Serbo Croatian Fol 00 Bart
Serbo Croatian Fol 00 Bart
Serbo Croatian Fol 00 Bart
PURCHASED FROM
Bimting F-und
IN
MUSICOLOGY
Serbo-Croatian
FOLK SONGS
Texts
and
Transcriptions of
the
and a Morphology of
by
BELA BARTOK
^W ALBERT
B.
LORD
-1951
'
2'm'y
^3
NEW YORK
TO THE
MEMORY OF
MILMAN PARRY
http://www.archive.org/details/serbocroatianfolOObart
"BOARD OF EDITORS
OTTO KINKELDEY
PROFESSOR EMERITUS OF MUSICOLOGY, CORNELL UNIVERSITY
Honorary Chairman
PAUL
H.
LANG
ARCHIBALD
T.
DAVISON
GEORGE
S.
DICKINSON
NEW YORK
PUBLIC LIBRARY
Foreword
Homeric
MiLMAN Parry,
thought that
inspired
genesis of
formed,
we should observe
the
scholar at
if
life
we wanted
of folksong
where
it
number
Mr. Parry
of songs
on
disks.
But soon
Research on the music of the collection was for a long time hampered by
the unavailability of a real connoisseur of the folk music of eastern Europe.
This need was remedied when the late Bela Bartok came to this country.
Bela Bartok
is
known
to the musical world as one of the foremost comand one whose creative inspiration was deeply rooted
vocabulary
inspired by the clear spirit of folk melodies, while later the folk elements
became more and more integrated and absorbed in his own personal idiom,
which they helped to expand. His settings of Hungarian, Slovak, and
Rumanian tunes and dances, produced over a long span of years, reflect
an intimate familiarity with this material. Time and again he came back
to the challenging problem of translating it for the musical audience of
the city, and he evolved a variety of solutions. But it is less well known
that Mr. Bartok was also a devoted student of folksong, indeed, an inter[
ixl
Foreword
national authority in this
his creative
work was
field.
entirely
Much
of the folk
unknown
until
it,
in the
The
Hungarian phrase.
Hungary
at the onset
and
of the twentieth century awakened a strong interest in folk life and folklore. The patient search conducted by Mr. Bartok and his colleague, the
composer Zoltan Kodaly, soon revealed that what had been accepted as
Hungarian national music, through the effusive Rhapsodies of Liszt and
Brahms which followed in the wake of the sparkling "alia Ungharese"
movements by Haydn and others, had little to do with the folk themselves. It was merely an inflated elaboration of the popular entertainment
music of the town, propagated by the Hungarian gypsies. But the countryside still possessed an entirely different body of old melodies, simple and
sturdy, practically unknown in the Hungarian cities. It was a situation
[much like that in this country when the ballads of New England and of
the Southern Mountains had to be "discovered" for a public nurtured on
national renaissance in
intensive cultural
Stephen Foster.
Under the
Kodaly, in the
influence of the
first
school of composition.
especially
But the
by Bartok. His
Turkey and
On
far as
Algeria. Thus,
culture has not yet fully disappeared. This book, appearing posthumously,
is
this
work.
to our
[xl
Foreword
music are the
of the cylinder
down by
ear,
it is
not easy to
fathom how he could have found the time and the energy for it, in the
midst of a fully creative life as composer, pianist, and teacher. The monumental corpus of Hungarian folk music which he prepared with Mr.
Kodaly was to have been published by the Hungarian Academy of Sciences, when the war intervened. He was the author of the monograph
Hungarian Folk Music, a model of methods of analysis, and of basic
investigations on Rumanian and Slovak folk music, besides many shorter
studies and theoretical articles. In a territory charged with old political,
national, and cultural aspirations and tensions, these writings are distinguished by an objective and international outlook one important
essay traces the cross-influences between Hungarian folk music and that
of the neighboring peoples. He liked to stress the fact that there are no
by
and
felt
ofiicial cliques
in being a
member
music of which he had the special attachment of one born in a small town,
not too far from the "soil."
and
is rare.
first
rank with
of the composer as
Those of the collector, he felt, were to gather and present
the material exactly and faithfully, without any patronizing emendations
or collated versions of the sort which were current in Europe and are still
the tasks
and
entirely distinct.
compare the two and see the material in its prisgave no opus numbers to those
compositions which were based chiefly on folk tunes. At the same
time Mr. Bartok manifested some of the same traits both as composer
and as scholar: integrity of purpose, a complete lack of capacity for compromise, subordination of the subjective element to what he felt were the
[xi]
Foreword
dictates of his material,
which, no matter
how
and a
careful
to details
almost in self-abnegation.
He made
it
an intimate
which he
the arduous task of
worked and
sufficient
for
mode
is,
appeared in print so
far.
The
large
amount
of material
for devel-
fruitfully in the
trained ear.
and the
reliability of this
type
many
by the
Foreword
satisfactory. It can be combined, however, with a simplified picture of
the melody, as
is
The more
but to follow
it
along places a
demand on
Much
the reader,
whom
of the discussion,
the
too,
changes.
Many
is
the
it is
of
more general
interest in that
it is
the
first sys-
many
by F. X. Kuhac
and excellent
little
musical analysis.) The student of folksong and folk music will find this
method
remarks on folk music are very valuable. The general reader will be
South Slavic folk music has an especial appeal. This may well be due
between the essential simplicity of its basic materials and
to the contrast
life
due to an
old,
general European
mode
of
is
partly
no
and
may
be
detailed
full
and
which
will
be welcomed by the
specialist,
Collection of
xiii
its
Parry
Foreword
worked intensively, will appear in the future. Meanwhile, this book represents an important addition to the study of South Slavic folklore and to
our knowledge of the rural culture of southeastern Europe it is a modest
memorial to a great artist and a sympathetic scholar.
;
george herzog
Indiana University
xiv
Preface
THE
MAIN OBJECT
slavia in 1934-35
of Professor
was
Milman
He
to study, to collect,
in 23 villages,
poem
only.
He
disks.
high above
number
This publication
songs," which I
first
in this
publication of
its kind.^
on basis the
of records.
[xv]
Preface
The
tions,
records are excellent, on the whole. The singers, with a few excepwere very well chosen. Their performance, especially concerning
is
absolutely
Columbia University
in 1941-43
my
appreciation to
who helped me
those
co-operation
its
Lord,
who
Yugoslavia and after Parry's death carried on some of his research, gave
assistance in
The Archives
Department
of Anthropology,
Columbia University,
saved from the damage due to the wearing down attendant on the laborious process of transcription into musical notation. I
am
obliged to Dr.
is
assist-
Weissleder for the great care he exercised in producing the excellent music
copy.
