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Published online by Cambridge University Press: 15 March 2011
The latest scientific opinions concerning the origin of the Magyars may be summed up as follows. The primary home of the Magyars as an Ugro-Finnish tribe was probably in Eastern Europe between the Volga and the Ural Mountains. Here they may have lived with kindred Ugro-Finnish peoples, the ancestors of their near relatives, the Ostyaks and Voguls, and of their more distant relatives, the Finns, Lapps, Mordwins, Zyryäns, and Tsheremis, about 2500–2000 b.c. From there they drifted eastward. In the fifth century a.d. they moved south-westward in close connection with several peoples of the Turkish race, chiefly with the Bolgars, Sabeers, “Blue” Turks, and Khazars, absorbing a considerable Turkish stratum, to become organized into a nation, or rather an alliance of several tribes, on the territory of South-Eastern Europe of to-day. About the year 800 they were in the region of the Caucasus, then on the northern coast of the Black Sea. In the last years of the ninth century the Magyars, under the pressure of kindred tribes, proceeded westward and occupied their present home in the basin of the Carpathians.
page 484 note 1 See, in the English language, the book of Bartók, Béla, Hungarian Folk-Music, London, 1931Google Scholar, and his last study, “Hungarian Peasant Music” in the Musical Quarterly (July, 1933, xix). Bartók-Kodály, , Tranaylvanian Folksongs, Budapest, 1923Google Scholar.
page 485 note 1 Ein Kapitel vergleichender Musikwissenschaft (Sammelbände der Internationalen Musikgesellschaft, i, 1899)Google Scholar.
page 486 note 1 Sources: Lappish melody, Launis, Armas, Lappische Juoigos-Melodien, Helsingfors, 1908, Nr. 424Google Scholar. Finnish melody: Krohn, I., Laulusävelmiä, iii, Helsinki, 1932, Nr. 2525Google Scholar. Hungarian “regōs” song: Mayyar Népköltési Gyüjtemény, iv, 1902, p. 341Google Scholar. The children's ditty is everywhere known in Hungary. Every melody is transposed on a common key-note.
page 487 note 1 Sources: No. 5, Patkanov, , Die Irtysch-Ostjaken und ihre Volkspoesie, ii, 1900, p. 263Google Scholar. No. 6, from the North-Hungarian collection of Zoltán Kodály.
page 489 note 1 Sources: No. 7, Vasiljev, , Marij Muro, Moscow, 1923, No. 96Google Scholar. No. 8, from the North-Hungarian collection of Z. Kodály. See also, Kodály, , A peculiar melody-structure in Tsheremis folk-music, Budapest, 1935Google Scholar, in Hungarian.
page 489 note 2 Gesänge russischer Kriegsgefangener, i, Bd. 1, Abt. 1926, p. 11Google Scholar; i, 3, Abt. 1929, pp. 7–8, 14–17.
page 491 note 1 Sources: No. 9, from the collection of Rob. Lach (Vorläufiger Bericht, 1918, supplement). No. 10, from the collection of Schünemann, G. (Archiv für Musikwissenschaft, i, pp. 511–12)Google Scholar. No. 11, noted down by the author after the singing of the Bashkeer professor Galimdshan Tagan, Budapest, 1934.
page 492 note 1 Sources: No. 12, Zatayevich, A., 1,000 Pjesen Kirgheezskavo Naroda, Orenburg, 1925, No. 88Google Scholar. No. 13, Bartók, , Hungarian Folk-Music, No. 21Google Scholar.
page 493 note 1 Archiv für Musikwissenschaft, i, pp. 507–8Google Scholar.
page 494 note 1 Kreitner, G., Im fernen Osten, Vienna, 1881, pp. 700–1Google Scholar.
page 494 note 2 Communicated (as a sung melody accompanied by instruments) by Dechevrens, A. in his study “Étude sur le système musical chinois” (Sammelbände der Internationalen Musikgesellschaft, ii, 1901) pp. 541–3Google Scholar. We communicate only the sung melody, on a common final-note with the preceding ones. The bar we employ in our examples henceforth only to mark the division of the melody-lines.
page 495 note 1 Wilhelm, R., Chinesische Musik (publication of the Chinese Institute in Frankfurt) Frankfurt a/M., 1927, p. 50Google Scholar.
page 496 note 1 This melody (publ. by Van Aalst 1884, M. Courant 1913) is nearly related to many of the earliest Hungarian folk-tunes. A few other Chinese melodies noted down lately by the author show a nearly exact transposition of the melodic phrases downwards, just like the Hungarian and Tsheremis melodies.
page 497 note 1 Anthropos, x–xi, p. 380; vii, p. 915.
page 498 note 1 Cf. Riemann, H., Folkloristische Tonalitätsstudien, 1916Google Scholar.
page 498 note 2 The same can be said of the American and African types of the pentatonia. In general, this musical phenomenon must always be considered together with those structural principles, in connection with which it manifests itself.