What Did Béla Bartók's Five Hungarian Folk Songs Want to Do at the 1938 Baden-Baden Festival

This paper begins by discussing Hungarian folk music, clarifying the difference between folk and art music. There is also a distinction to make between Hungarian peasant music, with its historical origins and five-tone scale, and Gypsy music, with its Oriental scales that played a major role in Liszt's music. Bela Bartok and Zoltan Kodaly are the two leading researchers who studied Hungarian musical folklore. The contributions of those two composers, along with those of Liszt and Dohnanyi, are discussed in individual chapters, with emphasis on selected works. Many composers intended to write in Hungarian style; but Liszt created his own "Hungarian" style in the Rhapsodies, which are primarily influenced by Gypsy style. The sounds of Hungarian instruments play an important role in Liszt's music; for example, evocations of the cimbalom appear in many of his works. The structure, ornamentation, and rhythm of Liszt's Hungarian Rhapsody No. 15 are discussed. Dohnanyi also made important contributions to Hungarian music. His heritage is on display in the Variations on a Hungarian Folk Song, Op. 29. Bartok was hugely important as an ethnomusicologist, composer and also pianist. Three of his solo piano works are discussed: Romanian Folk Dances , Three Hungarian Folk Songs from Csik , and Sonatina. His compositional style evolved over time, but he still incorporated folk music in the Piano Concerto No. 3 . Like Bartok, Kodaly was both a researcher and also a composer. His Dances of Marosszek provide an idiomatically Hungarian portrait. The concluding chapter briefly compares the ways these four composers incorporated Hungarian elements in their music.

In Hungary, the concept of “folk song” was clarified at the beginning of the 20th century only, accordingly, there were no “folk songs” noted down in the 18th century. Still, the number of music sources relating to folk music increased significantly in the 18th century. As a result of their scientific analysis the melodic parallels of some five hundred 18th-century tunes were found in the central folk music collection of the Institute for Musicology of the Hungarian Academy of Sciences. These melodic parallels involve 153 folk song types. In a specific era of folk culture there is always a coexistence of elements and styles of different age. The sources also contain examples of the descending pentatonic styles (that either originates or developed from oriental roots), of the lament style and of the medieval and early modern tunes. Of particular interest are the songs that first appeared in the 17th century, then undergone significant changes in form and rich collection of variants developed around them. The most remarkable result of our research is that contrary to former beliefs regarding its insignificance, the 18th century enriched the Hungarian folk music with some sixty new melody types. One of the most interesting groups of this rather mixed collection of songs is that of the songs in a major key with a narrow compass that seems to be the most characteristic music of the time. Plagal songs in a major key with perceptive functional chords behind their melodies also entered Hungarian tradition at this time. Plagal tunes, unfamiliar to Hungarian folk music, were sometimes transformed into descending tunes. The antecedents of the new Hungarian folk song style hardly feature in these sources — this style probably developed in the late 19th century. However, among the popular art songs that flourished from the 1830s onwards we found about a dozen melody types with a partial or full similarity to 18th-century melodies.

Great Expectations and Interwar Realities: Hungarian Cultural Diplomacy, 1918–1941