New
made
its
publication possible.
bela bartok
York
February, 1943
xvi
Contents
FOREWORD,
PREFACE, by
by George Herzog
ix
xv
Bela Bartok
21
88
89
89
93
MUSIC EXAMPLES
95
231
B.
LORD
247
257
WORKS CITED
IN PART
TWO
426
427
xvii
Part
by
One
BELA BARTOK
One
Introduction to Part
METHOD OF TRANSCRIPTION
THE
TRANSCRIPTION
of recordings of folk
is
impossible
itself.
But
view of the
this
of,
all- too-complicated
much
use, in
The
call
"notation" of music.
diacritical
in
characteristic
of folk music.
when used
to
[3]
And
if
the perform-
Introduction to Part
ance
is
ical factors.
softer.
One
Notes sung
in high pitch
in lower pitch,
Very rarely, indeed, do we hear single notes accentuated intenby the performer (and then more frequently in instrumental
tionally
dynamics must be used. Creation of new signs for color would be not only
too complicated but also probably useless; the reader could never catch
the right idea of the color, however elaborate the signs or description used.
In this regard, in addition to a few descriptive words,
to refer the reader to the record itself. So
is
all
we must impose
exactness
is
among them
by
is,
in
is
the
mind,
accidentals or not)
is
much
less
exact than in
show a
certain
off-pitch singing of
exactitude
we
follows:
the deviation
if
An
is
My method is as
it
means
raised pitch,
not quite or almost reaching the quarter tone above. These arrows
flats
and sharps,
too,
Some
where they
may
will
be
They were
by
is
and
It
European
folk music.
has been shown that even the intonation of trained professional singers
absolutely exact.
[4]
is
seldom
Introduction to Part
As a matter
One
of fact, a
in-
is
is
its
number
it is
possible to
of vibrations. In
many
am
had occasion
to use
it
myself.
Other special signs for certain phenomena connected with pitch are the
various types of glissando}
not be heeded. They are scarcely perceptible when playing the records at
A certain limit should be set even for transcribing deviawhich become rather noticeable when magnified by this procedure.
human mind
it is
to perceive
For example,
if
the
would be best
it is
Even
for
an eighth
it.'*
The same
when
p. 91.
[5]
Introduction to Part
One
when no
only,
all. If
dance rhythm
may
be inclosed
Changes in time signature are to be used only when the change does not
from an occasional deviation, but is an essential rhythmic feature
result
would give the reader little help, and it would only bewilder him to find
measure different and most unusual signatures, such as
in almost every
Summing up,
manner
which the
is,
presumed intentions
of
of the author or
made an obviously
uninten-
which we have
first
edition
and
carefully
made by
when
starting
fails
if
or slips so that
he or she has to try again to reach the note, the results of this mischance
should not be entered,
much
less published.
The same
applies
it,
stops,
when he
or
and begins
the whole period again. However, off -pitch notes which were not corrected
by the
or lower than they obviously should be, excess syllables (with the corre-
if
and
refer to the
so forth. In
some such
cases,
may
[6]
Introduction to Part
One
Some
scholars
may have
and
slips
or areas.
(1)
Even
so, I
am
may find
them there (2) I consider these imperfections analogous to physical abnorand should prefer, as far as possible, to keep apart well-shaped
;
mities
However,
mind that
whole question,
it
may
be borne in
wishes.
Some
is
must not be divided into measures, since measures refer to certain regularities of rhythm. However, when we consider the original meaning of
the bar (it means an articulating accent on the value following the bar),
then we can easily acquiesce in the setting of bars in these periods.
them
as very useful
means
We
of giving a clear
by the metrical
"Bar"
will
-\-
4 structure
is
may have
in its original
lines of
meaning, that
is,
dividing the piece into small parts; "measure" will signify the part between two bars.
[7]
Introduction to Part
One
-\-
-\-
3, after
the third,
fifth,
syllables,
is
of rigid
-\-
-\-
-\-
cases,
iJJJjo
|J
JJ|o |,in
spite of
having
lines; see
music
The
is,
by the
in parlando-
structure of
in
seems at
first
of the text.
* "Declamatory" means here: conforming to the rhythm and inflections of the language as
applied to the melody.
^ This occurs chiefly in the Yugoslav heroic poems.
[8]
One
Introduction to Part
It
may
is
possible
convey
this
meaning
to
and
to
The
sentences and periods in an Eastern European folk song text always cor-
respond with
its
we must admit
factor,
between the structure of the melody and that of the words. Obviously the
of the correspond-
may
for downbeats.
Only a very
careful
exam-
Less
frequent
that
is,
wrong placement
instrumental
are
dance
of the bars.
melodies
in
which
the
2/4 a6l(;a||6c|(/e||.^
the
to interpret
c\ah
3/4 ah
ah
as
c\ 2/4 d e\\.
listener
is
tempted
Re -examination
is
likely
to
reveal
that
examples of this kind are nothing but 2/4 melodies with "shifted"
rhythm
'
This
in their phrases.
may happen
no sense at
'
Each
all,
letter
[9]
Introduction to Part
Much
One
a vocal variant
is
If there are
may
find
some guidance
mental
same
itself.
remain matters of
guesswork.
Another problem
is
When
if
matters
it
little
same tempo
8
Ir
(*
f p f
for others.
detail, in
Iffrr
"
any publication
weighed principles,
in
mind
of folk
to 2
^\-p
for instance,
m m'\
music should be
in accordance
with well-
had
rhythm everywhere the same
however, show that the tempo of melodies of the same
tempo. The
facts,
when performed by
the same
singer.
is
The
The problem
arises
whether we ought to keep strictly to the values chosen for the standard
tempo and change only the M. M. figure or whether we ought to set upper
and lower
some of the
melodies, to change the values (using half or double values). Both procedures have their conveniences and inconveniences, therefore no absolimits and, in case the
10]
limits in
Introduction to Part
lute preference can be given to either of
One
The
more
difficulties in
connection
By
melody
several times,
we aim
it.
Once
melody and
our judgment,
the
all
values which differ from the prevailing one have to be measured and
expressed
In
by corresponding
many
values.
is,
change the
M. M.
figures
it is
preferable to
not
it is
For
and those
much more pre-
example,
if
M. M.
M. M.
J^
first
J^
150,
it is
imperative
we
happened
we
to
it
may
well
first
happen
(as it
sometimes
same
note lengths, for instance a quarter note in the second stanza instead of
in fact the
M. M.
is
is
11]
my
admissible
and
Introduction to Part
S\^
>
*p and
One
4f
in
transcription.
Signs in the current notation which have a more or less vague meaning
(the hold, the
trill
sign, the
be used instead of the hold and a comma, the exact measurement of the
;
value,
and instead
in the notations.
and
is
line
hairsplitting.
