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

FÜGGELÉK 200. - Zöld erdőben jártam 201. - Ityóka, pityóka 202. - Száz zsidó egy sorba 203. - Csóri kanász, mit főzte? 204. - Fényes csillag fent az égén JEGYZETEK 1. GOMBÓCZ Z.: Régi török jövevényszavaink. Magyar Nyelvőr 1907. 217. 2. SZARVAS-SIMONYI: Magyar Nyelvtörténeti Szótár. (Bp. 1890). 3. Emlékkönyv Kodály Zoltán 60. születésnapjára. Red. GUNDA B. (Bp. 1943) 245-264. 4. HÖRMANN, K.: Hcrdengeläutc und seine Bestendteile. Hessische Blätter für Volkskunde. (Leipzig 12. 1913) 75. 5. ECSEDI I.: Csengőöntés ősi módon Hajdúböszörményben. A Déri Múzeum Néprajzi Osztálya Közleményei. Debrecen 1931 I. 6. GALLUS SÁNDOR: A soproni Burgstall alakos urnái. Arch Ért 13 (1894) 448. 7. BÉKF.FI A.: Savaria zenei emlékei. Vasi Szemle 1965. 34 8. Ezúton mondok köszönetet PETÁNOVICS KATALIN néprajz kutatónak, hogy a két citcrát és rájuk vonatkozó adatait rendelkezésemre bocsátotta. 9. Anonymus: Gesta Hungarorum, I 150-1200 körül. (Bp. 1926) 71-76. 10. KERESZTURY D.: A német irodalom kincsesháza. (Bp. 1942) 33-35. I 1. Kézai Simon Magyar Krónikája. (Bp. 1901) 38. 12. BRIGHT, R.: Travels from Vienna Throug Lower Hungary, with some remarks on the state of Vienna during the congress in the year 1814. (London, Edinburgh, 1818). 13. HERMANN O.: A magyar ősfoglalkozások köréből. (Bp 1899).: A magyar pásztorok nyelvkincse. (Bp. 1914) 141. 14. BARTÓK B.: Ethnographia VII (1911) 15. BARTÓK B.: A hangszeres zene folklórja Magyarországon. Bartók Béla összegyűjtött írásai. I. (1966) 74. 16. BARTÓK B.: A hangszeres zene folklórja Magyarországon. Zeneközlöny IX (191 1): A magyar nép hangszerei. Ethnographia XXI (1910). 17. A sukk kézfejjel mért régi hosszmérték. Az ökölbe szorított kézből kinyúló hüvelykujj a többi ncgy ujjal együtt adta a fél sukknyí távolságot. 18. BIRCKENSTEIN, von A. E. B : Ertz- Horzogliche Handgriffe des Zirchels und Linc-als odes auserwehlter Anfang zu denen Mathematischen Wissenschaften. (Bécs 1686). 19. Országos Levéltár Batthyány Család Levéltára P 1313. Rakt. sz.: 267. folio 343. 20. BRIGHT, op. cit. 375-378; R. BRIGHT utazásai a Dunántúlon. (Veszprém 1970) 41—42. 21. MANGA J.: Magyar népdalok, népi hangszerek. (Bp. 1969). 22. BRIGHT, op. cit. 85. 23. Híres bortermő vidék Központja Muraszomba Hál (Jugoszlávia) délre. 24. Tolna megyei község MUSICAL LIFE OF THE BAKONY SHEPHERDS, FOLK INSTRUMENTS, INSTRUMENTAL MUSIC The first part of this study was published in the tenth volume of the Papers of the Veszprém County Museums (A Veszprém Megyei Múzeumok Közleményei) in 1971, dealing with the songs of the shepherds of the Bakony. This conclusive paper shall examine the instruments and instrumental music of the Bakony shepherds. In consequence of the author's collecting old instrument making shepherds took a new interest in producing recorders, different shepherd's pipes and children's instruments again. The study follows through the primitive methods of rhythm accompaniment. In these cases the sounds of the drums, contra-bass, and cymbals are imitated without instruments. The study reports the different bells hung on cattle and sheep among the idiophone instruments. It explains the manufacture of bells, tinkles, their tuning, and about the unwritten laws of their harmonics. The music of the sound of the harmonies of bells are also reported. He also describes the Jew's harp, although only its memory survives in the songs. Children played accompanied by rhythmic words of the corn music. Talking about the membranophone instruments he quotes the Hungarian refernces from the Latin documents of this area from the 13th century, then deals with the musical relations of the geographic names of the Bakony. He introduces the home made musical instrument of which the voice resembles the lowing of the cow as the typical accompaniment instrument of the New. Year's greetings. The Bakony shepherds know reed pipes also, and the sound of combs covered with tissue paper. The most well known chordophone instruments among the Bakony shepherds is the cither. The forty page chapter which surveys the several kinds of the extant cithers describing the work of three cither makers could be taken as a special paper alone. The subject is illustrated by several figures, photographs, and musical examples. It publishes tunes played on the cither. He mentions as an example for great talent for variations of a cither player Ferenc Horváth from Tapolca-Paptelep, who could sound the two-fourth notes in 34 rhythmic variations of the forty eight four-fourth beats. The cithers are all sol scaled, most of them are diatonic only a few provide a possibility for chromatic deviation. It is interesting that the bass chord is placed usually between the accompanying chords by the instrument makers. Most of them use feather plectrums. There are female cither players among the musicians also. At the present it seems there is a revival of interest for cithers. Most of the shepherds' musical instruments belong to the •famhy of aerophone instruments. Leaf-pipes are made of tree or rye leaves. An interesting and special variation, known only in Transdanubia is the lapwing-pipe, carved of a branch. The sound of it reminds us mostly to the cry of a baby deer. The birch-pipe and the pipe made of the bark of morello tree was also very popular among our shepherds. Lip-music has become popular after World War I along with the buttonaccordion, but they no longer are favourites. The author elaborates on the results of his research concerning the horns made of animal horn, and the tin horns of the shepherds. As an introduction he quotes 12th century Hungarian chronicles which talk about the role of the horns. The study gives a detailed description of the making of a horn, its tin plate extension, the diameter of the mouthpiece, their attachement, the decoration of the horn, and their precise measurements. It also deals with the learning of how to play on it. Most interesting chapter of the study is the one dealing with the swine-herd tunes. The author publishes 39 horn tunes, his own collection not published elsewhere before. These fall into four groups, the herding words, so called „fancies" improvisations, and variations with music and words. Most tunes use four or five open notes, but there are some horn tunes using six or seven. As far as closing note is concerned there are two tune dialects. The swine-herds of the Zirc and Veszprém area close their tunes on the quint of 437 v