Yearbook of the International Folk Music Council, 6, 1974
Link to this issue in JSTOR
Front Matter
Editor's Preface, 7-8
Bruno Nettl
In Memoriam
Frank Howes (1889-1974), 9
Maud Karpeles
Ljubica S. Jankovic (1894-1974)Ljubica S. Janković (1894-1974), 9-14
Barbara Krader
Die vergleichende Musikwissenschaft in Osterreich seit 1896Die vergleichende Musikwissenschaft in Österreich seit 1896, 15-43
Walter Graf
Abstract: English Summary. Comparative musicology in Austria has been -- strictly speaking -- from the very first a comparative systematic field. Its first representative, Richard Wallaschek, from 1886 lecturer at the University of Freiburg and from 1896 at the University of Vienna, came from the field of musical aesthetics. He included, in his studies, non-European music on the one hand and normal and anomalous phenomena of hearing, data of psychology, medicine, etc., on the other. His successor, Robert Lach, enlarged this concept by the accentuation of history and development, as indicated by the statement that each phenomenon, studied systematically, must be examined first on an inter-cultural level, but considering always the historical point of view. This way must be taken in order to apprehend the variability of the phenomenon and to distinguish common and specific characteristics by way of an examination of the phenomenon by means of theory of music and of other special branches of science. Walter Graf, a disciple of Lach and later holder of the chair of comparative musicology when it was reestablished after a long interruption, emphasized the need for critical examination of ethnomusicological sources. Since musical notation is only a symbol and in many cases not adequate, he employed the sonagraphic method for musical sound research. Since 1972 musicological studies at the Austrian universities includes obligatory study of comparative musicology. When Graf retired in 1973, his disciple Franz Fodermayr was appointed to the professorship of comparative musicology at the University of Vienna.
Abstract: English Summary. Comparative musicology in Austria has been -- strictly speaking -- from the very first a comparative systematic field. Its first representative, Richard Wallaschek, from 1886 lecturer at the University of Freiburg and from 1896 at the University of Vienna, came from the field of musical aesthetics. He included, in his studies, non-European music on the one hand and normal and anomalous phenomena of hearing, data of psychology, medicine, etc., on the other. His successor, Robert Lach, enlarged this concept by the accentuation of history and development, as indicated by the statement that each phenomenon, studied systematically, must be examined first on an inter-cultural level, but considering always the historical point of view. This way must be taken in order to apprehend the variability of the phenomenon and to distinguish common and specific characteristics by way of an examination of the phenomenon by means of theory of music and of other special branches of science. Walter Graf, a disciple of Lach and later holder of the chair of comparative musicology when it was reestablished after a long interruption, emphasized the need for critical examination of ethnomusicological sources. Since musical notation is only a symbol and in many cases not adequate, he employed the sonagraphic method for musical sound research. Since 1972 musicological studies at the Austrian universities includes obligatory study of comparative musicology. When Graf retired in 1973, his disciple Franz Födermayr was appointed to the professorship of comparative musicology at the University of Vienna.
On Differences between the Rural and the Urban: Traditional Polish Peasant Dancing, 44-51
Roderyk Lange
Le Poete-Musicien et la Creation Poetico-Musicale au Moyen OrientLe Poète-Musicien et la Création Poético-Musicale au Moyen Orient, 52-63
Amnon Shiloah
Abstract: English Summary. Sung folk poetry in Near Eastern countries is closely tied to the personage of the poet-musician who enhances most occasions in man's life. There are usually two of them who exchange verses and stanzas and compete with each other throughout an evening. Thus, considering the prominent role played by the poet-musician in the creation and propagation of this poetry, an attempt has been made in this article to draw some characteristics of his threefold activity: invention of poetry, of music and their performance in public. They are known by various names such as sha'er (poet), qawwal (he who says), etc. Since all related terminology underlines the poetical invention, the possibility of allotting a secondary role to the music is discussed. On the other hand the preeminence of poetic invention is due to a profound delectation for poetry which goes back to the pre-Islamic period. The classical poetry of that period presents some similarities with folk poetry, namely with regard to two types of poet musicians: the creator and the reproducer. In considering that the poet-musician invents at the same time both the text and the music in the course of a performance, it becomes clear that the melody may be in most instances an important factor in the construction of lines and stanzas. On the other hand, we suggest classifying the multitude of genres in two main categories: 1) The syllabical and rhythmical songs; 2) The melismatic and rhythmically free songs. The former category, characterized by its richness of responsorial forms, is mainly connected with group functions. The latter is mainly soloistic, and puts forward the musical talent. In the last section of the article we bring some testimonies of poet-musicians regarding their art. The information covers various topics: language, learning method, the effect of the presence of audience as a stimulating factor in the process of creation, the problem of payment and social status and that of fixing the poetry in a written form.