As a general
(for the
would be unnecessary
of the latter
quarter note
An
wavy
M. M.
rule,
the
50-130 dura-
does not pretend to be anything but a broad principle, as has been indicated already
by the
show a
certain over-
exceptional circumstance
is
to be dealt with
on
its
own
and each
merits.
beams instead
still
However, sticking to
logical foundations.
because of tradition
is,
in
my
is,
The usage
may have
to differ-
of flags (or
historical
and
music purely
profusion of
hooked notes, especially when they have mixed values, are decidedly
confusing to the eye. Moreover, if hooks are used, articulation remains
these
unexpressed; j3 J3
^"
Z.
and JJJJ
on) use
it
[12]
Introduction to Part
become undistinguishable
if
One
cannot afford to
by the other
method.
As
to
flats
key signature
is
all in
the melody.
senseless
and
key signature
refer to degrees
accidentals
is
and permissible
scales of the
higher art music of the last two centuries, and every other scale has to be
projected on these two scales and considered as an accidental deviation
from them. People obsessed by this wrong theory forget that even J. S.
Bach used the Dorian key signature when he meant to write in the Dorian
mode.
advantage
is
b\?
in this
cb However, there
!
is
a practical
PITCH OF MELODIES
In principle, melodies ought to be published in the original pitch as
make
method by which
to attain this
is
The most
is
to
suitable
common
fully
[13]
Introduction to Part
many
One
inconveniences
may
presents.
it
What
if
the
an example the
:
last
note of the
first
stanza of a melody
it
should
any
tone, than
same happens
and so forth.
same singer.)
first
a quarter
is
it is
by
these scholars. This obviously shows that their principle cannot be fol-
Banat
dis-
it
They
The
first
them
in
any way.
itself
partially in
is
to be
dictionaries) in order to
make
it
its
melody by com-
advantages;
its
disad-
14]
Introduction to Part
One
This disadvantage
is
melody may be
easily located,
and even
in the material.
all
which
would
call
as possible,
families.
relationship? I
am
"grammatical"
melody corresponding
to
one
number
(3)
(4)
final
is
approximately as follows:
[15]
1, 4, 2,
and
5 (3, 6,
and
of
7 are
Introduction to Part
One
grammatical system:
v] indicates
as final note
6^1?
as a final note.
6,
(that
is,
6 followed
by a comma)
the
first,
VII 5,
a range from/^ to
system, p. 28)"
For instance, 11, ll LAJ li 1-8, A b b a is the figure and letter symbol
of a well-known Hungarian type of melody, comprising hundreds of
specimens.
A general
rule
must be heeded
in connection
and
so forth),
in their structures. If
some or
all
which
of
[16]
Introduction to Part
One
izes
dies in
or, in
each other
will present
themselves
homogeneous
style.
In such
and the
first
first
last
one
it
into
the ornament group were stripped of the ornamental notes), and the
rest as
with a
much lighter
principal tone.
more frequent.
should
call
[17]
of ornamental
Introduction to Part
notes
an important characteristic
is
One
and small
notes. Unfortunately, in
many
full-
beat relations
may
is
what we must
an
they would probably prove too complicated and the results would cer-
ments
reliable.
subjective ele-
much
less
like);
many
among
well-trained tran-
reason or another,
scribed twice the
it
same piece
of folk music.
the
if
separated
differences
concern mostly only slight and unimportant details) will indicate the
degree of reliability of the transcriber in question.
for determining
making
simpler look at the last note of each section, count the syllables of each,
;
and
Few
so forth,
and you
will
of these questions
ments.
A few
how many
scale."
[18]
Introduction to Part
is
One
not always the structural "final" note {tonus jinalis) In a style in which
.
is
we have
rhythm. Sometimes
it is difficult
single section.
There certainly are established rules and a tradition for deciding these
issues,
but they are not always applicable. There, again, we must turn to
judgment
subjective
difference of opinion
between scholars
is
want
most conspicuous
features of folk music, namely, its continuous variability. This has been
said so often that
men
still
it
established
and unchangeable,
it is
something rigidly
is
never occurred before and will never occur again in exactly the same way.
We must not
given performance
all
we can say
OF THAT PERFORMANCE,
it
is
that
is what it appears to be in a
then and there, at the time
proved to be such.
[19]
Introduction to Part
music
is
One
is
that
is,
the
lesser,
sometimes
in only
an infinitesimal degree.
We must realize that even performances of the same work of art music
by the same performer will never occur twice in absolutely the same way.
Of course, the notes of art music because of their fixation by notation
^must never be changed, whereas in folk music even notes are subject
to change. And yet, if we reconsider well the first part of this statement,
we see that even some of the notes in art music are subject to change I
mean the particles of embellishments (notes of trills and the like).
:
life
to music, be
it
music seem to be
in contradiction
with the
may
once more their leading idea that although perfection cannot be attained
:
in transcribing
and
work
We
should never
in order to
tire of
in itself is still
to
but dimly
[20]
is
humanly
possible.
SEVENTY-FIVE "women's
are published in this
songs"
book
(in
With few
made, could not even be attempted
What
are
"women's songs"
Almost
all
songs except the "heroic poems" (called also "'gush songs," because they
are to be performed with the accompanim^ent of the one-stringed gusle)
syllables
may
also occur.
As
to their subject
matter, they have lyric or ballad texts, the latter generally with tensyllable text lines.
women's songs
There
are,
of our collection
among
lines
the
and a
is
not
letter,
There are,
addition, about thirty songs sung by an old woman {-Bida Dizdarevic) whose
performance was not reliable concerning pitch and could not be studied for musico-scientific
2
purposes.
^ We do not know whether this designation is of rural origin, or whether
duced by the early Yugoslav scholars. See Part Two, pp. 247-249.
* For more details on this subject, see p. 254.
[21
it
Morphology
and
Fortunately,
collections
of
Serbo-Croatian folk
PUBLISHED COLLECTIONS
1.
Bosiljevac, .
St.
"Bosiljevac. "5
2.
pesme
igre s
melodijama
iz
Levca (Folk
Songs and Folk Dances from Levac). Beograd, 1902. Srpski Etnograj'ski
Zbornik, III. Eighty-eight melodies. Cited as "Iz Levca."
3.
4.
"Dordevic."
5.
6.
22
this latter
work
Morphology
jl.,
405
&.,
629
F.;
JEf.;
Sarajevo.
"Kuba, B. H."
8.
melodies; Vol.
9.
"Old" Serbia (that is, the southern part of Serbia [north of Macedonia]).
Cited as "Kuba IX," and so forth.
Kuhac, Fr. . Juzno-slovenske narodne popievke (Yugoslav Folk Songs).
Zagreb, 1878-1881. One thousand six hundred and twenty-eight melodies.
