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Bicinia Hungarica: A Theoretical Analysis and Pedagogical Implications for Use in a Kodály-

Inspired American Music Curriculum

by

Daniel S. Todd, M.M.Ed., B.M.

A Dissertation

In

MUSIC EDUCATION

Submitted to the Graduate Facultyof Texas Tech University in

Partial Fulfillment ofthe Requirements for

the Degree of

DOCTOR OF PHILOSOPHY

Approved

Susan BrumfieldChair of Committee

Matthew Santa

Richard Bjella

Linda Donahue

Bill Gelber

Mark Sheridan, Ph.D.Dean of the Graduate School

August, 2014



Copyright 2014, Daniel S. Todd



Texas Tech University, Daniel Todd, August 2014

ii

ACKNOWLEDGMENTS

I would like to thank Dr. Jerry Jaccard, of Brigham Young University, for his

expert knowledge of historical resources related to Kodály philosophy and bicinia. I am

grateful to Soma Szabó, of Cantemus Choral Institute, for providing me with editions of

Bicinia Hungarica and translations of Hungarian terms. I also wish to acknowledge

Kristin Martin for her assistance with formatting the charts and graphs. Donna Devane

provided invaluable editorial assistance and formatted the final document. Without these

people, the document would not be as thorough and user-friendly as it currently is.

I would like to thank my parents, Dr. Jim Todd and Martha Todd, for their

continued love and support. I have long dreamed of pursuing a doctorate, and they have

made many sacrifices along the way to support and encourage that goal. I hope that I

have honored the legacy set forth by my parents through my education and teaching.

I owe a tremendous debt of thanks to Susan Brumfield, my committee chair,

mentor, and friend. From the moment she suggested this project during my Masters’

studies, my love and passion for bicinia has expanded. I will cherish our discussions of

grammar and syntax, our time playing and singing bicinia at the piano, and the personal

and professional growth this project and my time with her afforded me. This document

serves as a synthesis of my thirteen years as her student, encompassing pedagogy, theory,

analysis, choral technique, and effective teaching. I thank her for her commitment to a

Kodály-inspired approach to music education.




iii

TABLE OF CONTENTS

ACKNOWLEDGEMENTS ................................................................................................ ii

ABSTRACT ...................................................................................................................... vii

LIST OF TABLES ............................................................................................................ vii

LIST OF FIGURES ........................................................................................................... ix

CHAPTER 1 INTRODUCTION ........................................................................................ 1

1.1 Purpose ...................................................................................................................... 1

1.2 Justification ............................................................................................................... 3

1.3 Limitations ................................................................................................................ 3

CHAPTER 2 REVIEW OF RELATED LITERATURE .................................................... 5

2.1 Kodály Biography ..................................................................................................... 5

2.1.1 Kodály’s Childhood (1882-1900) ....................................................................... 6

2.1.2 The University Years (1900-1921) ..................................................................... 7

2.1.3 The Mature Composer (1923-1941) ................................................................. 10

2.1.4 The Educational Period (1941-1967) ............................................................... 13

2.1.5 Primary Sources ................................................................................................ 16

2.1.6 Conclusion ........................................................................................................ 19

2.2 Kodály Philosophy .................................................................................................. 19

2.2.1 Sources.............................................................................................................. 20

2.2.2 Kodály’s Philosophy and Method in American Secondary Sources ................ 24

2.2.3 Kodály’s Philosophy, in His Own Words ........................................................ 30

2.2.4 Conclusion ........................................................................................................ 38

2.3 Kodály’s Pedagogical Compositions ...................................................................... 39




iv

2.3.1 Works Investigating Specific Pedagogical Publications .................................. 41

2.3.2 Kodály’s Pedagogical Choral Works ............................................................... 43

2.3.3 American Adaptation of Bicinia ....................................................................... 45

2.3.4 Conclusion ........................................................................................................ 48

CHAPTER 3 BICINIA ..................................................................................................... 49

3.1 Historical Context of Bicinia................................................................................... 49

3.2 Kodály’s Bicinia ...................................................................................................... 53

3.2.1 Editions of Kodály’s Bicinia ............................................................................ 56

3.2.2 Conclusion ........................................................................................................ 59

CHAPTER 4 METHODOLOGY ..................................................................................... 60

4.1 Bicinia Hungarica .................................................................................................... 60

4.1.1 Related Models for Folk Song Analysis ........................................................... 60

4.1.2 Models for the Study Relating to Bicinia Hungarica ....................................... 61

4.1.3 Related Pedagogical Models and Materials...................................................... 62

4.1.4 Conclusion ........................................................................................................ 64

4.2 Analysis Parameters ................................................................................................ 64

4.2.1 Rhythmic Features ............................................................................................ 65

4.2.2 Melodic Features .............................................................................................. 67

4.2.3 Formal Features ................................................................................................ 71

4.2.4 Polyphonic Features ......................................................................................... 75

4.2.5 Other Features................................................................................................... 82

CHAPTER 5 ANALYSIS AND SUMMARY OF DATA ............................................... 83

5.1 Analysis ................................................................................................................... 83

5.1.1 Bicinia Hungarica, volume 1 (Nos. 1-60) ........................................................ 83




v

5.1.2 Bicinia Hungarica, volume 2 (Nos. 61-100) .................................................. 146

5.1.3 Bicinia Hungarica, volume 3 (Nos. 101-120) ................................................ 188

5.1.4 Bicinia Hungarica, volume 4 (Nos. 121-180) ................................................ 211

5.2 Summary of Data .................................................................................................. 271

5.2.1 Rhythmic Features .......................................................................................... 271

5.2.2 Melodic Features ............................................................................................ 279

5.2.3 Formal Features .............................................................................................. 285

5.2.4 Polyphonic Features ....................................................................................... 286

5.2.5 Other Features................................................................................................. 289

5.2.6 Conclusion ...................................................................................................... 291

CHAPTER 6 DISCUSSION ........................................................................................... 292

6.1 Contemporary American Composers of Bicinia ................................................... 292

6.1.1 Denise Bacon .................................................................................................. 292

6.1.2 Mark A. Williams ........................................................................................... 293

6.1.3 Mary Goetze ................................................................................................... 294

6.1.4 Contemporary Composers and Compositions ................................................ 296

6.2 Pedagogical Implications for Teaching ................................................................. 298

6.2.1 Interviews ....................................................................................................... 298

6.2.2 Arranging ........................................................................................................ 299

6.2.3 Composition/Improvisation ............................................................................ 301

6.2.4 Teaching Strategies......................................................................................... 303

6.3 Recommendations ................................................................................................. 306

6.3.1 Further Research on Bicinia Hungarica .......................................................... 306

6.3.2 Suggestions for Related Research .................................................................. 307




vi

6.4 Conclusion ............................................................................................................. 309

BIBLIOGRAPHY ........................................................................................................... 310

APPENDIX A ANALYSIS CHART.............................................................................. 320

APPENDIX B HUMAN SUBJECTS APPROVAL ....................................................... 329

APPENDIX C RECRUITMENT EMAIL ...................................................................... 332

APPENDIX D DENISE BACON INTERVIEW ........................................................... 333

APPENDIX E MARY GOETZE INTERVIEW............................................................. 338

GLOSSARY ................................................................................................................... 349




vii

ABSTRACT

Beginning in the 1940s, Hungarian composer and music educator Zoltán Kodály

(1882-1967) helped to establish a national value for music education and musical literacy

throughout his country. This was accomplished through an eclectic approach to music

education that incorporated tools and methodology drawn from centuries of music

education all over the world. Among Kodály’s major contributions was the creation and

inclusion of pedagogically-conceived compositions as part of a national curriculum.

These materials were based on native Hungarian folk music and were written to be

accessible by musicians at every stage of musical, physiological, and emotional

development. Bicinia Hungarica is a collection of 183 two-part, progressive a cappella

folk song settings that include elements of polyphonic style.

Since the 1960s, Americans have studied Kodály’s philosophy in Hungary,

inspiring many teachers to adapt his philosophy in the United States. Research has been

done regarding the adaptation of the philosophy and pedagogical sequence, but few

scholars outside of Hungary have examined the pedagogical works composed by Kodály.

The current study (1) determines the musical elements present in Bicinia Hungarica and

(2) provides suggestions for educators who wish to use the materials for teaching.

Analysis of musical elements is based on rhythmic, melodic, formal, and polyphonic

features that are present in bicinium. A summary of each bicinium is provided, as well as

a summary of pertinent compositional features. Recognized composers of American

bicinia, Denise Bacon and Mary Goetze, were consulted for teaching suggestions

pertaining to their own bicinia.




viii

LIST OF TABLES

Table 1. Copyright of Bicinia Hungarica Editions ........................................................... 57

Table 2. Distribution of meters by volume. .................................................................... 273

Table 3. List of meter by bicinium number. ................................................................... 274

Table 4. Distribution of tonality by volume.................................................................... 283

Table 5. Total number of scale types. ............................................................................. 285

Table 6. Summary of important musical features by bicinium ....................................... 321




ix

LIST OF FIGURES

Figure 1. Number of rhythmic values present in volume 1. ........................................... 276




Figure 5. Frequency of key signatures. ........................................................................... 282

Figure 6. Frequency of imitation and counterpoint in Bicinia Hungarica ..................... 288

Figure 7. Absence of imitation and counterpoint in Bicinia Hungarica ......................... 288




1

CHAPTER 1

INTRODUCTION

1.1 Purpose

Since 1950, the musical culture of Hungary has developed and flourished, due in

part to the nation-wide implementation of a music curriculum inspired by the

philosophies and publications of Zoltán Kodály (1882-1967), along with those of his

colleagues and students. This achievement may be attributed in part to Kodály’s

knowledge of events which led to the state of Hungary’s musical culture in the 1950s.

Percy Young posits that:

It is part of Kodály’s argument that Hungary, through force of circumstance,missed out on large tracts of the Western European tradition. Thus, in so far as hecan, he fills the gap, but not by archaism. His a cappella works are comparablewith those of the sixteenth century — favouring Venice or south Germany ratherthan Rome — and adopt similar procedures: which, since the glory of the mediumlies in the conquest of its limitations, is but common sense.1

One such example is Kodály’s Bicinia Hungarica, a collection of 180

progressive, two-part a cappella vocal pieces. Bicinium refers to a single two-voiced

song.2 Bicinia Hungarica provides a body of pedagogically-conceived musical material

1. Percy M. Young, Zoltán Kodály: A Hungarian Musician (London: Ernest BennLimited, 1964), 124. It is important to remember that Kodály wrote no less than onehundred a cappella songs and seventeen books of exercises, comprising at least 1300individual pieces. Young’s statement refers to the whole of Kodály’s a capella compositions and their function as one part of his educational philosophy. Bicinia Hungarica comprises but one part of Kodály’s pedagogical oeuvre.

2. Oxford Dictionary of Music Online, s.v. “Bicinium,”http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/subscriber/article/opr/t237/e1203?

http://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/subscriber/article/opr/t237/e1203







2

that was derived or directly borrowed from Hungarian folk music but composed in a

polyphonic style.

As Kodály’s philosophical approach to music education has spread across the

world, educators have adopted this compositional approach to meet needs within their

own musical cultures. Alfred Young submits,

All Kodály music educators are familiar with the composer’s “Bicinia Hungarica”and “Tricinia.” Inspired by these works and those of his Hungarian disciples,efforts have been made to compose bicinia based on the folk songs of the UnitedStates, Canada and many other countries. The composers of such works have, inmost cases, been teachers attempting to fill a void in the pedagogical scheme.Alas, the resultant works often reveal an ignorance of the meaning and purpose of

this form.

3

The purpose of the present study is (1) to analyze Kodály’s Bicinia Hungarica for

the musical and stylistic elements present in each bicinium and (2) to provide suggestions

to educators regarding their use in the classroom based on suggestions of composers of

similar compositions. Through analysis, we may better understand (1) how Bicinia

Hungarica approaches aspects of music literacy, (2) how Bicinia Hungarica prepares

singers for the performance of polyphonic music, and (3) how to approach teaching

bicinia to students.

source=omo_t237&q=bicinium&article_section=all&search=article&pos=1&_start=1(accessed March 4, 2014). The plural form of bicinium is bicinia.

3. J. Alfred Young, "The Bicinium Form in Historical Perspective," Kodály Envoy8 (1986): 14.




3

1.2 Justification

Kodály stated: “All my work was done expressly for Hungarian surroundings. If

the system is to be adopted in foreign countries, each country must add his own motivic

and musical background.”4 Before one can understand or analyze American bicinia, one

must first study the work which inspired such compositions. While analytical studies of

Kodály’s compositions have been conducted, there has been a lack of published research

on his Bicinia Hungarica and, furthermore, a lack of theoretical examination of bicinia in

general. It is the purpose of this study to provide (1) a theoretical, historical, and

pedagogical understanding of Bicinia Hungarica and (2) a historical discussion of

similarly-composed works by American educators, providing the educator with strategies

for teaching.

1.3 Limitations

While there are a number of sources relating to Kodály and his philosophy written

in Hungarian, the present study is limited to sources which were either written in or

translated into English; however, Hungarian editions of Bicinia Hungarica will be

discussed. Additionally, multiple biographies of Kodály exist, with varying levels of

authority and completeness. The biographies by Percy Young and László Eősze have

been selected for this study because of the authors’ proximity to Kodály during the

writing of their books.

4. Richard Johnston, Zoltán Kodály in North America (Ontario: Avondale Press,1986), 68.




4

The study of Hungarian folk songs is central to any discussion of Kodály’s

compositions. Since this study is not specifically concerned with the influence of folk

songs on Bicinia Hungarica and is primarily interested in the musical and stylistic

elements present in the work, studies by Bartók, Kodály, and Erdely regarding folk songs

will not be discussed. While there are many bicinia-like publications, only those written

by American authors and whose works are still in publication will be examined.




5

CHAPTER 2

REVIEW OF RELATED LITERATURE

2.1 Kodály Biography

In Zoltán Kodály: A Guide to Research, Houlahan and Tacka reference 215

separate sources relating to Kodály’s biography or biographical events. 1 Of these items,

approximately half were published after Kodály’s death. The items are published mainly

in English and Hungarian, though several are in French or German. Most of the items are

journal articles or articles in festschrifts and therefore address specific aspects or events

of Kodály’s life. Furthermore, many items are personal reflections from individuals

working closely with Kodály and are therefore not approached scientifically or

completely.

The most complete biographical sources, Eősze’s Zoltán Kodály: His Life and

Work (1962) and Young’s Zoltán Kodály: A Hungarian Musician (1964), were published

during Kodály’s lifetime. Also significant, Eősze’s Zoltán Kodály: His Life in Pictures

and Documents was published in 1982. Though a survey of Kodály’s compositions is

found in each of these sources, his “pedagogical” compositions are mentioned only

cursorily. In fact, materials such as Bicinia Hungarica and Pentatonic Music are regarded

as an outgrowth of Kodály’s philosophical thought and are not subjected to the same

degree of analysis as his concert works.

1. Mícheál Houlahan and Philip Tacka, Zoltán Kodály: A Guide to Research (NY:Garland Pub., 1998), 173-179.




6

2.1.1 Kodály’s Childhood (1882-1900)

Kodály was born on December 16, 1882, in Kecskemét, a small village in

Hungary. Because Kodály’s father was a railroad official, the family moved frequently,

settling in Galánta by 1885 after moving to Szob the year after Kodály’s birth. 2 Although

Kecskemét was twice the size of Kodály’s father’s hometown of Győr, its musical culture

was not as rich. It was in Kecskemét, because of limited musical opportunities, that

Kodály became exposed to chamber music at the hands of his father and mother. 3 Galánta

was a village in western Hungary populated by Hungarians, Slovaks, and Germans.

Eősze quotes Kodály as saying “the best years of my childhood” were in Galánta.

4

The Dances of Galánta (1933) and Bicinia Hungarica (1937) were composed because of

memories from Kodály’s time in Galánta. In the Preface to Bicinia Hungarica, Kodály

writes:

I wrote these songs in memory of my school friends of Galánta, whose voices Istill hear after the passing of fifty and more years.

If in those far-off days we had been taught what I try to teach in this book… life would have been very different in our little country. It is left with you whouse this book to show that while singing in itself is good, the real reward comes tothose who sing, and feel, and think, with others. This is what harmony means. 5 Kodály began his formal foray into music in 1892, when the family moved to

Nagyszombat. His compositions from this period reflect his later belief in the power of

2. László Eősze, Zoltán Kodály: His Life and Work (Boston, MA: Crescendo PublishingCompany, 1962), 12; Young, Zoltán Kodály: A Hungarian Musician, 24.

3. Dezső Legány, "Kodály's World of Music in His Childhood and Early Youth," Bulletin

of the International Kodály Society, no. 2 (1979): 4.

4. Eősze, 12.

5. Zoltán Kodály, The Selected Writings of Zoltán Kodály, ed. Ferenc Bónis (London:Boosey & Hawkes, 1974), 215.




7

community, because he “studied neither for the sake of the instrument, nor primarily so

that he should become some kind of soloist, but for the joy of playing with others.”6

While in school Kodály saw instruments lying in disrepair; this later caused him to say,

“a broken bassoon became a symbol of how, if musical culture was to be recreated in

Hungary, one would have to build it with fragments of its past.”7 Denzső Legány noted

that:

Every great Hungarian poet has emerged from a village, a small town, or from theslums of a large city. From such a small town as the one in which Kodályattended high school, the road opened onto only three musical careers: composer,music teacher, and singer. Kodály became all three. He recognized that up until

the Renaissance and even for a long time after, mankind reached a higher level ofmusical culture through choral singing.

Legány continues, “… [W]here there is no technique there is still singing,

moreover, there it really exists. … In the more and more technical world, singing is the

best means of helping man rediscover himself and his society.” 8 It was with this

conviction, and as a result of his experiences, that Kodály set out to pursue his musical

career in Budapest in 1900.

2.1.2 The University Years (1900-1921)

When Kodály began college in 1900, Budapest was a thriving city of 700,000

which had recently built a “tramway service and an underground railway.” 9 Kodály

6. Legány, 6.

7. Young, Zoltán Kodály: A Hungarian Musician, 27.

8. Legány, 9.

9. Eősze, 14.




8

enrolled at Eötvös College, “a training college for forty exceptionally gifted teachers;” he

also took the entrance exam for the Academy of Music in Composition.10 Eötvös College

supplemented professional training with courses in English, French, and German, and,

according to Young, Kodály was introduced to Edward Sievers’s research regarding the

music of language.11 It is through the education at Eötvös College that Kodály’s musical

and cultural worlds melded and solidified, instilling in him the “educational principle of

never disregarding responsibility to the national community,” a principle set forth by the

college.12

Hans Koessler, professor of composition at the Academy of Music, immediatelyadmitted Kodály to the second year of study, but Kodály declined the offer.13 His formal

10. Ibid., 15. Young states that Kodály studied at Pázmány University, but does notdiscuss what he studied or if a degree was completed. Eősze states that Kodályentered Eötvös College in 1900, graduating in 1904. However, it appears as

though Kodály actually attending three universities concurrently: Eősze: “As aresult of his years at the University and Eötvös College…”. Young, Zoltán Kodály: A Hungarian Musician, 27.

11. Young describes Edward Sievers as “an expert in linguistics, and a pioneer in the useof phonetics.” footnote p. 30. There is no doubt that Kodály’s experience with theresearch of Sievers directly led to his doctoral thesis: “The Stanzaic Structure ofHungarian Folk Song” and interest in collecting folk songs from the Hungariancountryside.

12. Dezső K eresztury, "Kodály the Writer," The New Hungarian Quarterly 3, no. 2

(1962): 53.13. Eősze, 14-15. Koessler was known for admitting students to his class only when they

had proved complete competence in harmony and counterpoint. The fact thatKodály was admitted to the second year of composition as an incoming student isa testament to his inherent knowledge of and personal dedication to music.




9

education ended with the completion of his doctoral thesis in 1905.14 Feeling that his

education was not complete, Kodály left Hungary in 1906 to study in Paris and Berlin,

only a year after collecting folk songs from the Hungarian countryside. Kodály wrote to

Bartók during a study-tour abroad that he was “searching hungrily for the spirit of our

age,” which he found in the music of Claude Debussy in May of 1907, in Paris. 15 The

experience influenced Kodály to compose in a native folk style, giving voice to his own

country. In September of 1907, Kodály was appointed professor at the Academy of

Music; he began teaching the first-year composition students in 1908.16

The period following Kodály’s appointment to the Academy of Music until 1921was marked by struggle. Kodály composed and premiered a number of pieces, mostly to

harsh criticism: “One critic declared that, though he was employed to teach harmony at

the Academy, ‘he completely shunned it in his own work,’ while others attempted to

dismiss his music as being ‘merely pathological.’”17 Both Kodály and Béla Bártok,

Kodály’s colleague from the Academy of Music, were prolific folk song collectors; by

1912 they had amassed a collection of 3,000, but their attempt to publish the material was

14. Establishing the dates that Kodály received degrees from each institution is difficultsince the primary sources, Eősze and Young, do not explicitly state eachinstitution at which Kodály studied or when his study concluded. Houlahan andTacka suggest that he was awarded a diploma in composition in 1904 and earneda teacher’s diploma in Hungarian-German in 1905.

15. László Eősze, "Formative Years in Kodály's Career and Stylistic Development," in

International Kodály Conference, ed. Ferenc Bónis, Erzsébet Szőnyi, and LászlóVikár (Budapest: Editio Musica Budapest, 1982), 38.


17. Eősze, Zoltán Kodály: His Life and Work, 19.




10

unsuccessful.18 Kodály’s greatest recognition during this period came in February 1919,

when the Academy of Music was reorganized into the National Academy of Music of

Hungary, and Kodály was named Deputy Director. The position allowed Kodály the

opportunity to modify the curriculum, an opportunity which was halted in August by the

fall of the dictatorship of the proletariat.

2.1.3 The Mature Composer (1923-1941)

Despite the turmoil of 1900-1920, which included a political tribunal, Kodály

gained attention through the publication of many of his compositions in 1921 by

Universal Edition, in Vienna, and with the composition of Psalmus Hungaricus in 1923.19

The second half of Kodály’s musical life was marked by two years of near com positional

silence in 1921 and 1922. Eősze states:

Throughout his career this was the only break which distinctly separated twodifferent creative periods. Before it, he had composed only songs and chamber-

pieces, but after it — apart from a few exceptions — he composed anything but

songs and chamber music … . … Chamber music had always been the genre of a chosen few, whereasKodály sought contact with the general public. He wanted to bring art nearer tothe people, and the people nearer the art. This demanded the renewal of hiscomposing activity on one hand and the extension of his educational work on theother.20

Kodály began to accomplish this goal through the composition of larger-scale

orchestral music drawn heavily from both Hungarian folk culture and musical elements

18. Ibid., 20.


20. László Eősze, Zoltán Kodály, His Life in Pictures and Documents, 2nd ed. (Budapest:Corvina Kiadó, 1971), 11-12.




11

found in the folk songs of Hungary. The trend of borrowing musical ideas from folk

music was a direct influence of Debussy upon Kodály and is evident in the works of other

composers from this period, as early as 1913 — for example, in Stravinsky’s ballet The

Rite of Spring . Perhaps as a result of this two-year compositional pause, Kodály found his

compositional voice. A number of his most well-known pieces come from this period:

Psalmus Hungaricus (1923) , “See the Gypsies” (1925), Háry János (1926) , Dances of

Marosszék (1929) , Dances of Galánta (1933) , and the Peacock Variations (1939).21

Psalmus Hungaricus represents the turning point both in Kodály’s compositional

and educational interests. Kodály was invited to compose the work for Budapest ’s 50thanniversary celebration of its federation. It is a setting of Mihály Vég’s paraphrasing of

the 55th psalm for mixed and children’s choir accompanied by a full orchestra. 22 It was

through the preparation of the first performance of the work that Kodály’s educational

values shifted and were extended to the general public. Young quotes Kodály:

In 1923, on the occasion of the first performance of Psalmus Hungaricus, I foundour only chorus so weakened (it was a few years after the war) that I decided toadd a boys’ chorus. Their fine singing inspired me to write some short pieces forthem, like See the Gypsies, and Straw Guy, and in a couple of years with thecollaboration of my pupils a little literature [for children] came into being.23

Eősze quotes Kodály, who “realized the youth of his country were ‘growing up in

conditions of an utter musical corruption that is worse than illiteracy.’”24 The subsequent

21. Houlahan and Tacka, 9-12.


23. Ibid., 75.

24. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 30.




12

poor performance given by the students of a teacher’s training college led to the merger

of Kodály’s compositional and educational efforts, eventually providing the foundation

for one tenet of his educational philosophy: that “written illiteracy could be conquered

aided by the assets of an unwritten culture.”25

“The Straw Guy” and “See the Gypsies,” Kodály’s first compositions for

children’s chorus, were composed in 1925 for the boys choir of the Wesselényi Street

school, Budapest, directed by Endre Borus.26 This singular event was the beginning of the

children’s choral movement in Hungary. In 1929, 13 of Kodály’s children’s choruses

were performed by 700 students in two concerts. By 1934, 1,500 students performed aconcert entitled “Kodály’s Children’s Chorus Evening,” a festival which helped establish

the “Singing Youth” movement in Hungary. One year later, Budapest and seven other

Hungarian country towns arranged singing festivals that led to a rapid increase in the

number of choirs and chorus masters throughout the country and production of choral

works, both by Kodály and other Hungarian composers.27 In an article entitled

“Children’s Choirs” from 1929, Kodály stated his motivation for composing music for

children: “Nobody is too great to write for little ones; indeed, he must do his best to be

25. Eősze, "Formative Years in Kodály's Career and Stylistic Development," 40.

26. Erzsébet Szőnyi, "Zoltán Kodály's Music Pedagogical Concept," in International Kodály Conference, ed. Ferenc Bónis, Erzsébet Szőnyi, and László Vikár(Budapest: Editio Musica Budapest, 1982), 150.

27. Eősze, Zoltán Kodály, His Life in Pictures and Documents, 15. Magyar Kórus published choral music for schools and amateur choirs from 1929 until about1949. The company published some of Kodály’s first pedagogical works and wasdirected by Lajos Bárdos and Gyula Kertész, both students of Kodály. Bárdos wasalso a Professor of Theory at the Academy of Music. Young, Zoltán Kodály: A Hungarian Musician, 90.




13

great enough for them. Original works are to be written, compositions starting from the

child’s soul, from the child’s voice in text, tune and colour alike.”28 Regarding the

importance of music teachers, he said, “It is much more importan t who the singing master

at Kisvárda is than who the director of the Opera House is, because a poor director will

fail. (Often even a good one.) But a bad teacher may kill off the love of music for thirty

years from thirty classes of pupils.”29 This statement articulated Kodály’s purpose and

focus for the final period of his life: teaching teachers how to instill a joy for music in

their students and compose music appropriate for the developing musician, in order to

create a country which values the music of its own heritage as well as the masterworks ofother cultures and is musically literate.

2.1.4 The Educational Period (1941-1967)

During the two decades leading up to the educational period of his life, Kodály

was known internationally as a composer and conductor; in Hungary, however, he was

recognized as a composer and a proponent of choral music. From 1941 on, he became the

“savior” of music in Hungary; this led to international acclaim by the end of his life and a

legacy which has endured long after his death.

According to Eősze, Kodály’s compositional output during the last 26 years of his

life “extends to nearly all genres, with the exception of song and chamber music.” 30 Eősze

28. Kodály, 125-126.

29. Ibid., 124.





14

further notes that, compared to the previous 20 years, the proportion of vocal to

instrumental compositions increased, and educational works appear with more frequency,

“both springing from the strengthening of Kodály as an authority on cultural policy and

as an educationalist.”31

The composition and publication of pedagogical works from this period, such as

Bicinia Hungarica, sprang from Kodály’s personal study of music and his desire to make

it accessible to the entire country. Eősze believes the following quote was Kodály’s

guiding principle: “A thorough knowledge of material must precede everything, for

everything else can be built only upon this knowledge. Any efforts to achieve aestheticresults which either precede or discard knowledge are equivalent to building castles in

Spain.”32 The realization of this statement may be seen in the materials he composed to be

used in the music classroom, which came from knowledge of the history of musical style

and a desire to make the masterworks of the past accessible to all.

Kodály’s retirement from the Academy of Music in 1942 brought many honors

and appointments. In 1943, he was elected Corresponding Member of the Academy of

Sciences, and in 1945, he was elected president of the Arts Council and member of the

Hungarian Academy of Sciences (he became president of the latter in 1946). Kodály was

elected the honorary president of the Association of Music in 1949, and in 1957, he

became the Elected Chair of the Music Council of the Ministry of Culture. In March of

1948, 1952, and 1957, he was awarded the Kossuth prize, an award given for outstanding

31. Ibid.

32. Ibid., 18-19.




15

personal and group achievements in the fields of science, culture, and the arts, as well as

in the building of socialism. In 1961, Kodály was elected president of the International

Folk Music Council, and he was presented with the gold medal by the Accademia Santa

Cecilia in Rome in 1962.33

In the Preface to 24 Little Canons on the Black Keys, Kodály states: “Every

thinking music teacher realizes the faults of the old methods, but still continues to use

them. If music is to become common property and not only the privilege of the few, we

shall have to look for new ways.”34 This statement was made the year that Kodály, along

with Jenő Ádám, published Szo-mi, an eight volume collection of materials from Songs for Schools, a previously published collection of 630 melodies arranged pedagogically.

Szo-mi was replaced in 1948 with a more comprehensive series of textbooks that focused

specifically on the presentation of musical elements.35

Shortly after the publication of the books, The General School of Music and

Singing in Kecskemét was established for students aged six through fourteen. The school

was organized with a Director of Music as its headmaster and offered a standard

curriculum, with the exception that more music tuition was available. Young notes that

33. Houlahan and Tacka, 13-19.

34. Zoltán Kodály, 24 Little Canons on the Black Keys (London: Boosey & Hawkes,1957), 2.

35. Houlahan and Tacka, 77. These are not the first textbooks published to fulfill Kodály’s

educational objectives, the first being Iskolai Enekgyűjtemény I and II , from 1943and 1944, which according to Zemke were not successfully integrated into thecurriculum. Szo-mi and Songbook for Primary Schools, its successor in 1948,were the first books adopted into the national curriculum. Lorna Zemke, The Kodály Concept: Its History, Philosophy, and Development (Champaign, IL: M.Foster Music Co., 1977), 17-18.




16

while the students received six singing lessons a week, “the school’s purpose is not

primarily vocation, but also to infuse a broad strain of musical culture into the

community as a whole.” 36 Succinctly stated, Kodály’s aims were to “teach the educated

people to be Hungarian, and to educate the millions of Hungarians.”37

The last 20 years of Kodály’s life were spent in service to the furtherance of

music education in Hungary and abroad. While Kodály continued to publish educational

materials, he was also invited to conduct concerts in Great Britain, the Soviet Union, and

the United States. Additionally, he was selected to chair international music conferences

for the International Folk Music Council and the International Society for MusicEducation. On March 6, 1967, Kodály died in Budapest.38

2.1.5 Primary Sources

László Eősze, a primary biographer of Kodály’s, was a musicologist, Deputy

President of Editio Musica Budapest, (the publishing house that was started by Kodály’s

students and published most of his works), and Executive Secretary of the International

Kodály Society for almost 20 years.39 In Zoltán Kodály: His Life and Work, Eősze

outlines the major contributions and compositional output during each period of Kodály’s


37. Pál Járdányi, "Folk Music and Music Education," in Musical Education in Hungary,

ed. Frigyes Sándor (Budapest: Corvina, 1966), 23.

38. Houlahan and Tacka, 13.

39. László Eősze, "Farewell and Thanks," Bulletin of the Internaitonal Kodály Society 20,no. 1 (1995): 44.




17

life. Eősze gives a detailed description of Kodály as a musicologist, a teacher, and a

composer of concert music. Eősze draws primarily from Kodály’s own words to provide

insight into Kodály’s musical agenda. For example, Eősze justifies Kodály’s work at the

Academy of Music when Kodály’s teaching was being attacked: “We have to assimilate

all that is best in the musical heritage of Western Europe. I am doing my best to help my

students to master the polyphonic style. … Indeed, in this, I go further than anyone has

ever done in this country, or even than is customary abroad. But our job is to turn out

musicians who are not only European, but also Hungarian.”40

In contrast, Eősze’s later work, Zoltán Kodály: His Life in Pictures and Documents, provides a much briefer overview of Kodály’s biography, drawing parallels

from secondary sources. For instance, Eősze points out that the idea of basing art music

on the folk music of one’s own country actually comes from the Spanish musicologist

Eximeno in 1774.41 Eősze provides more information regarding the analysis of Kodály’s

compositions and the reception of his works in this brief book than he does in Zoltán

Kodály: His Life and Work .

Young’s Zoltán Kodály: A Hungarian Musician is similar in content to Eősze’s

later work ( His Life in Pictures and Documents). Kodály assisted Young with the

biography, which provides the most extensive historical background of Hungary, its

people, literature, and musical heritage of any work at the time of its publication.42 Young



42. In the Preface to his book, Young recognizes Eősze’s study of Kodály, but creditsKodály himself as his primary source of information stating he “has corrected




18

discusses the analysis of Kodály’s concert works more meticulously than Eősze and,

again, draws from secondary sources to explain the historical and cultural influences

upon Kodály, noting musical and poetic influences upon specific compositions. Quoting

Ralph Vaughn Williams, Young illustrates the parallel goals between England and

Hungary, in terms of developing a national compositional style:

In art, as I suppose in every activity, the best results are obtained by developingone’s natural faculties to the highest. If an Englishman tries to pose as aFrenchman or a German, he will not only make a bad Englishman, he will alsomake a bad foreigner. If the English spirit is capable of being expressed in music,let it be so expressed; if not, let us honestly give up the attempt.43

Keresztury, a poet, politician, and Minister of Religion and Education from 1945-1947, highlights a number of events in Kodály’s life in “Kodály the Writer,” using them

to portray Kodály as a scientific thinker and musician. Keresztury uses quotes by Kodály

and specific events to explain both his musical journey and the need to develop a

systematic approach to teaching music. Keresztury quotes Kodály, who portrays the

musical landscape which Kodály inherited as a young man and began to change in 1947:

After 1867 experiments in serious Hungarian music turned away from the people,abandoning the magnificent impulse of the reform age — which had, however,failed to attain to a fully formed Hungarian style in music. Around the turn of thecentury, there lived here a very thin layer having a musical education, and it wasentirely foreign to Hungarians (mostly in language as well). On the other hand,there were masses of Hungarians without any musical education, feeding on gipsymusic alone. It was clear that to create from these elements audiences desiring andsupplying higher music could be brought about only by transforming the educated

some errors that have otherwise been given currency and enlarged on episodesthat would seem hitherto to have been given sparse treatment, I can, perhaps, layclaim to some degree of authenticity.” Young, Zoltán Kodály: A Hungarian Musician, xiv.

43. Ibid., 57.




19

layer into musically Hungarian, and the Hungarian mass into a musically educated people.44

2.1.6 Conclusion

Though many sources have outlined historical events in Kodály’s life that

influenced his compositions and the formation of his philosophy of music education, few

specifically address the motivation behind his pedagogical compositions. These works

primarily pertain to the analysis and reception of his concert works, briefly mentioning

the Bicinia Hungarica as a composition during Kodály’s period of educational focus.

2.2 Kodály Philosophy

Although Kodály had been concerned with the education of his students at the

Academy of Music from 1907 onward, his experiences in 1923 led Kodály to begin

thinking about music education for the young and to investigate elements of educational

reform. The paradigm shift appears to develop around 1945, with K odály’s early

implementation of his philosophy into texts and schools.

Like most formal approaches, Kodály’s philosophy of music education was a

product of research, specifically his doctoral thesis involving folk song collection. It is

also an outgrowth of his life experiences and personal values. A defining moment in the

shaping of Kodály’s philosophy took place during a performance of his Psalmus

44. Keresztury, 51.




20

Hungaricus, when the boys’ chorus entered, singing the obligato part .45 Kodály discussed

his experience with children’s choruses and at the teacher training college during this

period, stating, “written illiteracy could be conquered[,] aided by the assets of an

unwritten culture.”46 This statement eventually formed the backbone of Kodály’s

philosophy of music education; it also reflects the marriage of his educational, scientific,

and compositional endeavors and thought.

In its simplest form, Kodály’s philosophy seeks to eliminate two kinds of musical

illiteracy: (1) in the form of musical reading and writing, and (2) in the appreciation of

true musical works.

47

The realization and execution of Kodály’s philosophy of musiceducation was taken on by his former students at the Academy of Music. 48

2.2.1 Sources

Sources translated into English by Hungarian authors such as Szőnyi, Hegyi,

Szabó, and Ádám primarily contain discussion of specific pedagogical and curricular

aspects which have come to be termed the “Kodály method”, a way of teaching that is

inspired by the philosophy of Kodály. A number of books outlining a Kodály-inspired

American curriculum have also been written; these sources generally include a section


46. Eősze, "Formative Years in Kodály's Career and Stylistic Development," 40.


48. Zemke, 16-17.




21

summarizing the underlying philosophy of Kodály before presenting their personal

adaptations of the Kodály method.

Kodály’s philosophical ideas quickly spread around the world in the 1970s and

are documented in Reflections on Kodály, a collection of essays by leading Kodály

experts in each country to which the philosophy has spread. American Denise Bacon

recounts her study at the Liszt Academy and her implementation of a Kodály-inspired

American curriculum, as well as the foundation of the first American training institute for

teachers.49 Sister Mary Alice Hein describes her studies in Hungary, the planning of the

First Kodály International Symposium, and aspects of funding which aided the Master’sdegree program with Kodály emphasis at Holy Names College.50 Sister Lorna Zemke

discusses the establishment of a Kodály pilot program by Katinka Dániel in Santa

Barbara, California.51

Ann Carroll of Australia describes how her study of the Kodály method

influenced her decisions as supervisor of Music for Queensland public schools.52 Lois

Choksy of Canada discusses the publication of her books regarding the Kodály method

49. Denise Bacon, "The Adaptation of Kodáy's Concept of Music Education in America,"in Reflection on Kodáy, ed. László Vikár (Budapest: International Kodály Society,1985).

50. Mary Alice Hein, "USA," in Reflection on Kodály, ed. László Vikár (Budapest:International Kodály Society, 1985).

51. Lorna Zemke, "USA," in Reflections on Kodály, ed. László Vikár (Budapest:International Kodály Society, 1985).

52. Ann Carroll, "A Queensland Connection with the Work of Zoltán Kodály," in Reflections on Kodály, ed. László Vikár (Budapest: International Kodály Society,1985).




22

and her training of public school teachers. Alastair Highet recounts his training in

Hungary and the subsequent integration of a Kodály inspired curriculum in the Nanaimo

primary and secondary schools. Connie More outlines Canada’s educational system,

discusses issues affecting the adoption of a Kodály-inspired curriculum outside Hungary,

and addresses the means through which teachers have gained Kodály training. Kaye

Pottie recounts the integration of a Kodály curriculum in the Halifax school system, and

includes discussion of historical aspects of music in the school system. 53

Gilbert De Greeve describes the quality of music education in Belgium as good

prior to the integration of a Kodály-inspired curriculum at the State Music Academy ofAntwerp.54 He notes that the use of relative solmization was met with resistance,55

eventually becoming less of an issue because of the inherent human value of Kodály’s

philosophy. Stefán Edelstein from Iceland recalls that Hungarian master teachers and

choir directors provided workshops for educators in the 1970s, leading to the inclusion of

a Kodály-inspired music curriculum in grades one through six.56 Michael Stocks, from

53. Kaye Pottie, "Kodály in the Halifax School System," in Reflections on Kodály, ed.László Vikár (Budapest: International Kodály Society, 1985).

54. Gilbert De Greeve, "Belgium," in Reflections of Kodály, ed. László Vikár (Budapest:International Kodály Society, 1985).

55. Relative solmization, or moveable-do, is a system of assigning a distinct syllable toeach note of a musical scale. In relative solmization ‘do’ is the tonic of any majorkey and ‘la’ is the tonic of any minor key. Many European countries, especially

those that speak Romance or Slavic languages, usually favor a system called“fixed do” which assigns ‘do’ to the absolute pitch C, ‘re’ to D, and so forth.

56. Stefán Edelstein, "A Short Account of the Influence of Kodály's Principles andPractice on the Music Education System of Iceland," in Reflections on Kodály, ed.László Vikár (Budapest: International Kodály Society, 1985).




23

England, describes Kodály’s philosophy as a synthesis of the work by Cecil Sharp,

ethnomusicologist, and John Curwen, who developed a system for sight-singing which

Kodály employed in his own philosophy.57

Reflections on Kodály (1985) provides a brief picture of how Kodály’s philosophy

impacted the world. A brief survey of the International Kodály Society’s webpage

indicates that the philosophy has continued to gain acceptance around the world.

Presently there are fifteen national Kodály organizations, from Europe, Asia, North and

South America, and Australia.58

A discussion of Americans whose works specifically contain discussion ofKodály’s educational philosophy is pertinent. Lois Choksy, author of The Kodály

Method, Teaching Music in the Twenty-First Century and numerous other

methodological texts, received a Kodály certificate from the Liszt Academy of Music.

Mícheál Houlahan and Phillip Tacka, authors of Kodály Today: A Cognitive Approach to

Elementary Music Education and other Kodály-related publications, both hold diplomas

from the Liszt Academy and the Kodály Center of America. Sister Lorna Zemke, author

of The Kodály Concept — Its History Philosophy and Development , also studied at the

Liszt Academy, researching Kodály for both her master’s thesis and doctoral dissertation.

A more detailed discussion of their material is pertinent and follows this section.

57. Michael Stocks, "English Folksong and Music Education in England," in Reflectionson Kodály, ed. László Vikár (Budapest: International Kodály Society, 1985).

58. "Web Links", The International Kodály Society http://www.iks.hu/Web-Links/(accessed February 2, 2012).




24

2.2.2 Kodály’s Philosophy and Method in American Secondary Sources

Kodály’s approach to music education can be separated into two categories:

philosophical principles and methodological practice. The following is a discussion of

specific interpretations of Kodály’s approach to music education. It is important to note

that each of the sources, with the exception of Houlahan and Tacka’s, differentiates

between philosophy and method.

According to Choksy in The Kodály Method I , “music is essential to any complete

education.”59 In Teaching Music in the Twenty-First Century, she adds that “music should

be at the heart of the curriculum, a core subject, used as a basis for education.”

60

Herstatement is supported by Houlahan and Tacka: “Kodály believed that music should

belong to everyone, not just to a musical elite.”61 This goal is accomplished through

education, and according to Choksy, “Music education, to be most effective, must beg in

with the very young child.”62

Another tenet of Kodály’s philosophy is that “all people capable of linguistic

literacy are also capable of musical literacy.” 63 Choksy points out that if man is capable of

becoming musically literate, and if music belongs to everyone, then “the development of

59. Lois Choksy, The Kodály Method I : Comprehensive Music Education , 3rd ed. (UpperSaddle River, NJ: Prentice Hall, 1999), 16.

60. Lois Choksy, "The Kodály Method " in Teaching Music in the Twenty-First Century,ed. Lois Choksy (Upper Saddle River, NJ: Prentice Hall, 2001), 82.

61. Mícheál Houlahan and Philip Tacka, Kodály Today: A Cognitive Approach to Elementary Music Education (NY: Oxford University Press, 2008), 19.

62. Choksy, "The Kodály Method," 82.

63. Ibid.




25

such literacy is an obligation of the schools.”64 She further states that it is necessary “to

make the language of music known to children; to help them become musically literate in

the fullest sense of the word — able to read, write, and create with the vocabulary of

music.”65 Houlahan and Tacka conclude that children should read and write music as

easily as they read and write their own language.66

Kodály recognized that universal music literacy could not be accomplished unless

quality music was used for teaching. Choksy states that “only music of the highest artistic

value, both folk and composed, should be used for teaching. In presenting any music to a

class, the teacher places an implied value on that music. Children, open-minded andimpressionable, learn first by imitation and example.”67 She suggests that teachers “know

that only the best music is good enough and that this music must, as well, suit the

emotional, musical, and intellectual world of the child.”68 Choksy concludes that use of

quality music “makes the children’s musical heritage known to them” and instills in

children a love and appreciation of art music based on knowledge of music gained

through performing, listening, studying, and analyzing.69

64. Choksy, The Kodály Method I: Comprehensive Music Education, 16.


66. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary MusicEducation, 24.

67. Choksy, "The Kodály Method " 82.






26

Houlahan and Tacka take a slightly different point of view, suggesting that

Kodály may have believed that the “transmission of a musical and cultural heritage” was

even more important than “the music education of children.” At any rate, Kodály was

emphatic in this insistence that only quality music be taught. 70 Houlahan and Tacka

concur with Kodály that “the use of contrived or diluted music is not suitable for

instruction.”71

Concerning the inclusion of folk music as part of Kodály’s philosophy, Houlahan

and Tacka state that understanding of one’s own culture through the study and

performance of folk music leads to the understanding of music of other cultures, then toart music, and finally to recently composed music.72 This view is seconded and expanded

by Choksy: “The folk songs of a child’s own linguistic heritage constitute a musical

‘mother tongue’ and should therefore be the vehicle for all early instruction.” 73 Zemke

eloquently establishes this foundation:

To Kodály, if music was to influence the lives of all people, it had to beunderstandable and composed from material which man could comprehend.Kodály proposed that musical culture, then, should stem from the national culture peculiar to each people of every land. With this as the foundation, the music ofother nations and the compositions of the classical masters as well as moderncreative artists can be understood and appreciated.74

70. Kodály, The Selected Writings of Zoltán Kodály, 122.

71. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary MusicEducation, 23-24.

72. Ibid., 23. While the other scholars mentioned in this section allude to this fact,

Houlahan and Tacka are the only authors to make specific mention of therelationship between folk music of the past and modern folk music.


74. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 11.




27

In order to effectively accomplish the goals of his philosophy, Kodály also felt it

necessary to comment on the quality and training of the music teacher. Choksy concurs

that “only the well-trained musician should teach music to even the youngest children”

and that to understand “any subject well at the simplest levels, it is necessary to

understand it at the most complex level.”75 Houlahan and Tacka suggest that “students

learn the craft of music from individuals who themselves are excellent musicians.” 76

Finally, Kodály scholars agree that unaccompanied singing was a primary tenet of

Kodály’s philosophy. From her study of Kodály, Zemke concludes: “Since the human

voice is the most natural instrument to man, the act of singing is logically the mostnatural musical activity of man … . Not only is singing a means of musical expression, it

aids in emotional and intellectual development as well.”77 Choksy reiterates Zemke’s

conclusion by stating “that the best possible instrument for instruction is the child’s own

unaccompanied voice” and expands the thought by saying, “singing is the best foundation

for musicianship.”78 Houlahan and Tacka also cite singing as the foundation of musical

education. They believe that the voice is the most intimate of all instruments, one which


76. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary Music

Education, 20.

77. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 12.

78. Choksy, The Kodály Method I: Comprehensive Music Education, 16; Choksy, "TheKodály Method " 82.




28

requires the performer to internalize sound, immediately participate in the musical

experience, and develop the inner ear through singing. 79

Houlahan and Tacka make special mention of the inclusion of instruments,

movement, composition, and listening as important components of Kodály’s philosophy.

