony bagpipes follows. It analyzes two etchings representing bagpipes, one from 1686, the other from 1815, then turns to the reporting of instruments which have become extinct after World War I in the Bakony, and the data concerning itinerant bagpipers. He shows two bagpipes from the Bakony, profusely illustrated. Our old shepherds still remember the dancing tunes played on bagpipes. The author publishes these so called bagpipe songs with their music and words as well. Then the study tells about the combined performance of several shepherd, instruments, deals with the role of song and dance during wedding feasts and shepherds' gatherings, remembers the gipsy musicians appearing at shepherds' feasts since the turn of the century. He describes the pointing, the threatening dances, the Polish step, the mazurka, the „pedigetta", the „csárdás", the waltz, and the solo dances of men, the typical swine-herd dances, the „bottle" dance, and the cricket dance which simulates the lovemaking of animals, and the fox dance. A special chapter is devoted to the Christmas greetings of shepherds, bangings, and the different shepherds' customs. The tune treasury os at the end of the study which publishes the already mentioned 39 swihe-herd tunes among 50 old dancing tunes, bagpipe songs, dancing couples's music and men's solo dance tunes. In the Appendix the author lists the Transsylvanian mountain horns found in the Bakony Museum of Veszprém, and the other Bakony folk instruments found in the National Ethnographic Museum in Budapest. Finally in the Indices the musical material is arranged by the number of syllables, line closings, line structure. The index for dialect words is here also which includes the dialect words of the previously published study also. An alphabetical index by villages lists the names and data of singers and informers. The thematic list of tunes, songs, score samples enables us to find 137 tunes in all. Ther author preserves for posterity in this exhasutive work a rapidly diminishing and sinking musical world. Author: Békefi Antal Tanárképző' Fó'iskola H-9700 Szombathely Szabadság tér 4. 438