Cited as "Kuhac."
10.
fif.
Our South),
VI
MANUSCRIPT COLLECTIONS
11.
of
"Pjesme
napjevi
iz
Bosne
Herce-
govine" (Songs and Melodies from Bosnia and Hercegovina), not pubhshed
12.
(in
Unpublished.
ff.)
Item
4,
mentioned
number
in Folk.
and
mus. has as
it is
There
is
and
title
different
1, 6,
Bosanske sevdalinke za
9; in items
of melodies.
col-
kolo.
by me
is
As
publication
klavir;
we
to Manojlovic,
are
it is
[23]
Morphology
above, although
it
has been at
my
disposal, that
is.
at their confluence)
the
Zagreb,
many
As
to the material
had
to leave out
(a)
(b)
and
10,
and some
is
clearly
(c)
the
marked
as Bulgarian,
artificial
is,
Macedonian
(d)
(m.ost
melodies of
it
collections.
Some
of the
same sources
in
Serbian and Croatian are practically the same language; the two designations are due to
and signify political, religious, and cultural differences. The Serbs adopted
the Greek Orthodox religion, the Cyrillic alphabet, and a cultural orientation towards the
south-east; the Croats, the Roman Catholic religion, the Latin alphabet, and a cultural orientation toward the west. The Slovenian language, however, is unanimously regarded as an
independent language by linguists, though closely related to the Serbo-Croatian.
^ There are differences of opinion regarding the language of this area, the Serbo-Croats
asserting that it is an archaic form of Serbo-Croatian, the Bulgarians declaring it a Bulgarian
dialect. Two facts, however, seem to be clear to neutral observers: first, that it is not SerboCroatian; second, that it is closer to the Bulgarian than to the Serbo-Croatian language.
"
historic reasons,
24
Morphology
and in exactly the same notation.^ Most of the
Kuba XIII are published in item 7 as well. We find in item 5
different publications
melodies in
some melodies
will, of course,
item
2;
143 in item 5; 50 in item 6; 1,116 in items 7 and 11; 255 in item 8; 1,162
in item 9; 4 in item 10; 5 in item 12; total, 3,449.^
number
in the
and
grouped material,
in the
second the
in the
first
me
"Tabula-
Mat."
PRINTED MATERIAL
Sirola, B.,
Starina, Vol.
XXV.
Some other
title is
titles
XX,
title is
number
of melodies;
some
of
and
*
10.
different places
^
different
in two
871).
All this material will be referred to as "published material," for brevity's sake, although 11
and 12 are
in manuscript.
however, not mentioned in Folk. mus.
1^ Only the second part of this article was at my disposal, therefore, I could not include its
melodies in the list of Published Material. Besides, some of them are included in Kuba X.
The others, not included anjTvhere, represent such important data that I could not disregard
them. The article will be quoted later as "N. g. u. D." (see p. 61).
^
This
still
is,
[25]
Morphology
UNPUBLISHED MATERIAL
There are about 2,900 melodies in various, probably private, deposiTherefore it can be stated that our material for comparison com-
tories.^^
Items
than half of
all
(Kuhac)
for certain
the attention of
Kuhac
(line
still
which have
These
in manuscript.
^2 There are rumors that unpubHshed material collected by KuhaC exists somewhere and
that it is almost as extensive as the published collection. The Folk. mus. gives the following
rather obscure information on this question (p. 204) "Fr. Kuha^ a recueilli un nombre im:
posant d'airs populaires: ses oeuvres completes pubhees en partie seulement sont si nombreuses leur seule enumeration remplirait une brochure que leur publication integrale constituerait un corpus de quelque 8,500 pages, grand in -8, sans compter les 3,700 pp. in folio de
ses sept livres in folio (dont 4 publics) de la Collection Juznoslovenske Narodne Popievke."
This would mean about 1,200 unpubHshed melodies.
26
Morphology
he kindly placed at
thereof in his
and 4, seem to be the best publications so far. The very short collection
by Manojlovic is approximately on the same level. Item 5, of Dordevic,
however, seems to have been intended for the general public and therefore complies less with scientific demands than do the other two.
The modest publication by Busetic is on the whole good, in spite of the
indirect transcription of the melodies. He was not a musician; he learned
the melodies from the peasants and later asked a musician (Mokranjac)
to do the notation from his own singing.
In aU these publications names and data concerning singers, dates of
notation (with rare exceptions), and so forth are completely missing. Some
of them (items 1,5, and 6) do not even give the names of the villages from
which the melodies are derived. All these circumstances, as well as the
fact that the notations therein were
made by
ear alone,
must be kept
in
their reliability.
For
this
purpose they
get a
will
be transposed in such a
(final tone).
As
most
To
facilitate the
been devised.
1.
For
scale degrees:
lii
]i?'Yii'rii
23
5678^
lb
symbols
that
final
^^
is,
A portion of
fragments (see p.
[27]
line,
Morphology
LJ
designates the
following
Therefore,
it.
L, the one
means a melody of four sections havand third sections, h^\? in the second (main)
11 Lkll li
it;
first
U means
&^b for final tone in the first (main) section, g^ in the second (mus. ex.
No.
18)
il
vkA
means a melody
of three sections
having
tone
c^ for final
ex.
No. 22)
Iv^l
means a melody of two sections having /^ for final tone in the first section
(mus. ex. No. 6). The same degree-symbols are used to designate ambitus
(range) for example
;
ex.
No.
5)
1-8
italicized Arabic figures, each followed by commeans a melody of four sections, its first and third with eight
syllables, the second and fourth with five (mus. ex. No. 41). For isometric
melodies (melodies with sections each having the same syllabic number,
2.
ma;
8, 5, 8, 5,
number
will
is,
by the plus
sign
8, 8,
-\-
8, 8,
ox 5, 8
-\-
8, 5,
the
first
one for a four-section melody with the third section double, the second
formula for a three-section melody with the second section double
instance, the
3.
the same
which the
different.
letter
A^
(for
p. 62).
first,
Some
A A b a means a
symbols used
higher than a.
lower than a
As,
a^,
a variant of a (that
fifth
melody
special
(a^, a^),
four-section
is,
slightly changed)
[28]
Morphology
Aa (s
A*,
Ag
will
sizes;
ZZ^Z
j^Z^,
labic structure;
structure; the formula for this last type but with one double section will
be:
^Z + ZZi' Here we
and must
the
all
refer to the
few examples
The melodies
will
five principles.
(a)
is,
the
number
of sections in
each melody. It will be seen that our material has five classes
melodies with one section; class B, with two sections; classes
contains melodies
section; class
first
class A
C and D,
:
D, at the end
of the second.
(b)
of the section.