Regarding instruments, they state that instrumental instruction must follow proficiency in

singing, reading, and writing. Instruments may be used for accompaniment in the

classroom, but it is more pleasurable and amusing if the children provide the

accompaniment. Additionally, movement is critical for musical development; it can be

implemented through the use of singing games and folk dancing.

80

While the above sources are primarily guides for teachers to implement a Kodály-

inspired approach, they do not specifically establish the tools of the method. They

primarily incorporate the method and tools of the method into their own educational

approach; however, some mention is made to the specific tools and materials of the

method.

Choksy summarizes the method as one based on child development, in which

content is organized “into patterns that follow normal child abilities at various stages of

growth” rather than a subject-logic approach, where material is organized “in a fashion

that seems reasonable in terms of content.” She gives the following example:

In terms of rhythm, moving rhythms are more child-related than sustained ones.The quarter note may be related to children’s walking pace, the eighth note, totheir running. These are the rhythms of the child’s day-to-day living … .

79. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary MusicEducation, 21.

80. Ibid., 22-23.




29

Melodically, the first recognizable tunes sung by most young children aremade up primarily of minor thirds, major seconds, and perfect fourths. … Theyare the tones their mothers use to call them to dinner.81

Houlahan and Tacka’s own curriculum conforms to the statements made by

Choksy, yet they do not explicitly state that the method is centered on child development.

Instead, they address elements of a child’s developing musicianship as the

methodological foundation of Kodály’s philosophy through performance, critical

thinking, creativity, and listening, as well as through the stewardship of a child’s musical

and cultural heritage. Each of these components lead to the formation of “creative human

beings.”

82

Choksy and Zemke mention specific tools employed in the “Kodály method.”

Choksy states that Kodály did not create these tools but borrowed existing techniques

from other approaches.83 For instance, Kodály first observed the use of moveable-do in

England, though the system originated with Guido d’Arezzo in 11th-century Italy.84 For

rhythm, Kodály employed a system which assigns words to specific rhythms to express

duration, created by Aimé Paris as part of the Galin-Paris-Chevé Method. 85 The use of

hand signs, established by John Curwen, was incorporated into the method, as well as

81. Choksy, The Kodály Method I: Comprehensive Music Education, 9-10.

82. Houlahan and Tacka, Kodály Today: A Cognitive Approach to Elementary MusicEducation, 20-21.


84. Ibid.

85. Choksy, The Kodály Method I: Comprehensive Music Education, 12; Árpád A.Darázs, “A Study of the Zoltán Kodály Approach to Music Reading and ItsApplication to the High School Selective Choral Organization” (EdD dissertation,Columbia University, 1973), 72.




30

sol-fa, a shorthand musical notation system incorporating abbreviated solfège syllables

for pitches and stem notation for rhythms.86 Zemke concludes that

These teaching techniques as all those employed in the Kodály Method are merely

that —“techniques” — and are not to be glorified in themselves. The Methodencompasses more than any of them or all of them taken collectively. As DeniseBacon, Music Director of the Kodály Teacher Training Institute in the UnitedStates said: “… it is more than a method, it is a philosophy affecting alleducation.”87

2.2.3 Kodály’s Philosophy, in His Own Words

Though many secondary sources provide extensive insight into Kodály’s work,

Kodály’s own description of his philosophy is of particular relevance to this study, in thathis words speak directly to the context in which the Bicinia Hungarica came to be

written.

Most of Kodály’s essays and speeches appear in Visszatekintés, in Hungarian. A

selection of important essays has been translated by Bónis and appears in The Selected

Writings of Zoltán Kodály.88 Additionally, Ildikó Kocsár has published a collection of

quotations from these and other sources that pertain to Kodály’s philosophy of music

education, entitled Music Should Belong to Everyone. Kocsár establishes a need for

compiling Kodály’s thoughts on music education:

86. Choksy, The Kodály Method I: Comprehensive Music Education, 13-15.

87. Zemke, The Kodály Concept: Its History, Philosophy, and Development, 29.88. The Selected Writings include selected translations of material which appears in the

first two volumes of Visszatekintés, from 1964. Material included in the thirdvolume of Visszatekintés from 1989 has therefore been omitted from the presentdiscussion.




31

Did Zoltán Kodály write a book on methodology? This question has often beenasked by Hungarian and foreign music educators. The answer is definitively no.

If, however, we pay attention in reading his writings (statements,forewords and epilogues to his reading-practicing exercises), we can get a clear picture of an explicitly outlined concept of what, when and how should be taught

in music education in order that music becomes accessible for everyone. Thus‘the Kodály Method’ derives from the selections of Kodály’s thoughts andreferences on music education. It is rather a philosophy than a simple collection ofmusic pedagogical tools though.89

Choksy, Houlahan, Tacka, and Zemke agree that at the core of Kodály’s

philosophy is the belief that music is central to the development of the individual. Kodály

stated that “music is an indispensable part of universal human knowledge. He who lacks

it has a faulty knowledge. A man without music is incomplete. So it is obvious that musicshould be a school subject. It is essential.”90 Furthermore, “Surely, as we can have no

influence on the education of the child eighteen months before birth, we should fight for

the ideal that no man is complete without music, and so the general education must

include music. And it is only the primary schools which can do the work.”91 Szabó

submits the following quote by Kodály:

The purpose of music is not that it should be judged, but that it should become oursubstance. Music is a spiritual food for which there is no substitute; he who doesnot feed on it will live in spiritual anemia until death. There is no completespiritual life without music, for the human soul has regions which can beilluminated only by music.

The purpose of music is to understand better: to evolve and expand ourinner world. Legends of many peoples deem music to be of divine origin; thus,

89. Zoltán Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings

and Speeches, ed. Ildikó Herboly Kocsár (Budapest: International Kodály Society,2002), 9.

90. Ibid., 15.

91. Johnston, Zoltán Kodály in North America, 32.




32

when we have reached the boundaries of human understanding, music points beyond, into a world that cannot be explored but merely guessed at.92

Furthermore, Kodály clearly believed that musical education should begin as

early as possible: Not only from the point of view of individual education but from that of thenation, the work of the kindergarten is indispensable. Not even the most carefuleducation in the family can supply what the kindergarten offers: adjustment to thehuman community … .

In music, too, the work of the kindergarten is irreplaceable. But seldom do parents care in good time about a development of a sense of music, and even themost careful and wealthy parents, however good the teaching they supply for theirchildren, are unable to provide them with a collective education, which, at theinitial stages of music, is a tremendous help. Most children have no opportunity to

make use of their natural sense of music in time. And for want of developmentthis sense becomes stunted and the majority of people proceed through lifewithout music … .93

Kodály affirmed his belief that to successfully educate a child, music must be an

enjoyable experience that leads the child to desire finer music. He concluded that “if the

child is not filled at least once by the life-giving stream of music during the most

susceptible period — between his sixth and sixteenth years — it will hardly be of any use tohim later on. Often a single experience will open the young soul to music for a whole

lifetime. This experience cannot be left to chance, it is the duty of the school to provide

it.”94 Finally, he stated that “… without the acquisition of reading and writing, music

92. Helga Szabó, The Kodály Concept of Music Education, ed. Geoffry Russell-Smith(NY: Boosey & Hawkes, 1969), 4.


94. Ibid., 120.




33

remains inconceivable and enigmatic. ‘Music reality’ can only be achieved by reliable

music literacy.”95

Furthering the idea of music literacy, Kodály stated that “the ideological content

of a piece of music can only be comprehended through the language of music. It is self-

deception to think that by simply reading the title and the programme you will understand

it. It is not enough to put Beethoven in front of people. They should be taught how they

can reach him.”96 Here, Kodály alludes to one who can read all of the words in a

paragraph but who misses the author’s meaning or misunderstands the context. Kodály’s

goal was that students not merely be taught the symbols of music, but how those symbolsare organized to express meaning. This principle is further explained in the Preface to

333 Reading Exercises:

Merely to get the main intervals somehow right does not amount to sight-reading;it is merely spelling. Reading must be done comprehensively, taking in at a glancefirst a single word, then more, and eventually whole sentences, taking in thewhole before examining the details. We should try to make a habit ofunderstanding a tune by glancing through it quickly from beginning to end, aswith a map, and not by building it from the separate notes. We should feel it as awhole before starting to sing it. This will give better results.97

In Kodály’s opinion, music literacy must therefore be approached systematically,

because, for the most part, child development occurs systematically. For instance, “…

children’s songs represent a very primitive state of musicality. It is known that children

go through all the phases of development of the human race. This is another reason why

95. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings andSpeeches, 25.

96. Ibid., 43.

97. Zoltán Kodály, 333 Reading Exercises (London: Boosey & Hawkes, 1972), i.




34

we should handle children’s songs separately: they represent, as it were, a preceding

degree to the development of adult songs.”98 To this end, Kodály states: “Obviously all

reasonable pedagogy has to start from the first spontaneous utterances of the child:

rhythmic-melodic plays, games with many repeated simple phrases: A A A … slowly

evolving to AB or ABC forms, etc.”99 In other words, for children to acquire the language

of music, they must first have experiences with the simplest of materials, then gradually

progress to the more complicated. Kodály warned that “music must not be approached

from its intellectual, rational side, nor should it be conveyed to the child as a system of

algebraic symbols, or as a secret writing of a language with which he has no connection.The way should be paved for direct intuition.”100

Kodály believed that the first step towards music literacy came through a

student’s knowledge of his own culture, facilitated by the singing of his own country’s

folk songs. Kodály states: “It is only through its own deep-seated musical instincts that a

people can be reared to musical consciousness. One can approach what belongs to all

humanity only through one’s own national characteristics.”101 He states, however that “…

no nation can be limited to its own songs because every nation has only a certain group


99. Johnston, Zoltán Kodály in North America, 60.


101. Szabó, 5.




35

of formulas, rhythmic and melodic formulas, which cannot contain all the possibilities in

music.”102 Continuing this idea, Kodály states:

Well, at the beginning it is best that the child must learn from his own

surroundings, and what he adds to them from his own improvising andcomposing. The next step would be folk songs … . Later on, if the supply ofnative folk songs is exhausted, it is possible to go to the folk songs of other people… . Many great musicians have agreed that the best means by which you canknow a person is through his folk songs. And then gradually the “big” music isintroduced. From folk music the leap is very easy to the great classical music,whereas the so-called “light” music never gives a transition to the big classicmusic. It is entirely separate. The two never come together in the same stream. 103

Underlying Kodály’s ideas concerning appropriate types of music for educating

children is the subject of quality music. He states:Strictly speaking there are only two kinds of music: good and bad….Why couldwe not provide the best to someone who has no recognition of either good or badyet? He whose taste is unspoiled will certainly enjoy good music ….

It is evident that this protective inoculation should be administered asyoung as possible. Good taste cannot be inherited, yet it can be spoiled very early.That is why teaching, in the schools and indeed already in the kindergartens,should be of high quality from the start.104

He adds, “The young people of today should be warned that their right to speak

intelligently about music will come only after a long and thorough period of study. ”105

Furthermore, “The elementary schools will fulfill their purpose when they teach not only


103. Johnston, Zoltán Kodály in North America, 70-71. Part of this quote may call intoquestion the use of Bicinia Hungarica, but it is not the authors’ belief that thiscollection should be a first introduction to music; it should follow singing and the

study of American folk songs.


105. Ibid., 49.




36

how to read but also how to distinguish between good music and bad music.” 106 The

following statement not only affirms Kodály’s belief in quality literature, but also alludes

to the necessity of a systematic approach, both in content and repertoire.

It is only a few who can reach the highest peaks of art, just as the Himalayascannot be climbed by the average tourist. According to Schumann, a genius can be completely understood only by another genius. But what does thisunderstanding mean? Is it not enough for the average man to be seized by thefeeling of reverence and worship when casting a far away glance at theHimalayas?

But to be able to direct people’s view to the highest mountains, first wehave to show them some accessible hills.107

Despite Kodály’s value for quality, he conceded, “Trashy literature and trashy

music will always exist. However, should we not do our best to rescue their prisoners,

wherever possible, and take them into the land of valuable art? This is our moral duty

towards our children, where this rescue is the most promising.”108 Kodály insisted that

only the best music is good enough for children: “Let us stop the teacher’s superstition

according to which only some diluted art-substitute is suitable for teaching purposes. A

child is the most susceptible and the most enthusiastic audience for pure art; for in every

great artist the child is alive —and this is something felt by youth’s congenial spirit.”109

Granting all this, Kodály conceded that without a well-trained musician

instructing students, the quality of the musical material would be unimportant. He stated:

“There will be good music education in the schools only when we educate good

106. Ibid.

107. Ibid., 67.

108. Ibid., 49.





37

teachers.”110 Furthermore, “as a general rule, only someone who has been taught well can

teach well. Yet it can happen that someone who has been taught badly becomes a good

teacher because he wants to save his pupils from the mistakes of his own training.” 111

Kodály believed that the voice should be the primary instrument for teaching

because it is universally available and affords the greatest number of people the

opportunity to become musically literate. Kodály stated: “What is to be done? To get the

greatest possible mass of people into direct contact with really valuable music. How can

this be achieved? Through choral singing.”112 He further acknowledged that

unaccompanied singing is best: “The beginners’ first steps in the endless realm of notesshould be supported not by any instrument of tempered tuning and dissimilar tone-colour,

but by another voice … . In f act, those who always sing in unison never learn to sing in

correct pitch. Correct unison singing can, paradoxically, be learned only by singing in

two parts: the voices adjust and balance each other.”113 He submitted that singing also

develops the ear: “… the ear will only be able to fully take in polyphonic music if the

parts are learned unaccompanied (without instrumental support) whilst listening to



112. Szabó, 34.

113. Zoltán Kodály, Let Us Sing Correctly (London: Boosey & Hawkes, 1952), 2.




38

another part … . This ability takes time to develop, but practicing it is not tiring, on the

contrary, it is delightful.”114

Kodály also valued the use of solfège as a pedagogical tool, stating that

The moveable do is a secret tool by which children learn much more quickly howto sing from the score than by any other method. No matter what else one mayexperiment with, it cannot be defeated. It is not a Hungarian invention: anEnglishman called Curwen started it more than a hundred years ago; since then ithas been alternately used or abandoned. Now we have taken it again, and it has proved to be very useful.115

He continued, “Successions of syllables are easier and more reliably memorized

than letters; in addition, the syllable indicates at the same time the tonal function and, by

memorizing the interval, we develop our sense of the tonal function. It is a common

experience that singing is more correct in countries and schools where solmization is

practiced.”116 Kodály affirmed that “since solfège is not only the alphabet of music but

also its grammar, syntax, style, it is the key to the full understanding of music. It also

includes aural harmony (polyphonic dictation).”117

2.2.4 Conclusion

Kodály’s philosophy of music education stemmed from his experiences as a

college music professor and composer and then was infused into the Hungarian school


115. Ibid., 27.

116. Kodály, Let Us Sing Correctly, 3.





39

curriculum by him and by his former students. His philosophical principles value music

and music literacy as important to human development, as necessary for the complete

education of the child, and as a vehicle to understand culture and art. Kodály’s method

for accomplishing these goals borrowed musical teaching tools, including solfège, from

around the world. Kodály’s philosophy of music education has been adapted and has

spread across the world.

2.3 Kodály’s Pedagogical Compositions

Kodály wrote several collections of vocal exercises and other pieces intended for

educational instruction. Kraus notes,

Within 30 years Kodály published 16 teaching works which in the whole presenta complete music method based on singing and ear training. These publications — among them 6 collections of several volumes each with over one hundredexercises — include all levels of musical education from the kindergarten to themusic academy, from the classroom choir of the primary school to the musicacademy choir, from the post-school singing group to the efficient amateur choir.Together with some 50 pieces for children and youth choirs the 16 pedagogicalworks of Kodály comprise a comprehensive music pedagogic teaching workwhich makes possible an organic introduction to the choral compositions ofKodály and Bartók and to the large choral works of world musical literature.118

Houlahan and Tacka, Ittzés, and Kraus have catalogued Kodály’s compositions

and agree that the following works were intended as pedagogical publications: 15 Two-

Part Exercises; Let Us Sing Correctly; 24 Little Canons on the Black Keys; Bicinia

Hungaria, in four volumes; 333 Elementary Exercises Reading Exercises; Epigrams;

Tricinia; 66 Two-Part Exercises; Nursery Songs Within a Range of Five Notes; 55 Two-

118. Egon Kraus, "Zoltán Kodály's Legacy to Music Education," International Music Educator , no. 16 (1967): 521.




40

Part Exercises; 44 Two-Part Exercises; 33 Two-Part Exercises; 22 Two-Part Exercises;

Pentatonic Music, in four volumes; and 77 Two-Part Exercises. Young describes the

content and importance of several of these works:

[The] choral works lie at one end of the spectrum: at the other are the exerciseswhich Kodály designed more or less at the same time to ensure that in due coursethere would be a sufficiency of singers able to perform the larger things … . [With Let Us Sing Correctly] every interval must be memorized separately, and each inits particular characteristic tonal function, not fitted together as steps of a scale ….There followed Fifteen Two-part Exercises, in which what has been learned in LetUs Sing Correctly is put to a more severe test in free, and varied counterpoint. Ofgreater importance are the four volumes of Bicinia Hungarica, in which there arealmost 200 miniature masterpieces; perhaps the finest vocal pieces ever to bedevised for the use of schools. In the Bicinia Hungarica are folk-songs, each

deftly arranged in a fluent counterpoint that runs out of the originating melodyaccording to the principle of melodic genesis that characterizes Kodály’s mannerof invention … .

In this period of intensive educational effort Kodály also issued a primarystage sight-reading manual of 333 graded exercises. Beginning with two-notemelodies, guided by the sol-fa system … and working through a nicely graded progression of patterns of gradually increasing difficulty the pupil can hardly failto achieve some sort of practical skill … .119

Kraus discusses specific musical features in Kodály’s pedagogical publications

and provides quotations from the composer to establish reasons that the compositions

were written.120 Houlahan and Tacka primarily list the publications, including original

publication dates and all known editions. They also provide brief notes for each of the

pedagogical publications.121 Ittzés lists each publication, including a description of the

musical material suggesting its musical and pedagogical aims, and provides the difficulty

119. Young, Zoltán Kodály: A Hungarian Musician, 125-126.

120. Kraus, 517-520.

121. Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 74-76.




41

level of each volume.122 As early as 1963, Kodály’s collection of pedagogical works was

termed the Kodály Choral Method , a “comprehensive series of progressive songs and

sight-singing exercises designed to promote a thorough understanding of interval and

tonality.”123

2.3.1 Works Investigating Specific Pedagogical Publications

After outlining Kodály’s pedagogical works, Ittzés investigates “some [of the]

singing exercises which have stylistic parallels in Baroque and Romantic music.”124

Joób’s doctoral dissertation investigates “not only [how] to develop music reading butalso serve[s] as an introduction to the musical structures associated with Hungarian folk

music,” as evidenced in 333 Reading Exercises, a collection of unison sight-reading

122. Mihály Ittzés, Zoltán Kodály in Retrospect: A Hungarian National Composer in the20th Century on the Border of East and West (Kecskemét: Kodály Institute,2002), 63-67.

123. Gordon Reynolds, "Towards Independence," The Musical Times 41, no. 1441

(1963): 198. The question still lingers whether Kodály intended this to be amethod. He avoids using the word in nearly all of his writings and speeches.Regardless, these publications have been published under the title of “The ChoralMethod” and the term “Kodály method” is frequently used.

124. Ittzés, 67.




42

exercises which are organized sequentially.125 Bárdos, a student of Kodály’s, primarily

discusses the aspect of musical form as evidenced in 333 Reading Exercises.126

In a discussion of Kodály’s choral music, Bárdos also references and provides

examples from Kodály’s singing exercises as an explanation of theoretical music

concepts.127 Burkart briefly investigates “the techniques that Kodály seems to have used”

as part of the Bicinia Hungarica, a collection of 180 two-part songs arranged

sequentially.128 Townsend observes musical elements as they relate to folk song in Bicinia

Hungarica.129 Kent conducts research on textual and structural principles in Kodály’s

unaccompanied choral works, including the Bicinia Hungarica and Tricinia.

130

Kontra provides a practical analysis and teaching suggestions based on the

exercises found in Let Us Sing Correctly, a collection of two-part graded intonation

125. From abstract in: Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 216.Joób’s dissertation was written in Hungarian, and appears in a shortened English

article in Zoltán Kodály-Composer, Musicologist, and Educationist. A Festschrift for Professor Mati Vainio.

126. Lajos Bárdos, "Kodály's Children's Choruses," in Selected Writings on Music(Budapest: Editio Musica Budapest, 1984), 216-229.

127. Ibid., 288-372.

128. Arnold E. Burkart, "Looking at Kodály's Bicinia Hungarica," Keeping Up With Kodály Concepts in Music Education (Nov./Dec. 1975): 34.

129. Declan F. Townsend, "The Significance of Folk Songs in Kodály's BiciniaHungarica," Music Teacher 55 (1976): 13-14.

130. Sister Mary Benen Kent, “A Study of Textures and Structural Principles in theUnaccompanied Choral Works of Kodály” (Master's thesis, Indiana University,1967).




43

exercises.131 Promonti presents a historical background for the Epigrams, a collection of

nine songs for solo voice and piano, including a brief musical analysis of each piece. 132

Regardless of whether Kodály composed these singing exercises for practical

application of his philosophical goals, they “are used for the training and practicing of

sight-reading.”133 Through the publication of these works, Kodály fulfilled his

requirement: “Theories will become obsolete[,] but material published without mistakes

never will.”134

2.3.2 Kodály’s Pedagogical Choral Works

A brief examination of Kodály’s other choral compositions is relevant to this

study. According to Kraus, “In a wider sense the fifty children and youth choruses also

belong to the pedagogical works of Kodály.”135 Breuer corroborates Kraus’ statement:

“The distribution of the choruses according to the performers clearly reflects Kodály’s

artistic and educational intentions. Most of them are scored for children’s and women’s

choirs, that is, for school use.”136

131. Zsuzsanna Kontra, Let Us Try to Sing Correctly: Training for Singing in Parts(Kecskemét: Kodály Institute, 1995).

132. Elisabeth Promonti, "Kodály's Epigrammes (1954)," Bulletin of the Internaitonal Kodaly Society 18, no. 1 (1993).

133. Erzsébet Szőnyi, Kodály's Principles in Practice: An Approach to Music Educationthrough the Kodály Method (NY: Boosey & Hawkes, 1973), 69.


135. Kraus: 520.

136. János Breuer, A Guide to Kodály (Budapest, Hungary: Corvina, 1990), 211.




44

Steen supplies a survey of Kodály’s choral music for children and youth choirs.

Analysis of specific pieces is provided, but his overall intention is to highlight the

stylistic elements of Kodály’s choral music.137 Stevens also surveys Kodály’s choral

music, but pauses to recognize that “Kodály dedicated himself to the furtherance of

choral singing as the most effective way of leading his compatriots to an understanding of

all music. Single-handed [ sic] he provided for the purpose a repertory as wide in variety

as it is extensive in quantity.” Stevens comments that many choral transcriptions “were

intended for children’s choruses. Coupled with the Choral Method , they supply an

important source for training and performance.”

138

Ittzés concludes that Kodály wrotechildren’s choruses to “give valuable, well-composed pieces, real artistic value for the

young child; and he also aimed to establish deep knowledge and a feeling of national

spirit in music, a musical mother tongue at an early age through active music-making.”139

Breuer comments that “the artistic aim and technique of the choruses scored for

different voices are essentially the same,” but that major differences between Kodály’s

choruses for children’s and mixed ensembles lie in the source of their material. Like the

singing exercises, the majority of children’s choruses are arrangements of folk songs or

137. Philip Lewis Steen, “Zoltán Kodály's Choral Music for Children and Youth Choirs”

(PhD dissertation, University of Michigan, 1975).

138. Halsey Stevens, "The Choral Music of Zoltán Kodály," The Musical Quarterly, 54,no. 2 (1968): 156-157.

139. Ittzés, 169.




45

folk texts because the “emotional world of children is most faithfully expressed in the

game songs they themselves have created.”140

2.3.3 American Adaptation of Bicinia

In an interview with Ernő Daniel, Kodály stated,

I am surprised to find that there is so much general interest in this material inforeign countries, because in my mind was nothing more than the improvement ofthe situation in Hungary. All my work was done expressly for Hungariansurroundings. If the system is to be adopted in foreign countries, each countrymust add his own motivic and musical background. The chief thing is a very slow but consequent programme, beginning with the most simple [ sic] features of

music. Surprisingly quickly children are able to sing in two and three parts because a feeling of ensemble is developed very rapidly if somebody takes thetrouble to deal with it. The chief hindrance is that the general schools have giventoo little time to music.141

Following Kodály’s admonition to develop a pedagogical sequence based on the

folk music of one’s own country, a number of Americans began to develop systematically

analyzed song collections and other pedagogical materials for use in the classroom. A

comprehensive discussion is beyond the scope of this study; however, of particular pertinence to this study are those materials based on Kodály’s Bicinia Hungarica.

This study is primarily concerned with Americans who wrote bicinia inspired by

Kodály’s Bicinia Hungarica. While bicinia and works containing bicinia-like

compositions exist by Bachmann, Russell-Smith, Szőnyi, Tacka and Taylor -Howell, and

140. Breuer, 212. Breuer states that the vast majority of the children’s choruses arearrangements of folk songs or texts, rarely drawing on poems, while two-thirds ofthe mixed choruses’ texts are from a poetic source.

141. Johnston, Zoltán Kodály in North America, 68-69.




46

Burkart, only those which are still in publication and written by Americans will be

discussed.142

Denise Bacon (1920-2013) attended the Dana Hall School in Wellesley,

Massachusetts, a boarding school for girls. She studied piano and earned an artist

diploma from the Longy School of Music and Bachelor of Music (1952) and Master of

Music (1954) diplomas from the New England Conservatory. 143

In 1966, Bacon was awarded a fellowship to study at the Liszt Academy in

Budapest, Hungary, and the Orff Institute in Salzburg, Austria, for the following

academic year. Upon her return in 1968, Mrs. Bacon began to disseminate and adapt theso-called “Kodály method” for use in American public schools. In the following years,

she, along with Péter Erdei, a Hungarian graduate of the Liszt Academy, implemented

142. Bachmann’s 200 Solfeggio contains 50 two part exercises that are lacking text.Geoffry Russell-Smith’s Be a Better Musician and Be a Real Musician containtwo-part pieces based on folk songs, but do not constitute bicinia because of theinclusion of unison melodies and extensive instruction. Szőnyi has written Bicinia Americana, but will not be investigated because she lives in Hungary and isunavailable for interview. Tacka and Taylor-Howell have compiled bicinia for theOrganization of American Kodály Educators in The Owl Sings and Sourwood Mountain; however, the pieces included in the publication were written bymultiple composers. Burkart wrote Bicinia Americana, but the book is no longerin publication.

143.Gilbert De Greeve, "Realizing Zoltán Kodály's Vision in America: Challenges for the21st Century," Kodály Envoy 30, no. 4 (2004): 17; Jui-Ching Wang, "Bacon,

Denise", Oxford University Press www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/subscriber/article/grove/music/A2092835?q=bacon+denise&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1#firsthit (accessed February 24, 2012).




47

what may have been the first Kodály-inspired American curriculum in several model

schools throughout the Boston, Massachusetts area.144

Tacka notes that Bacon is the author of several pedagogical books, including Let’s

Sing Together , 50 Easy Two-Part Exercises, 185 Unison Pentatonic Sight-Reading

Exercises, and 46 Two-Part American Folk Songs.145

Mark Williams (1938-2013) graduated from the US Navy School of Music

(1957), earned a Bachelor of Science in Music Education from Miami University (1959),

earned a certificate from the Liszt Academy of Music (1972), and did doctoral work at

the University of Illinois (1975).

146

He most recently taught in Hong Kong at the PoLeung Kuk Choi Kai Yau School (2011-2013) and was the composer of Two-Part

American Songs.147

Mary Goetze (1943) has earned degrees in music from the Oberlin Conservatory

(1965), Indiana University (1971), and a PhD from the University of Colorado (1965). 148

Goetze has also received certification training in Kodály and Orff-Schulwerk. Goetze

144. Denise Bacon, Hold Fast to Dreams: Writings Inspired by Zoltán Kodály (Wellesley,MA: Kodály Center of America, 1993), 29-31.

145. Philip V. Tacka, “Denise Bacon, Musician and Educator: Contributions to theAdaptation of the Kodály Concept in the United States” (DMA dissertation,Catholic University of America, 1982), 177.

146. Cathy Williams-Dietsch, e-mail message to author, March 3, 2014.

147. Cathy Williams-Dietsch, "Musika Lingua",

http://musikalingua.blogspot.com/search?updated-max=2013-05-03T09:39:00-07:00&max-results=7 (accessed February 7, 2014).

148. Mary Goetze, "Mary Goetze", Indiana Universityhttp://info.music.indiana.edu/sb/page/normal/107.html (accessed February 24,2012).




48

taught in Bloomington public schools as an elementary music specialist from 1970-1983

before accepting a teaching position at Indiana University.149 She is a composer and

arranger of children’s choral literature, including Simply Sung: Folk Songs Arranged in

Three Parts for Young Singers, Sing Noel and The Cat Came Back (these are her

compositions that are most pertinent to this study).

2.3.4 Conclusion

Kodály’s pedagogical compositions comprise a variety of materials, from unison

singing exercises to two-part texted bicinia, as well as choral works for all ages and

ensemble types. Through the composition of these materials, Kodály provided repertoire

for every stage of musical development, pedagogical materials that inform students of

their musical culture, and an introduction to art music.

149. Constance Cook Glen, "Mary Goetze",www.indiana.edu/~deanfac/bios/2007/Goetze07.pdf (accessed February 24,2012).




49

CHAPTER 3

BICINIA

3.1 Historical Context of Bicinia

Grove Music describes bicinia as:

A term applied by many modern scholars to any two-part vocal or instrumentalcomposition of the Renaissance or early Baroque. In its stricter, historically morecorrect definition, it was used in German-speaking areas of the period, mainly byLutheran Latin schoolteachers, to designate pedagogical duos. Duos were writtenfor this purpose in the 15th century, but the Lutherans were the first to realize

their value as aids for teaching and practicing contrapuntal music in all clefs andchurch modes.1

Alfred Young provides the Latin roots of the word bicinium, “bis (two at a time)

and canere (to sing),” which are from classical, not ecclesiastical, Latin usage.2 He notes

that the first usage of the word bicinium comes from a publication in 1540 by the Polish

composer Jan Lublina, which “contained rules for the composition of two-part vocal

pieces, with examples.”3 Young suggests that the term gained more widespread usage

after Georg Rhau published several volumes of bicinia in the 1540s to be used as part of

1. Bruce Bellingham, "Bicinium", Oxford University Presshttp://www.oxfordmusiconline.com.lib-e2.lib.ttu.edu/subscriber/article/grove/music/03041?source=omo_t237&source=omo_gmo&source=omo_t114&type=article&search=quick&q=bicinia&pos=1&_start=1#firsthit (accessed February 20, 2012).

2. Young, "The Bicinium Form in Historical Perspective," 14. In Classical Latin the word bicinia should be pronounced “bihk -ihn-ee-ah”, which is in direct contrast to theHungarian pronunciation “beet-see-nee-ah”.

3. Ibid.




50

the Lutheran educational system.4 In 1577, Orlando di Lasso published bicinia which

feature two parts of original music, in contrast to Rhau’s bicinia, which were based on

previously composed music.5

By the end of the 16th century, the term was no longer used to describe vocal

compositions but was instead occasionally used for two-part instrumental compositions.

Young believes Michael Praetorius’ bicinia and tricinia from Musae Sionae are “the

highest peak of artistic achievement in bicinium composition.”6 He observes that both

Praetorius and J.S. Bach were products of Lutheran Latin schools and could have

experienced bicinia from the collections of Rhau. Young specifically references Bach’scompositions, stating he “certainly produced great contrapuntal examples in two and

three parts. One need only mention the two- and three- part ‘Inventions’ written for the

musical instruction of his sons. … The four duets from the Clavierübung and par ts of the

Orgelbuchlein also demonstrate his mastery of two-voice polyphony in a style

reminiscent of the bicinium.”7 The Solfeggi of Bertalotti (1666-1747) are contrapuntal

duets and trios intended for vocal reading exercises and the teaching of singing. Kodály

made use of Bertalotti’s Solfeggi while teaching at the Academy of Music. 8

4. Ibid., 14-15.

5. Ibid., 16.

6. Ibid.

7. Ibid.

8. Ibid., 16-17.




51

The inclusion of folk music in bicinia began with the German “Wandervogel” and

“Jungendmusikbewegung”, a youth music movement which lead to the publication of

bicinia by Fritz Jöde (1887-1970). The works of Jöde inspired others to compose bicinia

based on folk songs, which would ultimately be adopted into school texts in the 1920s

and 1930s.9 The parallel between the German Jungendmusikbewegung and the Hungarian

Singing Youth movement is strong: Magyár Kórus, run by Bárdos and Ádám (former

students of Kodály) published inexpensive choral music in the same manner as Jöde.

Regarding Bicinia Hungarica, Young writes that “Kodály uses not only Hungarian folk

song but a variety of other sources, including his own tunes. Some of the Kodály biciniamay indeed be termed minor masterpieces for they are superb settings respecting the

songs on which they are based.”10

Publications regarding bicinia by notable composers are available but lack

analysis of the works, and generally do not provide a historical context for the

compositions, modern transcriptions, or an index to available manuscripts. Oost-Zinner

and Tucker relate issues of modern musical training to those of the 16th century,

describing how Lasso addressed these problems with his bicinia.11 Einstein investigates

9. Ibid., 17-18.

10. Ibid., 18-19.

11. Arlene Oost-Zinner and Jeffrey Tucker, "Lasso's Bicinia: Practice toward Perfection,"Sacred Music 134 (2007): 14-16.




52

the manuscript of instructive duos by Vincenzo Galilei included in the Isituzioni e

Monmenti Dell’ Arte Musicale Italiana, from a musicological approach.12

Bornstein provides a comprehensive thematic index of two-part Italian didactic

music in printed collections from 1521 to 1744. He also describes the function of the

didactic duo in the Renaissance and Baroque.13 Bellingham and Evans transcribed the

Munich Manuscript 260, a collection of 106 duos.14 Wellen created a modern performing

edition of selected bicinia and tricinia by Michael Praetorius from his Musae Sioniae of

1605.15

Lorenz investigates historical implications on the music pedagogy of Wittenbergin the 16th century, applying his findings to modern pedagogy and performance practice

of Renaissance music through the analysis of musical elements found in a number of

publications, including bicinia by Georg Rhau.16 Murphy provides theoretical analysis of

12. Alfred Einstein, "Vincenzo Galilei and the Instructive Duo," Music & Letters 18, no.4 (1937): 360-368.

13. Andrea Bornstein, Two-Part Italian Didactic Music: Printed Collections of theRenaissance and Baroque, 1521-1744 (Bologna: UT Orpheus, 2004).

14. Bruce Bellingham and Edward G. Evans, Sixteenth-Century Bicinia : A Complete Edition of Munich, Bayerische Staatsbibliothek, Mus. Ms. 260, Recent Researchesin the Music of the Renaissance vol. 16/17 (Madison, WI: A-R Editions, 1974).

15. John Wellen, “A Performing Edition of Selected Bicinia and Tricinia from MichaelPraetorius' Musae Sioniae of 1605” (Master's thesis, Concordia Teachers College,1975).

16. Ralph Lorenz, “Pedagogical Implications of "Musica Practica" in Sixteenth-CenturyWittenberg” (PhD diss., Indiana University, 1995).




53

Penzel’s Bicinia Variorum Instrumentorum as well as a transcription of the publication.17

Van Altena discusses the Italian textless duo in printed sources of the sixteenth and

seventeenth centuries.18

3.2 Kodály’s Bicinia

Kodály’s second foray into educational publication (following the publication of

his children’s choruses in 1925) began in 1937 with Bicinia Hungarica. Breuer

concludes:

It is almost impossible to draw a line between Kodaly's chorus types and hisworks of an educational purpose. After all, the 180 movements in the fourvolumes of Bicnia Hungarica, published between 1937 and 1942, differ neither instyle nor in tone from the little two-part pieces among the children's choruses, nordo the 28 three-part exercises in sight-singing of Tricinia (1954) differ in tonefrom the women's choruses.19

According to Eősze, critics hailed the publication as an introduction to musical-

reading and two-part singing, as well as a collection showcasing Hungarian music.

Although Bicinia Hungarica was well received, it was not integrated into the educational

system.20 Eősze notes that a quarter of the pieces in the collection make use of folk songs

17. Arthur Loring Murphy, “The Bicinia Variorum Instrumentorum of Johann Christo phPezel” (PhD diss., Florida State University, 1959).

18. Jean Van Altena, “The Textless Duo in Italian Printed Sources of the Sixteenth and

First Half of the Seventeenth Centuries” (PhD diss, Northwestern University,1979).

19. Breuer, 204.

20. Eősze, Zoltán Kodály: His Life and Work, 74-75.




54

for which Kodály wrote an accompanying part. The remainder of the tunes were written

by Kodály, but the difference in style is nearly indistinguishable.21 Eősze concludes:

Taken as a whole, the one hundred and eighty exercises contained in these four

volumes not only display Kodály’s brilliant gift for counterpoint, but they alsoalmost completely free the pupil from the limitations of vertical thinking andinstrument-playing. Moreover, by creating a system of pentatonic counterpointthey provide the technical basis for the building up of a national music; while atthe same time these little pieces, by the variety of their style and rhythm, are asource of delight as well as of instruction.22

While there is little information in English that specifically addresses Kodály’s

purpose for composing Bicinia Hungarica, there are references to the subject which

suggest a rationale for his creating a composition of this nature. János Mátyás attempts toestablish Kodály’s purpose for the composition of Bicinia Hungarica in the liner notes of

“Choral Works 5: Two- part Exercises” with the following:

Since the Renaissance, two-part music has almost disappeared from European artmusic. One reason is that this simple genre[,] with its few musical means, cannottolerate any striving for effect or creative sloth, and therefore is restricted toessentials. The second reason grows out of the first. Because of its “bare”simplicity, only the already highly musically cultured, or the still extremely naïve(children) can accept it. Kodály wrote his bicinia — like Lassus his two-partcantios — for pedagogical purposes, but they also serve as examples of a greatcomposer’s pure lyricism and brilliant humour. These are characteristicallyindividual little masterpieces written in a marvelously condensed manner and withabsolute surety, and which differ from other great works only in length and not incontent. Their style is that of the mature Kodály, based on the pentatony and themodal scales of [Hungarian] folk music, using diatonic melody and harmony withsharp rhythm and clearly defined forms. Their material is particularlycharacteristic with an equal balance between music and text and a spiritualrelationship with the vocal polyphony of the 16th century, perhaps most of all thediatonic and harmonic polyphony of Palestrina.

21. Eősze’s statement regarding the origin of the musical matter found in Bicinia Hungarica is directly opposed by Townsend, who claims only 60 are original, andYoung. The authors’ analysis of this statement follows in the next chapter.

22. Eősze, Zoltán Kodály: His Life and Work, 75-76.




55

With the composition of these two-part works, Kodály wished to achievehis life-long aim of creating a national musical culture which — althoughabsorbing the ancient treasures of Western European music — belonged not only tothe wealthy few but to everyone. This aim can only be approached through the broadest education of the younger generation, and this is the goal of the bicinia.23

This sentiment is echoed by Kodály himself:

Since Bach we have grown unaccustomed to following two equally important parts; coordination has been replaced by subordination. We focus our attention onthe notes built onto each other and we look for three-part chords in thesimultaneously sounding block harmonies. However, this is not the way to listento melodic music. If it is possible to expand our hearing by taking in a longer phrase with a glance, i.e[,] we can hear horizontally, the disturbing dissonanceimmediately disappears. The sudden discords we experienced as gunfire willdisappear when the parts divide into melodies proceeding purposefully towards

their goal.

24

Kodály offered a pedagogical explanation for the necessity of Bicinia Hungarica:

“The transition from unison singing to polyphony should be gradual but consistent.

Merely the practice of the elements of rhythm or interval can arouse greater interest if

they are performed by the alternate singing of two groups in the form of a game. The

singing of canons is the best preparation for independent singing in two parts.” 25

While Bicinia Hungarica was primarily written for educational purposes, Kodály

recognized that the pieces might meet an aesthetic need in certain educational situations:

The contents of these little books are not meant for public performance, but forrendering the singing lesson more varied. If, nevertheless, somebody should beobliged — for want of time or lacking a more advanced choir — to have these tunes performed in public, it is advisable to set up a series of two or more pieces suited

23. Zoltán Kodály, Choral Works 5: Two-Part Exercises, dir. Ilona Andor, Hungaroton

LPX 11469, 1970. In liner notes by János Mátyás.

24. Kodály, Music Should Belong to Everyone: 120 Quotations from His Writings andSpeeches, 40-43.

25. Szabó, 21.




56

to each other… . Those without texts can be sung to "lah-lah", unless the children produce some apt text, of which there have been several examples.26

3.2.1 Editions of Kodály’s Bicinia

At least four editions of Kodáy's Bicinia Hungarica exist. However, there appears

to be some disagreement between the copyright dates of the four separate editions and

those cited by Houlahan and Tacka in their catalog of Kodály’s compositions. In Zoltán

Kodály: A Guide to Research, Houlahan and Tacka list the following publishers:

“Magyar Kórus, Boosey and Hawkes 1957, 1967 BH 1962, Edited by Percy Young.

Revised English edition by Geoffrey Russell-Smith, 1968-70.”

27

Table 1 lists copyrightinformation present in the editions obtained by the author.

26. Ibid., 22.

27. Houlahan and Tacka, Zoltán Kodály: A Guide to Research, 73. It should also be notedthat Houlahan and Tacka credit Boosey and Hawkes as the publisher. Thecopyrights of the works listed in the publications is Boosey & Co. Ltd., mostlikely because the publishing companies of Boosey and Hawkes merged in 1930.Further discussion of the history of Boosey and Hawkes can be found in HelenWallace, Boosey & Hawkes: The Publishing Story (London: Boosey & Hawkes,

2007), 22. Chapter 1 describes the of publication of Bartók’s and Kodály’scompositions and includes the following quote from Kodály regarding the publication of Bicinia Hungarica by Boosey and Hawkes: “If you are in doubtabout the vendibility of Bicinia you are free not to publish them. Some of a dozenschool songs I have with [Oxford University Press] reached 10,000 copies sold inten years … perhaps I would do better to publish them in America”.




57

Table 1. Copyright of Bicinia Hungarica Editions

Publisher Copyright Language/Editor

Magyar Kórus

(EMB Printed onCover)

1937, 1941, 1942, 1958 Hungarian

Editio Musica Budapest

1941, 1960 HungarianRevised Edition: András Wilheim

(1998)

Boosey & Hawkes 1941, 1957, 1958, 1962 English: Percy Young

Boosey & Hawkes 1941, 1957, 1958, 1968,1970

English: Geoffry Russell-Smith (signed1968)

Houlahan, Tacka and Bónis are the only cataloguers of Kodály’s works to provide

publication dates and publishers. With the exception of the English edition from 1962 by

Boosey and Hawkes, Bónis does not establish specific dates for each edition; he does,

however, provide a complete list of publishers which is more detailed than Houlahan and

Tacka. Bónis cites the following editions: “Selbstverlag des Autors, Magyar Kórus,

Zeneműkiado (Editio Musica, Budapest).”28

Hungarian editions which have been obtained for the purpose of this dissertation

are published by Magyar Kórus (1937-1941, 1958) and Editio Musica Budapest (1941,

1960).29 English editions available from Boosey and Hawkes are those edited by Percy

28. Ferenc Bónis, "Zoltán, Kodály's Werke," Studia Musica 3, no. 1-4 (1962): 20, 11.

Selbstverlag des Autors is German for “Published by the Author”. The sameinformation is provided by Eősze’s catalog of Kodály’s Principal MusicalCompositions in Zoltán Kodály: His Life and Work , p. 176.

29. Zoltán Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, 4 vols.(Budapest: Editio Musica Budapest, 1958; Zoltán Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, ed. Átnézte Wilheim András, revised ed., 4




58

Young (1941, 1957, 1958, 1962) and Geoffry Russell-Smith (1941, 1957, 1958, 1968,

1970).30

Differences between each Hungarian edition exist. The newer editions include

more editorial information, pertaining to both individual bicinia and Bicinia Hungarica as

a whole. The most recent publication, from 1998, includes the front and back matter

found in all the previous editions. András points out that many of these changes were

done at Kodály’s request, in order to reflect the growing awareness and use of his

educational philosophy and the development of educational aspirations. 31 Additionally,

No. 121 is included in the revised edition, and the order of bicinia reflects changes made by Kodály in the last edition published during his lifetime. For the purposes of theoretical

and pedagogical analysis, the investigator has selected the 1998 revised edition from

Editio Musica Budapest, because (1) it contains writings from Kodály which do not

appear in English editions, and (2) because the edition retains original editorial markings

and rhythmic values which accommodate the Hungarian language.

vols. (Budapest: Editio Musica Budapest, 1960). The 1958 edition was obtainedthrough interlibrary loan and the 1960 edition was obtained in August 2011,through a Hungarian colleague of the author.

30. Zoltán Kodály, Bicinia Hungarica, ed. Percy Young, 4 vols., (NY: Boosey & Co. ,

1962); Zoltán Kodály, Bicinia Hungarica, ed. Geoffry Russell-Smith, 4 vols.,(NY: Boosey & Co. , 1970). Young’s edition was available through the TexasTech University Library and the Russell-Smith edition was obtained throughinterlibrary loan.

31. Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, 41-42.




59

3.2.2 Conclusion

Kodály wrote Bicinia Hungarica with knowledge of bicinia’s historical and

pedagogical importance and function, but he intended for the work to be used to transmit

musical culture and traditions as part of his philosophical principles and provide

repertoire for the developing musician. While research regarding historical aspects of

bicinia has been conducted, most authors have refrained from actual theoretical or

pedagogical analysis of the material.




60

CHAPTER 4

METHODOLOGY

4.1 Bicinia Hungarica

4.1.1 Related Models for Folk Song Analysis

An understanding of Kodály’s systematic collection and analysis of folk music is

central to an examination of his works. While Kodály’s intensive folk music research and

collection clearly influenced his compositional decisions, a comprehensive discussion of

elements pertaining to Hungarian folk music and its analysis in general is beyond the

scope of this study. Significant source material on the topic includes Bartók’s The

Hungarian Folk Song , Kodály’s Folk Music of Hungary, and Erdely’s Methods and

Principles of Hungarian Ethnomusicology.

Bartók discussed the analysis and classification of Hungarian folk music,

concluding that three styles of folk song are present in Hungarian peasant music: old,

new, and mixed styles.1 Kodály examined the interplay of folk music and art music,

specifically addressing the elements of art music: church music, folk hymns, secular art

music, and flower songs. Additionally, he discussed the influence of folk music on art

music from the 17th century through the 20th century.2 Erdely reported on Kodály’s and

1. Béla Bartók, The Hungarian Folk Song, ed. Benjamin Suchoff, trans., M. D.Calvocoressi (Albany, NY State University of New York Press, 1981), 1-80.

2. Zoltán Kodály and Lajos Vargyas, Folk Music of Hungary., ed. Lajos Vargyas, trans.,Ronald Tempest, Cynthia Jolly, and Laurence Picken (New York: Praeger, 1972).




