Paksa Katalin - Németh István: Muravidéki magyar népzene (Budapest - Lendva, 2018)
A régió népzenéjéről
ABOUT THE FOLK MUSIC OF THE REGION 55 heard on the recording. However, the use of the dialect is not consistent, often mixed with the standard languages. The scores taken over from Károly Horváth’s book were notated on the basis of a different principle, they don’t contain variants and the texts are in standard language. The scores are followed by the ethnographic data: first the place name in the form used in the Gazetteer of 1913, followed by the performer’s name. For women there are different name variants: married name and name at birth, only married name, husband’s surname with the woman’s Christian name as is the practice in Yugoslavia-Slovenia. The year of birth, and the place of birth when not identical with the place of residence are in parentheses. The set of data ends with the collector’s name, time of collecting, and the registration mark in the folk music archive of the Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences (AP=Academic pyral disc, DAT= DAT cassette, HK CD=CD containing Károly Horváth’s collection). When a song has several recordings, their identification marks are in parentheses. Attention is called to the audio supplement by the pictogram i. The notes of the songs provide information on the musical characteristics, song variants, geographic dissemination and the type of the tune in the volumes of the Collection of Hungarian Folk Music (abbrev. MNT) and Típuskatalógus [Catalogue of Types], When the type in question is not included in them, then the type number in the central folk music collection of the Institute for Musicology, Research Centre for the Humanities, Hungarian Academy of Sciences is given. Occasionally the relation between tune and text and the genre of the tune is also discussed. Audio supplement It conveys the sound world of the traditional peasant performance, which cannot be represented by the score, and it helps those who would like to learn and perform the songs in the authentic way. The voluminous selection includes all recordings of acceptable quality (a total of 175); some songs appear several times when more than one performer’s singing was recorded. Not quite clearly intoned recordings, performances in an old, choking speech-like intonation are omitted, as are those influenced by urban fashions, those in an affected, popular-song-like tone, and naturally the technically poor recordings. Musical reconstruction and the edition of sound recordings was done by István Németh. Katalin Paksa