The length
of a section
We
is
find that
some
of the melodies
On
have sections
this basis
have
we
of
shall divide
Isometric melodies;
Heterometric melodies.
(c)
the section. This gives us groups in which each melody section of the song
[29]
Morphology
has
in the
rhythmic
(all
rhythms
same rhythm),
2.
Here small
1. iso-
heterorhythmic (two,
letters will
be used as S3nnbols (as mentioned under Section 4 of Symbols and Formulas, p. 29).
Subgroup
I. 1. is
+2+3
precedes 2
=
-\-
8, (the latter
and
6;
5",
struc-
precedes
marked
so forth. ^^
in this
6,
to
the small letter formulas, and after having established for the latter a certain
order of succession:
grouping of subclass II
we
^symbols
(as
us divisions)
For example:
3 QJ
melodies
{h)
is
placed before
3 HH
li
(No. 41).
1* b stands here for "Bulgarian," since this metrical structure
garian folk-poem texts.
is
1^ Throughout this book, and in the tables also, an arable numeral with a
used consistently as the symbol for the syllable number of a metric line.
[30]
comma
after
it is
Morphology
(e)
If in
S3rnibols,
they
comes before VII'4, and the latter before VII-5 (or 6); but VII-4
(or -5, or -6) comes before 1-2 (or -bJ). Should "families" with
identical symbols (including range symbols) appear, their order will be
arranged according to the circumstances, since so far no systematic
method for these has been established. It would lead too far afield to give
detailed indications about these;
it
may
suffice to
In this material melodies with more lower tones are placed before those
with fewer lower tones. For certain types of melodies in another collection, that
is,
in
was devised.^^
is
not
difficult to
we
consider
it
The
and 14
syllabic
Two
line.
first
as a single line, or as
two
lines,
that
is, 8,
5,? Disre-
and analogies
in the
comparable
D;
is 8, 5, 8, 5,
E (=
8, 5,
[<?
LJ and
5]
4)
what
shall
when
See the respective melody groups in Vol. II of said collection, Nos. 53-134,
respective description of the system.
^^
and
also the
In publications consisting only of texts, in which texts are stripped from their melodies
Part Two of this book) such lines may be either unbroken, as thirteensyllable lines, or broken up into two lines, one eight-syllable and one five-syllable line.
1* "Tab. of Mat." 1354 (Kuba IX,
2). In the Hungarian material, apart from 8, 5, and 8, 6,
text lines, there are real thirteen- and fourteen-syllable text lines, four of them forming a
^^
XIV,
17).
[31
Morphology
in a fourteen-syllable
We
form as a
two
them formed by the repeated first four syllables of the original dekasyllabic line, and the second by the remaining fifth to tenth syllables.
2, The next problem concerns the occasional text refrain syllables.^^
What shall be regarded as a text refrain? The application of the generally
known definition, "recurring phrase or line especially at the end of
stanzas," will not be satisfactory if we have to decide what shall be the
lower limit of the number of refrain syllables. Three kinds of refrains
exist: the
proper; the content has no relation to them, yet has a definite sense; the
refrain has
no recognizable sense at
all.
3,
The length
however,
of types
may
and
2 will
present as short a
may
or
may
they do not belong to the text lines proper, are an essential part of the
text
and are
more)
syllables;
may
most
is
fre-
appear as such.
Thus, they are not to be counted when establishing the syllable number
of the sections.
and very
Jj
^"^
A), mi-la
(music example
f No.
^
J
Ml-Ja
J
Ej
is
changed into
difficulty
J is
common
^' About Serbo-Croatian refrains see more details in B. Bartok, Rumanian Folk Music,
manuscript deposited in Columbia University Music Library, III, xxxix-xli and 316-331.
^^ It is frequently used in Slovak folk songs; somewhat less frequently in some types of
Hungarian folk songs; even less often in Rumanian; and very rarely in Turkish material. In
is
marked by the
sign
i.
32
O;',
first
essential
Morphology
sense),
"my
aman
soul"). It
is
appear, so to speak, cursorily, in a more or less hurried way, on comparatively short tone values; especially
into
J J
J
J
di^a-num
and the
when transforming an
original
J J
like.
is,
when
the corre-
sponding part of the melody seems to be an integral portion of the melody), then they are to be regarded as essential syllables. In the
their use is
ing stanzas
them
more
may
and reappear again. In the second case
to the
rank of a
first
case
refrain.
What
want
to point out
is
The
placed here at the very end of the rank. However, there are
melodies,
is
a certain
number
VII-2, 1-2, l-\?3) which seem to be in very close relation to each other,
although their features established on the basis of the remaining aspects are
rather different (see pp. 52-54).
would intermingle two contradictory systems. Besides, the transition from these narrow range melodies to those with wider range is not
at all sharp; the separating of the former from the latter would be arbithat
is,
trary in
4.
many
instances.
melody
and heteroand a
heterometric class and then divide the two classes into two-, three-, and
four-section melody subclasses. This order of succession would also be
classes,
first
divide
them
into an isometric
justifiable.
5.
The
last
[33]
Morphology
essential structural feature (a a)
individual whim. In
many
or whether
instances
it is
it is
this.
Many
people
prised
who
cannot be used at
all
The
because of
of a^
and
its
inconstancy.
b^, is
scale purports to
sometimes
it is
be a minor or a major
may
scale.
is,
less,
due to
the very restricted range of the majority of the melodies (see pp. 52ff .)
investigated;
it
means
it
is
mean
is
When we
that
22
is,
to
"Tab.
/' gi a^b
of
b\ in o.
34
Morphology
songs in the first-mentioned two countries present almost without exception^^
is,
a more or
less
symmetrical, recur-
ring structure of two, three, or four text lines) connected with the use of
lines, cor-
and
so forth)
features.^^
In Rumania, sud-
is
still
in use
the melodies divide into primary classes according to the different occasions at
specific
of these
primary
classes
is,
having their
to Bulgarian
against the
Rumanian
is
much
with
would
result
If
we
refer to the
form
(which generally
tallies
if,
stripped from
it
would be
senseless to call
them
text
stanzas. In the latter case the single text lines will be adapted to the
those parts of that country which belonged to Hungary before the first World War. The folk
music material of this region is fairly well known from various publications, whereas the very
is stored on records, for the time being,
Rumania, not having been published yet (with very few exceptions).
^ As an exception, the texts to the Hungarian mourning songs may be mentioned: improvisations based on certain patterns with text lines being rather in prose or reminding us of
free-verse structure, having no rhjrmes at all.
''^At variance with this rule, the melodies of the Hungarian mourning songs, children's
plays, and winter-solstice songs, as well as of the Slovakian children's plays and some harvest
songs, and so forth, have distinctive characteristics.