61

Bartók’s research of Hungarian folk music regarding the “… metrical study of Hungarian

folk song strophe, method of classification, analytical studies on tonality and melodic

construction of folk songs, and comparative research.”3

4.1.2 Models for the Study Relating to Bicini a Hungari ca

Arnold Burkart briefly surveyed Bicinia Hungarica, reporting observations

relating to rhythm and rhythmic counterpoint, melody and melodic counterpoint, and

form and structure. 4 Although Burkart’s study is descriptive in nature, it does provide a

foundation for inquiry; his observations of immediately visible musical features presentin Bicinia Hungarica provide a basis for further theoretical analysis. In “The Significance

of Folk Songs in Kodály’s Bicinia Hungarica,” Declan Townsend assessed several

musical elements of Bicinia Hungarica set forth by Burkart. Townsend discussed tune

length, time signatures present, scale type, dissonance, and elements of counterpoint.

Like Burkhar t’s work, the study is not complete in its analysis of musical elements and,

while it provides statistical data, the method of inquiry is not explicitly stated.5

Lajos Bárdos provided a more thorough analysis of theoretical elements present

in, but not limited to, Bicinia Hungaricia. He specifically addressed sets of notes, tone-

systems, scales, polyphony, and harmony. While Bárdos provides a thorough analysis of

3. Stephen Erdely, Methods and Principles of Hungarian Ethnomusicology (Bloomington: Indiana University, 1965), vii.

4. Burkart, 34-35.

5. Townsend, 13-14.




62

Kodály’s choral music and a much-needed Hungarian perspective, his study is not

approached scientifically, nor does it approach each of the 180 bicinium. 6

4.1.3 Related Pedagogical Models and Materials

Dorothy Boltz investigated ways in which melodic and rhythmic elements were

developed in the vocal pieces from the first two volumes of Carl Orff’s Music for

Children. In terms of melodic elements, Boltz analyzed each vocal piece, determining the

interval types employed and their frequency. She then classified rhythmic patterns

according to the placement of agogic accent, noting when the pattern was first introduced

and in which pieces it was employed, but not counting its frequency.7

Philip Steen explored Kodály’s choral music for youth and children’s choirs.

Steen’s study primarily surveyed Kodály’s choral music and analyzed each composition,

but each piece was not analyzed for the same material. Steen claimed, however, that

Kodály’s choral music displays a graded organization, appropriate for different

developmental stages of school-age children. The most significant result of Steen’s study

was a summary of stylistic findings present in Kodály’s choral music that described the

influence of Hungarian folk music and techniques of musical style periods and of other

6. Bárdos, 288-372.7. Dorothy E. Boltz, “An Analysis of the Rhythmic and Melodic Development in the

Vocal Pieces of Carl Orff's Music for Children as an Aid for Teachers andSpecialists in Music” (Master's thesis, Bowling Green State University, 1969), 1-3, 24-82.




63

countries. These influences produced Kodály’s unique compositional style, which melds

elements of folk and Western traditions.8

Michael Krueger analyzed and transcribed 21 motets by Sixt Dietrich, which

includes bicinia. Krueger categorized the pieces according to the compositional technique

employed, including discussion of the imitative and polyphonic techniques present.

Analysis of modal aspects of the compositions were “based on Dressler’s Precepta

musicae poeticae, Glarean’s Dodecachordon, and the writings of Pontio.”9 Additionally,

he investigated the elements of vocal range, clefs, final, cadences, V – I root movement,

treatment of dissonances, rhythmic devices, large-scale formal design, and texture/voicedisposition.

Benjamin Suchoff researched Bartók’s Mikrokosmos, a collection of 153

progressive piano pieces, as a means of understanding his approach to playing and

teaching piano. Suchoff not only analyzed each piece for technical and limited musical

elements, but also investigated historical elements and first witness reports by informants

close to Bartók, as well as his writings on the pieces, to determine if Bartók’s views on

piano playing were contained within the Mikrokosmos. Suchoff concludes that the

Mikrokosmos “is designed to develop the act of piano touch … to train the fingers and

8. Steen, 60-167, 171-172.

9. Michael Krueger, “The Motets of Sixt Dietrich” (University of Illinois at Urbana-Champaign, 2002), 20.




64

hands for independence ” and “present the fundamentals of musicianship by means of

interesting pieces which are graded in order of difficulty.”10

4.1.4 Conclusion

A number of researchers have examined pedagogical compositions for a limited

number of musical parameters. Others have investigated pedagogically-conceived

compositions, but not the pedagogical musical elements present in them. While some

studies have addressed musical elements in Kodály’s Bicinia Hungarica, none have

attempted a complete and self-contained analysis of the material.

4.2 Analysis Parameters

Analysis will be facilitated by adapting analysis parameters from Carol J. Brown,

who studied at the Kodály Institute in Kecskemét. These parameters address specific

musical elements present in each bicinium.11 The following parameters were selected

because: (1) they are widely used in Kodály training programs throught the United States;

(2) they have been used to analyze American folk music, which is less homogenous than

10. Benjamin Suchoff, “Béla Bartók and a Guide to the Mikrokosmos” (EdD diss, NewYork University, 1984), 1-10, 195.

11. Carol J. Brown, "Beginning Analysis, 2010," Folk Music, Level I, McAllen, TX;Carol

J. Brown, "Intermediate Analysis, 2010," Folk Music, Level II, McAllen, TX;Carol J. B rown, "Advanced Analysis, 2010," Folk Music, Level III, McAllen,TX. The author obtained these materials while attending the North-West TexasKodály Initiative in Lubbock, Texas in 2010, where Carol J. Brown taught thefolk music classes. Carol J. Brown refined the analysis work done by Dr. JillTrinka, who learned this method of analysis from László Vikar in Hungary.




65

Hungarian folk song; and (3) they provide pertinent musical information for teachers

wanting to use Bicinia Hungarica in their classroom.

4.2.1 Rhythmic Features

Bicinia were analyzed for rhythmic features relating to meter, time signature,

rhythmic content, and presence of an external anacrusis. A distinction between meter and

time signature has been made: While time signature is a function of notation, meter is a

function of the composer’s intended musical and textual stress. Meter is therefore defined

in two parts: (1) simple or compound and (2) duple, triple, quadruple, or asymmetrical.

12

Brown and Factora analyze rhythm on two levels. Both list the note values that

are present in a folk song and suggest rhythmic concepts to be taught from the song. 13

The author has chosen to use the term rhythmic content when referring to all basic note

values present in the bicinium; certain one- and two-beat rhythmic motives have been

listed as a unit because they frequently occur together in written music. Analysis of

rhythmic concepts for teaching is not appropriate for the current study, because it implies

a pedagogical decision on the part of the investigator and is contrary to the goal of

identifying Kodály’s pedagogical sequence.

Example 1 shows the first two phrases of No. 22. The rhythmic content would be

expressed as: q\sd\Q\a A\ w\W\E\ra\ar\ because the

12. Brown, "Beginning Analysis," p. 13.

13. Brown, "Advanced Analysis," p. 1; Miriam Factora, Philippine Children's Songs,Spoken Rhymes and Games for Teaching , 2 vols., vol. 1 (Manila, Philippines:Miriam B. Factora, 2003), VI.




66

dotted quarter note is followed by a single eighth note, and a single eighth note is

followed by a dotted quarter note.

Example 1. First two phrases of Bicinium No. 22.

Additional rhythmic content of subsequent verses has been omitted because the

differences simply accommodate changes in text. Rests that may occur in one part while

an entire phrase of the melody is presented have been omitted from analysis, because the

melody is generally passed immediately to the other voice. Rests which are present in

canonic or imitative statements have been included in analysis.

An anacrusis is a note or group of notes that generally precedes the down beat of

the first full measure. This can more precisely be described as an external anacrusis. An

internal anacrusis would be a similar figure occurring between phrases of an individual

bicinium. The external anacrusis is a feature of the spoken English language, and as a

result it is frequently found in American folk song. The internal anacrusis also occurs in

American folk song as part of an interior phrase and may be accompanied by an external

anacrusis.14

According to Encycolpedia Britannica, word stress in the Hungarian

14. Richard Johnston, Folk Songs North America Sings (Toronto: Caveat MusicPublishers Ltd., 1984), XIII.




67

language occurs on the first syllable.15 The language therefore generally does not lend

itself to anacrusis. Since the investigator is not fluent in Hungarian, bicinium have not

been analyzed for internal anacruses. The only presence of an external anacrusis occurs in

No. 155.

4.2.2 Melodic Features

Melodic elements included for analysis are tone set , key, key signature, scale or

mode of the melody and bicinium, tonality, range, and melodic intervals employed.

Tone set

Tone set is the collection of pitches in the bicinium, expressed with solfège

abbreviations, ordered from lowest to highest, with the final pitch enboldened and

underlined.16 Tone set is expressed in terms of Part 1, the upper voice; Part 2, the lower

voice and any other subsequent voices; and Composite, the combination of Part 1 and

Part 2. The final pitch of the composite tone set has been determined by the final pitch in

the main melodic voice. Optional notes have not been included in the analysis of the tone

set. Do shifts have been suggested by Kodály in several exercises, but some are to be

determined by the performer.17 If more than two parts are present, the tone sets of the

other parts have been combined with Part 2.

15. Encyclopaedia Britannica, Academic ed., s.v. “Uralic languages.”

16. Factora, V.

17. While Kodály does not specifically state this in the material which appears in the Bicinia, the following appears as a publisher’s note in 77 Two-Part Exercises: “IfI later omitted the indication of changed Doh it is for giving the pupils to activethinking.” This statement seems applicable to Bicinia Hungarica as well since




68

Key and Key signature

Key signature has been determined by the presence or absence of sharps or flats

next to the treble clef. Key is expressed with the absolute pitch name of the final pitch

and the corresponding solfège.

Scale or Mode

If the scale or mode of the melody and composite bicinium is not diatonic, a

three- or four-part descriptive label has been attached using the following terminology:

(1) authentic, plagal , incomplete plagal , or extended plagal , depending on the lowest

pitch in the tone set and the final. Authentic indicates that the final pitch in the tone set isalso the lowest note. Plagal is applied to a tone set that’s lowest note lies exactly a

perfect fourth below the final pitch. Incomplete plagal describes a tone set in which the

lowest note is less than a perfect fourth below the final pitch, while extended plagal is

used for a tone set where the lowest note is greater than a perfect fourth below the final

pitch. (2) The solfège of the final melodic pitch. (3) A prefix describing the total number

of pitches in the tone set appended to either the suffix “-tone” (if the scale contains gaps)

or “-chord” (if no gaps are present in the scale). (4) If a nondiatonic tone set includes

altered solfège syllables, the altered syllables will follow the three-part name, separated

by a comma.18

Russell-Smith includes editorial do shifts in his edition from 1968. Zoltán Kodály,77 Two-Part Exercises, ed. Percy Young (London: Boosey & Hawkes, 1967), 2;Zoltán Kodály, Bicinia Hungarica, ed. Geoffry Russell-Smith (London: Boosey& Co., 1968).

18. Brown, "Intermediate Analysis," p. 1.




69

For example, the tone set for the melody of No. 22 is s, l , d r m, and would

therefore be labeled as an incomplete plagal la pentatone. The tone set of the composite

bicinium is r, m, s, l , d r m, and would be labeled extended la pentatone .

If the tone set of the bicinium is diatonic, the modern mode name is included:

Ionian when do is the final pitch, Dorian when re is the final, Phrygian when mi is the

final, Lydian when fa is the final, and Aeolian when la is the final.19 Altered pitches are

also included at the end of the scale name.

As discussed previously, some bicinia have been solmizated with more than one

do. These bicinia have not been analyzed in terms of separate scales. The scale type has been determined by the overall sound and pitches employed by the bicinium. However, if

the bicinium in fact modulates to a different key, then both scales have been noted. It is

important to note that solfège and tone set are functions of both Kodály’s suggestions and

pedagogical choices; they affect how the singer reads the material but do not alter how

the music is perceived by the listener.

Tonality

Tonality is determined by the intervals present and the overall sound. It is

expressed as pentatonic (major or minor character); major or minor (if functional

harmony is implied); or Ionian, Dorian, Phrygian, Lydian, Mixolydian, or Aeolian (if no

functional harmony is implied). Other possibilities include so, re, and mi pentatonic.20

19. Ibid.

20. Ibid., 2.




70

Range

The overall range of each bicinium is expressed with pitch classes and Arabic

numbers by listing the lowest pitch followed by the highest.

Melodic in tervals

For the purpose of this study, the term interval refers to two successive pitches.

Melodic intervals present in each bicinium have been represented with solfège

abbreviations.21 For example, the melodic interval of a major second represented by the

solfège do followed by re has been noted as d-r . If altered pitches are employed, the

solfège for the alteration has been written out. Every melodic interval has been accountedfor in each bicinium. This is not a pedagogical analysis of the melodic content of each

piece; it is up to the individual teacher to decide which elements are appropriate for

teaching and how they should be presented to facilitate student learning.

If an interval appears in a different order than it first appeared, it has not been

written twice, e.g., if m-l is later followed by l-m, only m-l is provided. However,

intervallic inversions are notated separately, because they result in an interval of a

different quality. For example, m-l is an ascending perfect fourth while m-l,22 is a

descending perfect fifth. If the same interval appears in different octaves, it is also written

21. Floice Lund, Research and Retrieval: Music Teacher's Guide to Material Selectionand Collection (Westborough, MA: Pro Canto Press, 1981), 7-8. It should be

noted that Lund, Factora, and Brown suggest analysis of melodic intervals orcombination of intervals with a bias towards pedagogical use. None provide amodel for a collecting all the intervals.

22. Nota bene: the use of a , denotes a pitch below the tonic of a pitch, while a ‘ denotes a pitch an octave above the tonic.




71

only once. When do shifts or modulations occur, the overlapping interval is recorded in

the initial key.

Intervals have been organized into categories based on their suggested order in a

typical Kodály-inspired American sequence. For example, l-s-m is categorized under la,

because the interval of s-m is taught first, followed by the introduction of la.

4.2.3 Formal Features

Rhythmic and melodic form

Rhythmic and melodic form and phrase organization have been determined by themusical features present in the main melodic line.23 Since most of the harmony parts

found in Kodály’s Bicinia Hungarica are countrapuntal in nature, accounting for the

harmony part in these analyses would further complicate and obscure analysis of the

musical material.

Seperating the melodic and rhythmic form may seem foreign of unmusical to

American audiences. This level of analysis is present in the Hungarian system and aids

the teacher in selecting exercises which develop the same musical elements as folk

songs.24 Therefore, an understanding and use of this system may help teachers choose and

compose exercises which are congrusous to curricular goals.

23. Brown, "Advanced Analysis," p. 2

24. Árpád Joób, "The System and Spirit of Hungarian Folk Music in Kodály's 333Exercises," in Zoltán Kodály--Composer, Musicologist and Educationist. A Festschrift for Professor Mati Vainio, ed. Pekka Kuokkala et al.(Jyväskylä,Finland: University of Jyväskylä, 1996). Joób provides several examples from333 Reading Exercises which show how the exercises directly relate or transfer toHungarian folk music.




72

Rhythmic and melodic forms are expressed with lowercase letters (and Arabic

numerals when necessary) to show the similarity and dissimilarity between phrases. 25

Uppercase letters have been reserved to express sections which combine more than one

phrase. Square brackets have been employed for larger, sectional bicinia. A ‘ is used to

indicate variation at the beginning of a motive or phrase, while a “v” indicates variation

at the end of a phrase. A different letter label is used for material with more than two

melodic or rhythmic differences, or changes that are more than two beats long.

Example 2 shows the rhythmic form of No. 35 and No. 45. While differences

exist between each of the “a” phrases in No. 35, each of them: (1) has the same numberof notes and syllables, (2) is confined to the space of one beat, and (3) contains changes

that exist merely to account for word stress. In contrast, No. 45 has been labeled as a a a

av, because (1) no other rhythmic changes are present in the melody until the final

measure and (2) the change spans two beats, even though it is used to account for word

stress.

25. Ibid. It should be noted that Brown suggests the use of uppercase letters for phrasesand lowercase letters for motives. The system has been modified because of thelonger length of selections found in Bicinia Hungarica as opposed to most folksongs.




73

Example 2. Rhythmic form of Bicinium No. 35 and Bicinium No. 45

Use of a raised (superscript) or lowered (subscript) Arabic numeral indicates a

melodic shift (sequence) by that interval.26 While many of these bicinia may be labeled

with a variety of terms describing the type of melodic shift present, those terms serve a

more theoretical purpose and do not aid in the introductory-level analysis needed by the

educator and student. For this reason, the author has adopted the following terms, which

have been distilled from Bárdos and are in line with current American textbooks

discussing imitative forms.27 A real melodic shift refers to a melody that has been

26. Ibid.

27. A complete listing of Bádos’s terms may be found in “Kodály’s Children’s Choruses”Bárdos, 294-300; Brown, "Advanced Analysis," p. 2.The melodies found in

Bicinia Hungarica do not qualify as imitative forms, which are often made up oftwo main phrases, themes, or subjects which are then transposed to different pitchlevels. Further explanation of Hungarian folk song is outside the scope of thecurrent research, but can be found in Kodály and Vargyas, Folk Music in Hungary, “II. The Primitive Stratum of Hungarian Folk Music” and “III. The New Style of Folksong.”




74

transposed to the level of the dominant and may occur in either pentatonic or diatonic

systems. A tonal melodic shift occurs in a diatonic system and refers to a melody that

contains alterations of the original “scale-degree pattern” and occurs at a different pitch

level than the original melody’s initiating pitch class. A substituting melodic shift occurs

in a pentatonic system when the transposition of the original melody is altered to fit into

the pentatonic system starting from a different pitch class. 28 For example, the interval l-d’

may be changed to r-s so as to avoid the fa (which is outside of the pentatonic system).

Several bicinia in volume 4 appear to contain key changes halfway through (Nos.

134, 158, 160, 162, 165, 170, 173, and 177). In these examples the pentatonic melodythat appeared in the first half is transposed a perfect fifth in the second half. The

combination of two pentatonic scales a perfect fifth apart yields a hexachordal scale. The

resulting tonality of such bicinia is therefore pentatonic, major character , because the

melody of each half is pentatonic. Furthermore, the lack of ti in the hexachord and

resulting bicinium does not make the tonality functional or modal.

Phrase organization

Like melodic and rhythmic form, phrase organization is expressed with letters, to

represent the similarity or dissimilarity of musical material.29 Uppercase letters are used

28. Bárdos, 295-302. Bárdos uses the terms real and tonal answer for what has beentermed real and tonal melodic shift. Substituting melodic shift has been used toreplace pentatonic (vicariant) and modal answers, because these seem to occur

less frequently in Bicinia Hungarica.29. Santa provides a model for this level of analysis in Hearing Form for music from the

common practice period, which accounts for similarity or dissimilarity of musicalmaterial, phrase length, key centers, harmonic sequence, fugual elements, andcadence types. The most pertinent elements for this study are similarity ofmaterial and phrase length. It should also be noted that Brown does not account




75

to express the combination of two or more phrases, and square brackets are used to

combine sections that contain three or more phrases. Phrase lengths, in terms of number

of bars, are included in parentheses after the corresponding letter. A phrase organization

without letter names implies that the form cannot be grouped into larger parts or

expressed more clearly than in terms of the bicinium’s rhythmic or melodic form. These

pieces are generally shorter or contain more varied musical phrases.

For the most part, bicinia in the collection are not of a sectional nature and do not

adhere to the traditional guidelines of tonal form.30 This is not surprising, because the

melodies largely encompass traditional musics or emulate traditional musics, which lieoutside of common practice tonal compositions. Even redefining binary or ternary to fit

the genre does not lend any more insight into the sequencing of musical elements

presented by Kodály in these volumes. The detail of his pedagogical approach is evident

in rhythmic and melodic form at the phrase level. This fact is corroborated by the lack of

motivic development despite the presence of some motivic units.

4.2.4 Polyphonic Features

As previously referenced, the study by Bárdos provides a primary explanation of

the polyphonic and harmonic devices employed in Kodály’s children’s choruses but does

for the overall form of the material. Her analysis is purely limited to rhythmic andmelodic form. Lund and Factora analyze only for the larger form.

30. Sectional in this case refers to more than two phrases grouped together. “Guidelines oftonal form” refers to the importance that cadence type influences formal decisionsin most common practice music. Since the pieces are of a polyphonic nature,cadence type is of lesser importance, and therefore tonal form carries lessinfluence.




76

not always provide a robust definition of each category to facilitate analysis by non-

Hungarians. The primary purpose of Bárdos’ study was to describe musical fea tures

found in all of Kodály’s children’s choruses, not only those limited to Bicinia

Hungarica.31 For this reason, some definitions have been refined for the current study.

Bicinia have been analyzed for call and response, split melody, elision, drone,

ostinato and counter-subject ostinato, motive, augmentation and diminution, melodic

sequence, inversion, retrograde and retrograde inversion, counterpoint, and imitation

(including canon and rhythmic canon, and real and tonal answers).

Call and response occurs when melodic material is presented in one voice (thecall) and answered by material in another voice (the response). 32 The musical material in

the response is different from that of the call. The response frequently reappears

unchanged after each statement of the call. Split melody occurs when the melody of the

folk tune, or composed melody, appears in one voice and later in another voice. Elision

occurs when the end of one phrase presented in a voice occurs simultaneously with the

start of the next phrase in the other voice.33 This may occur with a single note or an entire

measure. A drone is a sustained note tied to at least one other note; it sustains for an

entire measure while the other voice presents melodic material. Ostinato is a repeated

31. Bárdos.

32. Call and response is generally listed as a formal type in folk song analysis (Brown,

“Beginning Analysis ,” p. 18), because it occurs in a monophonic texture, eventhough the call and response may be sung by different groups. It has beenincluded in polyphonic features because it demonstrates a decision on the part ofthe composer as opposed to a performance practice.

33. Santa, 11.




77

melodic or rhythmic figure not derived from the melody that appears a minium of two

times without variation. Counter-subject ostinato refers to an ostinato that recurs with

each repetition of the theme or recurs with specific parts of the theme, e.g., at the end of a

phrase.34 A motive is a recurring musical idea, melodic or rhythmic, that is (1) not a

complete musical thought or phrase, (2) derived from a melodic or rhythmic unit

presented in the melody, and (3) less than two measures in length.

Augmentation is either the modification of a rhythmic figure by multiplying the

rhythmic duration of the original figure or the lengthening of textual rhythm presented in

the melody. Within a phrase, a majority of note values must be doubled to receive thislablel. Example 3 shows textual augmentation in the lower voice of No. 154. Diminution

is either the modification of a rhythmic figure by dividing the rhythmic duration of the

original figure or the shortening of textual rhythm presented in the melody. A majority of

note values must be shortened within a phrase. Example 4 shows diminution in measures

15 and 16 and textual diminution in measure 12. Melodic sequence occurs when a

melodic figure is presented and immediately repeated at ascending or descending pitch

levels. The figure must appear at least three times to meet this qualification.

34. Bárdos, 340.




78

Example 3. Textual augmentation in No. 154

Example 4. Diminution and textual diminution in No. 65 mm. 9-16

Inversion occurs when “the direction of a melodic interval is reversed.”35

Retrograde occurs when pitches presented in the melody are presented in the harmony

backwards from the original presentation. Retrograde inversion is the combination of

both of these terms. The terms inversion, retrograde, and retrograde inversion are applied

to analysis when their characteristics are present for at least one measure.

Bárdos divides Kodály’s polyphony into two categories: free counterpoint and

contrapuntal imitation.36

35. Santa, 75.

36. Ibid., 327.




79

Simple counterpoint

Simple counterpoint is defined as an independent melody which contrasts the

theme and may have the same rhythm as the main melody.37 In general, the term is

applied to a melody which does not meet any of the criteria to be called contrapuntal

imitation. Bárdos labels counterpoint as either simple or double. Double counterpoint

describes an exchange of voices.38 Example 5 shows No. 50, an example of double

counterpoint, with the two themes being exchanged in measure 5.

Example 5. Double counterpoint in No. 50

There is a need to create a third category: free pentatonic counterpoint . Free

pentatonic counterpoint is defined as an independent melody which contrasts with the

theme, may have the same rhythm as the theme, and is pentatonic. This is especially

evident in volume IV of Bicinia Hungarica. Many of the composed harmony parts are

stand-alone melodies that contrast with the theme; according to Bárdos they would be

labeled simple counterpoint, yet they are based on a pentatonic scale. Specific examples

37. Ibid., 328.

38. Ibid., 328-329.




80

can be seen in Nos. 129, 130, and 131, all examples of bicinia which employ no other

compositional technique.

Contrapuntal imi tation

Kodály makes use of several types of imitation in Bicinia Hungarica. To qualify

as imitation, a melody: (1) must be presented after some of the primary melody has been

stated and (2) must be related to the primary melody either rhythmically, melodically, or

textually. The strictest form of imitation is a canon: an exact repetition of material (either

melodic, rhythmic, or both) presented in another voice and separated from the initiating

voice by a specific rhythmic duration.

39

Canons may occur at a unison interval, a perfectfifth above or below, or at the octave. For the purposes of this study, a canon must exist

for at least two phrases to receive this label.

A real answer occurs when there are no rhythmic differences between the two

statements, all intervals are a perfect fifth above or perfect fourth below the original

statement, and the imitation continues for at least one phrase length. A tonal answer

meets the same qualifications, except all intervals do not have to remain the same interval

apart from the original. The predominant interval between the two melodies will usually

be a perfect fourth or fifth, with slight alterations.40 Example 6 shows Kodály’s tonal

answer from No. 77 on the left, compared to a real answer on the right.

39. Ibid., 348.

40. Ibid., 331-332.




81

Example 6. Tonal answer (left) and real answer (right) from No. 77

Bárdos labels the harmony of No. 31 as a real answer, defined as “the precise

imitation of the theme in the dominant key,” but all English and Hungarian editions label

F as do in the second part. Example 7 shows the ascending melodic fifth found in the

main theme of No. 31 is answered with an ascending melodic fourth; by Bárdos’ own

definition that makes this a tonal answer because do is answered with so and so is

answered with do.41 This example (along with other similar examples) is the basis for the

current distillation of the terminology laid out by Bárdos.

Example 7. Answer present in No. 31

Free imitation is a less strict form of countrapuntal imitation than an answer or a

canon. Free imitation occurs when the same basic melodic contour is retained, but

41. Ibid., 330-331.




82

rhythmic or melodic elements from the original melody are slightly altered.42 This may

occur at a unison interval, at the octave, or at any other interval and must continue for at

least one phrase. Imitative pentatonic counterpoint is free imitation which is confined to a

pentatonic system.

Imitation may occur at time intervals which modify the syllabic or metrical stress

of the original melody.43 This imitation is called imitation-changing stress if it retains the

melodic contour of the original, or changing stress if the melody does not retain the same

contour. In both cases the label is applied when the imitation is present for the majority of

a phrase. Due to lack of syllabic stress, textless bicinia have not been analyzed forchanging stress. However, if imitation occurs one beat apart, the label has been applied.

4.2.5 Other Features

Other data collected includes musical, nonmusical, and editorial material. Bicinia

that have an Nd. at the end contain a melody that is a folk song. 44 Those bicinia without

the abbreviation have melodies composed by Kodály. Some bicinia have original

melodies by Kodály and text from Hungarian poets or other sources. Data have also been

collected regarding expressive elements, musical symbols, and terminology that affect

performance, and all performance and tempo markings have been recorded. Any other

markings appearing with an individual bicinium are considered editorial. These appear in

Hungarian along with their translations (when available).

42. Ibid., 337.

43. Ibid., 342-343.

44. “A népi dallamokat [Nd.] jelzés különbözteti meg.” Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, vol. 1, 34.




83

CHAPTER 5

ANALYSIS AND SUMMARY OF DATA

5.1 Analysis

5.1.1 Bicini a Hungari ca, volume 1 (Nos. 1-60)

No. 1:

Rhythmic Features: The meter of this bicinium changes irregularly between simple duple

and simple triple; the time signatures are 2@and 3@. The rhythmic content consists of

q\sd\Q\w\t\W\E\ra\ ar\gc. No external anacrusis is

present.

Melodic Features: The tone set of Part I is r m f s l t d’ di’ r’ m’ f’’ . The tone set of Part II

is l , t, d di r m f s l . The composite tone set of the bicinium is l , t, d di r m f s l t d’ di’ r’

m’ f’ . The given key signature is A minor; A = la. The scale of both the melody and

complete bicinium is Aeolian with di. The tonality is Aeolian. The range is A3 – F5.

Melodic turns employed are m-d; l-d; d-r-m; d-r; m-r; r-l; s-r; s-m; l-f; f-m; l,-f-r; r-m-f-s-

l; f-r; s-f-m-r; f-s; f-d; l-s-f; m-f-s; f-m-r-d; r-m-f; d-l,-s,; s,-d; s-l; d-l,; r-l,; m-r-l,; l-s-m;

l-m; l,-l; l-s; r-t,-s,; l-t-d'; l-t-d'-r'-m'; r-t,; r-t,-s,; m-di; di-t,; r-di; l-t-di'-r'-m; t,-di-r.

Formal Features: The rhythmic form is a b a' c b' d e f b' d' g c' e' e' h. The melodic form

is a b a c b d e e bv a' f c bv a'. Phrase structure of the bicinium is A (5+5) A' (5+3+3+3)

B (4+4+5+4) A'' (3+3+5+5) Coda (3).




84

Polyphonic Features: The melody of the bicinium is split between both voices. Simple

counterpoint is present in mm. 6-10, 16-52, and 57-60. Free imitation is present in mm.

13-15. Drone is present in mm. 2-5, 13-15, 43-44, and 59-60. Imitation at the octave is

present in mm. 54-57.

Other Features: The melody of the bicinium was composed by Kodály. The bicinium is

subtitled Karácsonyi ének (A Christmas Carol). Musical symbols and terminology

include: pp, p, f, cresc., dim., fermata, Piu mosso, Tempo I. The tempo indicated is

Élénken (lively or brisk); MM w= 54.




85

No. 2:

Rhythmic Features: The meter of this bicinium is simple duple; the time signature is 2$.

The rhythmic content consists of q\sd\Q\a. No external anacrusis is present.

Melodic Features: The tone set of Part I is l, d r m s l . The tone set of Part II is s, l, d r m

s. The composite tone set of the bicinium is s, l, d r m s l . The given key signature is C

major; the implied key is F = do. The scale of both the melody and complete bicinium is

plagal do pentatone. The tonality is pentatonic, major character. The range is C4 – D5.

Melodic turns employed are d-m-s; d-r; m-r-d; s-m; d-s,; s,-s; s-l; m-d-l,; l,-m; m-r-l,; m-l;

l-s-m.

Formal Features: The rhythmic form is a a a a. The melodic form is a b c b. Phrase

structure of the bicinium is A (4+4) B (4+4).

Polyphonic Features: The melody of the bicinium is split between both voices. Call and

response exists between both parts throughout. Free pentatonic counterpoint is present in

mm. 4, 8, 12, 15-16.

Other Features: The melody of the bicinium was composed by Kodály. Musical symbols

and terminology include: repeat signs. The tempo indicated is Lépést (step); MM q =

144.




86

No. 3:

Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature

is 4$. The rhythmic content consists of q\sd\Q\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is d r m s d’. The tone set of Part II is s, l, d. The

composite tone set of the bicinium is s, l, d r m s d’. The given key signature is C major;

the implied key is F = do. The scale of the melody is authentic do pentatone and the scale

of the bicinium is plagal do pentatone. The tonality is pentatonic, major character. The

range is C4 – F5. Melodic turns employed are d-r-m-s; s-m-d; s-d'; m-d; d-s,; s-l.

Formal Features: The rhythmic form is a b bv. The melodic form is a b bv. Phrase

structure of the bicinium is A (2) B (2+2).

Polyphonic Features: Ostinato is present in the lower voice.


and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Induló

(march); MM q= 116.




87

No. 4:


The rhythmic content consists of q\sd\Q\E. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, d r m s l . The tone set of Part II is s, d r m .

The composite tone set of the bicinium is s, d r m s. The given key signature is C major;

the implied key is F = do. The scale of both the melody and complete bicinium is plagal

do pentatone. The tonality is pentatonic, major character. The range is C4 – D5. Melodic

turns employed are d-r; r-m; m-r-d; s-r; m-s; d-s,; m-d-s,; s,-s; s-l.

Formal Features: The rhythmic form is a a b bv. The melodic form is a a b c. Phrase

structure of the bicinium is 2+2+2+2.

Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint is present

between the two parts until m. 9.

Other Features: The melody of the bicinium was composed by Kodály. The tempo

indicated is Lépést (step); MM q= 186.




88

No. 5:

Rhythmic Features: The meter of this bicinium is simple duple; the time signature 2$.

The rhythmic content consists of q\sd\Q\W\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, d r m s l. The tone set of Part II is s, l, d

r m. The composite tone set of the bicinium is s, l, d r m s l. The given key signature is

C major; the implied key is F = do. The scale of both the melody and complete bicinium

is plagal do pentatone. The tonality is pentatonic, major character. The range is C4-D5.

Melodic turns employed are d r m; s m r; m-s; d-l,-s,; r-s,; d-s,; d-l,; m-l-s; d l,-d-m.

Formal Features: The rhythmic form is a a b a; the melodic form is a av b av. Phrase


Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint are present

until m. 9. Free pentatonic counterpoint is present from mm.10-12. Imitative pentatonic

counterpoint returns in m. 14 through the end.Other Features: The melody of the bicinium was composed by Kodály. Musical symbols

and terminology include: repeat signs and 1st and 2nd endings. The tempo indicated is

Lépést (step); MM q= 116.




89

No. 6:


The rhythmic content consists of q\sd\Q. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is s, l, d r

m s l . The composite tone set of the bicinium is s, l, d r m s l . The given key signature is

C major; the implied key is F = do. The scale of both the melody and complete bicinium

is plagal do pentatone. The tonality is pentatonic, major character. The range is C4 – D5.

Melodic turns employed are d-s; s-m-d; d-m; d-r-m-s; l-s-m-r; d-r; m-r-d; s-m; d-s,; d-l,;

s-l; m-l; l,-m.

Formal Features: The rhythmic form is a b a. The melodic form is a b a. Phrase structure

of the bicinium is A (4) B (4+4).

Polyphonic Features: Counter-subject ostinato is present from mm. 1-4 and mm. 9-12.

Free pentatonic counterpoint is present from mm. 5-8.



(march); MM q= 116.




90

No. 7:

Rhythmic Features: The meter of this bicinium is simple triple; the time signature is 3$.


Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is s, l , d r

m s. The composite tone set of the bicinium is s, l , d r m s l . The given key signature is C

major; the implied key is D = la. The scale of both the melody and complete bicinium is

incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range is

C4 – D5. Melodic turns employed are m-d; m-r; d-r; d-r-m; r-s; s-m; r-s,; s,-l,-d; s,-d; m-l;

s-l; l,-m; l,-d-m.

Formal Features: The rhythmic form is a a a a. The melodic form is a b c b'. Phrase


Polyphonic Features: Free pentatonic counterpoint is present in the lower voice.


and terminology include: repeat signs. The tempo indicated is Mérsékelten (moderately);

MM q= 108.




91

No. 8:


The rhythmic content consists of q\sd\w. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is s, l , d r

m s. The composite tone set of the bicinium is s, l , d r m s l . The given key signature is C



C4 – D5. Melodic turns employed are m-d; s-m-d; m-r; r-m; r-d; d-r-m; s-r; s-m; d-s,; l-m;

l-s; r-l,; d-l,.

Formal Features: The rhythmic form is a a a a. The melodic form is a a5 b a5. A

substituting shift is present. Phrase structure of the bicinium is A (2+2) B (2+2).

Polyphonic Features: The melody of the bicinium is split between both voices. Counter-

subject ostinato is present in mm. 3-4 and 7-8. Imitation at the unison occurs in mm. 5-6.


and terminology include: repeat signs. The tempo indicated is Lassan (slowly); MM q=

80.




92

No. 9:


The rhythmic content consists of q\sd\Q\w\E\tie. No external anacrusis is

present.


m s. The composite tone set of the bicinium is s, l, d r m s l . The given key signature is C

major; the implied key is F = do. The scale of both the melody and complete bicinium is

plagal do pentatone. The tonality is pentatonic, major character. The range is C4 – D5.

Melodic turns employed are d-m; d-s; d-r; d-r-m-s; m-r-d; m-r; s-m; d-s,; s,-s; s,-r; l,-d; s-

l; m-d-l,; r-l,.

Formal Features: The rhythmic form is a b a b a bv a bv. The melodic form is a b a b c d

a bv. Phrase structure of the bicinium is A (4+4) A (4+4) B (4+4) A' (4+5).

Polyphonic Features: The melody of the bicinium is split between both voices. Motives

are present in mm. 5-6 and 13-14. Counter-subject ontinao is present in mm. 7-8 and 15-

16. Imitative pentatonic counterpoint is present in mm. 19-24. Drone is present in mm.

25-26.


and terminology include: fermata. The tempo indicated is Frissen (freshly); MM q=

144.




93

No. 10:



Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is s, l , d r m

s. The composite tone set of the bicinium is m, s, l , d r m s l . The given key signature is C

major; the implied key is D = la. The scale of the melody is incomplete plagal la

pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic,

minor character. The range is A3 – D5. Melodic turns employed are m-d; m-r-d; m-r; s-m-

r; l-s-m-r; m-s; s,-l,-d-r; d-l,-s,; s,-d; l-s; l-m,; l-,d-m; m-s-l; m-l.

Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b a. A real shift

is present. Phrase structure of the bicinium is A (4+4) B (4+4).

Polyphonic Features: The melody of the bicinium is split between both voices. Free

pentatonic counterpoint is present in the upper and lower voices.

Other Features: The melody of the bicinium is a folk song. The tempo indicated is

Lassan (slowly); MM q= 76.




94

No. 11:


The rhythmic content consists of q\sd\Q\ w\E\tie. No external anacrusis

is present.

Melodic Features: The tone set of Part I is l, m s l . The tone set of Part II is m, s, l , d r m.

The composite tone set of the bicinium is m, s, l , d r m s l . The given key signature is C

major; the implied key is D = la. The scale of the melody is authentic la pentatone and the

scale of the bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor

character. The range is A3 – D5. Melodic turns employed are m-d; m-r; r-d; m,-r; l-s-m; l-

s; l-m; l,-m; m-r-l,; r-d-l,; s-l.

Formal Features: The rhythmic form is a a b a a b. The melodic form is a a b a5 a5 b5. A

real shift is present. Phrase structure of the bicinium is A (2+2+2) A' (2+2+2).

Polyphonic Features: The melody of the bicinium is split between both voices. A

rhythmic counter-subject ostinato is present in mm. 2-6 in the lower voice and mm. 8-12

in the upper voice. Drones are present in mm. 3-4, 9-10, and 11-12.

Other Features: The melody of the bicinium is a folk song. Musical symbols and

terminology include: slur. The tempo indicated is Élénken (lively or brisk); MM q=

104.




95

No. 12:


The rhythmic content consists of q\sd\Q\a A\E\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is r, m, s, l , d

r . The composite tone set of the bicinium is r, m, s, l , d r m s l . The given key signature is

C major; the implied key is D = la. The scale of both the melody and complete bicinium

is extended plagal la pentatone. The tonality is pentatonic, minor character. The range is

G3 – D5. Melodic turns employed are s-m-d; d-r; r-m; m-r-d; l-m-r; m-s; m-l; l-s; m-d-l,;

l,-m; l,-l; l-s-m-r; r-l,; d-l,-m,.

Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A

substituting shift is present. Phrase structure of the bicinium is A (4+4) A' (4+4).








96

No. 13:


The rhythmic content consists of q\sd\Q\a A\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is s, l , d r m

s. The composite tone set of the bicinium is s, l , d r m s l . The given key signature is C



C4 – D5. Melodic turns employed are l-s-m-r; r-s; r-m; d-r; m-s; d-l,-s,; s,-d; s-l; l-l,; l,-d;

r-l,.

Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A real

shift is present. Phrase structure of the bicinium is A (3+3) A' (3+3).

Polyphonic Features: The melody of the bicinium is split between both voices. A motive

derived from the melody is present in mm. 3, 6 and. 7-12.


terminology include: mf, f. The tempo indicated is Frissen (freshly); MM q= 144.




97

No. 14:



present.

Melodic Features: The tone set of Part I is s, l, d r m s l d’ . The tone set of Part II is s, l , d

r m. The composite tone set of the bicinium is s, l , d r m s l d’ . The given key signature is


is incomplete plagal la pentatone. The tonality is pentatonic, minor character. The range

is C4 – F5. Melodic turns employed are r-m; m-r-d; m-s; d'-l-s; d-s,; r-s,; m-l; l-d'; s-l; l-r;

l,-r.



Polyphonic Features: The melody of the bicinium is split between both voices. Imitative

pentatonic counterpoint is present in mm. 10-13. Free pentatonic counterpoint is present

in mm. 11-16.


indicated is Frissen (freshly); MM q= 120.




98

No. 15:


The rhythmic content consists of q\sd\E\ar\vh. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is m, s, l , d

r . The composite tone set of the bicinium is m, s, l , d r m s l . The given key signature is C


pentatone and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic,

minor character. The range is A3 – D5. Melodic turns employed are s-r; r-m; r-d; m-r-d;

m-s; d-l,-s,; s,-d; s,-l,-d; s-l; l-s-m; l,-r; d-l,; l-m.

Formal Features: The rhythmic form is a b. The melodic form is a b. Phrase structure of

the bicinium is 4+4.

Polyphonic Features: Rhythmic canon and imitative pentatonic counterpoint are present

in mm. 1-6. Free pentatonic counterpoint is present in mm. 7-8. Rhythmic canon and

imitative pentatonic counterpoint are present in mm. 1-6. Free pentatonic counterpoint is

present in mm. 7-8.


indicated is Mérsékelten (moderately); MM q= 104.




99

No. 16:


The rhythmic content consists of q\sd\Q\a A\E\gc. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is s, l , d r

m s. The composite tone set of the bicinium is s, l, d r m s l . The given key signature is C



C4 – D5. Melodic turns employed are d-s; m-d; d-m-s; m-r-d; d-r; r-m; s-r; s-m; d-s,; s,-r;

m-d-s,; d-l,; s-l; m-d-l,.

Formal Features: The rhythmic form is a av b bv. The melodic form is a av b bv. Phrase


Polyphonic Features: Imitation at the unison is present in mm. 2-9. Imitative pentatonic

counterpoint is present in mm. 10-18.



(march); MM q= 116.




100

No. 17:



present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is s, l ,

d r m s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key

signature is C major; the implied key is A = la. The scale of both the melody and

complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor

character. The range is G3 – E5. Melodic turns employed are d'-d; d-r-m; m-r; r-m-s; r-s;

s-m; s,-l,-d; m-d-s,; m-s-l; l-r'; r-d-l,; l,-d; l-s; m-l.

Formal Features: The rhythmic form is a a a a. The melodic form is a b a5 b5. A


Polyphonic Features: The melody of the bicinium is split between both voices. A motive

derived from the melody is present in mm. 2, 4, and 6. Imitative pentatonic counterpoint

is present in mm. 10-13. Counter-subject ostinato is present in mm. 10 and 13. Free

pentatonic counterpoint is present in mm. 14-16.


indicated is Lassan (slowly); MM q= 60.




101

No. 18:


The rhythmic content consists of q\sd\w\t\E. No external anacrusis

is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ . The tone set of Part II is s, l , d r

m s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key

signature is G major; B = la. The scale of both the melody and complete bicinium is


A3 – E5. Melodic turns employed are m-d'; m-d; d-l; s-m-d; d-s; m,-r; r-d; l-r; r-m;- s-m;

s,-d; r-s,; d-l,; l-s; l-s-m; m-r-l,; l,-s; l,-m; r-d-l,.






indicated is Lendülettel (energetically); MM q= 120.




102

No. 19:


is 4$. The rhythmic content consists of q\Q\E\ra\ar. No external

anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is m, s, l , d r

m. The composite tone set of the bicinium is m, s, l , d r m s l . The given key signature is

C major; the implied key is D = la. The scale of the melody is authentic la pentatone and

the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor

character. The range is A3 – D5. Melodic turns employed are s-d; d-m; d-r; r-m; m-r-d;

m,-s,-d; r-l,; l-s; l-m; d-l,.

Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b c. A real shift

is present. Phrase structure of the bicinium is 2+2+2+2.

Polyphonic Features: The melody of the bicinium is split between both voices. Imitation

at the octave is present in mm. 4-5. Imitative pentatonic counterpoint is present in mm. 6-

8.


Egykedvűen (quietly); MM q= 100.




103

No. 20:


is 4$. The rhythmic content consists of q\Q\E\ra\ar. No external


Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is m, s, l, d

r m. The composite tone set of the bicinium is m, s, l , d r m s l . The given key signature is


is plagal la pentatone. The tonality is pentatonic, minor character. The range is A3 – D5.

Melodic turns employed are d-r; r-m; s-m; m-d-s,; s,-d; m-l; l,-d; l-s; l,-m; r-l,.

Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 b. A real

shift is present. Phrase structure of the bicinium is 2+2+2+2.

Polyphonic Features: The melody of the bicinium is split between both voices. Tonal

answer is present in mm. 4-5. Imitative pentatonic counterpoint is present in mm. 6-7.


indicated is Lassú tánc (slow dance); MM q= 108.




104

No. 21:


is 4$. The rhythmic content consists of q\sd\Q\w\W\E\ra\ar.

No external anacrusis is present.


m s l . The composite tone set of the bicinium is m, s, l , d r m s l d’ r’ . The given key



A3 – E5. Melodic turns employed are s-d; d'-m; m-r; r-s; d-r-m-s; r-d; s-m-r; m-s; d-l,-s,;

d-s,; s,-m; l-s; l,-r; l-m; l,-d; l,-d-m; m-l,.

Formal Features: The rhythmic form is a a' b c. The melodic form is a b a 4 b4. A



pentatonic counterpoint is present in mm. 2-3. Rhythmic canon is present in mm. 5-7.

Free pentatonic counterpoint is present in mm. 5-8.


indicated is Tánclépés (dance step); MM q= 120.




105

No. 22:


is 4$. The rhythmic content consists of q\sd\Q\a A\w\W\E\ra

\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, l , d r m. The tone set of Part II is r, m, s, l , d

r m. The composite tone set of the bicinium is r, m, s, l , d r m. The given key signature is

C major; the implied key is D = la. The scale of the melody is incomplete plagal la

pentatone and the scale of the bicinium is extended plagal la pentatone. The tonality is

pentatonic, minor character. The range is G3 – A4. Melodic turns employed are d-m; m,-d;

d-r-m; m-r; d-r; s-r; d-l,-s,; s,-d; d-l,; l-s.

Formal Features: The rhythmic form is a a av b. The melodic form is a av av b. Phrase


Polyphonic Features: Counter-subject ostinato and sequence are present in mm. 3-4 and

5-6. Imitative pentatonic counterpoint is present in mm. 6-8.


indicated is Lassú lépésben (slow step); MM q= 108.




106

No. 23:


is 4$. The rhythmic content consists of q\Q\w\t\E\ra \ar.



m. The composite tone set of the bicinium is s, l, d r m s l . The given key signature is C

major; the implied key is C = so. The scale of both the melody and complete bicinium is

authentic so pentatone. The tonality is pentatonic, major character. The range is C4 – D5.