Reviewed by: Folk Songs and Material Culture in Medieval Central Europe: Old Stones and New Music by Nancy van Deusen Kathleen E. Nelson van Deusen, Nancy, Folk Songs and Material Culture in Medieval Central Europe: Old Stones and New Music (Studies in the History of Daily Life 800–1600, 6), Turnhout, Brepols, 2019; hardback; pp. xiii, 279; 23 b/w figures; R.R.P. €110.00; ISBN 9782503541327. This is a remarkable and rewarding book, one that will hold interest for a broad range of readers, including medievalists, historical musicologists, and ethnomusicologists. Professor of Music and the Louis and Mildred Benezet Chair in the Humanities at Claremont Graduate University in California, Nancy van Deusen’s publications span disciplines including historical musicology, music theory, and historical anthropology. In this book, van Deusen challenges commonly perceived boundaries between disciplines, inviting the reader to engage with the discussion and move beyond limits of specialization. Hungarian folk song is the focus, with the book drawing on the author’s long experience of research in Hungarian archives. Purpose and method are effectively introduced in the opening sentence of the author’s preface: The purpose of this book is to deal with the present through the attainments of the past, namely through a system of analysis using terms and concepts taken over from centuries of thinking and writing during Latin Antiquity, through what is now known as the European Middle Ages, enduring relatively unchanged well into the nineteenth century (p. xi). The many illuminating discussions include examination of the term ‘silva’ as used by Chalcidius in his fourth-century translation into Latin of Plato’s Timaeus, and the ways in which the term has been interpreted, demonstrating the fruitfulness of its re-examination; thorough consideration of the concept of type and how types are identified, relevant to the study on Hungarian folk song and more broadly; and her illumination of the musicological concept of form and its prominence since the mid-twentieth century in analysis, pedagogy, and writing about music. Van Deusen draws insightfully on her many years of research in archives of central Europe, especially in Hungary, as well as on her extensive knowledge of medieval music, and medieval and more recent philosophy. Thoughtful narratives or ‘vignettes’ of personal experiences during her research in and around Budapest are interwoven and serve to illustrate points. Chapter topics include ‘Herder and his Influence: A Background for Conceptualization’, ‘Historiography of Ideology: Conceptual Bases for the Collection of Folk Song’, ‘Old Stones, Useful Chunks: Working with Material’, ‘Methodology and the Question of “Types”’, ‘Transcription, Translation, Transmutation’, and ‘Nationalism and Folk Music’. A helpful glossary of mainly Latin terms is also provided. [End Page 283] Kathleen E. Nelson The University of Sydney Copyright © 2022 Kathleen E. Nelson

Introduction Health disparities between Eastern and Western part of Europe have been the subject of many studies. Eastern Europe experienced delay in health improvement compared to Western Europe. Life expectancy differences between East and West average 7 years in men and 5 years in women, in favor of the West. Cancer contributes to 12% and 9% of this difference in men and women, respectively. For those 20-64 years, contribution of cancer to this difference is higher at 16% and 24%, respectively. Methods Cancer mortality data and population data (1959-2010) for each country separately were derived from the WHO Mortality Database. Standardized mortality rates were calculated using the world standard population. Results In young men (20-44 years) cancer mortality was equal in Eastern and Western Europe in late 1960s. Since then, a decline in cancer mortality occurred in Western countries while Eastern countries experienced a cancer mortality increase trend. This increase began to decline in Eastern Europe in the early 1990s, decreasing the cancer mortality gap between the two European regions for this sex and age group. Similar trend disparities were observed in middle-aged men (45-64 years). However, the decline since 1990 was much slower in Eastern Europe than Western Europe, resulting in a residual gap between the two regions. The oldest men (65+ years) in Western Europe had a higher cancer mortality rate than Eastern Europe for many decades. In early 1990s cancer mortality in Western Europe declined whilst rising in the East. The trends intersected a decade later and despite the plateau observed in recent years in Eastern Europe, the gap remains persistent. In young women (20-44 years), cancer mortality diverted in the early 1970s as cancer mortality declined steadily in Western Europe while rising in the east, similarly in trend to cancer mortality among young men. By the 1990s, rates declined and the gap between the two regions trended towards closure. In middle-aged women (45-64 years) cancer mortality rates in Eastern Europe plateaued for the whole observation period, while western rates fell steadily since the 1970s, resulting in a residual gap between the two regions. For several decades, cancer mortality rates in the oldest women (65+ years) in Western Europe were higher than in the east and both regions experienced plateaus. By the 1990s western cancer mortality rates declined with little change in eastern trends. A small gap persists between the two regions. Conclusions Despite health improvement, a cancer mortality rate gap between Eastern and Western Europe persists across all sex and age strata. In particular, men at age of 45 years and more, and women at age of 45-64 years, experience the greatest disparities between the two regions. Deficiency of primary prevention and poor health awareness remain biggest challenge in Eastern part of Europe. Citation Format: Marta Manczuk, Urszula Sulkowska, Dana Hashim, Paolo Boffetta. The gap in cancer mortality between Western and Eastern Europe. [abstract]. In: Proceedings of the 106th Annual Meeting of the American Association for Cancer Research; 2015 Apr 18-22; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Res 2015;75(15 Suppl):Abstract nr 3710. doi:10.1158/1538-7445.AM2015-3710