^' Songs performed on certain occasions will be called "Ceremonial."
in various
museums
of
[35]
Morphology
melody stanzas
line in various
is,
perhaps in the ancient Greek folk poetry (as for instance in the ancient
My rather
is
at variance with
short research
work
in
middle and southern Asia Minor and that of others has shown that the
Turkish folk poetry knows no other form but a very definite text-stanza
structure, with
it
belongs to the nature of the ancient Turkish folk poetry of central Asia.
Hungarian melodies
origin;
it is,
may
It remains
an open question
above-mentioned
Greek folk poetry or in some other
peoples has
its
sources.
MELODY-STANZA STRUCTURES
Com-
This
^^
Ca. 2,000
(ca. 1,200
[36]
Morphology
ing from
Hungary and
Slovakia,
unknown
four-section
parative rarity of these shorter structures there and because investigations based on comparison within the material show that some of them
ARE IN FACT fragments of longer structures. This assumption cannot be
maintained when we get farther to the southeast, especially to SerboCroatian (and Bulgarian) territory. Even there
we may
forms are fragments of longer ones the great bulk of the two-section and
;
culties.
of only
tial repeats,
of
diffi-
If
we regard
same
is
common
in the
Hungarian
isometry
true regarding
is
(in
Rumanian
the
The
The apparently
This
trait,
among
others,
tion with a
the
splitting of the
melody stanzas. ^^
similar
many
traits in
common
This feature has been already observed and mentioned as an outstanding characteristic by
B. Sirola in his article in Zenei Lexikon ("Music Lexicon"), Budapest, 1931, under Szerbhorvdi-szlavon zene ("Serbo-Croatian and Slovenian Music"), Pt. II, p. 557, col. 2. Incidentally,
'^
there are cases in which line fragments are applied to isometric melody stanzas, too.
^'
A sharp line
can hardly be drawn between the folk music of these two peoples.
[37]
Morphology
Before describing this most important characteristic in extenso, I must
give a short survey of the metrical peculiarities of the various text lines.
lines
sarily TALLY with the spoken word accent. This syllabic verse structure
completely disregards the natural or positional length of the syllables, a
SPECIAL FEATURE IS THE ABSENCE OF UPBEATS.^^
are as
less frequent.
syllables;
when found
at
all,
they
Croatian heroic poem, 4\\ 4\ 2, g)l. The principal rule deduced by him
states the main caesura never divides a word (that is, the fourth syllable
:
of the line
first of
must be the last syllable of a word and the fifth of a line the
The secondary caesura (after the eighth syllable) does
any rule in the cutting of words, although the corresponding
a word).
not follow
Jakobson
a.
-{-
rule applies
cerning these. I tried to examine, however, the simple lines b)l., c)l.,
d)7., e)l., e)2., f)l., h)l.,
in
is,
in e)l. 8 syllables
texts of Dordevic,
in d)
7 syllables
Dordevic,
''
and
i)2. in
a certain
number
of melodies (that
The Rumanian
and
results:
word
(in
139
word
(48
in 13 of our texts)
of our texts)
folk poetry
is,
in the
^ R. Jakobson,
poem
texts
and
Amsterdam, 1933,
[38]
Vols.
VIII-IX.
Morphology
Table
b) 1.
5 syllables
2-
2.
5 syllables
5 syllables
=
=
3.
1.
6 syllables
2.
6 syllables
3.
6 syllables
c)
d)l.
7 syllables
2.
7 syllables
3.
7 syllables
e)
f)
1.
2.
8 syllables
1.
syllables
P syllables
9 syllables
g) \.
10 syllables
2.
10 syllables
3.
10 syllables
h)
i)
I.
11 syllables
2.
11 syllables
1.
12 syllables
2.
12 syllables
3.
12 syllables
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
(rare)
of
Mat. 816)
4
3
J^
2\\3
(rare)
(rare)
4
4
5'
2 (very frequent)
I
31 3
4\1
4\2^
4\ 4
3\\4\1
Composite Lines
J)
k)
"
''
4\\5^
13 syllables
=
=
3\\4\3
i4 syllables
4\
4\\4\2
13 syllables
The double line indicates the position of the main caesura, the single line of the secondary.
The scheme e)2. is very frequently found in Bulgarian, less often, but still frequently, in
Serbo-Croatian material.
* g)3. is, in fact, a doubled five-syllable Une and becomes a ten-syllable line only if connected
with such a melody-section.
^i)l. probably is a doubled six-syllable line, though this is not always discernible.
Group 5 inj),l, may be subdivided as the five-syllable hnes, b) 1.-3.
[39]
Morphology
in h)l. ii syllables
word
J,
||
in e)2. 8 syllables
J,
||
the
into a word,
is:
in 71
Dordevic
texts,
secondary caesura. The words in the respective text portion are mostly
2
-\-
and in one
-\-
2);
words;
q)\. 6,
-\-
In b) 1
-\-
-\-
3,
there
5,
1
1
-\-
and
^,
4\\ 2, there is
is
2,
-{-
-\-
3,
-\-
and 4
+ 2,
and one
i)2. 12,
4 \\4\
4,
4\\2\ 3,
which were at our disposal show no wordcuts
f)l.
9,
at the caesuras.
If
5- to 11-syllable lines,
seem
same metrical
the
^,
2
I
J syllable
may
be con-
8,
regularity)
11,=
7,
The composite
syllables
invariably with
word limit
at the caesura; 5
and 6
irregular. In 13,
=8
-\-
there
is
[40]
Morphology
syllable
word
melody
St. 1-6)
of a
.
This
certain
is
is
ex.
by the rhythm
very frequently
No.
43,
of the cor-
J3T3 J
[
||
words are observed in Bulgarian, Slovakian, Czecho-Moravian, and Ukrainian folk song texts. But
if we turn to the Hungarian texts, we see that although there is a tendency
The same
many
eight-,
and eleven-
guess
8,
exceptions that
4\\ 4 lines
is
ally
less
marked
than in melodies with rigid rhythms. The weak point of this guess
it
lines,
7,
4\\
3 and 11,
4\4\\ 3
is
that
syllable
rhythm.
in rigid
There remains another possible guess, a linguistic one. Both the Hungarian and the Turkish languages are agglutinative languages and therefore are apt to use comparatively longer
its
in
languages.^^
The Rumanian
somewhat
The aforementioned
The separated
line
fragment
is
and
,
1
one of the
Hundreds
of combinations exist.^^
The addition of refrain lines to the isometric text lines proper is another
means of making the texts adaptable to heterometric melodies. This
course is com.mon and rather well known in the folk-song material of other
^ See more
^*
Such
[41]
Morphology
peoples, therefore I shall not dwell
upon
its description.
