Paksa Katalin - Németh István: Muravidéki magyar népzene (Budapest - Lendva, 2018)
A régió népzenéjéről
54 MURAVIDÉK! MAGYAR NÉPZENE which he swapped for a button accordion and finally a piano accordion. His first band included a violin, cimbalom, accordion and drum, the cimbalom was later replaced by the clarinet. They played ballroom dances (waltz, polka, fox, quadrille, “szotics”) and csárdás. They played in and around Dobronak and Lendva, the reopertoire depending whether they played to a Hungarian or Slovenian audience. The recollections also revealed that there were several bands in the Mura region, and the majority of the musicians were not Gypsies but Hungarians. This is a remarkable specialty of the local music life. The impact of Slovenian music Sung folksongs did not come under the influence of Slovenian music, unlike another two musical areas that did. The influence is most readily absorbed by instrumental dance music, for bands carry and mediate tunes with ease as attractive novelties. The other area is the religious service, for usually the same cantor plays at Hungarian and Slovenian masses. Hungarians also adopted the traditional part singing of the Slovenians - as we heard at a mass in Dobronak in 1998 - in both folk hymns and sung responses. In the audio recordings of the Dobronak church choir there are old Hungarian, medieval tunes and some originating from the 17th century which they sang in thirds and to which they attached accompanying parts after hearing (11, 39, 45). Slovenian church hymns are also spreading translated into Hungarian. Presentation of the tunes The decisive majority of songs are published for the first time. Lajos Kiss, as mentioned earlier, transcribed his collection himself, the rest of the audio recordings were transcribed by Katalin Paksa. The scores are medium detailed, that is, not only the melody notes and rhythm but to a certain extent the performance is also indicated. Most songs being performed tempo giusto, only the deviations from it are marked. Tiny, subtle modifications of further strophes are usually left unmarked, except for some essential changes. Deviations of the adjustable rhythm are always written out, while minor rhythmic changes in quaver motion are rarely, except when they are important for the musical character. Grace notes are written out, but their subsequent omission is not indicated. The numbers above the score mark the places where consecutive strophe(s) deviate from the first, the numbers under the score reveals in which strophe the deviation occurs. When several informants sang a tune more or less similarly, their variants are contracted into a single score. Their musical variants are differentiated by ossia. Variants of textual lines are italicized, but dialectal differences in identical lines are not indicated. When the indication of variants appears to be somewhat overcomplicated, it is advisable to listen to the audio recording which will guide the interested listener with ease. Effort was made to register the dialect of the lyrics as