Melodic turns employed are s-d; s-m-d; d-m; m-r; r-s; d-r; s-m; d-s,; s-l; l-m; r-l,; l,-d; l,-

d-m.

Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A real shift

is present. Phrase structure of the bicinium is A (2+2) A' (2+2).


pentatonic counterpoint is present in mm. 2-4. Free pentatonic counterpoint is present in

mm. 5-8.


indicated is Lelkendzve (breathless, out of breath, enthuastically); MM q= 116.




107

No. 24:


is 4$. The rhythmic content consists of q\Q\w\W\ra\ar\vh. No

external anacrusis is present.

Melodic Features: The tone set of Part I is s, l , d r m s l d’ r’ . The tone set of Part II is m,

s, l , d r m s l . The composite tone set of the bicinium is m, s, l , d r m s l d’ r’ . The given

key signature is B flat major; C = la. The scale of both the melody and complete bicinium

is plagal la pentatone. The tonality is pentatonic, minor character. The range is G3 – F5.

Melodic turns employed are m-d; r-d; d-r-m; m-r; m-s; d-l,-s,; s,-d; l-s-m; s-l; l,-r; l,-d-m;

d-l,.

Formal Features: The rhythmic form is a a b a'. The melodic form is a a 5 b a. A



pentatonic counterpoint is present in mm. 4-6 and 11-13. Rhythmic canon and inversion

are present in mm. 7-10.


indicated is Lassan, mélázva (slowly, ponder); MM q= 80.




108

No. 25:


The rhythmic content consists of q\sd\Q\E\ra\gc. No external anacrusis is

present.


m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature

is G major; B = la. The scale of both the melody and complete bicinium is incomplete

plagal la pentatone. The tonality is pentatonic, minor character. The range is A3 – E5.

Melodic turns employed are l-m-d'; r-d'; s-d; d-l; m-d; d-r; s-m-r; m-r-d; r-m; s-m; d-s,; d-

l,-s,; r-s,; s,-m; d-l,; s-l; r-l; l,-d-m; l,-r; l,-m.

Formal Features: The rhythmic form is a av a av. The melodic form is a a'v a5 a'v5. A



pentatonic counterpoint is present in mm. 2-8. Imitative pentatonic counterpoint is

present in mm. 10-12. Inversion is present in mm. 15-16.


indicated is Határozottan (determined); MM q= 108.




109

No. 26:


The rhythmic content consists of q\sd\Q\a A\w\E\gc\tie. No external


Melodic Features: The tone set of Part I is s, l , d r m s l d’. The tone set of Part II s, l , d r

m. The composite tone set of the bicinium is s, l , d r m s l d’ . The given key signature is C



C4 – F5. Melodic turns employed are m-d; l-s-m-r; r-m; d-r-m; d-r; m-s; d-l,-s,; d-s,; r-d-l,-

s,; l-m; l-s; l,-d; l,-d-m; r-l,.

Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A



pentatonic counterpoint is present in the upper and lower voices. Drone is present in mm.

10-11.


indicated is Induló (march); MM q= 126.




110

No. 27:


The rhythmic content consists of q\sd\Q\a A\xcd\E\tie. No external


Melodic Features: The tone set of Part I is r m s l d’ r’ . The tone set of Part II is s, l , d r m

s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature



Melodic turns employed are m-d'; m-d; d-m-s; d-r; l-s-m-r; r-s; m-r; s-m-r-d; m-s; s,-d; r-

s,; l,-d; l-s; l-s-m; m-l; r-d-l,; l-r; l,-m; l,-r.



Polyphonic Features: The melody of the bicinium is split between both voices. Imitation

at the octave is present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-8

and 12-13. Imitative pentatonic counterpoint is present in mm. 10-11 and 14-16.


and terminology include: slur. The tempo indicated is Élénken (lively or brisk); MM q=

126.




111

No. 28:


The rhythmic content consists of q\sd\Q\a A\E\gc. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is m, s, l , d

r m s l . The composite tone set of the bicinium is m s, l , d r m s l . The given key signature

is C major; the implied key is D = la. The scale of both the melody and complete

bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor character.

The range is A3 – D5. Melodic turns employed are d-m-s; m-d; d-s; d-r; m-r; m-r-d; l-r; r-

s; m-s; m,-m; d-s,; r-s,; d-l,-s,; s,-s; s,-m; m,-s,-d; s-l; d-l,; l,-m; l,-r; d-m-l; l,-d-m; l-m; l,-

l.

Formal Features: The rhythmic form is a av b av. The melodic form is a av b c. Phrase


Polyphonic Features: Part A: Augmentation is present in mm. 2-5. Imitative pentatonic

counterpoint is present in mm. 6-8. Free pentatonic counterpoint is present in mm. 9-16.

Parts B and C: Free pentatonic counterpoint is present.

Other Features: The melody of the bicinium was composed by Kodály based on a poem

by Ferenc Jankovich. The tempo indicated is Induló (march); MM q= 126. Additional

Hungarian instructions: vagy (or).




112

No. 29:


is 4$. The rhythmic content consists of q\sd\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m s l t . The tone set of Part II is s, l , d r

m. The composite tone set of the bicinium is s, l , d r m s l t . The given key signature is C


incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The

range is C4 – E5. Melodic turns employed are m-d; m-r; m-r-d; r-d; s-m; l-s; l-m; d-l,; l-t;

m-s-t; t-s.




counterpoint is present in the upper voice.






113

No. 30:


The rhythmic content consists of q\sd\Q\a A\w\E. No external anacrusis

is present.

Melodic Features: The tone set of Part I is s, d r m s l . The tone set of Part II is m, s, l, t, d

r m. The composite tone set of the bicinium is m, s, l, t, d r m s l . The given key signature

is C major; the implied key is F = do. The scale of the melody is plagal do pentatone, and

the scale of the bicinium is extended plagal do pentatone, with ti. The tonality is

pentatonic, major character. The range is A3 – D5. Melodic turns employed are d-m; d-m-

s-l; d-r; d-r-m; m-r; m-s; r-s,; s,-d; s,-m; l-s; l-m; s-t; s-l-t; s,-l,-t,-d; d-t,-l,; l-t.

Formal Features: The rhythmic form is a a' b bv. The melodic form is a b c d. Phrase

structure of the bicinium is A (2+2) B (2+2) Coda (3).

Polyphonic Features: A tonal answer is present in mm. 2-5. Free imitation is present in

mm. 6-8 and 10-12.


and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is

Gyorsan (quickly); MM q= 160 és gyersabban (and childlike). Additional Hungarian

instructions: ismétléskor (on the repetition).




114

No. 31:


The rhythmic content consists of q\sd\Q\E\gc. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l , d r m s. The tone set of Part II is s, l, t, d r

m. The composite tone set of the bicinium is s, l, t, d r m s l . The given key signature is C


pentatone, and the scale of the bicinium is incomplete plagal la pentatone, with ti. The

tonality is pentatonic, minor character. The range is C4 – C5. Melodic turns employed are

m-d; d-s; d-r-m; d-r; r-m; s-m; s,-d; d-l,-s,; m-s,; r-l,; l,-d; l-s; l,-m; s-l-t; t-s.

Formal Features: The rhythmic form is a a b a. The melodic form is a av b av. Phrase


Polyphonic Features: A tonal answer is present in mm. 2-5. Free imitation is present in

mm. 6-8 and 14-17. Free pentatonic counterpoint is present in mm. 10-13.



(march); MM q= 126.




115

No. 32:


The rhythmic content consists of q\sd\a A\w\E\tie. No external anacrusis

is present.

Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is s, l , t, d

r m s. The composite tone set of the bicinium is s, l , t, d r m s l . The given key signature

is D major; A = do, D = do. The scale of both the melody and complete bicinium is

incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor character. The

range is A3 – F-sharp5. Melodic turns employed are m-d; s-d; d-r-m; d-r; s-r; m-r; m-s; d-

s,; s-s,; d-l,; l-s; l,-d-m; r-l,; m-l; d-t,.




counterpoint is present in the upper and lower voices. Drone is present in mm. 8-10.


indicated is Sietve (rushing or hastily); MM q= 144-160.




116

No. 33:


The rhythmic content consists of q\sd\Q\a A\ar. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , t, d r m f s l . The tone set of Part II is m, f, s,

l , t, d r m. The composite tone set of the bicinium is m, f, s, l , t, d r m f s l . The given key

signature is D minor; D = la. The scale of both the melody and complete bicinium is

Aeolian. The tonality is Aeolian. The range is A3 – D4. Melodic turns employed are m,-d;

d-r; r-m; m-r-d; m-m,; m-s; s-f-m; s-f-m-r; s,-d; m-d-l,; l,-d; l,-m; m-l; l-s-m; d-t,-l,; d-t,-

l,-s,.

Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 a5 a. A tonal

shift is present. Phrase structure of the bicinium is A (4+4) B (4+4).


counterpoint is present in the upper and lower voices. Changing stress is present in mm.

9-13.

Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lépést

(step); MM q= 116.




117

No. 34:

Rhythmic Features: The meter of this bicinium changes between simple duple and simple

triple; the time signature iss 2$and 3$. The rhythmic content consists of

q\sd\Q\E\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is m, s, l , t, d r m s l t . The tone set of Part II is

m, f, s, l , t, d r m f . The composite tone set of the bicinium is m, f, s, l , t, d r m f s l t . The

given key signature is C major; the implied key is D = la. The scale of both the melody

and complete bicinium is authentic plagal la pentatone, with ti. The tonality is pentatonic,

minor character. The range is A3 – E5. Melodic turns employed are m-r-d; m-r; l-s-r; r-s;

m-s; m,-m; l-s-f; f-l; d-f-m; s-f-m; d-s,; s,-l,-d; r-l,; l,-d; m-l; l-s-m; m-l,; s-l; m-d-l,; s-l-t;

t-m; l,-t,-d; r-t,; d-t,-s,; d-t,.

Formal Features: The rhythmic form is a b c cv d cv e f. The melodic form is a b c d e f g

h. Phrase structure of the bicinium is A (3+4) B (3+4) C (3+4) D (4+4).

Polyphonic Features: Free imitation is present in mm.2-4 and 16-21. Simple counterpoint

is present in mm. 5-7 and 26-29. Free imitation and imitation-changing stress are present

in mm. 8-10. Tonal answer is present in mm. 23-25.


by Ferenctől Verseghy. The bicinium is subtitled Az igaz bölcs (The true wisdom).

Musical symbols and terminology include: fermata, B flat accidental. The tempo

indicated is Mérsékelten (moderately); MM q= 100. Additional Hungarian text:

Verseghy Ferenctől. Élt 1757 -1882 (He lived from 1757-1882).




118

No. 35:

Rhythmic Features: The meter of this bicinium changes irregularly between simple duple,

simple triple, and simple quadruple; the time signatures are 2$,3$, and4$. The rhythmic

content consists of q\sd\Q\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is d f s l t d’ r’ m’ . The tone set of Part II is l, t, d

r m f s l d’ . The composite tone set of the bicinium is l, t, d r m f s l t d’ r’ m’ . The given

key signature is C major; C = do. The scale of both the melody and complete bicinium is

major. The tonality is major. The range is A3 – E5. Melodic turns employed are s-d; d-d';

s-d'; m-r-d; d-f; f-s-l; s-f-m; l-f; r'-s; l-s; d'-l; r'-l-f; l-s; r-d-t,-l,; m'-t; t-d'-r'.

Formal Features: The rhythmic form is a a av a’. The melodic form is a a5 av5 a'. A real



subject ostinao and simple counterpoint are present in the lower voice.






119

No. 36:


and simple triple; the time signatures are 2$and 3$. The rhythmic content consists of

q\sd\Q\E\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is r m f s l t d’ . The tone set of Part II is l , t, d r m

f s. The composite tone set of the bicinium is l , t, d r m f s l t d’ . The given key signature

is B minor; B = la. The scale of both the melody and complete bicinium is Aeolian. The

tonality is Aeolian. The range is B3 – D5. Melodic turns employed are s-d; d-m-s; r-m; r-s;

d-r; r-m-f-s-l; r-m-f; f-r; l,-r; m-l; l-s; d-t,-l,; l-t.

Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 av5 a. A real



imitation is present in mm. 6-9 and 13-15. Simple counterpoint is present in mm. 10-11.

Elision occurs in m. 12.

Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lassú

lépés (slow step); MM q= 84.




120

No. 37:


The rhythmic content consists of q\sd\Q\a A\E\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , t, d r m f s l t d’ . The tone set of Part II is m,

f, s, l, t, d r m f s. The composite tone set of the bicinium is m, f, s, l , t, d r m f s l t d’ . The

given key signature is C minor; C = la. The scale of both the melody and complete

bicinium is Aeolian. The tonality is Aeolian. The range is G3 – E-flat. Melodic turns

employed are m-d'; m-d; r-s; d-r-m; r-d; m-r; l,-f; f-m-r; s-f-m; s,-d; m-l,; s-l; m-l; d-t,-l,;

d-t,-l,-s,; l-t.

Formal Features: The rhythmic form is a a a a. The melodic form is a a5 a5 a'. A tonal



imitation is present in mm. 6-9. Simple counterpoint is present in mm. 9-12. Imitation-

changing stress is present in mm. 13-16.


terminology include: p, f. The tempo indicated is Lassacskán (slowly); MM q= 84.




121

No. 38:



Melodic Features: The tone set of Part I is s, l , t, d r m f s l . The tone set of Part II is m, s,

l , t, d r m. The composite tone set of the bicinium is m, s, l , t, d r m f s l . The given key

signature is C major; the implied key is D = la. The scale of both the melody and

complete bicinium is Dorian. The tonality is Dorian. The range is A3 – C5. Melodic turns

employed are s-r; d-r-m; d-r; d-s,; d-l,-s,; l,-l; l-m; l,-d; m-l,; s-l; r-l,; d-t,-l,; m-s-t; t,-m;

m-fi-s.

Formal Features: The rhythmic form is a a a a. The melodic form is a b a' b'. Phrase

structure of the bicinium is A (2+2) A' (2+2).

Polyphonic Features: Simple counterpoint is present in the lower voice.


Zajosan, derüsen (noisy, cheerful); MM q= 104.




122

No. 39:

Rhythmic Features: The meter of this bicinium changes irregularly between simple triple

and simple quadruple; the time signatures are 3$and 4$. The rhythmic content consists

of q\sd\Q\w\E\ra\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , t, d r m s l t d’ r’ . The tone set of Part II is m,

f, s, l , t, d r m f . The composite tone set of the bicinium is m, f, s, l , t, d r m f s l t d’ r’ .

The given key signature is C minor; C = la. The scale of both the melody and complete

bicinium is Aeolian. The tonality is Aeolian. The range is G3 – F5. Melodic turns

employed are m-d; s-m-d; d-r-m; l-r'; r-d; l-r; r-m; l,-f; l-s-m; l,-l; l-m; s-l; d-t,-l,; d'-t-l-s;

l,-t,-d-r; r-t,; t-l-s-f-m; s-l-t.

Formal Features: The rhythmic form is a a av a. The melodic form is a b bv a'. Phrase




and terminology include: slur. The tempo indicated is Szomorú lassú (a sad slow); MM

q= 72.




123

No. 40:


is 4$. The rhythmic content consists of q\sd\Q\a A\E\ra \ar. No


Melodic Features: The tone set of Part I is l , d r m f s l t d’ . The tone set of Part II is m, f,

s, l , d r m. The composite tone set of the bicinium is m, f, s, l , d r m f s l t d’ . The given

key signature is D minor; D = la. The scale of the melody is authentic la pentatone, with

ti and the scale of the bicinium is Aeolian. The tonality is Aeolian. The range is A3 – F5.

Melodic turns employed are m-d; m,-d; r-d; d-r-m; m-s; s-f-m; d-f; d-l,-s,; l-m; m-l,; l,-r;

d-l,; m-d-l,; t-l; l,-t,-d.

Formal Features: The rhythmic form is a b bv a. The melodic form is a b bv a. Phrase




indicated is Induló (march); MM q= 116.




124

No. 41:


The rhythmic content consists of q\sd\Q\a A\w\ra\tie. No external


Melodic Features: The tone set of Part I is l , d r m s l t . The tone set of Part II is m, f, s, l ,

t, d r m. The composite tone set of the bicinium is m, f, s, l , t, d r m s l t . The given key

signature is C major; the implied key is D = la. The scale of both the melody and

complete bicinium is Aeolian. The tonality is Aeolian. The range is C4 – E5. Melodic

turns employed are m-d; m-r; r-s; r-m-s; d-r-m; s-m; s-l; m-l; m-s-l; m-d-l,; m-l,; l-t; t-s-

m; t-s.

Formal Features: The rhythmic form is a a b b b b. The melodic form is a av b a5 b a5. A

real shift is present. Phrase structure of the bicinium is A (4+4) B (4+4) B' (4+4).


counterpoint is present in the upper and lower voices. Drone is present in mm. 17-18.


Frissen, pattogósan (freshly, bouncing); MM q= 152.




125

No. 42 and 42a 1 :


The rhythmic content consists of q\sd\Q\w\E\ar. No external


Melodic Features: The tone set of Part I is d m f fi s l . The tone set of Part II is s, l, t, d r

m f s. The composite tone set of the bicinium is s, l, t, d r m f fi s l . The given key

signature of No. 42 is C major; C = do. The tonality of No. 42a is F major; F = do. The

scale of the melody is authentic do hexachord with fi and the scale of the bicinium is

plagal do hexatone with fi. The tonality is major. The range of No. 42 is G3 – A4. The

range of No. 42a is C4 – D5. Melodic turns employed are m-d; d-s; s-m-d; d-r; d-r-m; s-f-

m; d-r-m-f-s; d-s,; s-l; d-t,; s,-l,-t,-d; t,-r; s-fi.

Formal Features: The rhythmic form is a a b b. The melodic form is a a b b. Phrase


Polyphonic Features: Real answer is present in mm. 1-9. Simple counterpoint is present

in mm. 10-16.


terminology include: F#. The tempo indicated is Halkan, lágyan (softly, tenderly); MM

q= 104.

1. This bicinium is an exact transposition of No. 42. For analysis purposes they have beencombined.




126

No. 43:



Melodic Features: The tone set of Part I is d r m f s l t d’ r’ m’ . The tone set of Part II is

m, fi, s, l , t, d r m. The composite tone set of the bicinium is m, fi, s, l , t, d r m f s l t d’ r’

m’ . The given key signature is C major; the implied keys are C = do, D = la. The scale of

both the melody and complete bicinium is Dorian. The tonality is Dorian. The range is

A3 – E5. Melodic turns employed are m-d; r-m; d-r-m; l-r; r-m-f; f-s-l-t-d'; r'-l; r'-d'-l; l,-d-

m; d'-t-l; l,-t,-d-r-m; s,-l,-t,-d; m-fi-s.




counterpoint is present in the upper and lower voices.


(step); MM q= 108.




127

No. 44:


is 4$. The rhythmic content consists of q\sd\Q\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , d r m fi s l d’ . The tone set of Part II is s, l , t,

d r m. The composite tone set of the bicinium is s, l , t, d r m fi s l d’ . The given key

signature is C minor; C = la. The scale of both the melody and complete bicinium is

Dorian. The tonality is Dorian. The range is B-flat3 – E-flat5. Melodic turns employed are

d'-l-m; m-d; s-d; l-r; m-r; r-s; m-r-d; d-r; m-s; s-d'; s,-l,-d; r-s,; l-s; m-l; d'-l; s-l-m; m-l,; l,-

t,-d; m-fi-s.

Formal Features: The rhythmic form is a a a' a a a'. The melodic form is a av b a5 av5 b5.

A substituting shift is present. Phrase structure of the bicinium is A (3+3+3) A' (3+3+3).




terminology include: A-natural. The tempo indicated is Bátor lendülettel (bravely

energetic); MM q= 126.




128

No. 45:


is 4$. The rhythmic content consists of q\sd\Q\t\W\E\ar. No


Melodic Features: The tone set of Part I is l , d r m fi s l t d’ . The tone set of Part II is s, l ,

t, d r m fi s l . The composite tone set of the bicinium is s, l , t, d r m fi s l t d’ . The given

key signature is B-flat major; C = la. The scale of both the melody and complete bicinium

is Dorian. The tonality is Dorian. The range is B-flat3 – E-flat5. Melodic turns employed

are d-m; s-d; s-r; r-m; m-r-d; l-r; m-s; d-s,; l-d'; l-m; l-s; m-d-l,; r-l,; d'-t-l-s; s-l-t; t-l; m-t;

d'-t-l; d-t,; m-fi-s; s-fi.

Formal Features: The rhythmic form is a a a av. The melodic form is a b c b5. A real shift



imitation is present in mm. 2-3 and 5-8. Simple counterpoint is present in m. 4.


indicated is Tréfásan (amusing); MM q= 126.




129

No. 46:


The rhythmic content consists of q\sd\Q \w\E\ra\tie. No external


Melodic Features: The tone set of Part I is r m fi s l . The tone set of Part II is s, l , t, d r m.

The composite tone set of the bicinium is s, l , t, d r m fi s l . The given key signature is C

major; the implied keys are D = la, C = do. The scale of both the melody and complete

bicinium is Dorian. The tonality is Dorian. The range is C4 – D5. Melodic turns employed

are m-s-d; d-l; m-d; m-r; r-s; l-r; r-d; s-f-m; s,-d; m-l; s-l; r-l,; d-t,-l,; d-t,-l,-s,; s-fi-r; l-s-fi;

fi-l; s-fi-m; fi-r.

Formal Features: The rhythmic form is a av b av. The melodic form is a b c d. Phrase

structure of the bicinium is 2+2+2+2 Coda (2).

Polyphonic Features: Imitation-changing stress is present in mm. 3-4. Drone is present in

mm. 5-6. Simple counterpoint is present in m. 5-10.


terminology include: slur, fermata. The tempo indicated is Beszélve (speaking); MM

q= 80.




130

No. 47:


The rhythmic content consists of q\sd\Q\ra\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I l, t, d r m fi s l t d’ . The tone set of Part II is m, s,

l , t, d r m. The composite tone set of the bicinium is m, s, l , t, d r m fi s l t d’ . The given

key signature is C major; the implied keys are A = la, D = la. The scale of both the

melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – E5.

Melodic turns employed are m-d; m-r-d; s-m; d-l,-s,; d-l,; s-l; m-l; l-r'; l,-t,-d; t-s; l-t; l,-t,-

d-r-m; m-fi-s.

Formal Features: The rhythmic form is a a a a. The melodic form is a a5 b a. A real shift









131

No. 48:


The rhythmic content consists of q\sd\Q\w\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l, d r m f s l t d’ r’ . The tone set of Part II is r,

m, f, s, l, t, d r m. The composite tone set of the bicinium is r, m, f, s, l, t, d r m f s l t d’ r’ .

The given key signature is C major; the implied keys are C = do, F = do. The scale of the

melody is major and incomplete plagal do pentatone, and the scale of the bicinium is

major. The tonality is major. The range is G3 – D5. Melodic turns employed are m-d; d-l;

s-d; d-r; m-r-d; l-r; s-m; s-f-m; l-f; f-m-r; s-f; f-m; r'-s; d'-s; s-l; m-l; m-l,; r-l,; l-t-d'.

Formal Features: The rhythmic form is a b av av. The melodic form is a b c d. A tonal

shift is present. Phrase structure of the bicinium is A (5+4) B (6+5) Coda (2).

Polyphonic Features: Tonal answer is present in mm. 2-6. Simple counterpoint is present

in mm. 6-8. Rhythmic canon is present in mm. 1-8 and 10-16. Free imitation is present in

mm. 11-20.


by Ferenctől Kazinczy. Musical sym bols and terminology include: fermata. The tempo

indicated is Élénken (lively or brisk); MM q= 132. Additional Hungarian text: Élt

1759-1831 (He lived from 1759-1831).




132

No. 49:


is 4$. The rhythmic content consists of q\Q\w\W\ra\ar. No external


Melodic Features: The tone set of Part I is d r m s l d’ . The tone set of Part II is s, l , d r m

f l . The composite tone set of the bicinium is s, l , d r m f s l d’ . The given key signature is

C major; the implied keys are C = do, D = la. The scale of both the melody and complete

bicinium is incomplete plagal la pentatone, with ti. The tonality is pentatonic, minor

character. The range is C4 – E5. Melodic turns employed are d-m; r-m; m-r-d; r-d; m-s; s-

f; d-f; f-l-d; m-d-s,; l-r'; d-l,; l-s; m-l.



Polyphonic Features: The melody of the bicinium is split between both voices. Double

counterpoint is present.


indicated is Nyugodtan (calmly); MM q= 120.




133

No. 50:


is 4$. The rhythmic content consists of q\Q\w\E\ra\ar. No external


Melodic Features: The tone set of Part I is s l t d’ r’ m’ . The tone set of Part II is s, l , d r

m f s l . The composite tone set of the bicinium is s, l , d r m f s l t d’ r’ m’ . The given key

signature is C major; the implied keys are C = do, D = la. The scale of both the melody

and complete bicinium is incomplete plagal la pentatone, with ti. The tonality is

pentatonic, minor character. The range is C4 – F5. Melodic turns employed are d-r-m; m-r;

m-f-s; l-s-f; f-d; s,-d; r-l,-s,; d-l,; s-l; s-l-t; t-d'; d'-t-l.

Formal Features: The rhythmic form is a b b a. The melodic form is a av a5 av5. A real





indicated is Súlyos lépésben (slow heavy steps); MM q= 112.




134

No. 51:


The rhythmic content consists of q\sd\Q\ra. No external anacrusis is present.


m The composite tone set of the bicinium is s, l , d r m s l . The given key signature is C

major; the implied keys are C = do, D = la. The scale of both the melody and complete


The range is A3 – E5. Melodic turns employed are d-r-m; l-f; l,-f; d-s,; r-l,; l,-l.




counterpoint is present. Imitation-changing stress is present in the upper and lower

voices. Imitation at the octave is present in mm. 1-4. Imitation at the unison is present in

mm. 5-8. Augmentation and diminution are present in mm. 2-4 and 6-8.


indicated is Többféle tempóban (multiple tempos); MM q= 80 – 126.




135

No. 52:


The rhythmic content consists of q\sd\Q\a A. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m f s l t d’ r’ m’ f’ . The tone set of Part II is

d, m, f, s, l, t, d r m f s. The composite tone set of the bicinium is d, m, f, s, l, t, d r m f s l t

d’ r’ m’ f’ . The given key signature is C major; G = do, C = do. The scale of the melody

is authentic do pentachord and the scale of the bicinium is major and major. The tonality

is major. The range is G3 – D5. Melodic turns employed are m-d; s-m-d; d-d'; r-m; r-s; d-r;

m-r-d; s-m; f-r; m-f; f-m-r; f-m-r-d; f-r-s,; d-t,-l,-s,-f,; f-s; s,-d; r-s,; s,-m; l-d'; s-l; l,-r; d'-t;

t-r'; t-l; t-s; s,-l,-t,-d; d-t,-l,.

Formal Features: The rhythmic form is a a a a. The melodic form is a b a bv. A real shift



counterpoint is present in the upper and lower voices. Inversion is present in m. 9-10.


terminology include: F-sharp accidental. The tempo indicated is Peregve (spinning); MM

q= 184.




136

No. 53:


The rhythmic content consists of q\sd\Q\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is m, l , d r m f s l . The tone set of Part II is r, m,

f, s, l , t, d r m f . The composite tone set of the bicinium is r, m, s, l , d r m f s l . The given

key signature is D minor; D = la, C = do. The scale of both the melody and complete

bicinium is Dorian. The tonality is Dorian. The range is G3 – E5. Melodic turns employed

are m-d; d-r-m; r-l; d-r-m-f; f-d; s-f-m; m-f-s-l; l-f-r; l,-m,-d; r-l,; l-s; l,-d; m-l; d-t,-l,; s-l-

t; t-l-s-f-m.

Formal Features: The rhythmic form is a a b a. The melodic form is a a5 b c. A real shift

is present. Phrase structure of the bicinium is 3+3+3+3.


counterpoint is present in mm. 4-6. Imitation at the octave is present in mm. 7-9.

Inversion is present in mm. 9-11.


and terminology include: B-natural accidental. The tempo indicated is Nyugodtan

(calmly); MM q= 80.




137

No. 54:


The rhythmic content consists of q\sd\Q\w\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is m, si, l , t, d r m s l t d’ . The tone set of Part II

is m, s, si, l , t, d r m. The composite tone set of the bicinium is m, s, si, l , t, d r m s l t d’ .

The given key signature is C major; the implied keys are D = la, A = la. The scale of the

melody is minor without fa, and the scale of the bicinium is minor with ri, fi, and si. The

tonality is minor. The range is GB3 – F5. Melodic turns employed are d-m; m-r-d; l-m; l,-

d-m; m-r-l,; l-s; d-t,; t,-r; r-d-t,-l,; l,-t,-d; t-l-s; l-si.

Formal Features: The rhythmic form is a a a' a. The melodic form is a a5 b a. A real shift



counterpoint is present in the upper and lower voices. Drone is present in m.4-5 and 12-

13.


and terminology include: C- and G-sharp accidentals. The tempo indicated is Lejtve

(dancing gracefully); MM q= 126.




138

No. 55:


The rhythmic content consists of q\sd\Q\aqa\ra. No external anacrusis is

present.

Melodic Features: The tone set of Part I is m, s, si, l , t, d r m fi si l . The tone set of Part II

is m, s, si, l , t, d r m si l t . The composite tone set of the bicinium is m, s, si, l , t, d r m fi si

l t . The given key signature is C major; the implied keys are D = la, A = la. The scale of

both the melody and complete bicinium is minor with ri and si. The tonality is minor. The

range is A3 – E5. Melodic turns employed are d-m-l; d-m; r-d; l-r; r-m; m-r-d; m,-m; m,-r;

d-l,; r-d-l,; l-s; l,-r; l-m; m-l,; l,-t,-d; l-t; d-t,; m-t,; t-l-s; s-t-m; l-si; si-t; l-si-fi.

Formal Features: The rhythmic form is a av b a. The melodic form is a av5 b a. A real





and terminology include: C- and G-sharps, B-flat accidentals. The tempo indicated is

Lépést (step); MM q= 116.




139

No. 56:


The rhythmic content consists of q\sd\Q\a A\aqa\E\ra\ar. No


Melodic Features: The tone set of Part I is l , t, d r m s l . The tone set of Part II is d, r, m,

f, fi, s, l , t, d r . The composite tone set of the bicinium is d, r, m, f, fi, s, l , t, d r m s l . The

given key signature is E minor; E = la. The scale of the melody is Aeolian, and the scale

of the bicinium is minor with fi and si. The tonality is minor. The range is G3 – E5.

Melodic turns employed are d-m; m-s-d; s-d; d-m-s; r-m; d-r-m; d-r; s-r; s-m; m-f; f-r; s-

f; f-s-l; d-s,; r-s,; l-m; m-r-l,; l,-d; l-s; l-s-m; d-t,-l,; t-s; s,-l,-t,-d; s-fi; fi-r; fi-t; l-si.

Formal Features: The rhythmic form is a b bv c b c. The melodic form is a b c d e f.

Phrase structure of the bicinium is A (2+2) B (2+3) C (2+2).

Polyphonic Features: Tonal answer is present in mm. 2-5. Free imitation is present in

mm. 6-9. Simple counterpoint is present in mm. 9-12.


terminology include: C- and D-sharp accidentals. The tempo indicated is Induló (march);

MM q= 116 – 126.




140

No. 57:


and simple triple; the time signatures are 2$, 2*, 3$, and 3*. The rhythmic content

consists of q\sd\Q\E\ar\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m. The tone set of Part II is l , d r m. The

composite tone set of the bicinium is l , d r m. The given key signature is C major; the

implied keys are A = la, D = la. The scale of the melody is authentic la pentatone, and the

scale of the bicinium is incomplete plagal do pentatone, ending on re. The tonality is

pentatonic, minor character. The range is D4 – E5. Melodic turns employed are d-r-m; m-

r; d-l,.

Formal Features: The rhythmic form is a b c d e. The melodic form is a b c d e. Phrase

structure of the bicinium is A (2+2) B (3+3) Coda (1).

Polyphonic Features: Canon at the fifth and changing stress are present.


terminology include: slur, fermata, repeat. The tempo indicated is Lassan, halkan

(slowly, quietly); MM q= 63.




141

No. 58:


and simple triple; the time signatures are 2@and 3@. The rhythmic content consists of

q\sd\Q\a A\w\W\E\e\ra\ar\tie. No external


Melodic Features: The tone set of Part I is s, l, t, d r m f fi s si l . The tone set of Part II is

d, r, m, f, fi, s, si, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, fi, s, si, l,

t, d r m f fi s si l . The given key signature is G major; G = do. The scale of both the

melody and complete bicinium is major with fi and si. The tonality is major. The range is

G3 – F5. Melodic turns employed are s-d; d-l; l-s-m-d; m-d; d-r; r-s; m-r; d-r-m; s-m; m-f-

s; l-s-f-m; m-f; f-r; r-m-f; s-f; f-l; f-d; s,-s; l,-d; l-m; l-s; d-r-l,; m-l,; d-t,-l,; r-d-t,-l,; l,-t,; t-

s; r-d-t,; t,-d; m-t,; m-r-d-t,-l,; s,-l,-t,-d; m-fi-si-l; l-si; si-fi; si-m.

Formal Features: The rhythmic form is a b c d e. The melodic form is a b c d e. Phrase

structure of the bicinium is A (5+5+5) B (4+4).


counterpoint is present in mm. 1-9, 14, and 16-19. Ostinato is present in mm. 12-14 and

17-19. Diminution is present in mm. 17-20. Drone is present in mm. 19-20 and 21-22.

Motives are present in mm. 11-13 and 21-22.


by Kiolvazó. Musical symbols and terminology include: p, f, dim., cresc., fermata, C-

and D-sharp accidentals. The tempo indicated is Frissen (freshly); MM w= 72.




142

Additional Hungarian instructions: 3 @helyett 2 $be is osztható (instead of 3@it can be

dived into 2$).




143

No. 59:



of q\sd\Q\a A\w\t\W\E\e\ra\ar\gc

\vh\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is m f fi s si l t d’ r’ m’ . The tone set of Part II is

s, l, t, d r m f s si l t te d’ . The composite tone set of the bicinium is s, l, t, d r m f fi s si l t

te d’ r’ m’ . The given key signature is C major and A major; E = la, F = do, A = la, A =

do. The scale of the melody is minor with di and major, and the scale of the bicinium is

minor with di and major with te. The tonality is minor and major. The range is GB3 – E5.

Melodic turns employed are s-d; d-m; d'-s-m; d-d'; m-r-d; r-d; m-r; l-r; r-s; m-m'; s-m; r-

m-f; l-f; f,-f; f-m-r-d; s-f-m; l,-f; f-t,; l,-f,; f-m; m-f-s; r-f; l-s-f; f-s; s-r'; s,-m; s,-d-m; d-s,-

l,; m-l,; m-l; l-r'; l-s; d-l,; l-t; d'-t-l-s; d'-t; d'-t-l; t,-r; t,-m; l-s-fi-m; l-si; d-te,; te-l.

Formal Features: The rhythmic form is a b c d e f g. The melodic form is a b c d e f g.

Phrase structure of the bicinium is A (5+4+4+4) B (4+3+4).

Polyphonic Features: The melody of the bicinium is split between both voices. Drone is

present in mm. 1-4 and 26-27. Simple counterpoint is present in mm. 6-11. Free imitation

is present in mm. 13-27.


by Sándor Kisfaludy. The bicinium is subtitled Léany szépség (Girls’ beauty). Musical




144

symbols and terminology include: p, f , poco cresc., dim., fermata, F- and G-sharp

accidentals. The tempo indicated is Lassan (slowly); MM q= 76.




145

No. 60:


The rhythmic content consists of q\sd\Q\a A\E\e\ra\tie. No


Melodic Features: The tone set of Part I is d r m f fi s l t d’ . The tone set of Part II is f, s,

l, t, d di r m. The composite tone set of the bicinium is f, s, l, t, d di r m f fi s l t d’ . The

given key signature is E-flat major; E-flat = do. The scale of the melody is major with fi,

and the scale of the bicinium is major with di. The tonality is major. The range is A-

flat3 – E-flat5. Melodic turns employed are d'-m; s-d; m-d; d-l; r-d; d-r-m; r-m; d-r-m-f; f-

m-r; s-f; f-s-l; s-f-m-r; m-f; s-f-m; l-f; f-r; s-m; l-m; d-l,; l,-r-d; s-l-t-d'; d-t,-l,; l-t; m-t,; s-l-

t; r-d-t,; d-t,; m-fi-s; t,-di-r.

Formal Features: The rhythmic form is a b c d e f. The melodic form is a b c d e f. Phrase

structure of the bicinium is A (5+4) B (8) C (4+5) Coda (2).

Polyphonic Features: Canon at the fourth is present in mm. 1-10. Canon at the fifth is

present in mm. 11-25. Free pentatonic counterpoint is present in mm. 25-28.


by Dénes P. Szedő. The bicinium is subtitled Miatyánk (Our Father). Musical symbols

and terminology include: p, f, cres., E-natural accidental. The tempo indicated is Élénken

(lively or brisk); MM q = 126.




146


No. 61:

Rhythmic Features: The meter of this bicinium is asyMM etrical; the time signature is 5$.

The rhythmic content consists of q\sd\Q\a A\w\xcd\t\gc\vh. No


Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is r, m, s,

l , d r m. The composite tone set of the bicinium is r, m, s, l , d r m s l . No key signature is

given; the implied key is E = la. The scale of both the melody and complete bicinium is

extended plagal la pentatone. The tonality is pentatonic, minor character. The range is

A3 – E5. Melodic turns employed are s-m-d; d-m; m-r; m-r-d; r-s; r-m-s; s-m; m,-m; s,-l,-

d; m-s-l; l-s; r-l,; l-s; l,-d-m; m-l; l-m; l-s-m; m-l,.

Formal Features: The rhythmic form is a a. The melodic form is a b. Phrase structure of

the bicinium is 2+2.




indicated is Lassan (slowly); MM q= 60. Additional Hungarian instructions: Igy

kezdődik a Kalevala (thus begins Kalevala).




147

No. 62:

Rhythmic Features: The meter of this bicinium changes between simple triple and simple

quadruple; the time signatures are 3$and 4$. The rhythmic content consists of

q\sd\Q\a A\w\E\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is m, s, l, d

r m. The composite tone set of the bicinium is m, s, l, d r m s l . The given key signature is

C major; the implied key is D = so. The scale of both the melody and complete bicinium

is incomplete plagal so pentatone. The tonality is so pentatonic. The range is B3 – E5.

Melodic turns employed are m,-d; d-r-m; d-r; m-r; r-s; s-m; s,-d; d-l,-s,; m-r-l,-s,; s,-m; s-

l; d-l,; l,-m.

Formal Features: The rhythmic form is a a a a. The melodic form is a b bv a. Phrase




mm. 6-8.


and terminology include: fermata. The tempo indicated is Nyugodtan (calmly); MM q=

72.




148

No. 63:


is 4$. The rhythmic content consists of q\sd\Q\a A\W\ra\ar. No


Melodic Features: The tone set of Part I is l , d r m s l d’ r’ . The tone set of Part II is s, l , d

r m s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key

signature is B minor; B = la. The scale of both the melody and complete bicinium is

authentic la pentatone. The tonality is pentatonic, minor character. The range is B3 – E5.

Melodic turns employed are m-d; m-s-d'; d'-l-s-m; m-r; m-r-d; d-r; d-s,; l-m; l-s-m; d-l,;

l,-l; l-s; r-l,; l,-m; m-s-l.

Formal Features: The rhythmic form is a a a av. The melodic form is a b c d. Phrase









149

No. 63a:

Rhythmic Features: The implied meter of this bicinium is simple quadruple; the implied

time signature 4$. The rhythmic content consists of q\sd\Q\a A\E\ar. No


Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is r, m, s, l ,

d r m s. The composite tone set of the bicinium is r, m, s, l , d r m s l . The given key

signature is C major; the implied key is D = la. The scale of the melody is authentic la

pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonality is

pentatonic, minor character. The range is G3 – D5. Melodic turns employed are m-d; d-m,;

m-r; m-r-d; r,-m; d-r; m-s; m-s,; s,-d; s,-r; m,-s,-d; l-m; l-s-m; d-l,; l,-r; l,-d-m; s-l; m-s-l;

l-r.

Formal Features: The rhythmic form is a a a av. The melodic form is a b c d. Phrase


Polyphonic Features: Free pentatonic counterpoint is present between the upper and

lower voices. Imitative pentatonic counterpoint is present in mm. 1-2 between the lower

voices. Rhythmic canon is present in mm. 1-7 between the lower voices.






150

No. 64:



q\sd\Q\w\ar\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is d, r, m, s,

l , d r m. The composite tone set of the bicinium is d, r, m, s, l , d r m s l . The given key

signature is C major; the implied key is E = la. The scale of the melody is authentic la

pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonal ity is

pentatonic, minor character. The range is G3 – D5. Melodic turns employed are d-m; d-s;

s-m-d; d-r-m; m-r; r-d; r-s; m-s; d-l,-s,; s,-r; s-l-m; r-l,; l,-d; l-m; l-s.

Formal Features: The rhythmic form is a a av a. The melodic form is a a b c. Phrase


Polyphonic Features: Rhythmic canon and changing stress are present in mm. 1-9. Free



terminology include: fermata. The tempo indicated is Lassan (slowly); MM q= 63.




151

No. 65:


The rhythmic content consists of q\sd\Q\a A\ E\ar. No external


Melodic Features: The tone set of Part I is l , d r m s l . The tone set of Part II is d, m, s, l ,

d r m. The composite tone set of the bicinium is d, m s, l , d r m s l . The given key

signature is C major; the implied key is E = la. The scale of the melody is authentic la

pentatone, and the scale of the bicinium is extended plagal la pentatone. The tonality is

pentatonic, minor character. The range is G3 – E5. Melodic turns employed are d-s; l-s-m-

d; d-l; m-d; m-r; r-d; m-r-d; m,-r; s-m; r-d-l,-s,; s,-d; l-m; r-l,; l-s-m.

Formal Features: The rhythmic form is a a' a a. The melodic form is a a b c. Phrase


Polyphonic Features: Counter-subject ostinatio is present in mm. 3-4 and 7-8.

Diminution is present in mm. 3-4, 7-8, and 15-16. Imitative pentatonic counterpoint is



Tánclépés (dance step); MM q= 126.




152

No. 66:


and simple triple; the time signatures are 2*and 3*. The rhythmic content consists of

q\sd\Q\a A\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is m l d’ r’ m’ . The tone set of Part II is m, l, d r

m s. The composite tone set of the bicinium is m, l, d r m s l d’ r’ m’ . The given key

signature is G minor; G = la, G = mi. The scale of the melody is plagal la tetratone, and

the scale of the bicinium is authentic la pentatone with fa. The tonality is pentatonic,

minor character. The range is G3 – D5. Melodic turns employed are m-d; d-s; m-r; d-r; r-l;

s-f; f-r; s-f-r; l-s-f; f,-d; d-l,-s,; d-l,; l,-d-m; l-m; r-d-l,.

Formal Features: The rhythmic form is a a a a. The melodic form is a b c d. Phrase

structure of the bicinium is 3+3+3+3 Coda (3).

Polyphonic Features: Rhythmic ostinato is present in mm. 2-12 and 13-16. Imitative

pentatonic counterpoint is present in the lower voice.


terminology include: repeat signs, 1st and 2nd ending, fermata. The tempo indicated is

Pontos ritmusban (accurate rhythm); MM a= 132. Additional Hungarian instructions:

Ism. (repeat).




153

No. 67:


is 4$. The rhythmic content consists of q\Q\w\E\ra\ar. No external


Melodic Features: The tone set of Part I is s l d’ r’ m’ . The tone set of Part II is l , d r m s

l . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key signature

is F major; G = la. The scale of the melody is incomplete plagal la pentatone, and the

scale of the bicinium is authentic la pentatone. The tonality is pentatonic, minor

character. The range is G3 – D5. Melodic turns employed are d-m; m-r-d; d-r; l-r; d-s,; s-l;

l,-d; l-s-m; m-l; m-l,.

Formal Features: The rhythmic form is a a b b. The melodic form is a a b c. Phrase


Polyphonic Features: Rhythmic canon is present throughout the bicinium. Free


present in mm. 6-7.






154

No. 68:


The rhythmic content consists of q\sd\Q\a A\E\ar\vh. No external


Melodic Features: The tone set of Part I is s, l , d r m s l d’ . The tone set of Part II is m, s,

l , d r m s l . The composite tone set of the bicinium is m, s, l , d r m s l d’ . The given key

signature is B-flat major; C = la. The scale of the melody is incomplete plagal la

pentatone, and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic,

minor character. The range is G3 – E-flat5. Melodic turns employed are m-l-d'; m-d; m-r-

d; r-d; r-s; l-s-m-r; r-d; s-m; d-s,; s,-d-m; r-d-l,-s,; s-l-m; d-l,; l-s; l,-m; m-l; r-l,.

Formal Features: The rhythmic form is a b b a. The melodic form is a b bv a'. Phrase


Polyphonic Features: Imitative pentatonic counterpoint is present in mm. 9-16. Free







155

No. 69:



Melodic Features: The tone set of Part I is s, l, d r m s l d’ . The tone set of Part II is s, l, d

r m s l d’ . The composite tone set of the bicinium is s, l, d r m s l d’ . The given key

signature is B-flat major; B-flat = so. The scale of both the melody and complete

bicinium is authentic la pentatone. The tonality is pentatonic, minor character. The range

is B-flat3 – E-flat5. Melodic turns employed are s-m-d; d-m; d'-r; m-r; r-d; s,-d; s,-l; m-s-l;

l-s; d-l,; m-l,; l-m; m-l-d'; l,-d-m.

Formal Features: The rhythmic form is a a a a. The melodic form is a a b b. Phrase


Polyphonic Features: The melody of the bicinium is split between both voices. Sequence

is present in mm. 1-4, 5-8, 9-12, and 13-16.


by Sándor Weöres. The bicinium is subtitled A csősz subája. (The keeper of suba). The

tempo indicated is Frissen (freshly); MM q= 152.




156

No. 70:

Rhythmic Features: The implied meter of this bicinium is simple quadruple; the implied

time signature is 4$. The rhythmic content consists of q\sd\Q\w\ra\

ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m s l d’ . The tone set of Part II is s, l , d r

m. The composite tone set of the bicinium is s, l , d r m s l d’ . The given key signature is

B-flat major; C = la. The scale of both the melody and complete bicinium is incomplete

plagal la pentatone. The tonality is pentatonic, minor character. The range is B-flat3 – E-

flat5. Melodic turns employed are s-m-d; d-m; m-r; r-d; m-r-d; s-m; d-s,; l-s; m-l; l-s; l,-d;

r-l,; l,-l.

Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 a. A



counterpoint is present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-6.

Retrograde is present in mm. 7-8.

Other Features: The melody of the bicinium is a folk song. The tempo indicated is Lassú

lépésben (slow step); MM q= 108.




157

No. 71:

Rhythmic Features: The implied meter of this bicinium is simple duple; the implied time

signature is 2$. The rhythmic content consists of q\sd\Q\a

A\w\W\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is s, l,

d r m s l . The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ . The given key

signature is C major; C = do. The scale of the melody is authentic do pentatone, and the

scale of the bicinium is plagal do pentatone. The tonality is pentatonic, major character.