Instead, I shall
give a short tabulation of the combinations which are the result of text-
line splitting
Table
Syllables
of the per-
manent
One-
Section
Isometric
n Heterometrio
Melodies
Melodies
Melodies
O Isometric Melodies
Heterometrio
Melodies
text-lines
2.)
1.)
(7)
ii,=4+7e
10,
[two]
= 7+31 7+3
[five]
6.)
3.)
12,=8+4I8+4|I
(8)
12,8,=4+8l80
[two]
4.)
[three]
18.)
7.)
11,=8+3|8+311
6,5,=3+3l50
(8b)
8,8,5.=8i8l5B
[or (2r.)+3]
[two]
[two]
[two]
8.)
8,5,=815|1
[two]
9.)
11,8,=8+3|80
[four]
5.)
10.)
17.)
6,=4+2(l.-2.)l6||
[two]
8,6,=4+4l6ll
6,
[sixteen]
19.)
611
10,10,6,=101110|60
[two]
[two]
20.)
11.)
10,6,
= igl6||
8,6,6,
21.)
12.)
8,6,6,=4+(r.4)fl6l6D
7,10,=IllOll(sic!)
[two]
[two]
(10)
=4+4ll6l6D
[twenty-nine]
[twenty-three]
22
13.)
8,10,=4+4I10|1
10;6,6,=10lli+(r.2)l6D
[two]
[five]
23
14.)
10',8,6,=10D4(l.-4.)+4(l.-4.)|6!
8,10,=4+(r.4)|10|l
[four]
[six]
15.)
8,7,
= 8l4(5.-8.)+_3||
[three]
(11)
16.)
8,7,=4+4l70
[two]
Total
11
of types
[42]
Morphology
Explanation
The
The second
the syllable number
figure or figures
num(each
Heterometric Melodies
Total
of types
29.)
6,5,6,5,=3+3l5l|34-3|5l|
[nine]
30.)
28.)
24.)
7,7,10.=4+(l3tr.3)14+(2ndr.3)||10ll
[two]
14,=4+1014+10||4+10|4+100
10,10,13,13,=10|10[|(r.7)+6|(r.7)+6|l
18
[two]
[two]
25.)
10,6,10= 10l6Dl0i
[thirteen]
31.)
8,6,8,6,=4+4l6l|4+4l6||
26.)
[thirty-nine]
8,6,10,=4+4l6|110|
[nine]
27.)
32.)
8.6,ll,=8l3+3|ina
8,6,8,6,=8l3+3||8|3+3i
[two]
leTght]
33
8,7,8,7,=4-|-4l704-l-4l7|I
[four]
[43]
33
Morphology
main
text line
fall
may
be
ment which appear before the entire main line and have been taken from
its first syllables. The not underlined figure or figures following an underlined figure indicate the syllables of a repeated line-fragment appearing
main
and taken from its last syllables. If these linefragment syllables are taken from a different portion of the main line, this
circumstance is shown by figures in parentheses which immediately
follow and show the position of the syllables in the main line (that is,
''
10\\4 (1-4) + 4 {1-4) (^ II" means that after the entire main line
after the entire
line
Refrain syllables are put into parenthesis and bear the discriminating
letter
The number
r.
occurs
enumerated
are
indicated in brackets.
is
in
Appendix
I of
For example,
11.)
{10 \6\\)
exists
may
an enlarged form of
32.) is the
double of
7.), 31.)
first
column
however, from
{11),
8, 6, 8, 6,.
Some
melody
of the
sections,
fragment
may
is,
final
tone in sections
and
2,
in
Table
2)
most
[44]
of
syllabic
Morphology
symbols of the most frequently occurring structure of this kind are
{10)
4,0,6,4,
:^ a
(or
some variants of this) The sign ^-v-- means one text line. That is, a dekasyl("^
<^) is sung to the first half of the melody, and then the same
.
lable
dekasyllable
sung to
is
its
comes the portion of the line standing after the main metrical
caesura (syllables 5-10), and then follows the portion preceding it (syllables 1-4). The repeat of syllables 5-10 and 1-4 coincides with the
order: first
Most
an originator of a melody-content
is
structure.
common
characteristic for all these is the placing of the repeat of the first text
syllables (that
is,
it
and
all
instances
in this book:
^AM,: Kuhac, 540, 736, 795, 892, 1208; Kuba B. H.. 193.
208, 295, 339, 349, 360, 406, 429, 493, 499, 702, 716, 723, 724, 872, 873,
875, 928, 1003, 1093-1096;
1,
365, 450, 483; Dordevic Nar. Pev., pp. 29 (second melody), 108 (second
[42
-\-
6 melodies in 15
-j-
35.)
{11)
4-\-4
36.)
{13)
37.)
{8)
38.)
{8b)
39.)
{8b)
f+1^5,:
^^
2 variant groups.]
^^' ^^^^^'
^^
This and the following similar numbers continue the numbering from Table
[45]
2.
Morphology
40.)
(Sb)
41.)
(8)
42.)
(10)
/+5^,:
Kuhac, 1271.
+ 4,2,: Kuhac,
2-\-2
f+J^2,:
1069.
Dordevic, 305.
is
melody
one proof of
It is significant that
number
from Dordevic)
it
looks as
if
from
Kuba and
nine
and 25.) of the heterometric two- and threemore numerous in the above-mentioned areas,
and a great majority come from there. They must, therefore, also be
regarded as characteristic Serbo-Croatian melody types. The number of
Schemata
melodies
10.)
is
still
as follows
(10) 8, 6,:
4:
16 variant groups
11.)
collections, in
23 variant groups
20.)
{10) 8, 6, 6,:
4:
29 variant groups
25.)
collections,
in 13 variant groups
groups
Here,
Kuhac 's
contribution
is
even smaller!
seems that the original procedure was to use only one text line (one
composite text line in structures like in 8, 5, 8, 5, or 8, 6, 8, 6, and so
It
[46]
Morphology
twice
by the same
PRINCIPLES OF
No form
Note
to
mus.
ex.
No.
is
12a., p. 234).
rOEM CONSTRUCTION
may
be fragments of structures of
more than one section which have not yet been discovered. New material
will no doubt clarify many of these cases (for example, since the "Tab. of
Mat." was completed it has been discovered that our mus. ex. No. 17 is
a complete two-section form (a a^) of No. 34 (Dordevic 8) in the ''Tab.
of Mat."). Nevertheless, the statement that one-section melodies
exist
would not be
true: our
is
do not
seems to be such a
is
especially charac-
The
simplest
is
to
prolong the rest at the end of the second section, whereas the two sections
ex.
example, changing a
interpolating a rest
*"
is
|JJJJ
bar into
somewhere (mus.
ex.
|J
No.