My research focuses on creating an AI-supported Digital Research Environment (DRE) that helps analysing and systematizing folk music tunes with the help of the latest information theory and database management results. The study may be ex- tended to the entire source material accumulated by researchers so far, thus inte- grating Hungarian ethnomusicology results of the last hundred years. In this way, new dimensions of structural analysis open up and a large amount of information can be processed that already exceeds the limits of human musical memory. Previous computerized music analysis experiments in Hungary have inadequate- ly defined the role of artificial intelligence. In our case, the AI-supported digital en- vironment that is the subject of the research does not work independently, because the researcher’s scientifically abstract thinking, preferences, and the recognition of characteristic melodic elements cannot yet be replaced by computer data processing. Crucial goal of the research is to precisely define the researcher’s role in musi- cal data processing. Thus the attitude of researchers rejecting software support may 1 The institute previously belonged to the Hungarian Academy of Science, currently it belongs to the ELKH (Eötvös Lóránd Research Network). 2 List of publications: MTMT. Hungarian Scientific Bibliography. URL: https:// m2.mtmt.hu/gui2/?type=authors&mode=browse&sel=10063399 (Access: 23.10.2022). https://doi.org/10.33398/2523-4846-2022-18-1-65-82 66 change in favour of actually using our digital framework. For the first time in Hungar- ian folk music research history, a detailed and documented digital research environ- ment can be created, integrating the useful, relevant software tools. We can map out data entry problems and define the standard format of the musical data suitable for mass input and analysis. If possible, we will replace the previously widely used op- tional data with scalable data to have a broader range of parametrization and search options, and their free combination allows us to study new scientific models. With DRE, the validity range of the previous scientific musical classification can be more precisely specified and the processing as well as classification of unreported melodies and the process of type creating can be significantly accelerated. The most significant debate in the previous research has been the dataset speci- fication of analyses. I am convinced that only similarly processed tune-data-elements can be compared, so one of the most critical tasks is to determine the input data’s standard format and information density. As a first step, the digital conversion of the musical manuscript needs to be solved. International research has mainly led to results in the recognition of printed music, some of which can be used in the project, but many new developments are also needed. Keywords: AI-supported Digital Research Environment (DRE), Optical Music Recognition (OMR), Musical Manuscripts, Hungarian Folk Songs, scientific musical classification, ethnomusicology, digital archives, folklore database.

My research focuses on creating an AI-supported Digital Research Environment (DRE) that helps analysing and systematizing folk music tunes with the help of the latest information theory and database management results. The study may be ex- tended to the entire source material accumulated by researchers so far, thus inte- grating Hungarian ethnomusicology results of the last hundred years. In this way, new dimensions of structural analysis open up and a large amount of information can be processed that already exceeds the limits of human musical memory. Previous computerized music analysis experiments in Hungary have inadequate- ly defined the role of artificial intelligence. In our case, the AI-supported digital en- vironment that is the subject of the research does not work independently, because the researcher’s scientifically abstract thinking, preferences, and the recognition of characteristic melodic elements cannot yet be replaced by computer data processing. Crucial goal of the research is to precisely define the researcher’s role in musi- cal data processing. Thus the attitude of researchers rejecting software support may 1 The institute previously belonged to the Hungarian Academy of Science, currently it belongs to the ELKH (Eötvös Lóránd Research Network). 2 List of publications: MTMT. Hungarian Scientific Bibliography. URL: https:// m2.mtmt.hu/gui2/?type=authors&mode=browse&sel=10063399 (Access: 23.10.2022). https://doi.org/10.33398/2523-4846-2022-18-1-65-82 66 change in favour of actually using our digital framework. For the first time in Hungar- ian folk music research history, a detailed and documented digital research environ- ment can be created, integrating the useful, relevant software tools. We can map out data entry problems and define the standard format of the musical data suitable for mass input and analysis. If possible, we will replace the previously widely used op- tional data with scalable data to have a broader range of parametrization and search options, and their free combination allows us to study new scientific models. With DRE, the validity range of the previous scientific musical classification can be more precisely specified and the processing as well as classification of unreported melodies and the process of type creating can be significantly accelerated. The most significant debate in the previous research has been the dataset speci- fication of analyses. I am convinced that only similarly processed tune-data-elements can be compared, so one of the most critical tasks is to determine the input data’s standard format and information density. As a first step, the digital conversion of the musical manuscript needs to be solved. International research has mainly led to results in the recognition of printed music, some of which can be used in the project, but many new developments are also needed. Keywords: AI-supported Digital Research Environment (DRE), Optical Music Recognition (OMR), Musical Manuscripts, Hungarian Folk Songs, scientific musical classification, ethnomusicology, digital archives, folklore database.

Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine

Folk song is a true gift of culture. It is one of the traditional, intangible and indigenous pieces of the art of performing the melodious expression with the help of soft pipes that are forever invaluable cultural assets and musical property as well. In view of making a brief survey of the use of multiple languages in folk songs, different folk melodies have been selected randomly from seven provinces of Nepal where the folk melodies are more fertile. This paper aims at exploring the use of multiple languages in folk songs I, myself as a researcher in the field, encountered with in written and audio- or video-recorded form. Therefore, the main source of relevant data includes me and other written and audio or video documents of folk songs I found. As a multicultural country, Nepal is rich in terms of its folk songs. In this paper, I analyze how folk song can be a creative space where linguistic boundaries are challenged and new language practices are invented. Taking of folk songs as a social and cultural identity, I examine how folk song embraces local diversity and redefines the use of language a creative tool for public.

One of the important events in the scientific and artistic life of Galicia in the early nineteenth century was the publication in Lviv of a new yearbook – the calendar-almanac «Lviv Pilgrim». There was published the work «Folk Songs» in its first issue, in which for the first time in Galicia the question of the need to study folk music was raised and folk melodies were published. The author of the publication, the founder and editor of the yearbook was Karl Josef von Güttner (1793–1822).However, despite the importance of the event in the history of the emergence of ethno musical interests in Galicia, about the publication of KJ von Güttner's «Folk Songs», the history of its emergence and its impact on contemporaries today little is known. Therefore, the main purpose of the publication is to be acquainted in more detail with the figure of KJ von Güttner (a graduate of the University of Vienna, head and professor of statistics department at the Austrian Empire of Lviv University) and his ethnographic work. Also to analyze and evaluate its exploration, to outline the significance of this important event in the history of music folklore.The calendar-almanac «Lviv Pilgrim» combined the best achievements of the periodicals of that time. There was published two versions: in German and Polish. Two issues of the almanac calendar for 1822 (edited by K. J. von Güttner) and 1823 (edited by Josef Mauss) were published. The publication had a foreword and two parts: the first – calendar and the second – literary-scientific and reference. The second part contained articles on history, economics, statistics and science, literary works, notes on economic topics, background information.In the first issue of the Lviv Pilgrim was published KJ von Güttner's work entitled «Folk Songs». The publication consisted of an article-review, four folk songs with melodies (two Polish and two Ukrainian) and comments-notes to them. In the article-review, which served as a kind of introduction to the published melodies, KJ von Güttner convinced readers of the need to study and record the folklore of their own people. He drew attention to the need to record and study not only the verbal lyrics of songs, but also their melodies for the first time in Galician ethnographic literature. As an example of theoretical reflection, the researcher for the first time in Galicia published texts and melodies of Ukrainian folk songs in the study of Moronskyi. These songs were presented in the form of arrangements for voice accompanied by piano.KJ von Güttner's work became a milestone in the history of musical folklore. His post initiated and encouraged research on folk music in Galicia and beyond. In the second issue of the Lviv Pilgrim, Denis Zubrytsky supported the call to study own folklore by publishing an article «About the singing of ordinary people». The initiative of KJ von Güttner also influenced the appearance of folk music publications by Vaclav Zaleski – Karol Lipinski, Mikhail Maksimovich – Alexander Alyabiev, studies on folk song culture by Ludwik Piontkevich, Yuri Venelin (Georgy Gutsa). The initiative of the Austrian scientist drew the attention of the educated community to musical folklore and aroused interest in own folk melodies. Composers gradually began to turn to folklore sources, as evidenced by the artistic heritage of Mikhail Verbytsky, Ivan Lavrovsky, Karol Lipinsky, and later subsequent generations of Galician artists.