The range is G3 – E5. Melodic turns employed are d-m-s; m-d; d-s; m-s-d'; d-r-m; m-r; r-

d; l-s-r; r-d-s,; s-l; l-m; d-l,.

Formal Features: The rhythmic form is a b b' a. The melodic form is a b bv a. Phrase










158

No. 72:


The rhythmic content consists of q\sd\Q\w\t\E\ra\ar\tie.



m s l . The composite tone set of the bicinium is s, l, d r m s l . The given key signature is

A minor; E =la, A = la. The scale of the melody is extended plagal la pentatone with ti,

and the scale of the bicinium is incomplete plagal la pentatone with ti. The tonality is

Aeolian. The range is G3 – E5. Melodic turns employed are m-d; m-r; r-s; m-r-d; s,-d; r-d-

l,-s,; l-s-m; d-l,; l,-m.


substituting shift is present. Phrase structure of the bicinium is A (2+2) B (2+3) Coda (2).

Polyphonic Features: Canon at the fifth is present in mm. 2-5. Imitative pentatonic

counterpoint is present in mm. 6-7. Real answer is present in mm. 8-9.


terminology include: repeat signs, fermata. The tempo indicated is Lassan (slowly); MM

q= 56.




159

No. 73:

Rhythmic Features: The meter of this bicinium is simple quadruple; the time signature is

C (common time). The rhythmic content consists of q\sd\Q\w\ra\ ar.





scale of the bicinium is plagal do pentatone. The tonality is pentatonic, major character.

The range is G3 – E5. Melodic turns employed are d'-s-m; d-m'; m-s-d; d-l; d-r; l-s-m-r; m-

r-d; r-m; s-m; s,-d; s,-m; s,-l,-r; m-l; m-l,; l,-d-m.

Formal Features: The rhythmic form is a b b' a'. The melodic form is a b bv a. Phrase


Polyphonic Features: Rhythmic canon and free pentatonic counterpoint are present in the

lower voice.


and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Lépést

(step); MM q= 120. Additional Hungarian instructions: Ism. (repeat).




160

No. 74:


The rhythmic content consists of q\sd\Q\a A\aqa\E\gc. No external


Melodic Features: The tone set of Part I is s, l , d r m s l . The tone set of Part II is d, r, m,

s, l, d r m. The composite tone set of the bicinium is d, r, m, l , d r m s l . The given key

signature is E minor; E = la. The scale of both the melody and complete bicinium is

plagal la pentatone. The tonality is pentatonic, minor character. The range is G3 – E5.

Melodic turns employed are m-d; s-m-d; d-s; s-r; r-m; d-r; r-s; m-r-d; l-r; s-m; s,-d; s,-m;

m-l-s; m-d-l,; l-s; r-l,; l-m; d-l,; m-l,; d-l,-m,.

Formal Features: The rhythmic form is a av b av a av. The melodic form is a b c bv a b.

A tonal shift is present. Phrase structure of the bicinium is A (4+4) B (4+4+4+4).


lower voice.


by Weöres Sándor. The bicinium is subtitled Rigók dala (Thrushes’ song). Musical

symbols and terminology include: repeat signs. The tempo indicated is Frissen (freshly);

MM q= 120.




161

No. 75:


The rhythmic content consists of sd\aqa\sxc\ E\vh. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l, d r m f s l . The tone set of Part II is r, m, f,

s, l , d r m. The composite tone set of the bicinium is r, m, f, s, l , d r m f s l . The given key

signature is E minor; E = la. The scale of both the melody and complete bicinium is

Aeolian. The tonality is Aeolian. The range is A3 – E5. Melodic turns employed are d-m;

r-m; m-r-d; r-s; s-m; l-s-f; f-m; s-f-m-r; s,-d; m-l; d-l,; l,-l; l-s; l-m; t,-m; d-t,-l,-s,.

Formal Features: The rhythmic form is a a a a. The melodic form is a b b c. Phrase




terminology include: slur. The tempo indicated is Tánclépés (dance step); MM q= 112.




162

No. 76:


is 4$. The rhythmic content consists of q\sd\Q\w\W\ra\ar. No


Melodic Features: The tone set of Part I is m f s l d’ r’ m’ f’ . The tone set of Part II is d r

m f s l . The composite tone set of the bicinium is d r m f s l d’ r’ m’ f’ . The given key

signature is C major; C = do. The scale of both the melody and complete bicinium is

authentic do hexachord. The tonality is Ionian. The range is C4 – F5. Melodic turns

employed are d-l; m-d; r-l; m-r; r-d; d-f; s-f; f-r; l-f; f-m; r-m-f; s-f-m; s,-d; s,-m; l-s; l,-r;

l,-d.

Formal Features: The rhythmic form is a a' av a'. The melodic form is a a5 av5 a. A real



imitation is present in mm. 4-8. Simple counterpoint is present in mm. 9-12.


indicated is Lassú lépés (slow step); MM q= 112.




163

No. 77:


The rhythmic content consists of q\sd\W\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , t, d r m. The tone set of Part II is s, l, t, d r

m. The composite tone set of the bicinium is s, l , t, d r m. The given key signature is C

major; the implied keys are D = la, A = la. The scale of the melody is authentic la

pentachord, and the scale of the bicinium is Dorian. The tonality is Dorian. The range is

G3 – A4. Melodic turns employed are m-r; r-d; s,-d; l,-m; d-l,; l,-r; m-d-l,; l,-d; r-d-t,-l,; l-t;

t,-d; d-t,-l,-s,.

Formal Features: The rhythmic form is a av b b. The melodic form is a a b b. Phrase


Polyphonic Features: Tonal answer is present in mm. 2-9. Free imitation and rhythmic

canon are present in mm. 10-14.


indicated is Frissen (freshly); MM q= 120. Additional Hungarian instructions: Zobor-

vidéki lakodalma (rural Zobor wedding).




164

No. 78:



present.

Melodic Features: The tone set of Part I is l , t, d r m. The tone set of Part II is l, t, d r m.

The composite tone set of the bicinium is l , t, d r m. The given key signature is C major;

the implied keys are D = la, A = la. The scale of the melody is authentic la pentachord,

and the scale of the bicinium is Dorian. The tonality is Dorian. The range is A3 – G4.

Melodic turns employed are m-d; m-r; d-r; l,-m; d-l,; d-t,; t-l; d-t,-l,.

Formal Features: The rhythmic form is a a b b. The melodic form is a a b bv. Phrase


Polyphonic Features: Tonal answer is present in mm. 1-14.


Lépést

(step); MM q= 116.




165

No. 79:



Melodic Features: The tone set of Part I is l , t, d r m. The tone set of Part II is l, t, d r m .

The composite tone set of the bicinium is l , t, d r m. The given key signature is D minor;

D = la, G = la. The scale of the melody is authentic la pentachord and the scale of the

bicinium is Aeolian. The tonality is Aeolian. The range is G3 – A4. Melodic turns

employed are m-d; m-r; r-d; d-l,; l,-r; r-d-t,; d-t,; t,-m.

Formal Features: The rhythmic form is a a a a. The melodic form is a a b b. Phrase


Polyphonic Features: Canon at the fifth and imitation-changing stress are present.


and terminology include: repeat signs, 1st and 2nd ending. The tempo indicated is Frissen (freshly); MM q= 144.




166

No. 80:


is 4$. The rhythmic content consists of q\sd\a A\w\W. No external


Melodic Features: The tone set of Part I is r m f s l t d’ r’ . The tone set of Part II is l, t, d r

l . The composite tone set of the bicinium is l, t, d r m f s l . The given key signature is C

major; the implied key is D = re. The scale of both the melody and complete bicinium is

Dorian. The tonality is Dorian. The range is A3 – D4. Melodic turns employed are d-l; r-l;

r-m; r-d; s-f-m-r; r-f; f-s; r-m-f; l-s-f; l,-r; l-s; l,-d; r-d-t,-l,; l,-t,-d; l-t.

Formal Features: The rhythmic form is a a a a. The melodic form is a av b c. Phrase


Polyphonic Features: Imitation at the octave is present in mm. 1-4. Simple counterpoint







167

No. 81:


The rhythmic content consists of q\sd\Q\a A\w\W\ra\ar. No


Melodic Features: The tone set of Part I is r f f i s l t d’ r’ m’ . The tone set of Part II is s, l ,

t, d r m. The composite tone set of the bicinium is s, l , t, d r m f fi s l t d’ r’ m’ . The given

key signature is C major; the implied keys are A = la, D = la. The scale of both the

melody and complete bicinium is Dorian. The tonality is Dorian. The range is C4 – E5.

Melodic turns employed are m-d; r-d; d-r-m; l-r; r-s; d-r-m; l,-r; l,-d; l,-d-m; r-m-l,; l-s; d-

t,; d-t,-l,; s-fi.

Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A tonal





Frissen (freshly); MM q= 152.




168

No. 82:


The rhythmic content consists of q\sd\Q\a A\E\ar\tie. No external


Melodic Features: The tone set of Part I is d r m s l t d’ . The tone set of Part II is l , t, d r

m s l . The composite tone set of the bicinium is l , t, d r m s l t d’ . The given key signature

is B minor; B = la. The scale of both the melody and complete bicinium is authentic la

pentatone. The tonality is pentatonic, minor character. The range is B3 – D5. Melodic

turns employed are m-d; d-r-m; m-r; r-d; r-s; s-m; l-s; m-l; m-s-l; d-l,; l,-r; l,-t,-d; t,-d.

Formal Features: The rhythmic form is a b a bv. The melodic form is a b c b 5. A real




Other Features: The melody of the bicinium is a folk song. The tempo indicated is MM

q = 80.




169

No. 83:



q\sd\Q\w\t\E\e\ra\gc\vh\tie. No external


Melodic Features: The tone set of Part I is l , d r m s l t d’ . The tone set of Part II is l , t, d r

m. The composite tone set of the bicinium is l , t, d r m s l t d’r’ m’ . The given key

signature is C major; the implied keys are A = la, D = la. The scale of both the melody

and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – D5. Melodic

turns employed are s-m-d; r-d; d-r-m; m-r; r-s; s-m; s-f; d-s,; s,-d-m; r-l,; m-l-s; r-d-l,; l-

m; l-s; s-l; s-l-m; l,-d; d-r-l; d-t,.

Formal Features: The rhythmic form is a b av bv c d c d. The melodic form is a b c d e f

e5 f 5. A real shift is present. Phrase structure of the bicinium is A (2+2+3+2) B

(2+2+2+2).


pentatonic counterpoint is present in mm. 2-3 and 6-9. Simple counterpoint is present in

mm. 3-4. Double counterpoint is present in mm. 10-17. Drone is present in mm.10-13

and 15-17.

Other Features: The melody of the bicinium is a Mari folk song. Musical symbols and

terminology include: repeat signs, slur. The tempo indicated is Lassan (slowly); MM




170

q= 52. Additional Hungarian instructions: Az 1-2. vsz. után szöveg nélkül (The first and

second verses without words).




171

No. 84:

Rhythmic Features: The meter of this bicinium changes irregularly between simple

quadruple and asymmeterical; the time signatures are 4$and 5$. The rhythmic content

consists of q\sd\Q\a A\W\ar\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , t, d r m. The tone set of Part II is m, s, l , t, d

r m f s l . The composite tone set of the bicinium is m, s, l , t, d r m f s l . The given key

signature is C major; the implied keys are D = la, A = la. The scale of both the melody

and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – E5. Melodic

turns employed are d-r-m; m-r; r-d; r-l; l-f; s-f-m-r-d; r-m-f; s,-d; l,-r-d; r-l,; l,-m; m-l; l-s;

m-l-s; r-d-t,-l,; d-t,-l,.

Formal Features: The rhythmic form is a a av a'. The melodic form is a a5 av5 a'. A real


Polyphonic Features: Simple counterpoint is present in the lower voice. Changing stress


Other Features: The melody of the bicinium is a folk song. The tempo indicated is MM

q= 116.




172

No. 85:


is 4$. The rhythmic content consists of q\sd\Q\a A\aqa\t\ra\

ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is m s l t d’ r’ m’ . The tone set of Part II is l , t, d

r m s l t d’ . The composite tone set of the bicinium is l , t, d r m s l t d’ . The given key

signature is A minor; A = la. The scale of both the melody and complete bicinium is

authentic la pentatone, with ti. The tonality is pentatonic, minor character. The range is

A3-E5. Melodic turns employed are m,-d; s-d; d-m; d-r; d-r-m; r-s; s-m; s-m; s,-d; l,-d; l-

m; s-l; m-l,; l,-r; l-r; r-d-t,-l,; d-t,-l,-s,; d-t,-l,; m-r-d-t,-l,.

Formal Features: The rhythmic form is a b b av. The melodic form is a b b av. Phrase



counterpoint and diminution are present in the upper and lower voices.


terminology include: slur. The tempo indicated is Lépést (step); MM q= 112.




173

No. 86:


is 4$. The rhythmic content consists of q\sd\Q\w\aqa\W\ar. No


Melodic Features: The tone set of Part I is r m s l t d’ r’ m’ . The tone set of Part II is l , t,

d r m. The composite tone set of the bicinium is l , t, d r m s l t d’ . The given key signature

is A minor; A = la. The scale of both the melody and complete bicinium is authentic la

pentatone with ti. The tonality is pentatonic, minor character. The range is A3 – E5.

Melodic turns employed are d-m; m,-d; r-d; m-r; d-r-m; m,-m; m-s; d-l,; l-s; l-m; l,-r; m-

t,; t,-r; t-l; m-r-d-t,-l,; t,-d.

Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b b a. Phrase



imitation is present in mm. 4-9. Simple counterpoint is present in mm. 10-12.


indicated is Lépést (step); MM q= 108. Additional Hungarian instructions: Jegyzet:

Nagy terjedelmű dalainkat inkább így elosztva énekeltessük, mint oktáv ugrásokkal

eltorzítva. Ez a dallam eddig mindenütt hibásan jelent meg, kivéve Kiss G.: Ormányság,

414.1. (Note: The big-ranged songs should be sung in division between the two parts.

This is a better solution than singing with octave jumps. This melody was always

published incorrectly except by Kiss G.).




174

No. 87:


The rhythmic content consists of q\sd\a A\aqa\E\vh. No external anacrusis

is present.

Melodic Features: The tone set of Part I is m, l , t, d r m f . The tone set of Part II is d, r, m,

f, s, l , t, d . The composite tone set of the bicinium is d, r, m, f, s, l , t, d r m f . The given

key signature is G minor; G = la. The scale of both the melody and complete bicinium is

Aeolian. The tonality is Aeolian. The range is B-flat3 – E-flat5. Melodic turns employed

are m,-d; d-m; m-r-d; m,-m; m-f; l-s-f; l-m; r-l,; l-t-d; d-t,-l,.

Formal Features: The rhythmic form is a a b b. The melodic form is a a b bv. Phrase


Polyphonic Features: Canon is present in mm. 2-7. Free imitation is present in mm. 8-10.

Simple counterpoint is present in mm. 11-12.


terminology include: repeat signs. The tempo indicated is Lépést (step); MM q= 104.

Additional Hungarian instructions: Ism.-kor elm. (when it is repeated).




175

No. 88:


is 4$. The rhythmic content consists of q\sd\Q\ra\vh. No external anacrusis is

present.

Melodic Features: The tone set of Part I is s, l , t, d r m f s l . The tone set of Part II is l , t, d

r m. The composite tone set of the bicinium is s, l , t, d r m f s l . The given key signature is

C major; the implied keys are D = la, A = la. The scale of both the melody and complete

bicinium is Aeolian. The tonality is Dorian. The range is A3 – E5. Melodic turns employed

are m-d; d-r-m; r-d; s-f-m; d-f; r-s,; s,-d; l,-m; l,-r; s-l; l,-t,-d-r-m; d-t,-l,; r-d-t,; t,-r.



Polyphonic Features: Canon and changing stress are present in mm. 1-4. Imitation-

changing stress and rhythmic canon are present in mm. 5-8.

Other Features: The melody of the bicinium is based on a folk song. The tempo indicated

is Lépést (step); MM q= 116.




176

No. 89:


is 4$. The rhythmic content consists of q\sd\Q\w\E\ra\ar\tie. No


Melodic Features: The tone set of Part I is l , d r m f s l t d’ r’ . The tone set of Part II is l ,

t, d r m f s l . The composite tone set of the bicinium is l , t, d r m f s l t d’ r’ . The given

key signature is B minor; B = la. The scale of the melody is authentic la pentatone with ti,

and the scale of the bicinium is Aeolian. The tonality is Aeolian. The range is B3 – E5.

Melodic turns employed are m-l-d'; m-d; d-m-s; s-r; r-m; m-r; r-l; m-s; m-f; r-m-f; f-r; s-f-

m-r-d; l-m; s-l; d-l,; l,-r; m-d-l,; d-t,-l,-s,; l,-t,-d; r-d-t,-l,; r-t,; t,-m.

Formal Features: The rhythmic form is a b c b' a' b'. The melodic form is a b c a b.

Phrase structure of the bicinium is A (2+2) B (2+2+2+2).


counterpoint is present in mm. 3-4 and 10-12. Tonal answer is present in mm. 6-9.


and terminology include: repeat signs, rallent. The tempo indicated is Lassan (slowly);

MM q= 92.




177

No. 90:

Rhythmic Features: The meter of this bicinium changes between simple duple and simple


q\sd\Q\E\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , d r m f s l t d’ . The tone set of Part II is l , t, d

r m f s l . The composite tone set of the bicinium is l , t, d r m f s l t d’ . The given key


Aeolian. The tonality is Aeolian. The range is B3 – D5. Melodic turns employed are l,-d';

s-m-d; m,-d; m-d; m-r; d-r-m; l-s-f-m; m-f; f-m-r; f-s-l; d-l,-s,; d-s,; r-l,; d-l,; m-l; l,-t,-d;

d-t,; l,-t,-d-r-m.

Formal Features: The rhythmic form is a b b' a. The melodic form is a b b a. Phrase


Polyphonic Features: Simple counterpoint is present in mm. 3-8 and 10. Inversion is

present in m. 9.


(step); MM q= 108.




178

No. 91:


is 4$. The rhythmic content consists of q\sd\Q\w\W\ar. No external


Melodic Features: The tone set of Part I is s, l , d r m f s l t d’ . The tone set of Part II is m,

f, s, l , t, d r m f . The composite tone set of the bicinium is m, f, s, l , t, d r m f s l t d’ . The

given key signature is D minor; D = la. The scale of both the melody and complete

bicinium is Aeolian. The tonality is Aeolian. The range is A3 – F5. Melodic turns

employed are d-s; m-d; d-r; d-r-m; m-r; m-s; m,-m; s-f-m-r-d; s-f-m; d-f; f-m-r-d; s,-d; r-

s,; l,-l; l-s; l-m; r-l,; d-t,-l,-s,; s-t; s-l-t; t-l; r-d-t,-l,-s,; d-t,-l,; t-s-m.

Formal Features: The rhythmic form is a a b a. The melodic form is a b c d. Phrase



mm. 3-9.


terminology include: portamento. The tempo indicated is Tánclépés (dance step); MM

q= 120.




179

No. 92:


is 4$. The rhythmic content consists of q\sd\Q\W\ra\ar. No external


Melodic Features: The tone set of Part I is m f s l t d’ r’ m’ . The tone set of Part II is l, t, d

r m f s l d’ . The composite tone set of the bicinium is l, t, d r m f s l t d’ r’ m’ . The given

key signature is C major; C = do. The scale of both the melody and complete bicinium is

major. The tonality is major. The range is C4 – E5. Melodic turns employed are d-s; m-d;

d-l; d-r-m; r-d; r-s; m-s; s-f-m; m-f; l-s-f; f-m-r-d; l,-f; m-f-s; s,-d; s-l; l,-r; m-l; l,-d; m-d-

l,; d-t,; t-s.

Formal Features: The rhythmic form is a b bv a'. The melodic form is a a5 av5 a. A tonal


Polyphonic Features: The melody of the bicinium is split between both voices.

Diminution is present in mm. 3-6. Elision is present in m. 10. Simple counterpoint is

present in mm. 4-9 and 11-12.






180

No. 93:




Melodic Features: The tone set of Part I is s, l , d r m s. The tone set of Part II is m, fi, s, l ,

t, d r m. The composite tone set of the bicinium is m, fi, s, l , t, d r m s. The given key

signature is C major; the implied keys are D = la, A = la. The scale of the melody is

incomplete plagal la pentatone with ti, and the scale of the bicinium is Dorian. The

tonality is Dorian. The range is A3 – E5. Melodic turns employed are m-d; d-s; m,-d; r-m;

d-r; d-r-m; s-m; s-f; m-d-s,; s,-d; l,-r; d-l,; l-s; d-l,-m,; l,-t,-d-r; s-l-t; t-l; d-t,-l,-s,; d-t,-l,; s-

fi.

Formal Features: The rhythmic form is a a' a' a'. The melodic form is a a5 b a. A real shift



counterpoint is present in mm. 3-8. Free imitation is present in mm. 10-12.

Other Features: The melody of the bicinium is based on a folk song. Musical symbols

and terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 112.




181

No. 94:


simple triple, and simple quadruple; the time signatures are 2$, 3$, and 4$. The

rhythmic content consists of q\sd\Q\a A\w\W\E\ra\ar\tie.


Melodic Features: The tone set of Part I is l , t, d r m f s l t d’ . The tone set of Part II is m,

f, s, l , t, d r m. The composite tone set of the bicinium is m, f, s, l , t, d r m f s l t d’ . The

given key signature is B-flat major; C = la. The scale of both the melody and complete

bicinium is Dorian. The tonality is Dorian. The range is G3 – E-flat5. Melodic turns

employed are m,-d; m-r; d-r; s-m; s-f-m; r-m-f-s; r-s,; d-l,; l-s; m-l; l-r; s,-l,-t,-d; l,-t,-d; s-

t; t,-m; t-l; t,-r.

Formal Features: The rhythmic form is a a av a. The melodic form is a b bv a. Phrase





Csendesen (tranquil); MM q= 96.




182

No. 95:




Melodic Features: The tone set of Part I is m s l t d’ . The tone set of Part II is l , t, d r m fi

s l . The composite tone set of the bicinium is l , t, d r m fi s l t d’ . The given key signature

is A major; B = la. The scale of both the melody and complete bicinium is Dorian. The

tonality is Dorian. The range is B3 – E5. Melodic turns employed are m-d; d-s; m-r-d; d-r;

m-s; s-f; f-r; f-m; s-f-m; s,-d; l,-m; l-s; r-l,; m-l; l-s-m; m,-l,-d; d-t,-l,; d-t,; t,-l; d-t,-l,-s,.

Formal Features: The rhythmic form is a b b' a. The melodic form is a b bv a. Phrase





and terminology include: slur. The tempo indicated is Lépést (step); MM q= 112.




183

No. 96:


is 4$. The rhythmic content consists of q\sd\Q\a A\w\xcd\W\ra

\ar\gc\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m f s l t d’ r’ . The tone set of Part II is s, l,

t, d r m f s. The composite tone set of the bicinium is s, l, t, d r m f s l t d’ r’ . The given

key signature is E minor; E = re. The scale of both the melody and complete bicinium is

Dorian. The tonality is Dorian. The range is B3 – E5. Melodic turns employed are s-r; d-r;

r-l; r-m; m-r-d; d-r-s; s-f; f-d; f-r; r-m-f; l-f-d; s-f-m-r; s-f-m-r-d; l-f-r; s,-l,-d; r-s,; d-l,; l,-

r; r-d-l,; l-s; l,-s; r-d-t,-l,; l,-t,-d; d-l,.

Formal Features: The rhythmic form is a a a a a a av a'. The melodic form is a b c d a b c

d'. Phrase structure of the bicinium is A (2+2) B (2+2) A' (2+2) B' (2+2).




terminology include: fermata, C-sharp accidental. The tempo indicated is Mérsékelt

tánclépés (moderate dance step); MM q= 104.




184

No. 97:


is 4$. The rhythmic content consists of q\sd\Q\w\E\ra\ar. No


Melodic Features: The tone set of Part I is l , d r m f s l t d’ . The tone set of Part II is s, l , t,

d r m fi s. The composite tone set of the bicinium is s, l , t, d r m f fi s l t d’ . The given key


Dorian. The tonality is Dorian. The range is A3 – D5. Melodic turns employed are m-d; d-

r-m; m-r; r-s; s-m; m-f; s,-d; l-m; l-s; m-d-l,; l,-m; r-l,; d-t,-l,; m-t,; s,-l,-t,; t-s; s-fi-m.

Formal Features: The rhythmic form is a b av c. The melodic form is a b c d. Phrase



mm. 6-8.


terminology include: slur, G-sharp accidental. The tempo indicated is Lassan (slowly);

MM q= 92.




185

No. 98:


The rhythmic content consists of q\sd\a A\aqa\E. No external anacrusis is

present.

Melodic Features: The tone set of Part I is r m f s l t d’ r’ . The tone set of Part II is l, t, d r

m f . The composite tone set of the bicinium is l, t, d r m f s l t d’ r’ . The given key

signature is C major; the implied key is D = re. The scale of both the melody and

complete bicinium is Dorian. The tonality is Dorian. The range is A3 – E5. Melodic turns

employed are m-d; r-m; d-r; s-r; s-f; l-f; m-f; f-r; f-m-r; d-f; f-m-r-d; l,-r; l,-d; l-m; l-s; l,-

m; d-t,-l,-s,; -m-r-d-t,-l,; l-t; t,-d.

Formal Features: The rhythmic form is a a a a. The melodic form is a b c a 5. A real shift


Polyphonic Features: Rhythmic canon is present in the lower voice. Free imitation is

present in mm. 2-7. Tonal answer is present in mm. 8-10. Simple counterpoint is present

in mm. 11-12.


indicated is Tánclépésben (dance step); MM q= 108.




186

No. 99:



of q\sd\Q\a A\w\W\ra\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , t, d r m fi s l t d’ . The tone set of Part II is m,

s, l, t, d r m f s. The composite tone set of the bicinium is m, s, l , t, d r m f fi s l t d’ . The

given key signature is C major; the implied key is D = la. The scale of both the melody

and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – F5. Melodic

turns employed are m-d; m,-d; s-m-d; r-m; d-r; d-r-m; s-m; l,-f; f-m-r-d; s-s,; s,-d; d-l,-s,;

m-l; l-s; d-l,; l,-m; d-t,-l,-s,; l,-t,-d-r-m; d-t,-l,; s-fi-m-r.

Formal Features: The rhythmic form is a b bv a'. The melodic form is a b bv a. Phrase


Polyphonic Features: Simple counterpoint is present in mm. 1-4. Tonal answer is present

in mm. 5-11. Simple counterpoint is present in mm. 12-13.

Other Features: The melody of the bicinium is based on a folk song Musical symbols and

terminology include: slur, B-flat accidental. The tempo indicated is Lépést (step); MM

q= 100. Additional Hungarian text: Búcsúzó (farewell song).




187

No. 100:



of q\sd\Q\a A\aqa\ W\E\ra\ar\gc\vh. No external


Melodic Features: The tone set of Part I is s, l , t, d r m f fi s l t d’ . The tone set of Part II

is r, m, f, s, l , t, d r m f . The composite tone set of the bicinium is r, m, f, s, l , t, d r m f fi s

l t d’ . The given key signature is C major; the implied key is D = la. The scale of both the

melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is G3 – F5.

Melodic turns employed are l,-d'; m,-d; r-d'; m-d; m-r; l-r; d-r; m-r-d; m-s; m,-m; s-f-m; r-

f; f-m-r; r-s,; s,-l,-d; s,-m; s-l; l-m; r-l,; l,-m; d-l,; d-t,-l,; r-t; t-l-s; r-t,; t-l-s; r-d-t,-l,-s,; l-t;

t,-d; m-fi-s.

Formal Features: The rhythmic form is a b bv a'. The melodic form is a b bv a. Phrase


Polyphonic Features: Free imitation is present in mm. 3-4. Simple counterpoint is present

in mm. 5-13 in the lower voice.


terminology include: slur, B-flat accidental. The tempo indicated is Lépést (step); MM

q= 112.




188


No. 101:


The rhythmic content consists of q\Q\w. No external anacrusis is present.

Melodic Features: The tone set of Part I is l t d’ di’ r’ m’ fi’ s’ . The tone set of Part II is l ,

r m f fi s l t d’ . The composite tone set of the bicinium is l , r m f fi s l t d’ di’ r’ m’ fi’ s’ .

The given key signature is F major; G = la. The scale of both the melody and complete

bicinium is Dorian. The tonality is Dorian. The range is G3 – F5. Melodic turns employed

are m-r; m-r-d; d-r; l-s-f; f-r; f-s; f-m; l,-m; d-l,; m-l; l-s; d-t,; l,-t,-d; m-fi-s; t,-di-r; r-m-fi-

s.



Polyphonic Features: Rhythmic canon and tonal answer are present in the lower voice.


terminology include: E-flat and B-natural accidentals. The tempo indicated is MM q=

126




189

No. 101a:


The rhythmic content consists of q\Q\w. No external anacrusis is present.

Melodic Features: The tone set of Part I is l t d’ di’ r’ m’ fi’ s’ . The tone set of Part II is l,

t, d r m f fi s si l t d’ r’ m’ . The composite tone set of the bicinium is l, t, d r m f fi s si l t

d’ di’ r’ m’ fi’ si. The given key signature is F major; G = la. The scale of the melody is

Dorian, and the scale of the bicinium is minor. The tonality is minor. The range is G3 – F5.

Melodic turns employed are m-d; d-s; m-r; m-r-d; d-r; s-m; s-f-m; m-f; l-s-f-m; l,-m; d-l,;

s-l; l-m; r-l,; d-t,; d-t,-l,-s,; s-l-t; t-l; r-d-t,; t,-m; m-fi-s; t,-di-r; s-fi-m; ri-m-fi-s; s-fi; m-fi-

si-l; l,-t,-di-ri-m.



Polyphonic Features: Simple counterpoint is present in the interior voice. Free imitation

is present in mm. 3-6 in the lowest voice. Simple counterpoint is present in mm. 7-16 in

the lowest voice.


and terminology include: C- and F-sharp, E-flat, and B-natural accidentals. The tempo

indicated is MM q= 126.




190

No. 102:


is 4$. The rhythmic content consists of q\Q\t\ra\ar. No external


Melodic Features: The tone set of Part I is r m f s l t d’ r’ m’ f’ . The tone set of Part II is l,

d r m f s l t d’ . The composite tone set of the bicinium is l, d r m f s l t d’ . The given key

signature is B-flat major; C = re. The scale of both the melody and complete bicinium is

Dorian. The tonality is Dorian. The range is G3 – E-flat5. Melodic turns employed are r-m;

r-d; s-f-m-r; r-m-f; f-r-l,; m-f; l,-f; f,-s,-l,-t,-d; l-f; f-d; f,-d; s-f-m-r-d; d-l,-s,; s,-r; r-l,; l,-d;

r-l; m-l,; d-t,-s,; d-t,-l,; d-t,-l,-s,.

Formal Features: The rhythmic form is a a b a'v. The melodic form is a b bv a. Phrase




by József Lévay. Musical symbols and terminology include: slur. The tempo indicated is





191

No. 103:



q\sd\Q\a A\w\ra\ar\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is f s l t d’ r’ m’ f’ s’ . The tone set of Part II is d r

m f s l t d’ r’ . The composite tone set of the bicinium is d r m f s l t d’ r’ m’ f’ s’ . The

given key signature is A major; B = re. The scale of both the melody and complete

bicinium is Dorian. The tonality is Dorian. The range is B3 – E5. Melodic turns employed

are m-d; d-m,; m-r; r-s; r-m-f-s; s-f; f-d; f-m; f,-s,-l,-t,-d; -l-f-r; f-m-r; f,-d; l-f; m-f-s; l-s-f;

s,-d; l,-r; l-s; l,-d; r-l; d-t,-l,-s,; d-t,-l,; l-t; t-l-s-f; s-l-t; t-s.

Formal Features: The rhythmic form is a a a a. The melodic form is a b bv a. Phrase





and terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 72.

Additional Hungarian instructions: Elterjedt katonadal, szövege legkésőbb a XIX.-XX.

századforduló idejéből . (Popular marching song, around the turn of the last century,

nineteenth-twentith century).




192

No. 104:



of q\sd\Q\a A \W\E\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is s, l , t, d r m f fi s l t . The tone set of Part II is r,

m, f, fi, s, l , t, d r m. The composite tone set of the bicinium is r, m, f, fi, s, l , t, d r m f fi s l

t . The given key signature is C major; the implied key is D = la. The scale of the melody

is Dorian, and the scale of the bicinium is minor. The tonality is minor. The range is G3 –

E5. Melodic turns employed are m-d; d-s; d-r-m; m-r; r-d; m,-r; r-s; s-m; s-f-m-r-d; s-f-m;

l-f-r; s,-d; s,-m; s,-r; l,-m; l-m; m-d-l,; d-l,; r-l,; l-s; d-t,-l,; l-t; r-t; s-l-t; t-s; d-t,-l,-s,; m-fi-

s; m-fi; fi-r.




imitation is present in mm. 2-3 and 5-6. Tonal answer is present in mm. 7-10. Simple



(step); MM q= 112.




193

No. 105:



of q\sd\Q\w\W\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m f s l te t d’ r’ . The tone set of Part II is f,

s, l, te, t, d r m f . The composite tone set of the bicinium is f, s, l, te, t, d r m f s l te t d’ r’ .

The given key signature is D major; D = do. The scale of both the melody and complete

bicinium is major. The tonality is major. The range is G3 – E5. Melodic turns employed

are d-d,; s-d; d-m-s; m-d; d-r; r-m; s-f-m-r-d; s-f; s-f-m-r; s,-f; f-m-r; f-s-l; l,-f; m-f-s; s,-d;

l,-r; d-t,; d-t,-l,; s-te; te-l-s; d-te,.

Formal Features: The rhythmic form is a b b' a'. The melodic form is a b bv a. Phrase


Polyphonic Features: Simple counterpoint is present in mm. 1-7 and 10-12. Free

imitation is present in mm. 8-10.


terminology include: C-natural. The tempo indicated is Lépést (step); MM q= 116.

Additional Hungarian instructions: Elterjedt katonadal, szövege legkésőbb a XIX.-XX.

századforduló idejéből . (Popular marching song, around the turn of the last century, 19th-

20th).




194

No. 106:


The rhythmic content consists of q\sd\a A\aqa\vh. No external anacrusis is

present.

Melodic Features: The tone set of Part I is m f s si l t d’ r’ m’ . The tone set of Part II is l,

t, d r m f fi s l . The composite tone set of the bicinium is l, t, d r m f fi s si l t d’ r’ m’ . The

given key signature is C major; the implied key is E = mi. The scale of both the melody

and complete bicinium is Phrygian. The tonality is Phrygian. The range is A3 – E5.

Melodic turns employed are d-m; d-m-s; m-r; d-r; d-r-m; l-s-f-m; s-f-m-r-d; l-m; l,-d-m;

m-l,; l,-l; m-r-d-t,; t,-m; l-t; l,-t,-d; m-r-d-t,-l,; r-d-t,; l-si; m-fi-s.

Formal Features: The rhythmic form is a a av a. The melodic form is a b c d. Phrase


Polyphonic Features: Motives are present in mm. 1-6. Simple counterpoint is present in

mm. 7-9. Inversion is present in mm. 10-11.


terminology include: F- and G-sharp accidentals, slur. The tempo indicated is Lassacskán

(slowly); MM q= 88.




195

No. 107:


The rhythmic content consists of q\sd\Q\w\t\E\ra\ar. No


Melodic Features: The tone set of Part I is d r m f fi s l t d’ r’ m’ . The tone set of Part II is

s, l, te, t, d r m f s l . The composite tone set of the bicinium is s, l, te, t, d r m f fi s l t d’ r’

m’ . The given key signature is C major; the implied key is D = re. The scale of the

melody is Dorian, and the scale of the bicinium is minor. The tonality is minor. The range

is G3 – E5. Melodic turns employed are m-d; m,-d; d-l; d-s; d-m-s; r-d; l-r; m-r-d; m-r; s-r;

s-m; l-s-f; r-m-f; d-f; f,-d; l-f; s-f-m; s-f-m-r-d; f-m-r-d; f-m; r-m-f-s; l,-f; r-d-t,-l,; s,-d; m-

d-s,; s,-r; r-l,; l-s; l-m; m-d-l,; l,-m; l,-l; l,-t,-d; d-l,; s-l-t; t,-d; t-s; r-d-t,-l,-s,; l-t; t,-s; d-t,-

l,-s,; m-fi-s; m-fi; fi-r; d-te,; l-te.

Formal Features: The rhythmic form is a a a' a'v a' av b c a av. The melodic form is a b

a4 c a b d e a b. A real shift is present. Phrase structure of the bicinium is A (8+8) B (8+9)

A' (8+8) C (8+9) A'' (8+8).


imitation is present in mm.1-17 and 43-60. Simple counterpoint is present in mm. 21-32,

36-41, 61-63, and 67-82.


and terminology include: p, f , dim., cresc., fermata, F-sharp and B-flat accidentals,




196

accent, slur, kissé lassítva (a little slower). The tempo indicated is Folyékonyan (fluently);

MM q= 126. Additional Hungarian instructions: csak elgondolt hangok (inner hear).




197

No. 108:


is 4$. The rhythmic content consists of q\sd\Q\a

A\w\W\ra\ar\gc. No external anacrusis is present.

Melodic Features: The tone set of Part I is l , t, d di r ri m f fi s l t d’ . The tone set of Part

II is m, f, fi, s, l , t, d di r m f s l . The composite tone set of the bicinium is m, f, fi, s, l , t, d

di r ri m f fi s l t d’ . The given key signature is D minor; D = la. The scale of both the

melody and complete bicinium is Aeolian. The tonality is Aeolian. The range is A3 – F5.

Melodic turns employed are s-m-d; d-m,; m-d; r-s; m-r-d; m,-r; r-d; m-s; l-f; f-m; l-s-f; f-

s; s-f-m-r; l,-f; f-m-r; d-r-m-f-s; s-f-m; m,-l,-d; r-l,; m-l; l,-t,-d-r-m; d-t,-l,; l-t; t,-t; t-l-s; d-

t,; r-d-t,-l,; t,-m; d-t,-l,-s,; r-d-t,-l,-s,; s-fi-m-r; l,-t,-di-ri-m; s-fi; m-fi-s; l,-t,-di-r.





Other Features: The melody of the bicinium is based on a folk song. Musical symbols

and terminology include: slur, F- and G-sharp, B-natural accidentals. The tempo





198

No. 109:


The rhythmic content consists of q\sd\Q\a A\ar\gc\vh. No external


Melodic Features: The tone set of Part I is t, d r m f fi s l t d’ r’ m’ f’. The tone set of Part

II is s, l, t, d r m f . The composite tone set of the bicinium is s, l, t, d r m f fi s l t d’ r’ m’

f’ . The given key signature is C major; C = do. The scale of both the melody and

complete bicinium is major. The tonality is major. The range is G3 – F5. Melodic turns

employed are m,-d; d-m; m-r-d; d-r; s-r; r-m; s-m; s-f-m; r-m-f; f-d; m-f; f-m-r-d; d-s,; s,-

s; s-l; r-l,; l,-m; d-t,; s,-l,-t,-d; r-d-t,; t-l; t-m; r-t,; t-l-s; d-t,-l,; d-r-m-fi-s; s-fi.

Formal Features: The rhythmic form is a a' b a. The melodic form is a a 5 b a. A real shift





subtitled Köszöntő Vers (Welcoming Verses). Musical symbols and terminology include:

repeat, 1st and 2nd ending. The tempo indicated is Frissen (freshly); MM q= 96.

Additional Hungarian instructions: szünetel (suspended).




199

No. 110:


The rhythmic content consists of q\sd\Q\a A\E\ra\ar\vh. No


Melodic Features: The tone set of Part I is s, t, d r m f s. The tone set of Part II is d, r, m,

f, s, l, t, d r . The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s. The given

key signature is A flat major; E flat = so. The scale of both the melody and complete

bicinium is Mixolydian. The tonality is Mixolydian. The range is A-flat3 – E-flat5.

Melodic turns employed are s-d; d-m; m-r-d; r-s; m-r; d-r; r-l; m-s; s-f-m; s-f; f-l; l-s-f; f-

r; s-f-m-r; s,-r; s,-d; l,-r; l-m; d-t,; t,-m; t,-r; r-d-t,; t-s; s-l-t; d-t,-l,; l-t.

Formal Features: The rhythmic form is a b b'v a. The melodic form is a b bv a. Phrase


Polyphonic Features: Rhythmic canon is present in mm. 1-10. Tonal answer is present in

mm. 6-8. Free imitation is present in mm. 9-11. Simple counterpoint is present in mm.

12-14.


terminology include: C-, F-, and G-sharp accidentals. The tempo indicated is Lassan

(slowly); MM q= 60. Additional Hungarian instructions: Ism. (repeat).




200

No. 111:


is 4$. The rhythmic content consists of q\sd\Q\a A\E\ra \ar. No


Melodic Features: The tone set of Part I is r m f s l t d’ r’ . The tone set of Part II is l, t, d

di r m f fi s si l t d’ . The composite tone set of the bicinium is l, t, d di r m f fi s si l t d’ r’ .

The given key signature is C major; the implied key is D = re. The scale of both the

melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – D5.

Melodic turns employed are d-r; r-m; r-s; r-m-f; m-f-s; s-f; f-r; s-f-m-r-d; d-t,-l,-s,-f,; r-m-

f-s; d-l,; s-l; l-r; l,-t,-d; t,-d-r; d-t,-l,-s,; t,-di-r; m-fi-s; fi-si-l; d-r-m-fi-s.

Formal Features: The rhythmic form is a a av a. The melodic form is a a5 av5 a. A real


Polyphonic Features: Imitation-changing stress is present in mm. 1-6. Simple



terminology include: F-sharp and B-flat accidentals, slur. The tempo indicated is Frissen

(freshly); MM q= 144.




201

No. 112:



q\sd\Q\a A\xccc \w\sxc \W\gc\vh\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l , t, d r m f s l . The tone set of Part II is m, s, l ,

t, d di r m f . The composite tone set of the bicinium is m, s, l , t, d di r m f s l . The given

key signature is C major; the implied key is D = la. The scale of both the melody and

complete bicinium is Aeolian. The tonality is Aeolian. The range is A3 – D5. Melodic

turns employed are s-d; d-m; l-r; r-s; d-r; m-r; d-r-m; m,-m; l-s-f-m-r; r-f; f-s; f-m; f-d; s-

f-m; s,-s; s,-d; l,-l; s-l; m-l; r-l,; m-r-d-t,-l,; l,-d; l,-m; r-d-t,-l,-s,; d-t,-l,-s,; l-fi; fi-s; m-di;

di-r.

Formal Features: The rhythmic form is a b c d a' b c' dv. The melodic form is a b c d a b

c d. Phrase structure of the bicinium is A (2+2) B (2+2) A' (3+2) B' (2+2).

Polyphonic Features: Real answer and imitation-changing stress are present in mm. 1-3

and 10-12. Tonal answer and imitation-changing stress are present in mm. 4-5 and 14-15.

Free imitation is present in mm. 6-9 and 15-16. Simple counterpoint and drone are

present in mm.17-18.


terminology include: accent, slur, C- and A-sharp and F-natural accidentals, pp, p, f , cres.

The tempo indicated is Egyenletesen beszélve (smoothly spoken); MM q= 69.




202

No. 113:


The rhythmic content consists of q\sd\Q\w\t\E\tie. No external


Melodic Features: The tone set of Part I is s, l , te, t, d r m f s l . The tone set of Part II is d,

r, ri, m, f, fi, s, l , te, t, d . The composite tone set of the bicinium is d, r, ri, m, f, fi, s, l , te,

t, d r m f s l . The given key signature is E minor; E = la. The scale of both the melody and

complete bicinium is Phrygian. The tonality is Phrygian. The range is G3 – E5. Melodic

turns employed are d-s; m,-d; d-l; m-r; r-d; m-r-d; r-s; m-f; r-m-f; s-f; d-f; s-f-m; f-m-r-d;

l-s-f; f-r; l-f; l-f-r; s-l; r-l,; l,-d; d-t,-l,-s,; l,-t,-d; d-t,; d-te,-l,; s-l-te; s-fi-m; m-ri; r-te.

Formal Features: The rhythmic form is a a a a a a. The melodic form is a b c d e f. Phrase

structure of the bicinium is A (4+3) B (4+3) C (4+3).

Polyphonic Features: Free imitation is present in mm. 2-15. Imitation-changing stress is

present in mm. 15-21. Simple counterpoint is present in mm. 22-42. Drone is present in

mm. 22-23, 25-26, 30-32, and 36-37.

Other Features: The melody of the bicinium is from Cantus Catholici, 1651. Musical

symbols and terminology include: accent. The tempo indicated is MM q=100.




203

No. 114:


is 4$. The rhythmic content consists of q\sd\a

A\w\W\E\e\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is r m f s l t d’ . The tone set of Part II is m, l, t, d

r m f s. The composite tone set of the bicinium is m, l, t, d r m f s l t d’ . The given key

signature is E-flat major; G = mi. The scale of both the melody and complete bicinium is

Phrygian. The tonality is Phrygian. The range is G3 – E-flat5. Melodic turns employed are

r-l; r-s; d-r; m-r-d; m-r; m-s; s-f; f-r; f-m-r; s-f-m-r; s-f-m; r-f; r-s,; s,-m; d-s,; l,-d; s-l; l,-

m; l-m; d-t,; t-s; t-s-m; t-l-s; l,-t,-d; t,-r; d-t,-l,-s,; m-t,; t,-s; l-t.

Formal Features: The rhythmic form is a a' av b b bv. The melodic form is a b c a b c.

Phrase structure of the bicinium is A (2+2+2) A' (2+2+3).

Polyphonic Features: Free imitation is present in mm. 2-6. Simple counterpoint is present

in mm. 7-13.

Other Features: The melody of the bicinium is from Cantus Catholici, 1651. Musical

symbols and terminology include: fermata, slur. The tempo indicated is MM q= 84.




204

No. 115:

Rhythmic Features: There is no meter or time signature. The rhythmic content consists of

q\w\E\e. No external anacrusis is present.

Melodic Features: The tone set of Part I is t, d r m f fi s l . The tone set of Part II is d, r, m,

f, fi, s, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, fi, s, l, t, d r m f fi s l .

The given key signature is G major; G = do. The scale of both the melody and complete

bicinium is major. The tonality is major. The range is G3 – E5. Melodic turns employed

are d-m; m,-d; d,-d; d-r; r-m; m-r-d; m-s; d-r-m-f; m-f-s-l; r-f; f-m-r; s-f-m; l-f; f-m; s,-d;

s-l; l,-d; m-l; d-t,; m-r-d-t,; t-s; s,-l,-t,-d; d-t,-l,; s-fi.

Formal Features: The rhythmic form is a av av a av. The melodic form is a b c d e. A

real shift is present. Phrase structure of the bicinium is A (1) B (1) C (1) D (1) E (1).

Polyphonic Features: Real answer is present in m. 1. Tonal answer is present in m. 2 and

mm. 4-5. Free imitation is present in m. 3. Free imitation is present in m. 5.

