| non-pulsitile songs; asymmetric meters; repetitive dance rhythms with isorhythm; bright timbres; epic songs; socialist realism |
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| characteristics of hungarian folk music |
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| young hungarian composer that “discovered” the folk music of his home and brought it to the eastern european music world. |
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| short rhythms repeat even as the melody notes change |
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| complex meters with beast that quickly change duration; characteristic to music of the balkans and bulgaria |
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| aesthetic style during the communist period where the arts served the state; enforced to greater or lesser degrees professional composition and so-called folk ensembles |
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| settled between 5th and 9th centuries; became known as gypsies because of a mistaken notion that they originated in egypt; many different Romani groups with distinct dialects and musical traditions are scattered throughout europe |
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| hungarian folk music historical background |
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| proper name for the “Gypsies”; formed their own distinctive musical culture |
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| romani bands that featured violins and bagpipes and cimbalom; comes from the hungarian military word for “recruiting” |
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| the hammered zither that replaced bagpipes in verbunkos; came from turkey |
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| national dance of hungary; fast and slow tempos in simple duple meter |
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| anhemitonic pentatonic scale |
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| characteristic of hungarian folk song; scale of five pitches per octave with no semitones |
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| italian term meaning free speech rhythm; prominent rhythmic type in hungarian folk songs; heavily ornamented; emphasize emotional expression and the meaning of the text |
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| italian term meaning strict tempo; prominent rhythmic type in hungarian folk music; emphasize repetitive dance rhythms |
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| hammered zither; highly cultivated instrument that rivals piano in hungarian homes |
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| plucked zither with frets similar to german and scandanavian zithers |
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| shepherd’s vertical duct flute; versions reach up to meter in length; performers sometimes murmur and hum while playing, creating a distinctive timbre |
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| hungarian dance clubs; name comes from the traditional village music hall; literally means “dance houses” |
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| vocal percussion created by mouth sounds; literally means “mouth bass”; also a type of Romani dance song |
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| bulgarian circle dances; lively and energetic communal activities |
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| bulgarian rim-blown flute held at an angle in front of the player; related to middle eastern nay flute |
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| bulgarian pear-shaped vertical bowed fiddle with three strings; occasionally has sympathetic strings as well |
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| bagpipe with a drone pipe and a melody pipe; well known for its virtuosic ornamentation; popular instrument with for weddings and outdoor celebrations |
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| bulgarian long-necked fretted lute with four strings or double courses |
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| bulgarian large cylindrical bass drum, slung across the body and played with two sticks |
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| russian songs for a particular holiday or season |
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| repetition of rhythmic motives while the notes of the melody change; used in russian music |
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| russian songs sung traditionally around the table at a party or a banquet; include improvised polyphony of up to four parts |
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| russian lute with frets and a distincitive triangular sound body |
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| russian lute with a round sound body, usually used to strum chords |
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| russian plucked zither described as having a wing shape; thought to have come originally from byzantium in middle ages similar to the kanun of present-day Turkey |
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| russian button accordian; popular instrument since 19th century now found in many folk bands |
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| russian small single-reed shepherds pipe; sometimes appears with double pipes |
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| most famous european art music composer of the 20th century; inaugurated the modernist style of music in the early 20th century; interested in the folklore and folk music of his country |
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| type of song found in traditional russian wedding ceremonies; consists for of short repeating rhythms and motives repeated over and over, sometimes with isorhythm and sometimes in assymetric meters |
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| more than one tonality at a time |
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| different simultaneous meters |
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