Lessons of the Cold War

Reviewed by: Mothers of the Nation: Women, Families, and Nationalism in Twentieth-Century Europe Jill Massino Mothers of the Nation: Women, Families, and Nationalism in Twentieth-Century Europe. By Patrizia Albanese. Toronto: University of Toronto Press, 2006. Pp. 224. $58.00 (cloth). In this book Patrizia Albanese uses gender relations and family policies in select countries in twentieth-century Europe as lenses through which to rethink and resolve debates regarding nationalism, modernity, and citizenship. Her overarching aim is to test "whether nationalism intends to modernize or archaize gender and family relations" (21) and evaluate the degree to which it succeeds in doing so. To this end, she takes a comparative historical approach, focusing on Germany, Italy, Russia, and the Kingdom of Yugoslavia/Croatia during the interwar and post-1989 periods. This is a lot of ground to cover in a short amount of space, and in the end the book sacrifices depth and nuance for breadth. While Albanese claims to examine "the virtually unpublicized side of nationalist traditionalism, xenophobia, and misogyny: what nationalist regimes do to and for their own women when the rest of the world is looking, but not seeing" (3), a good portion of the book synthesizes existing scholarship on gender in twentieth-century Germany, Italy, and Russia. Moreover, while Albanese aptly illustrates the negative impact of nationalist policies on women, she does not examine the diverse ways in which women were affected by and responded to these policies. Nonetheless, by revisiting women's historically complex relationship to nationalism in the European context, the book reminds us that nationalism is not simply something that happens in "distant lands with alien customs," it also exists in societies closer to home. The first two sections of the book sketch the general political, economic, and social contexts in each country, outlining governmental attitudes, policies, and practices as they related to women and the family. The third and final section compares the demographic outcomes of nationalist policies, [End Page 382] evaluating them according to governmental models (the welfare state vs. neoliberalism) and notions of civic and social rights. In section 1 Albanese compares the nationalist states of Nazi Germany and Fascist Italy to the nonnationalist states of Yugoslavia and revolutionary Russia during the interwar period, while in section 2 she compares the nonnationalist states of Germany and Italy to Croatia and Russia during the post-1989 period. According to Albanese, this comparative two-by-two model is designed to control for the impact of overall changes in the position of women in modern society as well as nation-specific trends and global events, such as recessions. Albanese's choice to focus on revolutionary Russia and the Kingdom of Yugoslavia as her nonnationalist case studies for the interwar period is both curious and problematic. Far from being nonnationalist, Yugoslavia was a hotbed of nationalist tension during the interwar period, especially between Croatia and Serbia. Albanese claims that, as a result of industrialization, traditional family forms were gradually being replaced by nuclear households and that over two hundred feminist groups existed in Yugoslavia by 1921; however, it is unclear what the overall impact of these processes was on women's status and roles, since she offers no information on women's political, legal, and economic status during this period. Instead she notes that marriage and family life was regulated by local, ethnic, and religious groups and that women were subject to "private patriarchy," a situation that, while not nationalist, was presumably considerably restricting for women. Meanwhile, by limiting her analysis to revolutionary Russia, she downplays the significance of nationalist tendencies and some of the conservative gender policies that characterized the majority of the interwar period under Stalin. Like nationalism, Stalinism was, in certain respects, a reaction to modernizing trends. For example, during the 1930s women lost the right to legal abortion and to file paternity suits and found it increasingly difficult to obtain a divorce. Albanese concludes that in all four nationalist regimes "a nationalist leader's rise to power was accompanied by changes to family policies, from relatively less to more traditional and patriarchal ones" (161). Accordingly, birthrates rose in Fascist Italy and Nazi Germany during the 1930s (a time when they...

1691P - Access to clinical trials for soft tissue sarcoma patients in Western and Eastern Europe

Folk songs serve the function of giving the singer strength to live again by evoking his emotions and expressing his inner wishes. In traditional society, the common people were ruled and suffered from poverty, labor, and social inequality. While singing folk songs, a process of emotional stimulation occurred that allowed them to escape current negative emotions and adopt positive and optimistic perceptions. By expressing specific wishes, they overcame the difficulties of reality. Communal wishes were stated as well as personal wishes in case of a national or ethnic crisis. In this article, Korean and Hungarian folk songs are compared to examine how the people evoked their suppressed emotions and how they overcame them with their aspirations, thereby examining the universality and uniqueness of folk songs.

Health inequalities in Eastern Europe. Does the role of the welfare regime differ from Western Europe?