Other Features: The melody of the bicinium is from Psalm 124 as taken from the

Genevan Psalter, 1551. Musical symbols and terminology include: slur, fermata, C-sharp

accidental. The tempo indicated is MM w= 66.




205

No. 116:


The rhythmic content consists of q\w\W\E\e. No external


Melodic Features: The tone set of Part I is s, si, l, t, d r m f s l t d’ r’ . The tone set of Part

II is d, r, m, f, s, l, t, d r m. The composite tone set of the bicinium is d, r, m, f, s, si, l, t, d

r m f s l t d’ r’ . The given key signature is G major; B = la. The scale of the melody and

bicinium is Aeolian. The tonality is Aeolian. The range is F-sharp3 – G5. Melodic turns

employed are r-m; m-r-d; d-r; m-s; r-m-f; s-f-m; s-f-m-r-d; f-s; d-f; f-m; f-s-l-t; s,-d; m-l;

s-l; l,-r; s-l-t; l-t-d; t,-d-r; t-l-s; d-t,; t-s; d-t,-l,-s,; m-r-d-t,; t,-s; m-t,; r-t,; t-m; t-l-si.

Formal Features: The rhythmic form is a a av a a av. The melodic form is a b c a 5 b5 c5.

A real shift is present. Phrase structure of the bicinium is A (5+5+7) A' (5+5+7) Coda (3).

Polyphonic Features: The melody of the bicinium is split between both voices. Tonal

answer is present in mm. 2-17 and 19-28. Imitation at the octave is present in mm. 29-32.

Simple counterpoint is present in mm. 32-37. Drone is present in mm. 34-37.

Other Features: The melody of the bicinium was based on a poem by Bálint Balassi and

a sixteenth-century melody. Musical symbols and terminology include: slur, fermata, C-

sharp accidental. The tempo indicated is MM w= 52.




206

No. 117:



Melodic Features: The tone set of Part I is r m f s si l t d’ r’ m’ . The tone set of Part II is l,

t, d di r m f s l . The composite tone set of the bicinium is l, t, d di r m f s si l t d’ r’ m’ .

The given key signature is C major; the implied key is D = re. The scale of both the

melody and complete bicinium is Dorian. The tonality is Dorian. The range is A3 – D5.

Melodic turns employed are m,-d; m-d; r-l; r-m; r-d; r-s; m-r-d; m-r; m-s; s-f-m; f-m-r; s-

f-m-r-d; f-m; l-s-f; f-r; l,-d; s-l; l,-r-d; l,-r; l-m; l,-m; d-t,-l,-s,; d-t,-l,; s,-l,-t,-d; l,-t,-d-r-m;

l-t; t,-r; r-d-t,; r-d-t,-l,; l-si; r-di.

Formal Features: The rhythmic form is a a b c. The melodic form is a a b c. Phrase


Polyphonic Features: Tonal answer is present in mm. 1 and 3. Free imitation is present in

mm. 2 and 4-6. Simple counterpoint is present in mm. 7-10.

Other Features: The melody of the bicinium is from Psalm 33 as taken from the Genevan

Psalter, 1547. Musical symbols and terminology include: slur, fermata, C- and G-sharp

accidentals. The tempo indicated is MM w= 72.




207

No. 118:



Melodic Features: The tone set of Part I is s, l, t, d r m f s. The tone set of Part II is d, r,

m, f, fi, s, l, t, d r . The composite tone set of the bicinium is d, r, m, f, fi, s, l, t, d r m f s.

The given key signature is G major; D = so. The scale of the melody is Mixolydian and

the scale of the bicinium is major. The tonality is major. The range is G3 – D5. Melodic

turns employed are m-d; d-r-m; d-r; s-r; r-m; s-m; r-m-f; f-r; f-s; d-f; d-f-l; l-s-f-m; s-f-m;

m-f; l-f; f,-l,-d; s,-r; s,-d; r-l,; l,-d; l-s; m-l; d-t,; d-t,-l,-s,; l,-t,-d-r; r-t,; t-l; t-l-s; l,-t,-d; t-s;

r-d-t,; t-s-m; l-fi; fi-t; t-l-s-fi; m-fi-s; s-fi; fi-r.

Formal Features: The rhythmic form is a b c d. The melodic form is a b c d. Phrase


Polyphonic Features: Simple counterpoint is present in the lower voice. Sequence is

present in mm. 5-6.

Other Features: The melody of the bicinium is from Psalm 126 as taken from the

Genevan Psalter, 1551. Musical symbols and terminology include: slur, fermata, C-sharp

accidental. The tempo indicated is MM e= 72.




208

No. 119:


and simple triple; the time signatures are 2@and 3$. The rhythmic content consists of

q\sd\Q\a A\w\t\W\E\e\ra\ar\gc\vh.


Melodic Features: The tone set of Part I is s, l, t, d r m f s l . The tone set of Part II is d, r,

m, f, fi, s, si, l , t, d di r ri m. The composite tone set of the bicinium is d, r, m, f, fi, s, si, l,

t, d di r ri m f s l . The given key signature is E minor; A = re. The scale of both the

melody and complete bicinium is minor. The tonality is minor. The range is G3 – E5.

Melodic turns employed are d-m; s-d; m-r; m-r-d; d-r; r-s; m-s; m,-m; m-f; r-m-f; s-f-m;

f-m-r-d; l,-f; f-s-l; f-r; d-f; f-s; l-f; r-f; s,-d; s,-m; l,-d; r-l,; l,-l; s-l; m-l; d-t,; t,-r; r-d-t,-l,-s,;

d-t,-l,; t-l; t,-m; t,-s; r-di; s-fi; fi-m; m-fi-si-l; t-si; si-l; m-ri; ri-di; ri-t,; t-l-si;.

Formal Features: The rhythmic form is A [a1 (a a' b) a2 (a'v av b) a3 (a'v c b)] A' [a4 (d

a' b) a5 (a'v a'v bv) a2 (e a' b)]. The melodic form is A [a1 (a b c) a2 (a b c) a3 (a 5 b5 c5)]

A' [a4 (a b c) a5 (a5 b5 c5) a2 (a b cv)]. A real shift is present. Phrase structure of the

bicinium is A [a1 (4+4+5) a2 (4+4+6) a3 (4+4+6)] A' [a4 (4+4+6) a5 (4+4+6) a2

(4+4+5)].

Polyphonic Features: The melody of the bicinium is split between both voices. Sequence

is present in mm. 1-8. Free imitation is present in mm. 10-13, 23-27, 47-55, and 76-79.

Real answer is present in mm. 15-18. Tonal answer is present in mm. 19-22. Simple

counterpoint and changing stress is present in mm. 27-35. Imitation at the octave is




209

present in mm. 36-41 and 64-70. Simple counterpoint is present in mm. 42-46, 56-63, 71-

75 and 80-83. Drone is present in mm. 26-27, 40-41, 54-55, and 69-70.


by Péter Bornemissza. The bicinium is subtitled Cantio Optima (Very Good Songs).

Musical symbols and terminology include: slur, fermata, pp, p, f , dim., cresc., C-, D-, G-,

and A-sharp and F-natural accidentals, meno mosso, Tempo I, rall.. The tempo indicated

is MM w= 52.




210

No. 120:

Rhythmic Features: The meter of this bicinium changes irregularly between simple triple

and asymmeterical; the time signatures are 3$and 5$. The rhythmic content consists of

q\Q\w\ t\W. No external anacrusis is present.

Melodic Features: The tone set of Part I is r m f s l t d’ r’ m’ . The tone set of Part II is s,

l, te, d r m f s si l te. The composite tone set of the bicinium is s, l, t, te, d r m f s si l te d’

r’ m’ . The given key signature is C major; the implied key is A = la. The scale of both the

melody and complete bicinium is Phrygian. The tonality is Phrygian. The range is G3 –

E5. Melodic turns employed are d-r; m-r-d; r-m; s-m; l-f-r; r-f; f-s; f-m; l,-f; s,-d; m-d-l,;

l,-d; l-s; s,-t,-d; d-t,; t,-m; l-t; f-r-te,; te,-r; r-d-te,; te-s; d-te,; te,-te; te-l-si.

Formal Features: The rhythmic form is a b a b a b. The melodic form is a b a av d e.

Phrase structure of the bicinium is A (2+2) A' (2+2) B (2+2).

Polyphonic Features: Tonal answer is present in mm. 1-4. Imitation at the octave is

present in m. 5. Imitation-changing stress is present in mm. 5-8. Free imitation is present

in mm. 9-10. Simple counterpoint is present in mm. 11-12.

Other Features: The melody of the bicinium was composed by Kodály based on a

poem by Miklós M. Tótfalusi Kis. Musical symbols and terminology include: accent,

fermata, G-sharp and B-flat accidntals. The tempo indicated is MM q= 108. Additional

Hungarian text: Siralmas panasz, 1697 (lamentable complaint).




211


No. 121:

Rhythmic Features: The meter of this bicinium changes irregularly between asymmetrical

and compound duple; the time signatures are 5$and 6$. The rhythmic content consists

of q\sd\Q\a A\W\gc\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is si l t d’ r’ m’. The tone set of Part II is l , d di r

m f fi s t . The composite tone set of the bicinium is l, d di r m f fi s si l t d’ r’ m’ . The

given key signature is A minor; A = la. The scale of both the melody and complete

bicinium is minor. The tonality is minor. The range is A3 – E5. Melodic turns employed

are m-r; r-d; s-m; s-f; m-f; f-r; r-m-f; d-l,; r-l,; l,-t,-d; d-t,; t,-m; l-si,; m-fi-s; s-fi; fi-m; r-

di.

Formal Features: The rhythmic form is a a a a. The melodic form is a b c cv. Phrase


Polyphonic Features: Real answer is present in mm. 1-2 and 3-4. Free imitation is present

in mm. 3. Simple counterpoint is present in mm. 4.

Other Features: The melody of the bicinium is based on a Finnish folk song appearing in

a collection of Béla Ford Vikar. The bicinium is subtitled Vejnemöjnën fohásza

(Kalëvala, 45.ének) (no translation available) . Musical symbols and terminology include:

C-, F-, and G-sharp accidentals. The tempo indicated is Mérsékelten (moderately); MM

q= 80.




212

No. 122:

Rhythmic Features: The meter of this bicinium is asymmeterical; the time signature

is 5$. The rhythmic content consists of q\sd\Q\a

A\w\e\gc\vh\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is s, l ,

d r m. The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key



G3 – E5. Melodic turns employed are d-m-s; d-m; m-r; m-r-d; d-r; r-s; r-r'; m-s; s,-d; l-s; d-

l,; l-s-m; m-l; l,-d-m; m-l,; l,-r.

Formal Features: The rhythmic form is a av a a a. The melodic form is a b a c cv. Phrase

structure of the bicinium is A (2+3) A' (2+2) Coda (4).

Polyphonic Features: Free pentatonic counterpoint is present in mm. 3-5. Imitative

pentatonic counterpoint and imitation changing stress are present in mm. 6-13.

Other Features: The melody of the bicinium is based on a Finnish folk song appearing in

a collection of Béla Ford Vikar. The bicinium is subtitled Vejnemöjnën (Kalëvala, 3.

ének) (no translation available). Musical symbols and terminology include: pp, p, f ,

cresc., dim., fermata. The tempo indicated is Lassan (slowly); MM q= 66.




213

No. 123:


The rhythmic content consists of q\sd\Q\w\t\E\ra\gc\tie.


Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is l, d r m

s l . The composite tone set of the bicinium is l , d r m s l d’ r’ m’ . The given key signature

is C major; C = do. The scale of both the melody and complete bicinium is incomplete

plagal do pentatone. The tonality is pentatonic, major character. The range is A3 – E5.

Melodic turns employed are d-m,; d-m; d-r; m-r-d; m-r; s-r; s-m; s,-l,-d; s,-d; s,-d-m; r-l,;

l-s; d-l,; l-m; l,-l; m-l,.

Formal Features: The rhythmic form is a b c d. The melodic form is a b a5 b5. A tonal




mm. 5-16.

Other Features: The melody of the bicinium is a Chermiss folk song with text from a

poem by Sándor Weöres. The bicinium is subtitled éjjeli vendégëk (nocturnal visitors).

The tempo indicated is Élénken (lively or brisk); MM q= 144.




214

No. 124:



Melodic Features: The tone set of Part I is l , d r m s l d’ . The tone set of Part II is m, s, l ,

d r m s. The composite tone set of the bicinium is m, s, l , d r m s l d’ . The given key

signature is B flat major; C = la. The scale of the melody is authentic plagal la pentatone

and the scale of the bicinium is plagal la pentatone. The tonality is pentaonic, minor

character. The range is G3 – E-flat5. Melodic turns employed are d'-s-m; s-m-d; m-r; r-d;

d-r-m; m-s; s,-d; m-d-s,; l-m; l,-d; m-d-l,; l,-r; l-s.

Formal Features: The rhythmic form is a a b a. The melodic form is a a b c. Phrase



lower voice.


by Sándor Weöres. The bicinium is subtitled lëánykérők (daughter of suitors). The tempo





215

No. 125:


The rhythmic content consists of q\sd\Q\w\E\ra. No external


Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is l , d r m




Melodic turns employed are d-m,; d-m; m-r-d; d-r; r-m; s-r; m-s; m,-m; s,-d; s-l; l,-d-m; r-

l,; m-l; l,-d; l,-s; m-l,.

Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A


Polyphonic Features: The melody of the bicinium is split between both voices. Inversion

is present in mm. 3-4. Free pentatonic counterpoint is present in mm. 7-8 and 13-16.

Imitative pentatonic counterpoint is present in mm. 9-13.


by Gábor Devecseri. The bicinium is subtitled bárcsak madár lëhetnék (wish I could be a

bird). Musical symbols and terminology include: slur. The tempo indicated is Lassacskán

(slowly); MM q= 108.




216

No. 126:



Melodic Features: The tone set of Part I is r m s l d’ . The tone set of Part II is s, l , d r m s.

The composite tone set of the bicinium is s, l , d r m s l d’ . The given key signature is B

flat major; C = la. The scale of both the melody and complete bicinium is incomplete

plagal la pentatone. The tonality is pentaonic, minor character. The range is B-flat3 – E-

flat5. Melodic turns employed are m-s-d'; d-m; m-r; d-r; d-r-m; r-m; m-s; d-l,-s,; s,-d; l,-d;

l-s-m; s-l; l-m.



Polyphonic Features: The melody of the bicinium is split between both voices. Rhythmic

canon, changing stress, and imitative pentatonic counterpoint are present in mm. 1-8.

Free pentatonic counterpoint and changing stress are present in mm. 9-16.


by Gábor Devecseri. The bicinium is subtitled nyúl és kutya (rabbit and dog). The tempo

indicated is Gyorsan (rapidly); MM q= 160.




217

No. 127:


The rhythmic content consists of q\sd\Q\a A\w\sxc\xcd\ E\vh\tie. No






Melodic turns employed are m-l-d'; d-m; d-s; l-d; d-r; d-r-m; s-m; s,-d; r-s,; s-l; l-m; l,-d;

r-l,.

Formal Features: The rhythmic form is a a a a'. The melodic form is a b a5 b5. A



pentatonic counterpoint is present in mm. 3-5 and 9-10. Free pentatonic counterpoint is

present in mm. 6 and 11-12.


by Sándor Weöres. The bicinium is subtitled hazafelé (homeward). Musical symbols and

terminology include: fermata, slur. The tempo indicated is Mélán (dreamy); MM q=

80.






219

No. 129:


The rhythmic content consists of q\sd\Q\a A\w\t\ra\ar\tie.





pentatone. The tonality is pentatonic, minor character. The range is A3 – E5. Melodic turns

employed are m-s-d'; d-m; s-d; r-d; m,-r; d-r-m; m-r; s-r; s-m; s,-r; s,-d; l-s; r-l,; l-m; d-l,;

l,-d-m; r-l; m-l,; r-l.

Formal Features: The rhythmic form is a av a av. The melodic form is a b a5 b5. A real





by Sándor Weöres. The bicinium is subtitled visszanéző (no translation available).

Musical symbols and terminology include: fermata, slur. The tempo indicated is Lassan

(slowly); MM q= 80.




220

No. 130:

Rhythmic Features: The meter of this bicinium is asymmetrical; the time signature is 5$.

The rhythmic content consists of q\sd\Q\w\t\E\tie. No external


Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’ . The tone set of Part II is s, l,


signature is D major; A = do. The scale of both the melody and complete bicinium is

authentic do hexachord. The tonality is pentatonic, major character. The range is A3 – E5.

Melodic turns employed are m-d; d-m-s; s-d; m-r; m-r-d; m-s; r-s,; s,-m; r-l,-s,; d-l,; l-s; l-

m; l,-d-m.




present in mm. 1-2. Augmentation and changing stress is present in mm. 1-4. Inversion is

present in mm. 3-4. Imitative pentatonic counterpoint is present in mm. 5-8.


subtitled hosszú éjszaka (long night). The tempo indicated is Lassan (slowly); MM q=

76.




221

No. 131:


is 4$. The rhythmic content consists of q\sd\Q\w\ar\gc\vh. No external





pentatone. The tonality is pentatonic, minor character. The range is A3 – E5. Melodic turns

employed are d'-l-m; m,-d; d-m; s-m-d; d-r-m; d-r; m-r; r-l; s-m; s,-r; d-l,-s,; m-s,; l-s; r-d-

l,; l,-d; l-m; l,-m; r-l,; l-s-m.






by Gábor Devecseri. The bicinium is subtitled nem mëhetünk haza (we do not go home).

The tempo indicated is MM q= 112.




222

No. 132:



Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is s, l, d r

m s l . The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ . The composite tone

set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l . The given key signature


plagal do pentatone. The tonality is pentatonic, major character. The range is G3 – E5.

Melodic turns employed are d-m,; m-s-d'; d-m; d-m-s; d-s; l-d; r-d; m-r-d; m-r; s-m; s,-d;

r-s,; d-l,-s,; s,-m; d-l,; l-m; l,-r; s-l; m-l,; l,-d-m.






by Gábor Devecseri. The bicinium is subtitled a haszontalan (useless, futile, naughty).

The tempo indicated is Lassacskán (slowly); MM q= 92.




223

No. 133:


The rhythmic content consists of q\sd\Q\w\sxc\ra\ar. No external



s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The composite tone

set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l . The given key signature



Melodic turns employed are d-m; d'-l-m; d-m-s; s-d; m-r-d; d-r; m,-r; s-m-r; r-s; s-m; d-s,;

s,-m; d-l,-s,; r-d-l,; l,-r; m-l; m-l-s; l-s; m-l,; l,-d-m; l,-s; l,-r-d.




are present in mm. 1-3. Imitative pentatonic counterpoint is present in the upper and

lower voices.


by Gábor Devecseri. The bicinium is subtitled Rontó Pálék (no translation available).

Musical symbols and terminology include: slur. The tempo indicated is Lassacskán

(slowly); MM q= 92.




224

No. 134:


The rhythmic content consists of q\sd\Q\a A\xccc\aqa\ra\vh\tie. No


Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is m, s, l,

d r m s l . The composite tone set of the bicinium is m, s, l, d r m s l d’ r’ m’ . The

composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s l . The

given key signature is C major; C = do, F = do. The scale of the melody is incomplete

plagal so pentatone, and the scale of the bicinium is major. The tonality is major. The

range is A3 – E5. Melodic turns employed are d-m; d'-s-m; d-m,; m-r-d; d-r; m-r; s-r; m-s;

s,-d; s,-r; r-l,; l-s; d-l,; l,-d-m; m-l.





mm. 6-16.


by Gábor Devecseri. The bicinium is subtitled tékozló fiú (prodigal song). Musical

symbols and terminology include: slur. The tempo indicated is Élénken (lively or brisk);

MM q= 120.




225

No. 135:


The rhythmic content consists of q\sd\Q\a A\xcd\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is r m s l d’ r’ m’ . The tone set of Part II is s, l , d

r m s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key

signature is C major; the implied key is A = la. The scale of both the melody and

complete bicinium is incomplete plagal la pentatone. The tonality is pentatonic, minor

character. The range is G3 – E5. Melodic turns employed are m,-d; d'-s-m; d-s; r-d; m-r; r-

s; r-l; s-m; l,-r; l-s; l-m; d-l,; m-d-l,; l,-m.



Polyphonic Features: The melody of the bicinium is split between both voices. Inversion

is present in mm. 2-5. Free pentatonic counterpoint is present in mm. 6-16.


by István Raich. The bicinium is subtitled furcsa falu (quaint village). Musical symbols

and terminology include: slur. The tempo indicated is Allegro; MM q = 132.




226

No. 136:

Rhythmic Features: The meter of this bicinium changes irregularly between simple

quadruple and asymmetrical; the time signature is 4$and 5$. The rhythmic content

consists of q\sd\Q\aA\w\sxc\W\E. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is l, d

r m s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key


incomplete plagal do pentatone. The tonality is pentatonic, major character. The range is

A3 – E5. Melodic turns employed are d-m; d'-s-m; d-s; s-m-d; m-r; m-r-d; d-r; s-m-r; r-s;

s-m; d-s,; s,-l,-d; s,-m; r-l,; l,-d; m-l; l,-r; s-l; l,-m.




are present in mm. 2-4. Free pentatonic counterpoint is present in mm. 5-8.


by István Raich. The bicinium is subtitled mit érünk? (what do we get?). Musical

symbols and terminology include: slur. The tempo indicated is Mérsékelten (moderately);

MM q= 84.




227

No. 137:



of q\sd\Q\w\t\W. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is m,

s, l , d r m. The composite tone set of the bicinium is m, s, l , d r m s l d’ r’ m’ . The given

key signature is B-flat major; C = la. The scale of the melody is authentic la pentatone

and the scale of the bicinium is plagal la pentatone. The tonality is pentatonic, minor

character. The range is G3 – E-flat5. Melodic turns employed are m-d; m-s-d'; d'-l-m; m-r;

r-s; d-r-m; d-r; s-m; d-s,; s,-m; l,-d; l-m; l-s; l-s-m; l,-r.

Formal Features: The rhythmic form is a b a' b'. The melodic form is a b a 5 b5. A



pentatonic counterpoint and changing stress are present in mm. 1-3. Free pentatonic

counterpoint is present in mm. 4-7. Augmentation is present in mm. 8-11. Free pentatonic



by Gábor Devecseri. The bicinium is subtitled a szëgény sorsa (fate of the poor). Musical

symbols and terminology include: slur, grace notes, fermata. The tempo indicated is MM

q= 104.




228

No. 138:



q\aA\w\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is s l d’ r’ m’ . The tone set of Part II is l, d r m s.

The composite tone set of the bicinium is l, d r m s. The given key signature is C major;

C = do. The scale of both the melody and complete bicinium is incomplete plagal do

pentatone. The tonality is pentatonic, major character. The range is A3 – E5. Melodic turns

employed are d'-l-m; d-m; d-m-s; d-r; m-r-d; m-r; m-s; s,-d; d-l,-s,; s,-m; d-l,; m-l; s-l; l,-

r; l,-m.

Formal Features: The rhythmic form is a a a' a. The melodic form is a b a5 b5. A



pentatonic counterpoint is present in mm. 5-8. Imitation-changing stress is present in mm.

9-16.


by Gábor Devecseri. The bicinium is subtitled fekete szëmű (black-eyed). Musical

symbols and terminology include: slur. The tempo indicated is MM q= 92. Additional

Hungarian instructions: Egyenlőtlen ütemre is meg kell tanulnunk lépni (Also need to

learn to enter on an unequal beat).




229

No. 139:

Rhythmic Features: The meter of this bicinium changes irregularly between simple triple,

asymmetrical, and compound duple; the time signatures are 3@, 5$, and 6$. The

rhythmic content consists of q\sd\Q\w\snd\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is d m s l d’ r’ m’ . The tone set of Part II is l, d r

m s. The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key


scale of the bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major

character. The range is A3 – E5. Melodic turns employed are d-m; d'-l-m; m,-d; d-m-s; d-

s; d-r; d-r-m; s-r; r-m; s-m; d-s,; r-s,; s,-l,-d; d-l,; l-m; r-l,; s-l; m-d-l,; l,-m.

Formal Features: The rhythmic form is a b c d. The melodic form is a b c d. Phrase


Polyphonic Features: Imitation-changing stress and imitative pentatonic counterpoint is

present in mm. 1-4. Free pentatonic counterpoint is present in mm. 5-8.


by István Raich. The bicinium is subtitled mit bánkódol? (what grieving?). Musical

symbols and terminology include: slur. The tempo indicated is Szélesen (broadly); MM

q= 88.




230

No. 140:


signature is 2$. The rhythmic content consists of q\sd\a A \xcd. No external




is A minor; A = la. The scale of both the melody and complete bicinium is incomplete


Melodic turns employed are m,-d; d'-l-m; m-s-d'; d-m-l; r-d; s-r; d-r-m; m-s; d-s,; d-l,; l,-

r; l-m; s-l; l-s-m; l,-d-m; l,-m.

Formal Features: The rhythmic form is a av av av. The melodic form is a av a5 av5. A



pentatonic counterpoint is present in mm. 1-8 and 13-16. Imitative pentatonic



by István Raich. The bicinium is subtitled párod mért nincs? (your partner is not

measured?). Musical symbols and terminology include: sf. The tempo indicated is

Allegro; MM q= 126.




231

No. 141:


The rhythmic content consists of q\sd\Q\a A\w\sxc\xcd\

t\E\ra\ar\vh\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is r,

m, s, l, d r m. The composite tone set of the bicinium is r, m, s, l, d r m s l d’ r’ m’ . The

given key signature is A minor; A = la, F = do. The scale of both the melody and

complete bicinium is authentic do hexachord ending on la. The tonality is pentatonic,

minor character. The range is G3 – E5. Melodic turns employed are m-d; d-l; m,-d; r-m; d-

r; s-m-r; r-m; m,-r; r,-r; l-r; r-s; m-r-d; s-m; d-s,; d-l,-s,; r-l,; l-s; l,-d; m-l.

Formal Features: The rhythmic form is a a a a. The melodic form is a av a5 av5. A real





by István Raich. The bicinium is subtitled sëhogy së jó (I could not well). Musical

symbols and terminology include: slur, fermata, accent, dim. The tempo indicated is





232

No. 142:



of q\sd\Q\w\sxc\t\E. No external anacrusis is present.

Melodic Features: The tone set of Part I is s l d’ r’ m’ s’ . The tone set of Part II is l, d r m

s l d’ r’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ s’ . The given key

signature is F major; B-flat = do. The scale of both the melody and complete bicinium is


G3 – F5. Melodic turns employed are m-d; d-m-s; d-l; s-d; d-r-m; m-r; d-r; s-r; s-m-r; m-s;

s,-d; s,-m; s,-l,-d; r-l,; l-m; l,-d; l-s; l,-d-m; l,-m; r-d-l,.




pentatonic counterpoint is present in mm. 2-8. Inversion is present in mm. 9-12. Free

pentatonic counterpoint and changing stress are present in mm. 13-16.


by István Raich. The bicinium is subtitled hajnali elmélkëdés (morning meditation).

Musical symbols and terminology include: grace notes. The tempo indicated is Lassan

(slowly); MM q= 69.




233

No. 143:



q\sd\Q\w\W\ar. No external anacrusis is present.

Melodic Features: The tone set of Part I is r m s l d’ r’ m’ . The tone set of Part II is l, d r

m s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key



G3 – D5. Melodic turns employed are m-l-d'; m,-d; m-d; s-d; d-r; r-m; s-r; r-l; s-m; s,-d; s,-

r; m-l,; l,-d; l-s-m; r-l,; l-m; m-d-l,.






by István Raich. The bicinium is subtitled akit sënki sëm szeret (whom no one loves).

Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM

q= 116.




234

No. 144:


The rhythmic content consists of q\sd\w\E\ra\vh\tie. No external



s l d’ The composite tone set of the bicinium is l, d r m s l d’ r’ m’. The given key



G3 – D5. Melodic turns employed are m-d; d-m,; s-d; d-r-m; d-r; l-r; r-m; r-s; m-s; d-s,; s,-

l,-d; s,-m; r-s,; m-l,; l,-d; l,-r; s-l; l-m; m-s-l.

Formal Features: The rhythmic form is a a'v a av. The melodic form is a b a4 b6. A



present in mm. 10-11. Free pentatonic counterpoint is present in the upper and lower

voices.


by István Raich. The bicinium is subtitled mák és konkoly (poppy seed and tares).

Musical symbols and terminology include: slur. The tempo indicated is Allegro; MM

q= 126.




235

No. 145:


The rhythmic content consists of q\sd\Q\a A\sxc \xcd\vh. No external anacrusis

is present.

Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’ . The tone set of Part II is l, d r

m s l d’ r’ m’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ s’ . The given

key signature is F major; B-flat = do. The scale of both the melody and complete

bicinium is incomplete plagal do pentatone. The tonality is pentatonic, major character.

The range is G3 – F5. Melodic turns employed are d-m; d'-l-m; s-d; d-r; m-r-d; m-r; r-s; m-

s; d-s,; d-l,-s,; s,-m; s-l; m-s-l; l,-r; d-l,; m-l; l,-d-r.




canon, imitation-changing stress, and imitative pentatonic counterpoint are present in

mm. 1-8. Free pentatonic counterpoint is present in mm. 9-16.


by István Raich. The bicinium is subtitled kalács (cakes). Musical symbols and

terminology include: slur. The tempo indicated is Allegro; MM q= 120.




236

No. 146:


The rhythmic content consists of q\sd\Q\a A\E\ra. No external anacrusis

is present.

Melodic Features: The tone set of Part I is l, r m s l d’ . The tone set of Part II is s , l, d r

m. The composite tone set of the bicinium is s, l, d r m s l d’ . The given key signature is

B-flat major; E-flat = do. The scale of both the melody and complete bicinium is

authentic so pentatone. The tonality is so pentatonic. The range is B-flat3 – E-flat5.

Melodic turns employed are m-s-d'; d-m,; m-d; s-r; r-m; d-r-m; s-m; s,-d; d-l,-s,; s,-m; m-

l; m-l,; l,-d; l-s-m; l-s; l,-r.

Formal Features: The rhythmic form is a a' a a'. The melodic form is a av a5 av5. A





by István Raich. The bicinium is subtitled pitypalatty (quail's call). The tempo indicated

is Allegro; MM q= 126.




237

No. 147:


signature is 2$. The rhythmic content consists of q\sd\Q\a A\aqa\sxc\xcd

\ra\vh. No external anacrusis is present.

Melodic Features: The tone set of Part I is m s l d’ r’ m’ s’ . The tone set of Part II is s, l,

d r m s l d’ . The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ s’ . The given

key signature is B-flat major; B-flat = do, E-flat = do. The scale of the melody is

authentic do hexachord and the scale of the bicinium is incomplete plagal do hexachord.

The tonality is pentatonic, major character. The range is G3 – G5. Melodic turns employed

are d-s; m,-d; m-r-d; d-r; m-s; m-f; d-s,; s,-m; m-r; d-l,-s,; d-l,; l-s; r-l,; m-d-l,; l-m; s-l-m;

m-l,.

Formal Features: The rhythmic form is a a a' a'. The melodic form is a av a5 av5. A real





by Gábor Devecseri. The bicinium is subtitled leánykérők (girl suitors). Musical symbols

and terminology include: grace notes, slur. The tempo indicated is Allegro.




238

No. 148:


The rhythmic content consists of q\sd\Q\w\t\E\ra. No



s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature



Melodic turns employed are m,-d; d'-l-m; d-m; r-d; m,-r; s-r; m-r; s-m-r; m-s; s,-r; d-s,; d-

l,; l-s; l-m; l,-d-r; l,-m; r-l,; l,-s.






by István Raich. The bicinium is subtitled folyóviz az élet (river of life). Musical symbols

and terminology include: slur. The tempo indicated is Largo; MM q = 66.




239

No. 149:


is 4$. The rhythmic content consists of q\sd\w\t\W. No external



s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature is

G major; B = la. The scale of both the melody and complete bicinium is incomplete


Melodic turns employed are d'-l-m; m,-d; d-r; s-r; l-s-r; r-m; s-m-r; m-s; d-s,; s,-r; r-d-s,;

l-m; l,-d; r-d-l,; l-s; l,-d; m-s-l; r-l,.

Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b a5 b5. A





by István Raich. The bicinium is subtitled sënkim sincs (have no one). Musical symbols

and terminology include: slur. The tempo indicated is Adagio ; MM q= 80.




240

No. 150:

Rhythmic Features: The meter of this bicinium changes regularly between simple triple

and compound duple; the time signatures are 3$and 6*. The rhythmic content consists

of q\sd\Q\a A\xcd\ar\tie. No external anacrusis is present.


s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature is

G major; B = la. The scale of both the melody and complete bicinium is incomplete


Melodic turns employed are m,-d; m-d; d-s; r-m,; s-r; d-r; m-s; s,-r; d-s,; s-s,; s,-m; l,-r; s-

l; l-m; s-l,; l,-d.

Formal Features: The rhythmic form is a a' a' a'. The melodic form is a b a5 b5. A real



pentatonic counterpoint and imitation-changing stress are present in mm. 1-4. Imitative



by Sándor Weöres. The bicinium is subtitled ki a kertből (the garden). The tempo

indicated is Hevesen, méltatlankodva (fiercely, indignant); MM a = 138.




241

No. 151:


is 4$. The rhythmic content consists of q\sd\Q\w\W\ra. No external






A3 – E5. Melodic turns employed are d'-s-m; m-d; d-l; m-r; r-d; d-s,; d-l,-s,; m-l; l,-d; l,-r;

s-l; l-s-m; m-l,.

Formal Features: The rhythmic form is a b a b. The melodic form is a b a5 b5. A





by Gábor Devecseri. The bicinium is subtitled hidegët melegët tűrni (to bear hot and

cold). Musical symbols and terminology include: slur. The tempo indicated is Lassan

(slowly); MM q= 84.




242

No. 152:


The rhythmic content consists of q\sd\Q\a A\vnb\sxc\xcd\E\ra\vh. No


Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is s, l , d r

m. The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key



A3 – F-sharp5. Melodic turns employed are m-d'-l; m,-d; s-r; m-r-d; r-d; s-m; d-s,; d-l,-s,;

l,-d; l-m; l-s; l,-r; l,-d-m; l,-m.

Formal Features: The rhythmic form is a av av av. The melodic form is a av a5 av5. A



pentatonic counterpoint and augmentation are present in the upper and lower voices.


by István Raich. The bicinium is subtitled szénagyűjtés (a gathering of hay). The tempo

indicated is Allegretto; MM q= 92.




243

No. 153:


The rhythmic content consists of q\sd\Q\a A\sxc\xcd\vh. No external anacrusis is

present.



signature is G major; B = la. The scale of the melody is authentic la pentatone and the


character. The range is A3 – E5. Melodic turns employed are d-m,; d-d'; d-m; d-r; m-r-d; s-

r; m-r; m-s; d-l,-s,; s,-d; s,-d-m; m-l; l,-d; r-l,; s-l; l-s-m; m-d-l,; m-l,.




pentatonic counterpoint and imitation-changing stress are present in mm. 1-8. Free



by István Raich. The bicinium is subtitled táncdal (dance song). Musical symbols and

terminology include: slur. The tempo indicated is Allegro; MM q= 108.




244

No. 154:


The rhythmic content consists of q\sd\a A\xcd\gc\vh. No external anacrusis is

present.

Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is s, l , d r

m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key

signature is G major; B = la. The scale of the melody is authentic la pentatone, and the


character. The range is A3 – F-sharp5. Melodic turns employed are m,-d-l; d-m; r-d; m-r-

d; r-m-s; s-m; d-s,; s,-r; l,-d-r; l-s; m-s-l; m-l; l,-r; l,-d-m; d-l,; l,-m.

Formal Features: The rhythmic form is a a a av. The melodic form is a av a5 av5. A



ostinato, changing stress, and free pentatonic counterpoint are present in the upper and

lower voices.


by István Raich. The bicinium is subtitled virág-bogáncs (thistle flower). Musical

symbols and terminology include: slur. The tempo indicated is Tánclépés (dance step);

MM q= 126.




245

No. 155:


The rhythmic content consists of q\sd\Q\w\sxc\ra\tie. An external






Melodic turns employed are d-r; s-d; m,-d; m-d; r-m; d-r; d-r-m; s-m; d-s,; s,-r; m-d-s,; s,-

s; r-l,; l,-d; s-l; l-m; m-l,.

Formal Features: The rhythmic form is a a av a. The melodic form is a b a5 b5. A




present in mm. 10-16


by Gábor Devecseri. The bicinium is subtitled eltévedt (lost). Musical symbols and

terminology include: grace notes, slur. The tempo indicated is Lassú (slow); MM q=

80.




246

No. 156:

Rhythmic Features: The meter of this bicinium changes regularly between simple

quadruple and asymmetrical; the time signature iss 4$and 5$. The rhythmic content

consists of q\sd\Q\a A\w\aqa\ra\snd\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is d r m s l d’ r’ m’ . The tone set of Part II is l, d

r m s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key



A3 – E5. Melodic turns employed are d-m; d'-s-m; s-d; d-m,; m-r-d; m-r; m,-r; r-d; s-r; m-

s; d-l,-s,; s,-d; m-l,; l,-d; r-d-l,; l,-r; s-l; l,-d-m; l,-s.

Formal Features: The rhythmic form is a a a'v a'v. The melodic form is a b a3 b5. A



ostinato, free pentatonic counterpoint, and changing stress are present in mm. 1-4. Free



by István Raich. The bicinium is subtitled utazás (travel). Musical symbols and

terminology include: slur, fermata. The tempo indicated is Adagio; MM q= 66.




247

No. 157:




r m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key



A3 – E5. Melodic turns employed are d-m,; d'-l-m; m-d; d-m-s; s-r; d-r; d-r-m; m-r; m-s;

s,-d; s-m; r-s,; s,-s; d-l,; s-l; m-l; r-l,; l,-d-m; l,-m.




ostinato is present in mm. 1-8. Changing stress is present in mm. 9-12. Free pentatonic



by István Raich. The bicinium is subtitled alvég, fëlvég (lower, upper end of a village).

Musical symbols and terminology include: slur. The tempo indicated is Allegretto; MM

q= 104.




248

No. 158:


The rhythmic content consists of q\sd\aqa\xcd\ E\vh. No external anacrusis

is present.

Melodic Features: The tone set of Part I is s, l, d r m s l . The tone set of Part II is d, r, m,

s, l, d r m s. The composite tone set of the bicinium is d, r, m, s, l, d r m s l . The given key

signature is D major; A = do, D = do. The scale of both the melody and complete

bicinium is authentic do hexachord. The tonality is pentatonic, major character. The

range is A3 – F-sharp5. Melodic turns employed are m-d; d-m-s; s-d; s-r; r-m; s-m; d-s,; d-

l,; l,-r; m-l,; m-l; l-s-m; l,-d-r; s-l.







by István Raich. The bicinium is subtitled a fenyő java (the best part of the pine). Musical

symbols and terminology include: slur. The tempo indicated is Allegro; MM q= 126.




249

No. 159:


The rhythmic content consists of q\sd\Q\a A\w\aqa\sxc\ra\ar. No



r m s. The composite tone set of the bicinium is d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ s

l . The given key signature is A minor; A = la. The scale of both the melody and complete


The range is A3 – E5. Melodic turns employed are d'-l-m; m-d; m-r; r-l; d-r-m; r-d; r-s; s-

m; r-d-l,-s,; s,-d; s,-r; l,-d; l,-r; m-l; l-s.

Formal Features: The rhythmic form is a av av av. The melodic form is a b a5 b5. A



pentatonic counterpoint, augmentation, and changing stress are present in mm. 1-4. Free



by István Raich. The bicinium is subtitled szëgény árva panasza (poor orphan

complaints). Musical symbols and terminology include: slur. The tempo indicated is

Adagio; MM q= 63.




250

No. 160:


The rhythmic content consists of q\sd\Q\w\aqa\E\ra\ar. No


Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is d, r, m, s,

l, d . The composite tone set of the bicinium is d, r, m, s, l, d r m s. The given key

signature is D major; A = do. The scale of both the melody and complete bicinium is

authentic do hexachord. The tonality is pentatonic, major character. The range is A3 – E5.

Melodic turns employed are m-d; d-m-s; d-s; m-r-d; d-r; m-r; s-r;- m-s; r-s,; d-s,; s,-m; m-

d-l,; l,-d; r-l,; s-l; l-m.

Formal Features: The rhythmic form is a av a av. The melodic form is a av a5 av5. A real



pentatonic counterpoint is present in mm. 2-4 and 7-8. Free pentatonic counterpoint and

changing stress are present in mm. 5-6.


by Ferenc Jankovich. The bicinium is subtitled nagyok, kicsinyëk (large and small).

Musical symbols and terminology include: slur, fermata. The tempo indicated is

Mérsékelten (moderately); MM q= 72.




251

No. 161:



q\sd\w\aqa\E\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is m, s, l , d r m s l . The tone set of Part II is d, r,

m, s, l , d r m. The composite tone set of the bicinium is d, r, m, s, l , d r m s l . The given

key signature is C major; the implied key is E = la. The scale of both the melody and

complete bicinium is extended la pentatone. The tonality is pentatonic, minor character.

The range is G3 – E5. Melodic turns employed are m-d; m,-d; m-r; r-m-s; s-r; m,-r; m-m,;

d-r; l-r; d-r-m; m-s; d-l,-s,; s,-d; m-s-l; l-m; d-l,; l,-r; l-s.

Formal Features: The rhythmic form is a b a b. The melodic form is a b a3 b'. A

substituting shift is present. Phrase structure of the bicinium is Intro (2) A (4+4) A' (4+4).


subject ostinato is present in mm. 3, 5, 7, 12-13, and 16-17. Free pentatonic counterpoint

is present in the upper and lower voices.


by Ferenc Jankovich. The bicinium is subtitled bot és útitárs (stick and travel

companion). Musical symbols and terminology include: slur. The tempo indicated is

Élénken (lively or brisk); MM q= 132.




252

No. 162:


The rhythmic content consists of q\sd\Q\w\aqa\W\ar\tie. No


Melodic Features: The tone set of Part I is s, l, d r m s l t . The tone set of Part II is s, l, d r

m s l . The composite tone set of the bicinium is s, l, d r m s l t . The given key signature is

C major; C = do, F = do. The scale of the melody is authentic do hexachord, and the scale

of the bicinium is plagal do hexachord. The tonality is pentatonic, major character. The

range is G3 – E5. Melodic turns employed are m-d; s-m-d; d-s; m-r; d-r-m; d-r; r-s; m-s;

s,-d-m; s,-r; s,-d; d-l,-s,; m-d-l,; l-s; l,-d; l-m; l,-m; s-l-t; l-t.

Formal Features: The rhythmic form is a b av bv. The melodic form is a b a 5 b5. A real



pentatonic counterpoint and changing stress are present in mm. 1-8. Simple counterpoint

and changing stress are present in mm. 9-16.


by István Raich. The bicinium is subtitled a nyúl élete (the rabbit's life). Musical symbols

and terminology include: slur. The tempo indicated is Mozgalmasan (animated); MM

q= 120.




253

No. 163:


The rhythmic content consists of q\sd\Q\a A\W\ra\ar\gc\vh\snd.





incomplete do pentatone. The tonality is pentatonic, major character. The range is A3 –

E5. Melodic turns employed are d-m; d-s; m-r-d; d-r; r-r,; r-s; m-r; m-s; s,-d; s,-l,-d; r-l,;

l-m; r-d-l,; l,-d; l-s; l,-m.

Formal Features: The rhythmic form is a b av bv. The melodic form is a b a 5 b5. A


Polyphonic Features: The melody of the bicinium is split between both voices.

Augmentation is present in mm. 2-5. Free pentatonic counterpoint is present in the upper

and lower voices.


by Gábor Devecseri. The bicinium is subtitled feketék, szőkék (blacks, blondes). The

tempo indicated is Lassacskán (slowly); MM q= 104.




254

No. 164:


and simple triple; the time signature iss 2$and 3$. The rhythmic content consists of

q\sd\Q\w\aqa\xcd\tie. No external anacrusis is present.


s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key


incomplete do pentatone. The tonality is pentatonic, major character. The range is A3 –

E5. Melodic turns employed are d'-s-m; d'-l-m; d-s; d-m-l; s-m-d; m-r; r-d; m,-r; d-r-m; l-

r; m,-m; m-s; m-d-s,; s,-r; d-l,-s,; r-l,; l,-d; l-s; l-m; m-d-l,; l,-s.

Formal Features: The rhythmic form is a av a' a'. The melodic form is a b a3 b5. A





by Gábor Devecseri. The bicinium is subtitled eladó lány (marriageable girl). The tempo

indicated is Andante; MM q= 88.




255

No. 165:


The rhythmic content consists of q\sd\Q\xcd\E\ra\ar. No external


Melodic Features: The tone set of Part I is s, l, d r m f s l . The tone set of Part II is s, l, t,

d r m s l . The composite tone set of the bicinium is s, l, t, d r m f s l . The given key

signature is C major; the implied key is G = do, C = do. The scale of both the melody and

complete bicinium is authentic do hexachord. The tonality is pentatonic, major character.

The range is G3 – E5. Melodic turns employed are d-m-l; s-m-d; s-d; d-m; l-s-r; r-m; r-d;

r-s; m-r-d; m-f; m-s,; s,-r; s,-l; d-s,; l-s; d-l,; l-m; d-t,.

Formal Features: The rhythmic form is a a'v a a'. The melodic form is a av a5 av5. A real





by Gábor Devecseri. The bicinium is subtitled fenyő, nyír, lány (pine, birch, girls).

Musical symbols and terminology include: slur. The tempo indicated is Moderato; MM

q= 84.




256

No. 166:

Rhythmic Features: The meter of this bicinium changes regularly between asymmetrical

five and seven; the time signatures are 5$and 7$. The rhythmic content consists of

q\sd\Q\w\t\W\e. No external anacrusis is present.


m s. The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key



Melodic turns employed are d-m,; d-m; r-d; s-r; r-m; d-r-m; m-s; d-s,; d-l,-s,; s-l; l-m; l,-

d; l,-r; m-d-l,; m-l,.

Formal Features: The rhythmic form is a av a'v av. The melodic form is a b a 6 b6. A



pentatonic counterpoint and changing stress are present in mm. 1-4. Free pentatonic

counterpoint is present in mm. 5-8. Changing stress is present in mm. 7-8.


by Gábor Devecseri. The bicinium is subtitled fekete szán (black carriage). Musical

symbols and terminology include: slur, dim. The tempo indicated is Nyugodtan (calmly);

MM q= 100.




257

No. 167:



q\sd\Q\w\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is m s l d’ r’ m’ . The tone set of Part II is s, l, d r

m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ . The given key


plagal do pentatone. The tonality is pentatonic, major character. The range is G3 – D5.

Melodic turns employed are m,-d; d-m; d-s; r-d; m-r-d; m-r; s-r; s-m; s,-d; s,-r; s,-d-m; s,-

l,-d; s,-s; r-l,; l-m; d-l,; r-d-l,; l-s; l,-m.

Formal Features: The rhythmic form is a av av av. The melodic form is a b a5 b6. A





by István Raich. The bicinium is subtitled nincsen sënkim (no one). Musical symbols and

terminology include: slur, fermata. The tempo indicated is Lassan (slowly); MM q=

63.