The Traditional Folk Music of Spain: Explorations and Perspectives, 64-85
Israel J. Katz
Persian Folksong in Meshhed (Iran), 1969, 86-114
Stephen Blum
Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus, 115-135
William C. Reynolds
Reviews
Books
----------------, 136-138
The Music of Africa
J. H. Kwabena Nketia
Review Author[s]: Alan P. Merriam
----------------, 139-142
Analyse und Klassifikation von Volksmelodien
Doris Stockmann, Jan Steszewski
Review Author[s]: Arthur C. Edwards
----------------, 142-145
Music and Society
Paul Honigsheim, K. Peter Etzkorn
Review Author[s]: Siegmund Levarie
----------------, 145-147
Epitiris tou Kendrou Erevnis tis Ellinikis Laographias
Academy of Athens
Review Author[s]: Sotirios Chianis
----------------, 147-148
The Vaughan Williams Memorial Library Catalogue of the English Folk Dance and Song Society
Review Author[s]: Ruth Noyes
----------------, 148-150
Catalogue: The Sound of Africa Series. 210 Long Playing Records of Music and Songs from Central, Eastern and Southern Africa
Hugh Tracey
Review Author[s]: David Rycroft
----------------, 150-153
The Wind Cried
Paul Hecht
Review Author[s]: Martha Ellen Davis
----------------, 153
Cheremis Folksongs
Laszlo Vikar, László Vikár, Gabor Bereczky, Gábor Bereczky
Review Author[s]: Bruno Nettl
----------------, 154
Folk and Traditional Music of the Western Continents
Bruno Nettl
Review Author[s]: Peter Crossley-Holland
Recordings
----------------, 155-156
Bali South
Gertrude Rivers Robinson
Review Author[s]: Tran Quang Hai, Trân Quang Hai
----------------, 157
Yaka-Muzick / Musique Yaka
G. Ciparisse, J. Rouwez
Review Author[s]: Monique Brandily
----------------, 157-158
Musique Mnong Gar du Vietnam
Georges Condominas
Review Author[s]: Tran Van Khe, Trân Van Khê
----------------, 158-159
Inde, Rajasthan: Musiciens professionnels populaires
Komal Kothari
Review Author[s]: Mireille Helffer
----------------, 159-160
Musica Sarda / [Music of Sardinia]
D. Carpitella, P. Sassu, L. Sole
Review Author[s]: E. Episcopo, J. Cheyronnaud
----------------, 160-161
The Hammons Family
Carl Fleischhauer, Alan Jabbour
Review Author[s]: Claudie Marcel-Dubois
----------------, 161-162
Musique de Guadalcanal, Solomon Islands
Hugo Zemp
Fataleka and Baegu Music, Malaita, Solomon Islands
Hugo Zemp
Review Author[s]: Wolfgang Laade
----------------, 162
Musique Kabiye (Togo)
Musique Kabiyé (Togo)
R. Verdier, A-M de Lavilleon
Review Author[s]: Rene Menard, René Ménard
----------------, 162-163
Musiques ethiopiennes
Musiques éthiopiennes
Review Author[s]: Rene Menard, René Ménard
----------------, 163-164
Music of Zaire: Peoples of the Ngiri River
Music of Zaïre: Peoples of the Ngiri River
Jacques Jangoux
Review Author[s]: Rene Menard, René Ménard
----------------, 165
Music of Sulawesi: Celebes Indonesia
Music of Sulawesi: Célèbes Indonesia
Catherine Crystal, Eric Crystal
Review Author[s]: Tran Quang Hai, Trân Quang Hai
----------------, 165
Uncle Wade
Review Author[s]: Brigitte Werner
----------------, 166-168
P'ansori: Korea's Epic Vocal Art and Instrumental Music
Review Author[s]: Bang-Song Song
----------------, 168-169
Best O' T' Bunch. The Oldham Tinkers
Review Author[s]: Marie-Jeanne Raveneau
----------------, 169
Folk Musik of Greece
Wolf Dietrich
Review Author[s]: Brigitte Werner
----------------, 169
The Wild Hills O'Wannie. The Small Pipes of Northumbria
Bill Leader, Tony Engle
Review Author[s]: Marie-Jeanne Raveneau
----------------, 169-170
The Streets of Glasgow
Dick Swettenham
Review Author[s]: Marie-Jeanne Raveneau
----------------, 170
A Lancashire Mon
Tony Engle
Review Author[s]: Marie-Jeanne Raveneau
----------------, 170
The Lark in the Clear Air
Review Author[s]: Brigitte Werner
----------------, 171
English Country Music from East Anglia
Tony Engle
Review Author[s]: Brigitte Werner
----------------, 171
Bonny North Tyne
Review Author[s]: Brigitte Werner
Letter to the Editor, 172
Israel J. Katz
Publications Received, 173-174
Back Matter