258

No. 168:


The rhythmic content consists of q\sd\Q\a A\aqa\sxc\W\ra. No






A3 – E5. Melodic turns employed are d-m; d-m,; s-d; m-s-d'; m-r; r-d; d-r-m; s-m-r; r-s;

m-s; d-s,; s,-l,-d; s-l; m-l; l,-r; l,-d; m-l,; m-d-l,.

Formal Features: The rhythmic form is a av a' a'v. The melodic form is a b a 3 b5. A




mm. 6-16.


subtitled habozás (hesitation). Musical symbols and terminology include: slur. The tempo





259

No. 169:


The rhythmic content consists of q\sd\Q\w\aqa\sxc\xcd\W\tie. No



m s l . The composite tone set of the bicinium is s, l , d r m s l d’ r’ m’ . The given key



G3 – D5. Melodic turns employed are d'-s-m; s-d; r-d; s-r; m-r; d-r-m; r-m-s; r-l; s-m; d-s,;

r-d-l,-s,; s,-r; m-d-,s; l,-r; m-l; d-l,; l-s; l,-m; l-s-m; m-d-l,.

Formal Features: The rhythmic form is a b a' b'. The melodic form is a b a 5 b5. A



pentatonic counterpoint and imitation-changing stress are present in mm. 1-3. Free



by Gábor Devecseri. The bicinium is subtitled kendő (cloth, scarf, tissue, wipe). Musical

symbols and terminology include: slur. The tempo indicated is Lassan (slowly).






261

No. 171:


simple triple, and simple quadruple; the time signatures are 2$, 3$, and 4$. The

rhythmic content consists of q\sd\Q\w\aqa\xcd\ W\E\ra

\vh\tie. No external anacrusis is present.

Melodic Features: The tone set of Part I is r m s l d’ . The tone set of Part II is m, s, l , d r

m. The composite tone set of the bicinium is m, s, l , d r m s l d’ . The given key signature


plagal la pentatone. The tonality is pentatonic, minor character. The range is F-sharp3 – F-

sharp5. Melodic turns employed are m,-d; d'-s-m; m-d; m-r; r-s; m-r-d; r-d; m-s; d-l,-s,; r-

s,; s,-d; d-l,; m-l; l-s-m; l,-m; l,-r; l-s; m-d-l,.

Formal Features: The rhythmic form is a b a bv. The melodic form is a b a5 b5. A




mm. 13-17.


by Gábor Devecseri. The bicinium is subtitled az árva sorsa (the fate of orphans).

Musical symbols and terminology include: grace notes, slur. The tempo indicated is

Adagio; MM q= 63.




262

No. 172:

Rhythmic Features: The meter of this bicinium changes regularly between asymmetrical

five and seven; the time signature is 5$and 7$. The rhythmic content consists of

q\sd\Q\a A\w\W\E\e\ra\tie. No external anacrusis is

present.

Melodic Features: The tone set of Part I is r m s l d’ . The tone set of Part II is s, l , d r m.

The composite tone set of the bicinium is s, l , d r mf s l d’ . The given key signature is G

major; B = la. The scale of both the melody and complete bicinium is incomplete plagal

la pentatone. The tonality is pentatonic, minor character. The range is A3 – D5. Melodic

turns employed are d-m,; m-l-d'; m-r; r-l; s-r; d-r; d-r-m; m-s; s,-d; s,-r; d-l,; l-s; m-l; l-s-

m; m-l,; l,-r.

Formal Features: The rhythmic form is a b a b. The melodic form is a b a6 b5. A



pentatonic counterpoint and imitation-changing stress are present in mm. 1-2 and 5-6.

Free pentatonic counterpoint is present in mm. 3-4 and 7-8.


by Gábor Devecseri. The bicinium is subtitled fiatalság (youth). Musical symbols and

terminology include: slur. The tempo indicated is Lassan (slowly); MM q= 96.




263

No. 173:


The rhythmic content consists of q\sd\Q\a A\w\aqa\W\ar\vh\tie.


Melodic Features: The tone set of Part I is s, l, d r m s. The tone set of Part II is s, l , d r m

s. The composite tone set of the bicinium is s, l , d r m s. The given key signature is D

major; A = do, D = do. The scale of both the melody and complete bicinium is

incomplete plagal la hexachord. The tonality is pentatonic, minor character. The range is

A3 – E5. Melodic turns employed are m-d; r-m; r-d; d-r-m; r-s; m-s; s,-d; d-l,-s,; l,-r; m--l,;

l-s; r-d-l,; l,-d; l,-d-m.

Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A real






by István Raich. The bicinium is subtitled bánat utca (Grief Street). Musical symbols and

terminology include: slur. The tempo indicated is Adagio; MM q= 63.




264

No. 174:


The rhythmic content consists of q\sd\Q\w\xcd\W\ar. No external


Melodic Features: The tone set of Part I is r m s l d’ r’ . The tone set of Part II is s, l , d r

m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key signature

is G major; D = do. The scale of both the melody and complete bicinium is incomplete


Melodic turns employed are d'-s-m; m,-d; m-d; d-s; r-d; s-r; m-r; s-m; m-d-s,; s,-d; l,-d; l,-

r; l-m; l-s; s-l-m; m-d-l,; l,-m.

Formal Features: The rhythmic form is a a b b. The melodic form is a b a5 b5. A



are present in mm. 1-2 and 5-6. Free pentatonic counterpoint is present in mm. 2-3 and 6-

8.


by István Raich. The bicinium is subtitled vásárfia (Fairing). Musical symbols and

terminology include: slur, fermata. The tempo indicated is Andante; MM q= 76.




265

No. 175:


is 4$. The rhythmic content consists of

q\sd\w\aqa\W\e\ra. No external anacrusis is present.

Melodic Features: The tone set of Part I is d m s l d’ r’ m’ . The tone set of Part II is s, l, d

r m s l . The composite tone set of the bicinium is s, l, d r m s l d’ r’ m’ . The given key

signature is G major; D = do. The scale of both the melody and complete bicinium is

plagal do pentatone. The tonality is pentatonic, major character. The range is A3 – F-

sharp5. Melodic turns employed are d-m,; s-d; m-d; d-m-l; d-r; m-r-d; m-r; s-m-r; s-r; m-

s; m,-m; s,-d; s,-r; s,-m; r-d-s,; d-l,-s,; r-l,; l,-d; s-l; l-m; s-l,; m-l,.

Formal Features: The rhythmic form is a a av av. The melodic form is a b a5 b4. A


Polyphonic Features: The melody of the bicinium is split between both voices. Ostinato

is present in mm. 1-3 and 5-7. Free pentatonic counterpoint is present in m. 4 and mm. 8-

16.


by Ferenc Jankovich. The bicinium is subtitled harmat, könny (dew, tears). Musical

symbols and terminology include: slur. The tempo indicated is Mérsékelten (moderately);

MM q= 104.




266

No. 176:


is 4$. The rhythmic content consists of q\sd\Q\w\aqa\ra\ar. No


Melodic Features: The tone set of Part I is d r m s l d’ r’. The tone set of Part II is s, l, d r

m s. The composite tone set of the bicinium is s, l, d r m s l d’ r’ . The given key signature

is G major; D = do. The scale of the melody is incomplete plagal do pentatone and the

scale of the bicinium is incomplete do pentatone. The tonality is pentatonic, major

character. The range is A3 – E5. Melodic turns employed are m-d; d-m-s; d-r; m-r; d-r-m;

m-s; r-l,-s,; s,-l,-d; s,-d; s-l; l,-d; s-l-m; l-m; l,-d-m.

Formal Features: The rhythmic form is a b c d. The melodic form is a b a4 b. A





by István Raich. The bicinium is subtitled szóvő nóta (weaving song). Musical symbols

and terminology include: slur. The tempo indicated is Lépést (step); MM q= 120.




267

No. 177:


The rhythmic content consists of q\sd\Q\a A\w\t\W\ar\tie.


Melodic Features: The tone set of Part I is l, d r m s l d’ r’ . The tone set of Part II is s, l , d

r m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key

signature is B minor; A = do, B = la. The scale of both the melody and complete bicinium

is incomplete plagal la hexachord. The tonality is pentatonic, minor character. The range

is A3 – F-sharp5. Melodic turns employed are d-m; d-s; m,-d; m-r; m-r-d; s-m-r; r-d; m-s;

s,-m; d-s,; s,-r; d-l,-s,; m-d-l,; l,-m; l,-r; l-s; l,-d; s-l-m.

Formal Features: The rhythmic form is a a' a av. The melodic form is a av a5 av5. A real



present in mm. 1-3, 4-5, and 17-18. Changing stress is present in mm. 12-15. Free



by Gábor Devecseri. The bicinium is subtitled bánat (grief). Musical symbols and

terminology include: slur, fermata. The tempo indicated is Lassan (slowly); MM q=

72.




268

No. 178:


The rhythmic content consists of q\sd\Q\a A\w\W\tie. No external



s l d’ . The composite tone set of the bicinium is l, d r m s l d’ r’ m’ . The given key

signature is E major; B = do. The scale of both the melody and complete bicinium is


G-sharp3 – D-sharp5. Melodic turns employed are d-m; m-s-d'; d-m-l; d-s; d-m,; d-r-m; r-

d; s-r; r-m; s,-d; s,-r; l,-d-s,; s,-m; d-l,-s,; m-l,; l-m; d-l,; r-l,; l-s.

Formal Features: The rhythmic form is a a' a a. The melodic form is a b a5 b5. A



pentatonic counterpoint and changing stress are present in upper and lower voices.


by István Raich. The bicinium is subtitled ifjúság, vidámság (youth, happiness). Musical

symbols and terminology include: slur, accent. The tempo indicated is Szélesen (broadly);

MM q= 92.




269

No. 179:


The rhythmic content consists of q\sd\vnb\e\ra \ar\gc\vh. No


Melodic Features: The tone set of Part I is si, l , t, d r m. The tone set of Part II is d, r, m,

f, s, l , t,. The composite tone set of the bicinium is d, r, m, f, si, l , t, d r m. The given key

signature is E minor; E = la. The scale of the melody is incomplete plagal la hexachord

and the scale of the bicinium is extended la hexachord. The tonality is minor. The range

is G3 – B4. Melodic turns employed are d-m; m-r; m-r-d; r-s; r-d; m-s; l-s-f-m; m-f-s; s-f-

m-r; d-r-m-f-s; d-l,; l,-m; s-l; m-l; l,-t,-d-r-m; m-t,; t,-r; r-d-t,; t,-d; l,-t,-d; r-d-t,-l,; l-t; l-si.

Formal Features: The rhythmic form is a a a a a a a. The melodic form is a b c d e av. A

tonal in harmony shift is present. Phrase structure of the bicinium is A (2+2+2) B

(2+2+2).

Polyphonic Features: Sequence is present in mm. 1-4. Simple counterpoint is present in

mm. 5-9. Real answer is present in mm. 9-11. Rhythmic canon is m. 9-12. Free imitation


Other Features: The melody of the bicinium appears in a collection by Vikár B. For. The

bicinium is subtitled Menyasszony Búcsúzó (Kalëvala, 24. ének) (Parting Bride). Musical

symbols and terminology include: D-sharp accidental. The tempo indicated is MM q=

80.




270

No. 180:


The rhythmic content consists of q\sd\Q\w\t. No external anacrusis is

present.

Melodic Features: The tone set of Part I is l, d r m s l d’ r’ . The tone set of Part II is s, l , d

r m s. The composite tone set of the bicinium is s, l , d r m s l d’ r’ . The given key



A3 – E5. Melodic turns employed are d'-l-m; d-m; s-m-d; r-d; s-r; m-r-d; r-l; s-m; d-s,; m-

l; l,-r; l,-d; l-s; l,-m; r-d-l,.

Formal Features: The rhythmic form is a a'v a a'v. The melodic form is a b a 5 b5. A



pentatonic counterpoint and imitation-changing stress are present in mm. 1-5 in the

second verse. Free pentatonic counterpoint is present in mm. 6-16.


by István Raich. The bicinium is subtitled asszonysors (her fate). Musical symbols and

terminology include: grace notes, slur. The tempo indicated is Adagio; MM q= 63.




271

5.2 Summary of Data

5.2.1 Rhythmic Features

Table 2 shows meter distribution grouped by volume in Bicinia Hungarica, and

Table 3 lists the meter of individual bicinium. It should be noted that simple duple may

refer to the time signatures 2$or 2@. Simple triple refers to 3$, 3*or 3@; simple

quadruple refers only to 4$, and compound duple may refer to either 6*or 6$. Nos. 166

and 172 are the only bicinia that contain two asymmetrical time signatures; both

employ 5$and 7$.

Only a few instances exist in which bicinia contain contain two different beat

units or change from simple to compound meters. No. 57 alternates between two beat

units and three time signatures: 2$, 3$, 2*, and 3*. No. 119 alternates between two beat

units, containing the time signatures for cut time and 3$. No. 139 contains time

signatures of different beat units and alternates between simple and compound meters

with the time signatures 2@, 5$, and 6$.




272

Table 2. Distribution of meters by volume.

Meter Type Vol. 1 Vol. 2 Vol. 3 Vol. 4 TOTAL

None 3 3 2 8

Simple duple 42 19 6 25 92Simple triple 14 6 9 19 48

Simple quadruple 15 22 9 13 59

Asymmetrical 2 1 17 20

Compound duple 3 3




273

Table 3. List of meter by bicinium number.

Meter Type Vol. 1 Vol. 2 Vol. 3 Vol. 4

None 63a, 70, 71 115, 117, 118 140, 147

Simple duple 1, 2, 4-6,9-17, 25-28, 30-37,41-44, 48,52- 60, 66

65, 66, 68, 69,74, 75, 77-79,81-83, 87, 90,91, 94, 98-100

104-106, 109,116, 119

124, 126, 127,132, 134, 135,137, 138, 142-146, 152-154,157, 158, 161,163, 164, 167,168, 170, 171

Simple triple 1, 7, 8, 18,34-36, 38,

39, 46, 47,51, 57, 58

62, 64, 66, 72,83, 94

101, 103, 107,110, 112, 113,

119, 120

123, 125, 128,129, 133, 138,

139, 141, 143,148, 150, 155,161, 162, 164,167, 170, 171,

180

Simple quadruple 3, 19-24,29, 35, 39,40, 45, 49,

50, 59

62-64, 67, 73,76, 80, 84-86,88-97, 99, 100

102-105, 108,110-112, 114,

131, 136, 137-139, 142, 149,150, 151, 156,171, 175, 176

Asymmetrical 61, 84 120 121, 122, 130,136, 139, 156,159, 160, 165,166, 169, 172-174, 177-179

Compound duple 121, 139, 150

Figures 1 through 4 show the rhythmic content, in terms of number of rhythmic

values per bicinium. This shows the amount of rhythmic variety present throughout the

collection. While the collection is progressive, musical elements are put together in




274

varied combinations so as to provide opportunites to develop several musical elements in

each bicinium. It is also possible that there is a correlation to some of the peaks on this

chart and the introduction of new melodic or formal features. This type of analysis may

yield further insight into Kodály’s pedagogical sequenence, but is outside the scope of the

current study.



275

Figure 1. Number of rhythmic values present in volume 1.

2

3

4

5

6

7

8

9

10

11

12

1

2 3

4 5 6 7 8 9

1 0

1 1

1 2

1 3

1 4

1 5

1 6

1 7

1 8

1 9

2 0

2 1

2 2

2 3

2 4

2 5

2 6

2 7

2 8

2 9

3 0

3 1

3 2

3 3

3 4

3 5

3 6

3 7

3 8

3 9

4 0

4 1

4 2

4 2 a

4 3

4 4

4 5

4 6

4 7

4 8

4 9

5 0

5 1

5 2

5 3

5 4

5 5

5 6

5 7

5 8

5 9

6 0

N u m b e r o f r h y t h m i c v a l u e s

Bicinia number



276


2

3

4

5

6

7

8

9

10

11

12

6 1

6 2

6 3

6 3 a

6 4

6 5

6 6

6 7

6 8

6 9

7 0

7 1

7 2

7 3

7 4

7 5

7 6

7 7

7 8

7 9

8 0

8 1

8 2

8 3

8 4

8 5

8 6

8 7

8 8

8 9

9 0

9 1

9 2

9 3

9 4

9 5

9 6

9 7

9 8

9 9

1 0 0


Bicinia number



277


2

3

4

5

6

7

8

9

10

11

12

1 0 1

1 0 1 a

1 0 2

1 0 3

1 0 4

1 0 5

1 0 6

1 0 7

1 0 8

1 0 9

1 1 0

1 1 1

1 1 2

1 1 3

1 1 4

1 1 5

1 1 6

1 1 7

1 1 8

1 1 9

1 2 0


Bicinia Number



278


2

3

4

5

6

7

8

9

10

11

12

1 2 1

1 2 2

1 2 3

1 2 4

1 2 5

1 2 6

1 2 7

1 2 8

1 2 9

1 3 0

1 3 1

1 3 2

1 3 3

1 3 4

1 3 5

1 3 6

1 3 7

1 3 8

1 3 9

1 4 0

1 4 1

1 4 2

1 4 3

1 4 4

1 4 5

1 4 6

1 4 7

1 4 8

1 4 9

1 5 0

1 5 1

1 5 2

1 5 3

1 5 4

1 5 5

1 5 6

1 5 7

1 5 8

1 5 9

1 6 0

1 6 1

1 6 2

1 6 3

1 6 4

1 6 5

1 6 6

1 6 7

1 6 8

1 6 9

1 7 0

1 7 1

1 7 2

1 7 3

1 7 4

1 7 5

1 7 6

1 7 7

1 7 8

1 7 9

1 8 0


Bicinia number




279

5.2.2 Melodic Features

While many bicinia have the same tonality, there are very few instances of

bicinium which have the exact same composite tone set. Variety is pervasive in Kodály’s

use of tone sets, much like in the rhythmic content of the collection. The wide variety of

tone sets used seems to confirm that Kodály intended to have at least one new musical

element present in each bicinium. This may also suggest that Bicinia Hungarica is

progressive and that much practice of new musical elements must occur before

approaching the next piece, a fact supported by the large amount of exercises he wrote

and by the pedagogical texts written by Kodály’s students which have been translatedinto English.1

The analysis of the tone sets can be facilitated by looking at the final pitch of each

bicinium. A total of 110 bicinium have a composite tone set that ends on la, 43 composite

tone sets end on do, 14 end on so, 8 end on re, and 8 end on mi. Most bicinia are written

in a tonality with la as the hometone.

1. Erzsébet Hegyi and Fred Macnicol, Solfège According to the Kodály-Concept:Chapters 1 to 5 (Kecskemét: Zoltán Kodály Pedagogical Institute of Music,1975); Erzsébet Legányné Hegyi and Alexander Farkas, Solfège According to the Kodály-Concept: Chapters 6 to 9, vol. 2 (Budapest, Hungary: Editio MusicaBudapest, 1979); Erzsébet Szőnyi, Musical Reading and Writing, Volume 1,trans., Lili Halápy (London: Boosey & Hawkes, 1974); Erzsébet Szőnyi, Musical Reading and Writing, Volume 2, trans., Lili Halápy (London: Boosey & Hawkes1978). Erzsébet Hegyi and Erzsébet Szőnyi both wrote pedagogical texts

outlining a sequence for music instruction based on Kodály’s philosophy. Bothinclude material from Kodály’s compositions and exercises, as well as art music,chant, and folk music. Most interesting to the author is Hegyi and Szőnyi’sselection of material, which is usually limited to only a few measures to facilitate practice of the musical element or concept and then complemented by music froma variety of other sources or textures.




280

Only nine key signatures have been used throughout Bicinia Hungarica. Though

the number of key signatures used is small, a wide variety of keys are implied. The key

signature of C major is used to represent both C = do and A = la, as well as E = la, F =

do, G = la, D = la, D = re, and E = mi. The key signature of D major is used to represent

D = do and B = la, as well as A = do. The key signature of E major is used to represent

the key of B = do. The key signature of F major is used to represent F = do and D = la, as

well as C = do, G = la, and B-flat = do. The key signature of G major is used to represent

G = do and E = la, as well as E and A = re, B = la, D = so, and D = do. The key of A

major is used to represent A and D = do, as well as B = re. The key signature of E-flatmajor is used to represent C = la, E-flat = do, and G = mi. The key signature of A-flat

major is used to represent E-flat = do. The key signature of B-flat major is used to

represent E-flat = do, C = la, and G = la. Figure 5 shows the number of bicinia per key

signature.




281

Figure 5. Frequency of key signatures.

Table 4 shows the distribution of tonalities employed in bicinia by volume. Table

5 shows the numbers of scales employed within each volume. Notice that (1) volume 3 is

the only one not to include pentatonic music, (2) nearly all scales are employed in each of

the volumes, but one scale is more prominent, and (3) “pentatonic, major character”

appears more frequently in volume 4 than in the other three volumes combined. It is

likely that Kodály choose to include Mari music in volume 4 as a means of exposing

children to the major pentatonic tonality (major pentatonic tonality is infrequently found

in Hungarian music). This would be fitting with Kodály’s assertion that studying the

music of other cultures further develops a culture’s musical skill. 2 It is possible these

pieces were included at the end of the collection to aid in the reading of polyphonic art

2. “Ha pedig e ritmus és dallamforma teljességgel más, mint a mienk, általános zenei jártasságunk fejlesztésére job hasznát vesszük, mint a nyugati zenének.” Kodály, Bicinia Hungarica: Bevezető a Kétszólamú Éneklésbe, vol. 4, p. 50.

104

13

1

14

28

3 51

14

0

20

40

60

80

100

120

C major D major E major F major G major A major E-flatmajor

A-flatmajor

B-flatmajor

N u m b e r o f t i m

e s p r e s e n t

Printed key signature




282

music in major modes, especially since 124 out of the 183 pieces are written with scales

in minor tonalities.




283

Table 4. Distribution of tonality by volume.

Tonality Bicinia

Volume 1 Volume 2 Volume 3 Volume 4

Aeolian 1, 33, 36, 37,39, 40, 41

72, 75, 79, 87,89-91, 100

100, 108, 112,116

Dorian 38, 43-47, 53 77, 78, 80, 81,83, 84, 88, 93-99

101, 102, 103,111, 117

Ionian 76

Major 35, 42, 42a,48, 52, 58, 60

92 105, 109, 115,118

134

Minor 54-56 101a, 104,107, 119

121, 179

Minor and major 59

Mixolydian 110

Pentatonic,major character

2-6, 9, 23 71, 73 123, 125, 127,128, 130, 132,133, 136, 138,139, 142-145,

147, 155, 156,158, 160, 162-168, 170, 175,176, 178

Pentatonic,minor character

7, 8, 10-22,24-29, 31,32,34, 49, 50, 51,57

63-70, 74, 82,85, 86

122, 124, 126,129, 131, 135,137, 140, 141,148-154, 157,159, 161, 169,171-174, 177,180

Phrygian 106, 113, 114,120

So pentatonic 62 146




284

Table 5. Total number of scale types.

Scale Bicinia

Volume 1 Volume 2 Volume 3 Volume 4 TOTAL

Aeolian 7 8 4 19

Dorian 7 14 5 26

Ionian 1 1

Major 7 1 4 1 13

Minor 3 4 2 9

Minor and major 1 1

Mixolydian 1 1

Pentatonic, majorcharacter

8 2 32 39

Pentatonic, minorcharacter

28 14 24 63

Phrygian 4 4

So pentatonic 1 1 2

Due to the limitations of the developing child’s voice, the range of individual

bicinia does not show much variance. Number 116 has the largest range, spanning two

octaves and a major second. Furthermore, all other bicinia have ranges that lie within the

boundaries of No. 116. The smallest range is that of an octave and only occurs in Nos. 5,

31, and 78. The most frequent range is that of an octave and a minor seventh, occurring in

48 bicinia.

Discussion of melodic interval trends can best facilitated by counting the number

of intervals associated with a specific solfège syllable. Appendix A, summarizes

important musical features found in each bicinium and displays the number of melodic




285

intervals per bicinium by solfège syllable. The first appearance of a new melodic interval

generally coincides with a reduction of the number of all other melodic intervals. Ti first

appears in No. 29, which contains only 11 melodic intervals, while No. 28 contains 14

melodic intervals. Similiarly, the first appearance of an altered syllable occurs in No. 38

which contains 15 melodic intervals; however, this bicinium does not make use of

melodic intervals involving do, mi, and fa. The reduction and omission of melodic

intervals in No. 38 also coincides with the first appearance of Dorian tonality, suggesting

that the introduction of new musical elements are presented with a reduction of other

musical elements by design.As Kodály provides increasingly diatonic bicinia, Nos. 80-121, the number of

melodic intervals involving fa and ti increase. The same may be said for the use of altered

syllables, which are predominatly used in Nos. 101-121, suggesting a style approaching

that of art music and functional harmony.

5.2.3 Formal Features

The most concise way to describe trends present in formal features is with the

description of one-, two-, and three-part forms and through-composed. One-part form

refers to a formal type in which there is not enough variance for the parts to be labeled a

b. Two-part form is applied to bicinium with formal labels of a b, even if multiple a and b

sections appear. Three-part form refers to material labeled a b c, while through-composed

occurs when at least four different musical idea are present.




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The most common formal structures used in Bicinia Hungarica are one- and two-

part forms, with three-part and through-composed forms occurring less frequently. A

one-part rhythmic form occurs in 125 bicinia. There are 41 bicinia that have a two-part

rhythmic form, 4 with a three-part form, and 13 with a through-composed form. In terms

of melodic structure, 28 bicinia have a one-part form, 105 have a two-part form, 22 have

a three-part form, and 28 are through-composed. The number of bicinia with one- and

two-part phrase structures are nearly equal, 81 and 78 respectively. Three-part and

through-composed structures appear 11 and 13 times.

There are 111 bicinia that contain a shift in the melody. Of this number, 50 biciniacontain a real shift, 53 contain a substituting shift, and 8 contain a tonal shift.

5.2.4 Polyphonic Features

The most prominent polyphonic features present in Bicinia Hungarica are

imitation and counterpoint. There are 112 bicinia that contain some form of imitation and

only 72 that contain no imitation. Imitative pentatonic counterpoint is the most frequent

type of imitation, occurring in 51 bicinia. Free imitation occurs in 37 bicinia, imitation at

the octave is found in 7 bicinia, and imitation at the unison appears in 3. Imitation-

changing stress is found in 20 bicinia, and changing stress is used in 16.

There are 147 bicinia that contain counterpoint and 36 that do not make use of

counterpoint. Free counterpoint is found in 80 bicinia and simple counterpoint is used in

64 bicinia. Double counterpoint is used in 6 bicinia. There are 81 bicinia that use both




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imitation and counterpoint and only 4 that do not contain imitation and counterpoint.

Figures 6 and 7 provide a graphic representation of these data.

Figure 6. Frequency of imitation and counterpoint in Bicinia Hungarica. Numbersrepresent frequency of the compositional device.

Figure 7. Absence of imitation and counterpoint in Bicinia Hungarica. Numbersrepresent frequency of bicnia not containing the compositional device.

Imitation

112

Counterpoint

147

No Imitation

72

NoCounterpoint

36

81

4




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The fact that these two compositional techniques appear consistently and

pervasively throughout the collection suggests Kodály may have intended to emulate

music from the Renaissance. The compositions may not look like compositions from that

period due to several factors, including (1) length, (2) the use of folk music, and (3) the

composer’s intent. However, it is important to note that many sources written by

Kodály’s students present his two-part pedagogical works alongside, or as preparation

for, works from the Renaissance.

Answers and canons are the next most frequently employed compositional

devices. Real answers occur in 6 bicinia, tonal in 18, and 5 bicinia contain both tonal andreal answers. Rhythmic canons appear in 34 bicinia, while strict canons appear in only 7

bicinia. Numbers 87 and 88 include canons at the unison and/or octave, and canons at the

fourth or fifth appear in Nos. 57, 60, 72, 79, and 116.

A split melody occurs in 119 bicinia and is most frequently found in volume 4. It

is unclear why this device is so frequently used. The use of split melody in volume 4 may

be due to the prominence of bicinium which include melodic shifts.

Other polyphonic features appear less frequently. Elision appears twice, and call

and response is used once. A drone appears in 15 bicinia. Ostinatos appear only 7 times,

four of which only employ rhythmic ostinatos. Counter-subject ostinatos appear 11 times,

two of which are rhythmic counter-subject ostinatos.




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5.2.5 Other Features

Only 46 of the 183 bicinia in the collection are labeled by Kodály as having a

Hungarian folk song melody, but Kodály states that all 60 pieces in volume 4 and one in

volume 2 are folk songs of Finnish or Mari peoples. 3 Three more bicinia are based on

folk songs (rather strictly quoting folk song melodies), and five melodies have come from

the Cantus Catholici or the Genevan Psalter .

Tempo markings range from MM = 52 to 186. Metronome markings from MM =

52 to 76 appear in 38 bicinia, MM = 90 – 96 occur in 31 bicinia, MM = 100 – 120 are found

in 57 bicinia, MM = 120 – 144 are used in 43 bicinia, and 8 bicinia have tempos over 152.Three bicinia are marked with a range of tempos.

A majority of bicinia (173) are marked with a quarter note as the beat unit. There

are 6 bicinia marked with a half note as the beat unit, 3 with an eighth note as the beat

unit, and 1 with a whole note as the beat unit. Sequences appear in 6 bicinia.

Augmentation occurs in 10 bicinia, and diminution appears in 9 bicinia. Inversion is used

13 times, and retrograde is used twice. Retrograde inversion appears only in No. 68.

Motives (five of which are derived from the melody) occur in 15 bicinia.

Accidentals appear in 33 bicinia and occur most frequently in volume 3.

Accidentals are used 12 times in volume 1, initialy to fill in gaps in the pentatonic scale

(mi fi so) and later to provide functional harmony. Example 5 shows No. 38 (mm. 1 – 4),

illustrating fi being used to fill in the gap between mi and so. Example 6 shows No. 56

(mm. 7-13), where altered solfège in the second voice provides functional harmony. In

3. “…három finn kivételével e füzet tartalma csupa cseremisz népdal…” ibid., vol. 4, p.49.




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volume 2, accidentals appear only 3 times, most likely because this volume is primiarily

diatonic. Volume 3 contains 16 bicinia which include accidentals; this volume is entirely

diatonic. From volume 4, only Nos. 121 and 179 contain accidentals.

Example 5. Accidentals in No. 38 (mm. 1 – 4).

Example 6. Accidentals in No. 56 (mm. 7-13).

Frequently used symbols include: repeat sign, first and second ending, fermata,

portamento, slur, accent, grace notes, and dynamic markings. No further data is presented

because: (1) most of the symbols appear across the entire collection, negating a clear

pedagogical sequence and (2) repeats, slurs, fermatas, portamenti, and grace notes are

functions of the preexisting folk melodies. Portamenti, slurs, accents, and grace notes primarily appear in volume 4, adding to the complexity of the most advanced bicinia and

providing suggestions for an authentic performance of foreign folk music.




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5.2.6 Conclusion

Kodály’s Bicinia Hungarica includes a wide variety of musical elements which

appear throughout the collection in order to develop musical literacy. Musical elements

are combined in each bicinium so that the collection progresses from easiest to hardest,

but two adjacent bicinia may not reflect the smallest incremental increase in difficulty.

While not every musical element is presented in the collection, Bicinia Hungarica

provides opportunities to develop music literacy through a wide variety of musical

elements including meters, rhythmic patterns, key signatures, tonalities, melodic

intervals, forms, tempi, and a variety of compositional devices. Bicinia Hungarica displays Kodály’s belief that music literacy is best acquired through the folk songs of

one’s own country and later through those of closely related peoples.




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CHAPTER 6

DISCUSSION

6.1 Contemporary American Composers of Bicinia

6.1.1 Denise Bacon

Denise Bacon began her musical career as a piano soloist, a path which led her to

teach piano and ultimately serve as the Head of the Music Department at Dana Hall in

Wellesley, Massachusetts. With the help of a Ford Foundation Grant, she founded the

Kodály Musical Training Institute in 1969, bringing together Hungarian music teachers

with American teachers interested in adapting Kodály’s philosophies.1

Bacon was recognized for her efforts in the United States and abroad. In 1983, she

was awarded the Pro Cultura Hungaria Award by the Hungarian government. Bacon was

honored in 1989 by the Organization of American Kodály Educators with the

Outstanding Achievement Award. The International Kodály Society named her an

Honorary Member in 1993. She was twice recognized by the New England Conservatory

for her “dedication to the Kodály cause,” earning both the Outstanding Alumni Award

(1984) and the Lifetime Achievement Award (2010).2

1. Ellen Pfeifer, "Death of Denise Bacon '54 '56 MM," New England Conservatory,http://necmusic.edu/death-denise-bacon-54-56-mm (accessed February 10, 2014).

2. Ibid.




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In addition to her contributions to the dissemination of the Kodály philosophy in

the United States, Bacon also wrote several publications. Her articles regarding Kodály’s

philosophy appear in the Kodály Envoy, Music Educators Journal , and Bulletin of the

International Kodály Society. Hold Fast to Dreams is a collection of articles and

speeches made by Denise Bacon regarding her personal experiences studying a Kodály-

inspiried curriculum in Hungary and the United States, implementing a Kodály-inspired

American curriculum in Massachusetts schools, and forming a teacher-training program

for Kodály educators. She also edited My Singing Bird , a collection of 150 folk songs

from the Anglo-American, African-American, English, and Irish traditions, with IdaErdei and Faith Knowles.

As noted, Denise Bacon also created pedagogical materials to be used in the

classroom, including 46 Two-Part American Folk Songs (1973), 50 Easy Two-Part

Exercises (1977), 185 Pentatonic Exercises (1978), 24 Favorite Nursery and Folk Songs

(1993), and Let’s Sing Together (1971). She was also a choral arranger and composer,

publishing 20 different titles through the Kodály Center of America, Alliance Music

Publishing, and Boosey and Hawkes.

6.1.2 Mark A. Williams

American music educator Mark A. Williams taught music courses around the

world to musicians of all levels of experience. He began his career teaching in the U.S.

Virgin Islands through an invitation from the National Endowment of the Arts.3 After





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studying in Hugary, he taught in Illinois, Texas, and in California at the Colburn School

until 2005.4 Williams moved to Hong Kong to teach at Hong Kong Baptist University,

Hong Kong Academy of Performing Arts, and Po Leung Kuk Choi Kai Yau School,

among others.5 A founding member (in 1977) and the first president of the Organization

of American Kodály Educators,6 Williams also helped to establish the International

Kodály Society.7

As a composer of choral music, Williams’ compositions have been published by

Shawnee Press and BriLee Music Publishing. His Two-Part American Folk Songs were

published by Southern Music Company.

6.1.3 Mary Goetze

Dr. Mary Goetze is internationally known for her work with children’s choruses

and multicultural music. At Indiana University, she founded the Indiana University

Children’s Chorus (1980) and the International Vocal Ensemble (1995), both still in

existence today.8

4. Beth Pontiff, "In Memoriam: Mark Williams," Kodály Envoy 40, no. 1 (Fall 2013): 10-11.


6. Brent Gault, "Honoring Our Past: Oake Founders, Past Presidents, and ExecutiveSecretaries," Kodály Envoy 35, no. 4 (Summer 2009): 27.

7. Pontiff, "In Memoriam: Mark Williams," 10.

8. Constance Cook Glen, “Mary Goetze.”




295

As an author, Goetze collobrated with children’s choir directors Angela Broeker

and Ruth Boshkoff to produce Educating Young Singers, a resource book for the teacher-

conductor. She also served as an author for the Macmillian/McGraw-Hill K-6 elementary

textbook series Share the Music (1995).

Goetze has written articles for the Music Educators Journal and the Kodály Envoy

regarding children’s vocal development, the children’s chorus, and multicultural music.

Articles by Goetze also appear in “Mountain Lake Reader,” a publication of the

Mountain Lake Colloquium, founded by Mary Goetze and Nancy Boone Allsbrook to

“allow our established colleagues to reflect and offer guidance to us and encourage youngfaculty and graduate students to inspire us with their fresh perspective and optimism.”

The biennial conference aims to address “issues and concerns of partnering, public

policy, educational structure and planning, presentation, cognition skills, and other topics

related directly to the teaching and learning of music.”9

Goetze has arranged and composed many choral pieces specifically for the

developing singer; her work is published by Alliance Music Publishing and in the Boosey

& Hawkes Mary Goetze Choral Series. Global Voices, a collection of primary sources of

music from diverse cultures, is published by MJ Publishing (established by Jay Fern and

Mary Goetze).10 Simply Sung is a collection of two- and three-part a cappella folk songs

arranged for treble voices. Her two- and three-part folk song arrangements with optional

9. "About Us," Mountain Lake Colloquium,http://www.mtnlake.net/Mountain_Lake_Colloquium/About_Us.html (accessedFebruary 11, 2014).

10. "MJ Publishing", MJ & Associates http://www.mjpublishing.com/ (accessed February11, 2014).




296

Orff accompaniment, Sing We Noel and The Cat Came Back , are also published through

MJ Publishing and are discussed as part of an interview with the author.

Dr. Goetze has been recognized for her accomplishments and contributions to

academia throughout her career. In 1985, her dissertation was named Oustanding

Dissertation by Music Educators National Conference and Council for Research in Music

Education. Additionally, Indiana University has honored her with a Distinguished

Teaching Award and the University of Colorado College of Music recognized her as

Distinguished Alumnus in 1992. Goetze was also named the Outstanding Educator of the

year in 1993 by the Organization of American Kodály Educators.

11

6.1.4 Contemporary Composers and Compositions

While there are few compositions outside of Hungary titled “bicinia,” there are

several similar contemporary publications available in addition to the aforementioned

examples. The following publications include a combination of unison exercises,

intended to develop students’ musical literacy, and part-songs, through which students

may apply their literacy skills. In a way, these publications represent the merging of two

of Kodály’s pedagogical compositions, 333 Reading Exercises or Pentatonic Music and

Bicinia Hungarica.

The Folk Song Sight Singing Series, by Crowe, Lawton, and Gillies (1933-

1934).

11. "Mary Goetze", Alliance Music Publications,http://www.alliancemusic.com/peopledetails.cfm?iPeopleID=47 (accessedFebruary 11, 2014).




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Essential Sight Singing , volume 1 and 2, by Crocker and Leavitt (2005-2006).

Experiencing Choral Music, by Crocker and Snyder (2004).

Sing on Sight , by Snyder (2007).

It should be noted that The Folk Song Sight Singing Series is a collection of folk

song melodies from around the world that have been grouped by similar rhythmic and

melodic elements. The exercises (presented without text) are sequenced progressively,

and the series includes volumes of two-part music, thereby serving a similar pedagogical

function as Bicinia Hungarica.

A small number of compositions which may be called bicinia or “bicinia-like” are

currently in publication.

Four and Twenty, by Crocker (1990).

The Owl Sings, compiled by Taylor-Howell (1997).

Sourwood Mountain, compiled by Tacka and Taylor-Howell (1986).

Music, a Universal Language, published by the International Kodály Society

(2006).

All Around the Buttercup, by Boshkoff (1984).

It should be noted that The Owl Sings and Sourwood Mountain are collections of

bicinia written by members of the Organization of American Kodály Educators, but they

have not been progressively sequenced.12 Music, a Universal Language is a collection of

12. Philip V. Tacka and Susan Taylor-Howell, Sourwood Mountain: 28 North American& English Songs Arranged for Two Voices, 5th ed. (Moorhead, MN: Organizationof American Kodály Educators, 1986); Susan Taylor-Howell, The Owl Sings: 22 Folksongs Arranged for 2 or 3 Voices, 2nd ed. (Moorhead, MN: Organization ofAmerican Kodály Educators, 1997).




298

folk songs from around the world which have been arranged for two- or three-part

choirs.13 Additionally, The Crooked River Choral Project is a series of literacy-based

compositions for choirs, which include flexible voicings, recorded vocal models and full

performances, and some include teaching plans.14

6.2 Pedagogical Implications for Teaching

6.2.1 Interviews

An interview was conducted with primary informant Mary Goetze. The interview

was conducted via Skype and transcribed with Microsoft Word. The discussion focused

on ways in which the composer was influenced by Kodály’s Bicinia Hungarica and how

her compositions differ from Kodály’s, both in material and purpose. Anecdotal

interviews were conducted with Dr. Kathy Hickey and Ann Miller. Dr. Hickey was a

close professional colleague of Mark Williams in Southern California during Mr.

Williams’ tenure at the Colburn School.15 Ann Miller became a friend and colleague of

13. Music, a Universal Language: 31 Folksongs from 21 Different Countries, with anArrangement of Each Song for 2- or 3-Part Children's or Youth Choir, (Budapest:International Kodály Society, 2006).

14. Roger Sams, Where Go the Boats, Crooked River Choral Project, vol. 1 (OH: Music isElementary, 2011); Roger Sams, Marching Song , Crooked River Choral Project,vol. 2 (OH: Music is Elementary, 2011); James Carr, Star , Crooked River Choral

Project, vol. 3 (OH: Music is Elementary, 2011); James Carr, Hazrat Bibi Maryam, Crooked River Choral Project, vol. 4 (OH: Music is Elementary, 2011);Cyndee Giebler, The Erie Canal Song , Crooked River Choral Project, vol. 5 (OH:Music is Elementary, 2013).

15. Kathy Hickey, interview by author, via Skype, February 22, 2014.




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Mark Williams during her years of teaching elementary music in the Houston area, at

which time Mr. Williams was teaching in San Antonio. Mrs. Miller later reconnected

with Mr. Williams while both were teaching in China. 16

Questions, techniques, and procedures for interview were developed in

accordance with Qualitative Research and Case Study Applications in Education by

Sharan Merriam.17 Additionally, a previously-completed interview with Denise Bacon

(located in Appendix D) is included as part of the current discussion. The Institutional

Review Board (IRB) has approved the project, in order to protect the rights and welfare

of the human subjects involved with this study.Through these interviews, the investigator concluded that the value of Bicinia

Hungarica lies in the pedagogical opportunities suggested by the pieces. Although the

pieces may be used purely for performance, they provide opportunities for students to

practice a number of musical skills, including arranging, composition, and improvisation.

6.2.2 Arranging

In a student-centered learning environment, the learner may be afforded the

opportunity to make choices about the arrangement to suit his or her musical tastes. With

continued practice, this process will help establish critical listening skills in the student.

The melody of the bicinium may be performed a number of times without the

printed harmony in class or for performance. It is sometimes effective to perform the

16. Ann Miller, interview by author, via Skype, February 22, 2014.

17. Sharan B. Merriam, Qualitative Research and Case Study Applications in Education,2nd ed. (San Francisco: Jossey-Bass Publishers, 1998).




300

melody on a hum or with a neutral syllable in between verses, or as an introduction or

coda. The addition of a sung drone while the melody is being sung may also be a tasteful

musical addition to the performance. When performing bicinia, teachers may elect to

omit verses which are not central to the overall affect of the piece.

Regarding her own bicinia, Dr. Goetze states: “It’s easy to develop your own little

arrangement of them by singing the melody, adding a voice or adding an ostinato then

bringing in the melody, and finally adding the third voice. … When I present my own

compositions and crafted arrangements with accompaniment, I usually free the teachers

to arrange as needed for the group. I think that they should feel free to do that. ”

18

Thistype of freedom allows teachers to use the same musical material to meet the needs of a

variety of students and customize the learning and musical experience based on students’

skill levels.

Although Kodály advocated a cappella singing, it may be useful and appropriate

to add simple artistic accompaniments to bicinia for performances. Mary Goetze’s Simply

Sung appears in an Orff series; additionally, Sing We Noel and The Cat Came Back both

include suggestions for Orff accompaniment. Denise Bacon published her own piano

accompaniments for unison melodies in Twenty-Four Nursery Songs.19 Teachers may

18. Mary Goetze, interview by author, via Skype, January 28, 2014.

19. Denise Bacon, interview by author, via telephone, April 30, 2006. It should be notedthat several folk songs appear with piano accompaniment in Béla Bartók, Mikrokosmos (NY: Boosey & Hawkes, 1995).




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even elect to use precomposed accompaniments and ostinatos like those that appear in

Music for Children by Carl Orff and Gunild Keetman.20

Many examples of arranging bicinia for performance can be found on the

Hungaroton recording of Bicinia Hungarica.21 For instance, Nos. 101 and 101a have been

performed as if the two bicinia were subsequent verses of the same bicinium.

6.2.3 Composition/Improvisation

Denise Bacon mentions improvisation as a means for students to access part-

singing. Bacon specifically recalls her teaching partner, Peter Erdei, improvising aharmony part while students sang a melody, which was later introduced as one of the

bicinia from Bicinia Hungarica. Bacon also suggests using material from Bicinia

Hungarica as a basis for question and answer, where a teacher sings a question and

students improvise an answer.22

Mary Goetze recalls improvising in a homophonic style as a child and thinks this

can aid in the development of homophonic singing. Although homophony does not exist

in Bicinia Hungarica, teachers can still provide opportunites for homophonic

improvisation. Bicinia which make use of tonal and real answers can be used for students

to improvise within a given tone set. Example 7 shows a real answer between the melody

20. Carl Orff and Gunild Keetman, Music for Children, vol. 1 (London: Schott & Co.,

1958).

21. Zoltán Kodály, Kodály Complete Edition, Choral Works: Bicinia Hungarica &Tricinia, Ilona Andor, Hungaroton, 2012.

22. Denise Bacon, interview by author, via telephone, April 30, 2006.




302

and harmony in the first two phrases. A teacher could ask a student to improvise a

harmony part starting on la and following the same melodic contour of the melody. This

is an example of how a teacher might take the printed material and modify it to fit the

curricular goals. (The same example can also be used to facilitate the improvisation of an

answer as suggested by Bacon.)

Example 7. Real answer in No. 72.

The previously referenced recording of Bicinia Hungarica provides examples of

text composition in the performance of several textless bicinia.23 While this is a basic

level of composition, it affords students the opportunity to explore principles of textual

emphasis and the inherent rhythm of language.

Teachers may consider providing students with specific parts of a bicinium to

facilitate composition. For instance, providing students with the rhythm of a harmony

part from a bicinium and asking students to compose with a given tone set gives students

the opportunity to immediately perform two-part music which has been customized for

their individual skill levels. Futhermore, this provides an opportunity for discussion and

23. Kodály, Kodály Complete Edition, Choral Works.Specifically, Nos. 4 – 8, 12, 26, 29,and 31 have been performed with texts.




303

musical reading when students are shown how Kodály composed the same piece of

music. Teachers may also provide students the opportunity to compose using the given

harmony as a framework. Example 8 shows a worksheet which would allow students to

compose an answer based on the harmony set forth in No. 72.

Example 8. Composition example derived from No. 72.

6.2.4 Teaching Strategies

Denise Bacon suggests using small parts, even single measures or motives, from

Bicinia Hungarica in teaching situations.24 Some of the examples already given might

illustrate how bicinia were used in Hungary or by Peter Erdei.

Mary Goetze suggests that the path to teaching harmony begins by teaching the

melody long before introducing the harmony. After the melody has been learned, she

suggests extracting the harmony parts and having students read them in isolation from the

melody. After this is done, each part may be added to the melody to create an

arrangement like those found in her collections. 25

It is safe to assume that this modular

24. Denise Bacon, interview by author, via telephone, April 30, 2006.

25. Mary Goetze, interview by author, via Skype, January 28, 2014.




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approach can be applied to Bicinia Hungarica or any polyphonic piece with a clearly

predominant melody.

Goetze’s strategy falls in line with suggestions put forth by Klinger and

Rappaport in articles discussing the development of part-work skills.26 Both of these

articles describe how to integrate part-singing with monophonic material, such as folk

songs. Their suggestions are pertinent to the current discussion because Kodály

frequently modifies the melody of a bicinium in a way that creates part-singing. Before

children can sing two independent parts, half the class must be able to sing the first

phrase followed by the other half singing the second phrase. Example 9 shows themelody of No. 2 being passed from the lower voice to the upper voice, with harmony

occurring in measures 4 and 8. The procedure described above would be an appropriate

first step in preparing students to perform or read the bicinium in Example 9. 27

Example 9. Melody shared between two voices in No. 2.

26. Rita Klinger, "Introducting Part Music to Children," Kodály Envoy 15, no. 4 (1989);

Jonathan C. Rappaport, "The Sequential Development of Part Work," Kodály Envoy 12, no. 3 (1986).

27. Ildikó Herboly-Kocsár provides similar suggestions for teaching polyphony in her book Teaching of Polyphony Harmony, and Form in Elementary School (Budapest: Zoltán Kodály Pedagogical Institute of Music, 1984).




305

The following strategy has been successful when teaching bicinia which make use

of a melodic shift. Example 10 shows No. 13, which is comprised of a melody shared

between the upper and lower voices; the melody is first presented with A = la (measures

1-6) and then with D = la (measures 7-12). Students learn the melody using solfège, up to

the point where a melodic shift occurs (measures 1-6 in Example 10). When they can

perform the melody confidently, students will sing the same melody in the tonal area

where the melodic shift occurs (measures 6-12 in Example 10). At the end of this

teaching episode, the teacher should play or sing the melody in the first tonal area and askstudents how the melody is the same and how it is different, leading them to discover that

it has the same melodic contour and solfège, just in a higher key. During a separate

teaching episode, students will sing the melody from the first half of the bicinium

followed by the teacher singing the second half. The teacher draws the students’ attention

to the relationship between the final note in measure 6 and the first note in measure 7.

The teacher may then sing the first half of the bicinium, asking students to sing the last

three notes (measure 6) with him or her and then finish singing the melody in the new

tonal center. After some further practice of these steps, students should be able to sing the

melody as written. These same steps may be followed whether the melody is being

aurally or visually presented; however, when the material is notated for students, they

will be most successful if the melody is presented on a single stave. From this point, the

teacher may assign specific students to sing only the melody on the top stave or the




306

bottom stave. Once the class can sing the melody in two parts, the harmony may be

approached in any number of ways to fit specific curricular goals.

Example 10. Teaching strategy for melodic shift present in No. 13.

6.3 Recommendations

6.3.1 Further Research on Bicinia Hungarica

The current study explains musical elements present in Kodály’s Bicinia

Hungarica which are frequently discussed in university-level music theory classes. There

are some elements of Hungarian folk music which have not been discussed because they

are unique to a Hungarian style of folk song analysis. A study of the cadences employed

would be a useful addition to the current study. How does one address elements unique to

folk music in a polyphonic style when terminology exists to describe elements in each

genre separately? Hungarian folk music analysis also accounts for the relationship and

structure of rhythmic patterns. The level of rhythmic analysis found in Joób’s dissertation

regarding 333 Reading Exercises would also be pertinent to a study describing the

influence of folk song upon art music.28

28. Árpád Joób, A Magyar Népzene Rendszere És Szelleme Kodály Zoltán 333Olvasógyakorlatában (Kecskemét, Hungary: Kodály Intézet, 1996). Summarizedin Árpád Joób, "The System and Spirit of Hungarian Folk Music in Kodály's 333




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Due to the polyphonic nature of the collection, a study of the use of non-chord

tones might also be useful, especially if presented in a pedagogical fashion for choral

directors integrating a Kodály-inspired approach. A study of how audiation is integrated

into the bicinia would be of pedagogical value to the music educator. This could seek to

explain how starting pitches in accompanying voices may be found and how difficult

intervals may be tuned with the aid of the accompanying voice.

Bicinia Hungarica could better be understood, and thus used more effectively in

American classrooms, through pedagogical analysis. While the collection is progressive,

there seems to be much room for practice of new musical elements between each piece.When looking at the musical features, one wonders if there is also a relationship between

rhythmic content and melodic elements. It seems that the rhythmic content is simplified

when new melodic elements are first introduced; later, Kodály explores many different

types of rhythmic values using the same melodic element.

6.3.2 Suggestions for Further Investigation

Interestingly, the current Hungarian edition (edited by András Wilheim) includes

material which is not included in any of the English editions published by Boosey &

Hawkes. Kodály’s notes not only provide valuable technical information, but also

provide some insight into the Hungarian culture that seems to be missing from the current

English versions. An English translation of the material Kodály intended to be published

Exercises," in Zoltán Kodály--Composer, Musicologist and Educationist. A Festschrift for Professor Mati Vainio, ed. Pekka Kuokkala et al.(Jyväskylä,Finland: University of Jyväskylä, 1996).




308

with Bicinia Hungarica would be a valuable addition for scholars and teachers alike.

Similarly, Hungaroton released a recorded collection of Bicinia Hungarica and Tricinia

in 2012. Although these pieces are primarily intended for classroom use, recordings of

the pieces in English might be useful for American teachers and students. An interactive

series that would include source recordings of the folk song alongside cultural

information about Hungary could make Bicinia Hungarica more relevant for today’s

music classroom.

Pedagogical analysis of Bicinia Hungarica and Kodály’s other pedagogical works

would further make these materials relevant to a Kodály-inspired American curriculum.Kodály’s materials are a model for successful music literacy training. While his

pedagogical works are used in teacher training courses, it is sometimes difficult to

integrate these works into classroom teaching because of the large quantity of exercises a

teacher must analyze in order to use the most pertinent few. Specifically, an index of

musical elements present in bicinia which are most useful for prepration or practice of

elements could be useful to a Kodály-inspired curriculum.

Kodály also wrote several volumes of textless two- and three-part exercises which

explore polyphony throughout the common practice period. Replication of the current

study with material from the Two-Part Exercises and Tricinia would provide more

insight into how Kodály sought to teach polyphony and music literacy.




309

6.4 Conclusion

This study involved analysis of Kodály’s Bicinia Hungarica for the musical and

stylistic elements present in each bicinium. It became clear that a wide variety of musical

elements are present and frequently combined to create rich opportunities for musical

skill development. While the collection is progressive in difficulty, neighboring bicinia

appear to have very different musical content, suggesting that Bicinia Hungarica was

intended more for the practice phase of learning musical elements rather than the

preparation or presentation phase of learning.

Interviews with composers of contemporary bicinia provided insight regarding

their reasons for creating these works and ways in which they may be used in American

classrooms. Informants agreed that the goal of teaching students to sing in parts or in a

polyphonic style was part of the genesis for their compositions. Composers recommended

teaching the melody of a piece before approaching harmony and using improvisation as a

basis for introducing the harmony to students.

There is need for further study of Kodály’s Bicinia Hungarica, including

pedagogical analysis of material found in the collection. Further analysis may bring about

more suggestions regarding the teaching of polyphony to young students so they may

have greater access to polyphonic vocal works.




310

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APPENDIX A

ANALYIS CHART

Table 6. Summary of important musical features by bicinium. Meter : D = duple; T = triple; Q = quadruple;

F = asymmetrical 5; S = asymmetrical 7. Tonality: P = pentatonic; M = major; N = minor; A = Aeolian; O = Dorian;IO = Ionian; X = Mixolydian; H = Phrygian; SO = so Pentatonic. Formal Features: 1P = one part; 2P = two part;3P = three part; TC = through composed.

Bicinium Rhythmic Features Melodic Features Formal Features

Meter Time SignatureNumber of Rhythmic

ValuesTonality Number of melodic intervals

Rhythmic

form

Melodic

form

Phrase

structure

d r m f s l t altered

1 DTI 2@3@ 9 A 2 5 1 12 3 8 5 5 TC TC 2P

2 D 2$ 3 PM 1 2 1 0 2 6 0 0 1P 3P 2P

3 Q 4$ 4 PM 4 0 0 0 1 1 0 0 2P 2P 2P

4 D 2$ 4 PM 1 3 1 0 3 1 0 0 2P 3P 3P

5 D 2$ 5 PM 1 5 1 0 3 4 0 0 2P 2P 2P

6 D 2$ 3 PM 3 4 1 0 1 4 0 0 1P 2P 2P

7 T 3$ 3 PN 1 4 1 0 3 4 0 0 1P 3P 2P

8 T 3$ 3 PN 2 5 1 0 1 4 0 0 1P 2P 2P

9 D 2$ 6 PM 2 4 1 0 3 4 0 0 1P TC 2P

10 D 2$ 3 PN 1 4 1 0 3 5 0 0 2P 2P 2P

11 D 2$ 6 PN 1 3 0 0 0 7 0 0 2P 2P 1P

12 D 2$ 6 PN 1 4 1 0 0 8 0 0 1P 1P 1P

13 D 2$ 5 PN 0 4 1 0 2 4 0 0 1P 1P 1P

14 D 2$ 5 PN 0 2 1 0 3 5 0 0 1P 1P 1P

15 D 2$ 5 PN 0 4 1 0 3 2 0 0 1P 2P 2P



321

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


16 D 2$ 6 PN 3 4 1 0 3 3 0 0 1P 2P 2P

17 D 2$ 4 PN 1 4 1 0 2 6 0 0 1P 2P 1P

18 T 3$ 5 PN 5 4 1 0 2 7 0 0 1P 2P 1P

19 Q 4$ 4 PN 2 3 0 0 1 4 0 0 2P 3P 3P

20 Q 44$ 4 PN 0 2 1 0 2 5 0 0 1P 2P 2P

21 Q 4$ 7 PN 2 5 1 0 3 6 0 0 3P 2P 1P

22 Q 4$ 8 PN 2 4 0 0 2 2 0 0 2P 2P 2P

23 Q 4$ 9 PM 3 3 1 0 1 5 0 0 1P 2P 1P

24 Q 4$ 7 PN 1 3 1 0 2 5 0 0 2P 2P 2P

25 D 2$ 6 PN 5 4 1 0 4 6 0 0 1P 1P 1P

26 D 2$ 8 PN 1 4 1 0 3 5 0 0 1P 2P 1P

27 D 2$ 7 PN 3 5 1 0 2 8 0 0 1P 1P 1P

28 D 2$ 6 PN 3 5 2 0 6 8 0 0 1P 2P 2P

29 Q 4$ 4 PN 1 3 1 0 0 3 3 0 1P 2P 1P

30 D 2$ 6 PM 2 3 1 0 3 2 5 0 2P TC 2P

31 D 2$ 5 PN 2 3 1 0 3 4 2 0 2P 2P 2P

32 D 2$ 6 PN 2 4 1 0 2 5 1 0 1P 2P 1P

33 D 2$ 5 A 1 3 2 2 1 5 2 0 1P 1P 2P

34 DTI 2$3$ 5 PN 0 4 2 4 2 7 6 0 TC TC TC

35 DQTI 3$4$2$ 4 M 3 1 0 4 1 4 3 0 1P 1P 2P

36 DTI 3$2$ 5 A 2 4 0 2 0 3 2 0 1P 1P 2P



322

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


37 D 2$ 6 A 2 4 0 3 1 3 3 0 1P 1P 2P

38 T 3$ 4 O 0 3 0 0 2 6 3 1 1P 2P 1P

39 QTI 3$4$ 6 A 2 5 0 1 0 4 6 0 1P 2P 2P

40 Q 4$ 6 A 2 2 1 2 1 5 2 0 2P 2P 2P

41 D 2$ 7 A 1 4 1 0 0 5 3 0 2P 2P 2P

42 D 2$ 6 M 3 2 0 2 1 1 3 1 2P 2P 2P

42a D 2$ 6 M 3 2 0 2 1 1 3 1 2P 2P 2P

43 D 2$ 4 O 1 3 0 1 0 3 3 1 1P 2P 1P

44 D 2$ 4 O 3 5 1 0 3 5 1 1 1P 2P 1P

45 Q 4$ 6 O 2 4 1 0 1 5 6 2 1P 3P 2P

46 T 3$ 7 O 3 4 0 1 1 3 2 5 1P TC TC

47 T 3$ 5 O 1 1 1 0 1 4 4 1 1P 2P 2P

48 D 2$ 5 M 3 3 1 5 2 4 1 0 1P TC 2P

49 Q 4$ 5 PN 1 3 1 3 1 4 0 0 1P 2P 1P

50 Q 4$ 5 PN 0 2 0 3 1 3 3 0 2P 1P 1P

51 T 3$ 4 PN 0 1 0 2 1 2 0 0 1P 2P 1P

52 D 2$ 3 M 3 4 1 7 3 3 6 0 1P 2P 1P

53 D 2$ 4 O 1 2 0 5 0 5 3 0 2P 3P 3P

54 D 2$ 5 N 1 1 0 0 0 4 5 1 1P 2P 2P

55 D 2$ 6 N 2 4 2 0 0 6 6 3 1P 2P 2P

56 D 2$ 7 N 4 4 1 4 2 5 3 4 3P TC 2P



323

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


57 DTI 2$3$2*3* 6 PN 0 2 0 0 0 1 0 0 TC TC 2P

58 DTI 3@2@ 10 M 4 4 1 8 1 5 8 4 TC TC 2P

59 DQI 4$2$ 11 N M 4 5 2 13 4 5 6 4 TC TC 2P

60 D 2$ 7 M 4 3 0 9 1 3 7 2 TC TC 3P

61 F 5$ 9 PN 2 4 2 0 1 9 0 0 1P 2P 2P

62 QTI 4$3$ 7 SO 1 4 1 0 4 3 0 0 1P 2P 2P

63 Q 4$ 6 PN 3 3 0 0 1 8 0 0 1P 2P TC

63a 7 PN 2 4 1 0 4 8 0 0 1P TC TC

64 QTI 3$4$ 6 PN 3 4 1 0 2 5 0 0 1P 3P 3P

65 D 2$ 5 PN 4 4 1 0 2 3 0 0 1P 3P 2P

66 DTI 3*2* 4 PN 2 3 0 5 1 4 0 0 1P TC TC

67 Q 4$ 5 PN 1 3 0 0 1 5 0 0 2P 3P 3P

68 D 2$ 7 PN 2 5 1 0 3 6 0 0 2P 2P 2P

69 D 2$ 4 PN 3 2 0 0 2 7 0 0 1P 2P 2P

70 (4$) 5 PN 2 3 1 0 1 6 0 0 1P 1P 1P

71 (2$) 6 PM 4 4 0 0 1 3 0 0 2P 2P 2P

72 T 3$ 8 A 1 3 0 0 2 3 0 0 1P 1P 2P

73 Q 4$ 5 PM 4 4 1 0 3 3 0 0 2P 2P 2P

74 D 2$ 7 PN 3 6 1 0 2 8 0 0 1P 3P 2P

75 D 2$ 5 A 1 3 1 3 1 5 2 0 1P 3P 3P

76 Q 4$ 6 IO 2 3 0 7 2 3 0 0 1P 1P 2P

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324

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


77 D 2$ 4 O 0 2 0 0 1 5 4 0 1P 2P 2P

78 D 2$ 4 O 1 2 0 0 0 2 3 0 2P 2P 2P

79 D 2$ 3 A 1 2 0 0 0 2 3 0 1P 2P 2P

80 Q 4$ 4 O 1 3 0 5 0 3 3 0 1P 3P 3P

81 D 2$ 7 O 1 5 0 0 0 5 2 1 1P 2P 1P

82 D 2$ 7 PN 1 4 1 0 0 5 2 0 1P 3P 2P

83 DT 3$2$ 10 O 1 4 1 1 2 9 1 0 TC TC 2P

84 QFI 4$5$ 7 O 0 4 0 3 1 6 2 0 1P 1P 1P

85 Q 4$ 7 PN 3 3 1 0 2 6 4 0 2P 2P 2P

86 Q 4$ 7 PN 2 3 2 0 0 4 5 0 1P 2P 2P

87 D 2$ 6 A 2 1 1 2 0 2 2 0 2P 2P 2P

88 Q 4$ 5 O 1 2 1 2 2 3 4 0 2P 2P 2P

89 Q 4$ 7 A 3 4 1 4 0 5 5 0 3P 3P 2P

90 DQI 4$2$ 5 A 4 2 0 4 2 3 3 0 2P 2P 2P

91 DQI 4$2$ 6 A 2 3 2 4 2 4 7 0 2P TC TC

92 Q 4$ 5 M 3 3 1 6 1 5 2 0 2P 1P 2P

93 Q 4$ 6 O 3 3 1 1 2 4 5 1 1P 2P 2P

94 DTQR 2$3$4$ 9 O 1 2 1 2 1 4 6 0 1P 2P 2P

95 Q 4$ 6 O 2 2 1 4 1 6 4 0 2P 2P 2P

96 Q 4$ 9 O 0 6 0 8 2 5 3 0 1P TC 2P

97 Q 4$ 6 O 1 3 1 1 1 5 4 1 2P TC TC



325

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


98 D 2$ 5 O 1 3 0 7 0 5 4 0 1P 3P 2P

99 DQI 4$2$ 7 O 3 3 1 2 3 4 3 1 2P 2P 2P

100 DQI 4$2$ 10 A 4 4 2 3 3 5 8 1 2P 2P 2P

101 T 3$ 4 O 0 3 0 4 0 4 2 3 1P TC TC

101a T 3$ 3 N 2 3 1 3 0 5 6 7 1P TC TC

102 Q 4$ 4 O 0 2 0 10 2 4 3 0 2P 2P 2P

103 QTI 3$4$ 7 O 2 2 0 11 1 4 6 0 1P 2P 2P

104 DQI 2$4$ 7 N 2 5 1 3 3 6 6 3 2P 2P 2P

105 DQI 4$2$ 6 M 4 2 0 8 1 1 2 3 2P 2P 2P

106 D 2$ 5 H 2 3 0 2 0 4 6 3 1P TC TC

107 T 3$ 7 N 5 5 1 12 3 6 9 5 2P TC 3P

108 Q 4$ 8 A 3 4 1 9 0 3 10 5 2P 2P 2P

109 D 2$ 6 M 2 4 1 5 2 3 8 2 2P 2P 2P

110 TQI 3$4$ 7 X 2 5 1 6 2 2 8 0 2P 2P 2P

111 Q 4$ 6 O 0 3 0 7 0 3 3 4 1P 1P 1P

112 QTI 4$3$ 10 A 2 5 1 6 2 7 2 4 TC TC 2P

113 T 3$ 7 H 3 4 0 10 0 3 3 5 1P TC 3P

114 Q 4$ 8 H 0 5 1 6 3 4 10 0 2P 3P 1P

115 none 4 M 3 3 1 7 1 3 5 1 1P TC TC

116 D 2@ 5 A 0 3 1 7 1 3 12 1 1P 3P 1P

117 none 4 O 2 6 1 6 0 6 8 2 3P 3P 2P

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Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


118 none 4 M 1 4 1 10 2 4 10 6 TC TC TC

119 DTI 2@3$ 12 N 2 4 2 11 2 5 7 10 TC 3P 1P

120 TFI 3$5$ 5 H 0 3 1 5 1 3 4 7 1P TC 2P

121 CFI 5$6$ 6 N 0 2 1 5 0 3 4 7 1P 3P 3P

122 F 5$ 8 PN 2 5 1 0 1 7 0 0 1P 3P 1P

123 T 3$ 9 PM 2 4 1 0 3 6 0 0 TC 2P 2P

124 D 2$ 3 PN 2 3 1 0 2 5 0 0 2P 3P 2P

125 T 3$ 5 PM 2 4 2 0 1 7 0 0 1P 1P 1P

126 D 2$ 4 PN 2 4 2 0 2 4 0 0 1P 2P 1P

127 D 2$ 8 PM 4 2 1 0 2 4 0 0 1P 2P 1P

128 T 3* 8 PM 1 3 0 0 3 3 0 0 1P 2P 1P

129 T 3$ 7 PN 3 5 1 0 2 8 0 0 1P 2P 1P

130 F 5$ 7 PM 3 2 1 0 3 4 0 0 1P 2P 1P

131 Q 4$ 6 PN 4 4 1 0 3 7 0 0 1P 2P 1P

132 D 2$ 4 PM 6 3 1 0 4 6 0 0 1P 2P 1P

133 T 3$ 6 PM 4 5 1 0 3 9 0 0 1P 2P 1P

134 D 2$ 9 M 3 4 1 0 2 5 0 0 1P 2P 1P

135 D 2$ 6 PN 3 4 1 0 0 6 0 0 1P 2P 1P

136 QFI 4$5$ 7 PM 4 5 1 0 3 6 0 0 1P 2P 1P

137 DQI 4$2$ 6 PN 3 4 1 0 2 5 0 0 1P 2P 1P

138 DTI 3$2$ 4 PM 3 3 1 0 3 5 0 0 1P 2P 1P

mailto:2@(cut%20time)%203$







327

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


139 TCFI 5$6$3@ 6 PM 5 4 1 0 3 6 0 0 TC TC TC

140 (2$) 4 PN 4 3 1 0 1 7 0 0 1P 1P 1P

141 T 3$ 11 PN 3 9 1 0 2 4 0 0 1P 1P 1P

142 DQI 2$4$ 7 PM 4 5 1 0 3 7 0 0 1P 2P 1P

143 DTI 2$3$ 6 PM 4 4 1 0 2 6 0 0 1P 2P 1P

144 D 2$ 7 PM 3 5 1 0 4 6 0 0 1P 2P 1P

145 D 2$ 6 PM 3 4 1 0 3 6 0 0 1P 2P 1P

146 D 2$ 6 SO 3 3 1 0 3 6 0 0 1P 1P 1P

147 (2$) 8 PM 2 2 1 1 4 7 0 0 1P 1P 1P

148 T 3$ 7 PN 3 5 1 0 2 7 0 0 1P 1P 1P

149 Q 4$ 5 PN 2 5 1 0 3 7 0 0 1P 2P 2P

150 TCR 3$6* 7 PN 3 3 1 0 4 5 0 0 1P 2P 1P

151 Q 4$ 6 PN 3 2 0 0 2 6 0 0 1P 2P 1P

152 D 2$ 9 PN 2 3 1 0 2 6 0 0 1P 1P 1P

153 D 2$ 6 PN 3 4 1 0 3 7 0 0 1P 1P 1P

154 D 2$ 5 PN 2 3 1 0 2 8 0 0 1P 1P 1P

155 T 3$ 7 PM 4 3 1 0 4 5 0 0 1P 2P 1P

156 QFR 4$5$ 9 PM 4 5 1 0 2 7 0 0 1P 2P 1P

157 D 2$ 3 PN 4 4 1 0 4 6 0 0 1P 2P 1P

158 D 2$ 7 PM 3 2 1 0 1 7 0 0 1P 2P 1P

159 F 5$ 8 PN 2 5 1 0 3 4 0 0 1P 2P 1P



328

Table 6. Continued




Rhythmic

form

Melodic

form

Phrase

structure


160 F 5$ 7 PM 3 4 1 0 3 5 0 0 1P 1P 1P

161 DTI 2$3$ 6 PN 2 8 1 0 2 5 0 0 1P 2P 1P

162 T 3$ 8 PM 3 4 1 0 4 5 2 0 1P 2P 1P

163 D 2$ 8 PM 2 5 1 0 2 6 0 0 1P 2P 1P

164 DTI 2$3$ 7 PM 5 5 2 0 3 6 0 0 1P 2P 1P

165 F 5$ 7 PM 4 5 0 1 4 3 1 0 1P 1P 1P

166 FSR 5$7$ 7 PM 2 4 1 0 2 6 0 0 1P 2P 1P

167 DTI 2$3$ 5 PM 3 4 1 0 5 6 0 0 1P 2P 1P

168 D 2$ 8 PM 4 5 1 0 2 6 0 0 1P 2P 1P

169 F 5$ 8 PN 2 6 1 0 4 7 0 0 1P 2P 1P

170 DTI 2$3$ 7 PM 2 3 1 0 5 4 0 0 1P 2P 1P

171 DQTI 2$4$3$ 11 PN 3 4 1 0 3 7 0 0 1P 2P 1P

172 FSR 5$7$ 10 PN 2 5 1 0 2 6 0 0 1P 2P 1P

173 F 5$ 10 PN 1 4 1 0 2 6 0 0 1P 2P 1P

174 F 5$ 8 PN 4 3 1 0 2 7 0 0 2P 2P 1P

175 Q 4$ 7 PM 4 5 2 0 5 6 0 0 1P 2P 1P

176 Q 4$ 6 PM 2 3 1 0 3 5 0 0 TC 2P 1P

177 F 5$ 9 PN 3 4 1 0 4 6 0 0 1P 1P 1P

178 F 5$ 7 PM 5 4 0 0 5 5 0 0 1P 2P 1P

179 F 5$ 6 N 1 4 1 4 0 4 8 1 1P TC 2P

180 T 3$ 5 PN 3 4 1 0 1 6 0 0 1P 2P 1P




329

APPENDIX B

HUMAN SUBJECTS APPROVAL




330




331




332

APPENDIX C

RECRUITMENT EMAIL

Dear [Name of Subject];

I am currently working on research for my dissertation to complete a Ph.D. inFine Arts degree at Texas Tech University. My primary research is to analyze each piecein Zoltán Kodály’s Bicinia Hungarica for the musical elements present and the sequencein which these elements are presented. Additionally, I would like to determine to whatextent American composers of bicinia and bicinia-like compositions have beeninfluenced by Bicinia Hungarica.

I believe that you have written compositions which fall into the category of

bicinia and would like to conduct an interview with you regarding your [Title ofcomposition]. Your name and the information you provide will be included as part of mydissertation, and will include a discussion based on my theoretical findings and yourinterview. My final results, and a copy of the interview will be made available to you foryour approval.

I anticipate the interview to take no more than one hour of your time. While Iknow that this may be a busy time of the year, I would greatly appreciate your help withthis very important project.

If you are willing to participate, please respond via email ([email protected]).

Include in your reply specific dates and times that you would be available to conduct theinterview via Skype or telephone (please use your local time zone or specify times basedon Central Standard Time). Once I receive your response, I will send a PDF of a consentform that must be filled out before the survey.

This study is taking place with the approval of the Texas Tech UniversityInstitutional Review Board for Human Subjects. If further information is needed, pleasefeel free to contact myself ([email protected]) of Dr. Susan Brumfield, Professor of MusicEducation at Texas Tech University ([email protected]).

Thank you for your time and consideration,

Daniel Todd, M.M.Ed.Texas Tech University Doctoral [email protected](806) 292-0739




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APPENDIX D

DENISE BACON INTERVIEW

Date: 30 April 2006

Place: Telephone

Interviewer: Daniel Todd

Respondent: Denise Bacon, former director and founder of The Kodály Center ofAmerica and The Kodály Music Teacher Training Institute

Re: 46 Two-part Exercises

TODD. What was your inspiration for the Bicinia?

BACON. When we started a model school, we taught six grades at a time. Where

in Hungary, teachers don’t get a job where they teach all six grades at once. We were in

desperate need for some easy two-part writing in our own model school, which did go

through sixth grade. I studied some of Kodály’s Bicinia during my year in Hungary. I

guess I used those as models.1

1. The following was not recorded, but occurred as a continuation of the discussionregarding Bacon’s inspiration for writing the bicinia and was transcribed from theauthor’s notes.

BACON. I wrote 50 Two-part Exercises before the 46 Two-Part American Songs. The

Two-Part American Songs came after we wrote the 150 American Folk Songs.Helga Szábo helped me write the Two-Part American Songs. Kodály said that inorder to sing in unison in tune, you must first start with singing in two parts. It iseasier to sing in two parts because you can adjust to the other part. So, I wasinspired to write them after my studies in Hungary.




334

TODD. Did you write the Bicinia with a logical sequence of elements in mind or

was it ordered progressively afterwards?

BACON. No. [laughs] Well, I think I ordered it progressively afterwards. I just

picked the songs that I liked and set them immediately.

TODD. Who was your target audience?

BACON. They were written basically for elementary school youth. I wrote them

particularly because the graduates we had needed material that conformed to Kodály’s

ideas. And so, my original audience was our own model schools. We had two or three of

them.TODD. Kodály’s Bicinia was part of his “Choral Method.” Do you feel that your

work serves the same function for the US?

BACON. That was my intention, yes. And the trouble with the Bicinia that I

discovered was they were completely dependent on the personality of the teachers.

Because the trouble was with the cadences with the falling fourth, which sounds foreign

to American’s ears. So, we weren’t so successful at teaching them the Bicinia, which

prompted me to write these with an American flavor, but conforming to Kodály’s ideas.

TODD. How are the Bicinia used in the Hungarian curriculum?

BACON. I can’t remember exactly. But I do know that they use them very early,

probably by second grade. I’d have to go back and look at my notes. I kept little

notebooks of all the classes I took.

TODD. So they were used as a very early introduction to two-part singing?




335

BACON. Yes, but did a lot of improvising of little bits of things to introduce two-

part singing. They didn’t go straight to the Bicinia. They start with the teacher singing a

long, held note against the class. I remember Péter Erdei, in the model school he taught

in, he taught the Bicinia in the second grade, but I know he preceded it with a lot of

improvised teacher ostinato. I remember visiting his class one day when Péter had

invented a little pentatonic ostinato and a little boy saying: “Mr. Erdei that sounds exactly

like the new song we learned yesterday.” And the new song was one of the Bicinia.

[Bacon hums the tune.]

TODD. How did you intend for the music to be used in the classroom? Does ithave a place outside the classroom, on the concert stage?

BACON. When we gave a spring concert, we always sung [ sic] them. The parents

knew the kids were doing well, but they couldn’t understand why there was no piano.

These kids sound so thin compared to those that sing regular music. It was really a job to

educate the parents why we were doing this. That is why I set the 24 Nursery Songs with

piano accompaniment. They were all either from the 46 , the 150, or the Let’s Sing

Together , which you probably don’t have. Boosey refuses to reprint it and that’s for 3, 4,

and 5 year olds. That book is in now, it was 20 years ahead of its time. That one is

ordered just the same way, beginning with just two little notes. In fact, I’ve found in

several series books “I See the Moon,” which I wrote for 3, 4 and 5 year olds, is now a

traditional folksong, and the same thing with “Peas, Porridge Hot” and a couple of these.

Anybody could have written those, because they were written on purpose to be so easy

for 3- and 4-year-old children. I finally realized that, after people knew the 46 Two-Parts,




336

and really knew them well, and didn’t depend on a piano to bang the parts out or

anything, that I could provide a very useful thing for concert time by introducing the idea

of making those songs into art songs by providing an imaginative accompaniment. Do

you have that book?

TODD. Yes, I do.

BACON. If you look it up, you will notice that several of them are from the 46 .

But my intention of those was really to introduce the idea of art music at an early age.

But, not until they really knew the song.

TODD. And that’s also a way of transferring what’s going on in the classroom toa concert setting.

BACON. That’s right. That’s right.

TODD. What preparation should come before using these songs in the classroom?

What should follow?

BACON. Goodness. You watch any of these Hungarian teachers and they will

take a particular measure that is difficult and, without any reference to the song, and just

use it, either rhythmically or pitch wise, and draw attention to a particular spot in the

song. So, a person almost knows the song before they’ve ever seen it. In fact, Keith

Knighton wrote a book called Ta and Ti Bones. He did a very interesting thing. He took

the most familiar pentatonic songs, like from 150 [ American Folk Songs to Sing, Read

and Play], and he reduced them all to either quarters and eighths, and called it Ta and Ti

Bones. The first half of the book is all very very simple. On the cover of the book is the

skeleton of “Hush Little Minnie.” Nothing but quarters and eighths, and then it shows the




337

transfer of a phrase to the whole song so that through doing a whole bunch of those you

turn to the back of the book and they know the whole song. Follow up is just all the kinds

of things you can do with the song. Follow up is really the matter of practicing the songs.

TODD. Are they stepping stones, or preparation for other specific repertoire?

BACON. Oh yes definitely. The point is Kodály’s idea of sequence and brick

building. It’s logical that those songs are very good to lead into art music of other

composers, and they’re also good for improvisation. You take a measure out of them and

say: “Now we’re going to play a game with question and answer.” I’ll give them the

question, and it could be a measure or two of the song, and the kid has got to answer it intheir own way.

TODD. Do you know of any other bicinia or similarly-inspired pedagogical

materials?

BACON. Yes, well, Szőnyi’s collection Bicinia Americana. As a matter of fact,

somebody from Australia sent me a book and asked me to critique it. Which was years

ago [laughs], and I haven’t gotten around to it yet. Probably a lot of people are writing

their own bicinias. You have to be careful. I think it’s not a terribly good idea to call them

bicinias. I would Americanize it, because I find that Hungarians are a little bit touchy, I

find, on the idea that somebody has taken their idea and run with it. I learned that the hard

way.




338

APPENDIX E

MARY GOETZE INTERVIEW

Date: 28 January 2014

Place: Telephone

Interviewer: Daniel Todd

Respondent: Dr. Mary Goetze, Professor Emerita of Music (Music General Studies),Jacobs School of Music, Indiana University Bloomington

Re: Simply Sung, Sing Noel, and The Cat Came Back

TODD. Hi Dr. Goetze. How are you?

GOETZE. I’m good. How are you?

TODD. I’m doing well, thank you.

GOETZE. Great!

TODD. I’m so glad we’re getting a chance to do this.

GOETZE. So you’re about to finish your dissertation?

TODD. I am about to finish. Hopefully I will do the defense this semester and

then graduate in August.

GOETZE. Congratulations!

TODD. Oh, thank you. I appreciate that. Well, how have you been lately?

GOETZE. Oh, kind of busy. I was away from home last week and got back

Sunday.

TODD. Well great. Can we get started?

GOETZE. Sure, let’s do it.




339

TODD. All right, so, our purpose today is talking about your collection of two-

and three-part songs, Simply Sung . I think for that matter you also have a couple other

collections, like Sing We Noel and The Cat Came Back that could probably fall into the

same category.

GOETZE. They would.

Todd: Ok, great. So, Simply Sung was written in 1981. Could you just briefly

describe where you were living and working, what your research interests were at that

time?

GOETZE. I was actually still teaching elementary school at that time, although Iwas doing some graduate work at Indiana University. I was doing coursework towards a

doctorate which I eventually finished in Colorado. I had basically begun arranging based

on both the Kodály and Orff training that I had gotten in the ‘70s. These pieces came out

of that experience and out of my curriculum at the elementary school. I was fitting them

into my K-5 curriculum, so I was using them with fourth and fifth graders, and most of

those songs were developed for those children and then presented as a collection.

TODD. Great! So you would say your inspiration for Simply Sung and the other

collections came out of your own teaching needs?

GOETZE. Absolutely. I was observing a lot of people who influenced the choices

I was making.

TODD. When you wrote these collections, did you write them with a logical

sequence of elements in mind, or did you progressively order them afterwards?




340

GOETZE. They were ordered afterwards. I think most of the time I started with

the song, which may or may not have come from a curricular decision about the sequence

of elements. Most often I was looking for an interesting song that I could set with a fun

way using interesting contrapuntal writing.

TODD. Good. And the curriculum you’re referring to was a state curriculum, a

local curriculum, or one that was inspired by your own studies of Kodály and Orff?

GOETZE. The curriculum I was following was set out by Jean Sinor. She was

actually my Kodály teacher in the summer programs. For five years at my school, Jean

taught one class per year and developed her curriculum for first through fifth grade. Shewould teach one of my first grade classes and I would replicate her lesson with one of the

others. We continued that each year all the way through to the fifth grade.

TODD. That’s great. You said that you wrote these for your students to fit a need

in your curriculum, but since you’ve published them, was your audience the same type of

students, or were you trying to reach a different audience?

GOETZE. Well, you know, you put it out there. [laughs] If you’ll notice, it was in

an Orff Series; Simply Sung was actually written for Orff. Around this time I was

teaching in Orff courses as well as Kodály certification programs. I was doing an hour of

vocal work with Orff courses which we titled “Choral Orff,” which was a really bad pun

since his name was Carl Orff. So that became part of the curriculum. Simply Sung follows

both Kodály and Orff principles of part writing.




341

TODD. You also state in Simply Sung that: “There seems to be a gap between the

skills developed in singing rounds, canons or partner songs and the demands of holding

an inner part.” What experiences led you to this conclusion?

GOETZE. Observing kids as they learn to sing in parts. When something was

more homophonic they struggled more than if it was polyphonic, with a more melodic

character. That was definitely part of what guided my writing. I put the melody in the

middle as a way to help children tolerate pitches above and below their individual vocal

part. Many of those have a descant above the melody and an alto part below the melody.

TODD. So, in a way your collection is trying to emulate an American polyphonicstyle, leading them to more homophonic singing. Is that a fair assessment?

GOETZE. That was kind of the sequence I placed the pieces in.

TODD. I think you’ve kind of answered this, but do you feel like there are

musical gaps that the United States has as a culture that you have tried to bridge or we

still need to bridge?

GOETZE. We’ve changed as a culture. It’s very different at least from the one I

grew up with. You all in Texas may be a little different than what I see around here, but I

grew up in a singing culture. We were harmonizing by ear in a more homophonic style,

obliviously all during my grade school and high school years, but I can remember

improvising harmony in elementary school. I would say that is not as prevalent today. I

may be missing out this, but outside of maybe choir trips where kids are singing on the

bus, it’s not as much of a singing culture. I don’t know that the experiences kids have in

music classes are strategically leading them to feel confident to improvise by ear on their




342

own. I was attempting to do that in the classroom and we continued that with the

children’s choir. I taught and encouraged them to harmonize by ear through some warm -

ups we did. I saw improvisation happening when we would take trips on the bus. I can’t

speak for the culture at large, but I would estimate that it’s not a common focus of kid’s

lives, because they have ear- buds in their ears, instead of singing. They don’t make their

own music as much.

TODD. Do you feel like part of that comes from improvisation? So, it’s not

completely a lack of their musical skill, their musical understanding. Do you feel like

some of the loss of polyphonic singing and harmonizing comes from the lack of tryingthings out (seeing if something works or doesn’t and kind of being thoughtful

musicians)?

GOETZE. Well, I’m not sure about the thoughtful musician part, but yes, I think

they may not be encouraged in that direction. I don’t know. Having written series

textbooks I don’t think that was in the curriculum, that they would exit improvising. We

gave them opportunities to improvise, both instrumentally and vocally, but it’s an

optional activity. I wouldn’t begin to guess that it’s consistent throughout the country.

TODD. Is the collection a stepping stone for other types of music, or preparation

for other specific repertoire?

GOETZE. Not specific repertoire. Skill-wise I would say that those three

collections were moving from polyphonic to homophonic, which would pave the way for

kids to sing in a homophonic style, because they would be hearing parts above and below




343

and because some of the parts moved closer to homophony. For instance, Shenandoah

steps down to chordal tones. Does that make sense?

TODD. It absolutely makes sense. I think I agree as well. I think you’re telling me

that the gap is moving from unison singing to homophonic singing. What’s missing in the

literature is polyphonic material.

GOETZE. It depends on what literature. I think Kodály’s materials are somewhat

polyphonic quite often. A lot of publications that are coming out are attempting to bridge

the gap that I saw in 1980. Nancy Boone Allsbrook and Glenda Goodin are currently

writing pieces in my series that that exemplify this idea. Jay Broeker is writing to fill thatgap in appropriate and musical ways.

TODD. Were there specific musical elements you tried to teach in your

collection? Maybe even elements that fall outside of homophony or polyphony.

GOETZE. As I recall a lot of them were pentatonic and heptatonic and would fall

into fourth, fifth, and sixth grade Kodály curriculum easily. I probably started there.

TODD. What preparation, do you think, should come before using these songs

and arrangements in the classroom? What should follow them?

GOETZE. Children should have a chance to enjoy unison singing and teachers

should get excited about a true unison for kids. It is an achievement when a whole class,

or a whole choir, can sing a nice unison, move together, and blend their voices. I see that

as something that should come before teaching these pieces. I know that there are other

thoughts on that. Joyce Eilers recommended singing in parts earlier, but I think that was

suggested for middle school because of the limited range that the kids have. She




344

recommended parts as a way of getting them involved in singing. I teach unison before

parts; other people rush that in the second grade curriculum. My search into children’s

vocal development led me to postpone part singing, especially independent parts, until

third grade. On the other hand, we did lots of rhythmic canons and rhythmic activities,

where they held independent parts. But vocally, I didn’t feel that they were able to

monitor their voices well enough, to match securely in unison while hearing a different

pitch and maintain the unison. It seemed sort of a challenge for second graders.

TODD. So from your research you found that developmentally children have the

readiness skills to sing in parts in third grade.GOETZE. Yes.

TODD. How did you intend for the music to be used in the classroom? Does it

deserve a place outside the classroom, on the concert stage, or is it purely for the purpose

of teaching skills and these musical elements we’ve been discussing?

GOETZE. I used them on concerts, but I leave it open to the teacher. All of them

can work in two- parts. Almost any two parts work together without the third. It’s easy to

develop your own little arrangement of them by singing the melody, adding a voice or

adding an ostinato then bringing in the melody, and finally adding the third voice. It

could work in any number of ways as a performance piece. I remember hearing my kids

singing them on their way home some days. I suppose they can live outside of the

classroom. I would hope they stand as something musically appealing that could be used

in any of those settings, even though they offer advancing pedagogical skills.




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TODD. Did you teach them in your classroom as an evolution of something you

were singing, or did you give them notation of their part?

GOETZE. I never showed those arrangements as a full score. I might teach them

any number of ways. They might learn any number of the parts. Most likely though, they

knew the melodies in advance of learning the arrangements. They may have even learned

the melody in the previous year of music classes before we put it together with one or

two parts. They probably wouldn’t have been able to read any of those parts because of

the way the curriculum was done. Typically I would show it on the overhead or write the

ostinato on the board and they would sight-read it and then we would put it right togetheras an arrangement.

TODD. I think it’s really good for teachers to have the freedom to teach an

arrangement that meets their students’ needs. It’s nice to hear how a composer used it in

the classroom.

GOETZE. When I present my own compositions and crafted arrangements with

accompaniment, I usually free the teachers to arrange as needed for the group. I think that

they should feel free to do that.

TODD. You include comments on each of the songs in Simply Sung . Why did you

feel it necessary to include them in this collection? (Most don’t give comments for each

composition.)

GOETZE. It seemed appropriate to make suggestions and help them know what

to do with the pieces, and how to teach them. I assumed it might be helpful.




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TODD. I’ve noticed that similar collections don’t always include comments like

you did.

GOETZE. That’s true. I don’t know if it was the publisher that asked for it. If you

look at other ones in that series from Schott, most of the Orff arrangements do include

some instructions. It’s probably less common in the choral or bicinia publications. Maybe

the Orff materials had that as a model.

TODD. You seem to be guiding the teacher to understand what the composer has

written pedagogically.

GOETZE. I think that’s a fair assumption. TODD. Do you know of any other Bicinia or similarly-inspired pedagogical

materials?

GOETZE. I think Ruth Boshkoff did that same sort of thing in All Around the

Buttercup. I think she kind of modeled it after Simply Sung . It maybe even was a little

more for younger kids than Simply Sung . There are collections published by OAKE.

Those could lead you to other people thinking in those terms, because I know there were

lots of contributions. I don’t remember if Denise Bacon wrote a collection, but certainly

she wrote in that style. I would assume these are all names you are already familiar with?

Or is this a qualifying exam question for me?

TODD. [laughs] I am familiar with them. I did have a chance to speak with

Denise Bacon about her collection, before she passed away this year. I’m aware of the

OAKE collections and came across Ruth Boshkoff’s collection a few weeks ago.

GOETZE. Well, Ruth is alive and well if you wanted to contact her.




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TODD. I’ll probably see her at OAKE in a few months. That’s all I have for you

at this time. Thank you so much for participating. You had some really good insights and

I will be in touch once this chapter is finished and get your approval. Thank you so much

Dr. Goetze, I really enjoyed this.

GOETZE. Good to see you. Good luck.

TODD. Thank you so much. Goodbye.

GOETZE. Bye.




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GLOSSARY

anacrusis. One or more notes before the downbeat of the first full measure. External anacrusisrefers to a note or notes that occur before the first full measure of music. Internalanacrusis refers to a note or notes that occur before the first full bar of a new phrase.

augmentation. The modification of a rhythmic figure by multiplying the rhythmic duration ofthe original figure or the lengthening of textual rhythm presented in the melody.

call and response. Melodic material presented in one voice (call) which is answered by materialin another voice (response). The material in the secondary voice may or may not be thesame. The response frequently reappears unchanged after each statement of the call.

canon. The exact repetition of material presented in another voice, either melodic, rhythmic, or

both, and separated by a specific rhythmic duration after the initiating voice.

counter-subject ostinato. An ostinato that appears with each appearance of the theme or recurswhich specific parts of the theme.

diminution. The modification of a rhythmic figure by dividing the rhythmic duration of theoriginal figure or the shortening of textual rhythm presented in the melody.

double counterpoint. An independent melody which contrasts the theme and contains anexchange of voices.

drone. A sustained or repeated note that sounds while the other voice presents melodic material.

elision. The end of one phrase presented in a voice, occuring simultaneously with the start of thenext phrase in the other voice. This may occur with a single note or an entire measure.

free imitation. A harmony part which retains the basic melodic contour of a melody but occursslightly after the melody is stated and slightly alters rhythmic or melodic elements fromthe original melody.

free pentatonic counterpoint. An independent melody which contrasts the theme, may or maynot have the same rhythm as the theme, and is pentatonic.

imitation-changing stress. The modification of syllabic or metrical stress of an original melodyin a secondary voice.

imitative pentatonic counterpoint. Free imitation which is confined to a pentatonic system.




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inversion. A form of imitation in which the direction of each melodic interval is reversed.

key. Expressed by the letter name of the final pitch or home tone of the bicinium. ex. F = do

key signature. The pattern of sharps or flats that appears at the beginning of a staff. This may be

contradictory to the actual key of the bicinium.melodic form. The similarity/dissimilarity between melodic phrases or motives as expressed

with lowercase letters. May refer to an individual part, both parts, or the form of theentire bicinium.

melodic interval. Two or more notes which sound in a single voice immediately after eachother. Will be organized into categories based on how the intervals are presented in aKodály-inspired American sequence.

melodic sequence. A melodic figure is presented and immediately repeated at ascending or

descending pitch levels.

meter. Is defined in terms of simple/compound and duple, triple, quadruple, or asymmetrical.

motive. A recurring subject or theme that does not meet the criteria for a phrase and is derivedfrom a melodic or rhythmic motive presented in another voice.

one-part form. A formal type in which there is not enough variance for the parts to be labeled a b.

ostinato. A repeated melodic or rhythmic figure which is not derived from the melody.

phrase. A complete musical thought.

phrase organization. Graphic representation of the length of each musical thought, expressedwith arabic numerals followed by cadence type.

range. An expression of the overall range of the bicinium with pitch classes and numbers, listingthe lowest pitch followed the highest. “Middle C” is defined as C4.

real answer. A form of contrapuntal imitation in which a melody is stated in an accompanyingvoice and no rhythmic differences occur, all intervals are a perfect fifth or fourth above or below the original statement, and the imitation continues for the length of at least one phrase.

retrograde. Pitches which are performed backwards from the original presentation.

retrograde inversion. The backwards mirror image of an original presentation.