J^
14).^^
is
is
47
;:
Morphology
fairly typical.
changing the
method used
is
seen in
^M, E^,
Ekll],
\A\,
and
first also,
reminds us of the
A fourth
many
consists of
device
ex.
Nos.
3, 5, 7).
This structure
is less
is
similar
a^; for
example,
"Tab. of Mat." 161 (Kuhac 550), 229 d. (Kuhac 470) 1081 (Kuhac 1319).
This structure is of western origin; the melodies are of urban or foreign
;
10,
the largest
and 10,
number of A A(v)
11,
12,
6,\
structures.
The
Table
A^^^
structure in
it
above)
(45, against 5
A b)
3, p. 49).
Isometric three-section melodies will show an enlargement of the abovedescribed structural principles.
ABC,
AB
less interesting
B(v)
We
L melodies
and A
b structures
A(^)
in
structures.
The
statistical
Of 57 isometric
3, A B A^.
LJ L
Of 105 isometric
1,
AB
The
less
istic;
melodies, 16 have
\Z\ melodies, 28
Ab
have a b
c; 31,
c; 50,
Ab
B(y)
A(v)
3,
b; 13,
A(^)
aa
a;
a^^)
A^.
frequent a
a^^^
in fact fourteen of
a and a a A(v) seem to be the most characterthem come from Bosnia, Hercegovina, and
Serbia.
[48]
Table
Syllables
of the
A B
AA(^)
Sections
Of 898[_ isometric
melodies
Total
6,
30
22
7,
22
|22|
8,
132
i69j
8b,
34
|54|
9,
10,
131
|148|
11,
29
|44|
72
12,
|26|
31
15
65
13
1
45
205
96
5
282
399
390
8,5
14
8b, 5,
25
818
hetero-
melodies
8,6,
53
60
Z^ Z struc-
8, 7,
19
23
|45|
50
25
16
41
7, 11,
11
8,10,
17
10
27
8, 12,
All others
13
22
155
103
258
metric
ture
10,6,
All others
Of 66
hetero1
metric
with
A^^A
14
Total
with
A^A
5,
13,
Of 192
Sequential
Structure
melodies
Z^
ture
Total
struc-
[49]
Morphology
Beyond any doubt some
LJ L
of the heterometric
structures are
XI, that
probably more than the half came from the western parts of
is,
showing
Structures
Serbo-Croatia.
complicated
syllabic
proportions
class _l
LJ.
Syllabic structures 8, 5, 5,
course, with
ments
of similar structure in
ab
of 8, 5,
8, 6, 8, 6,
B(^)
8, 6, 6,
8,6,\
8, 7, 8, 7,
8, 7,
\
and
I
and
10, 6,
8, 7, 7,
may be
or as shortened forms of 8,
10, 6, 10, 6,
content structure,
J[
5, 8, 5,
|.
|_J
mentioned syllabic
structure 10, 6, 10, (p. 46), mostly with aa^b content structure. Of
75 melodies belonging to only 14 variant groups 6 have: a a^, k^2', 3 have
groups in class
LJ L and
the latter.
might be well to mention at this point some data concerning the main
caesura tones in the two- and three-section melodies: about 34 percent
It
Lkll,
16 percent
Eklil,
and 14 percent
other 17 percent are split between VIA, \AA, LiJ, and so forth.
The
first
mentioned,
is
lYIll;
the
The
pre-
in close connec-
[50]
number of
The
subclass.
borrich
Morphology
contribution of
Kuhac
is
An important
Some
"Tab.
of
Mat.,"
poem"
or
motifs, misrepresented
more
sections
by
editors.
form of four
into a
may be
well founded,
it is
not
suffi-
The group
may
syllables into
(about 125)
two parts
as individual sections. ^^
{8, 5,)
The
text-stanza structure
may have
their large
and
least musically,
5, 8, 5,
<?,
rh3nrLes,
remarkable feature
On
types.
More
tj^ical
is
the group of
For
this, of course,
The
the
The
syllabic structures 8, 7, 8, 7,
each by 19 melodies
and
(in 16
and
more characteristic.
The reader may bear in mind that
latter is
8, 6, 8, 6,
and
I
8, 7, 8, 7,
known from
8, 5, 8, 5,
"Tab.
of
Mat."
(pp.
127-30) which are related to the afore-mentioned 2)2.-6., 11. (p. 50),
are certainly of foreign origin, as well as the latter.
The reader may be reminded that the groups 20.-24. of "Tab. of Mat."
(pp. 132-35), with their more or less artificial syllabic structures, are
probably of urban origin. In addition, many of them are represented by
^ See footnote
17, p. 31.
[51]
Morphology
a single melody; this circumstance makes
lived a prolonged
life,
it
of the
may
ones. It
must
in
accessories only.
RANGE (ambitus)
VI1-3,
(see
Table
{a)
4, p. 53).
range between F7/ and 5; {b) almost half of these, that is, one-third of
the material, has a range of VII-4 or 1-4
a pentachord or a tetrachord
in a certain position
(c)
there
is
is widening toward the class of the four-section melotoward such melody types as were collected mostly in the
is,
Kuhae).
Among
VI1-2,
the less
1-2,
and
common
studied in Appendix
II, of
"Tab. of Mat."
[52]
Table 4
Range
Range One-
II
III
IV
DC
VI
VII
VIII
DC
in
Special
X
Total
Heterometric metric
Iso-
Iso-
sect.
IX
DDE JUL
I-l to
VI-10
51
19
VII-
VII-
33
14
VII- 3
110
51
VII- 4
189
41
VII- 5
80
23
VII- 6
VII- 7
15
26
76
15
129
65
10
17
253
84
14
66
138
655
41
31
58
139
391
36
57
127
18
24
32
96
10
18
36
32
11
10
20
88
12
VII- 8
VII- 9
VII-10
1- 2
1- 3
59
1- 4
18
119
57
39
1- 5
103
36
12
18
1- 6
38
1- 7
15
1- 8
1- 9
102
10
24
31
317
43
17
62
83
384
10
20
13
58
66
217
11
27
23
101
38
35
99
16
45
828
266
1-11
Total
1-10
332
60
107
328
[53]
230
59
507
785
3,215
Morphology
for the following reasons:
ous"
of
territories, especially
them
(a) most of them come from the "autochthonfrom Serbia (Dordevic) (b) the greater part
;
cradle songs,
and
with various
stylistic aspects,
and ancient
so forth)
(c)
is
many supposedly
very old ceremonial songs have melodies of a similar narrow range .^^
them
Most
of
Hungarian-Turkish melodies.
Other illustrations of such primitive style are found in a different region,
narrow range Arabic peasant melodies, as the following example
in the
shows ;^^
it is
The
author's
Parlando, J= ca.80
It
mo
- ja,
de-voj-ko,
is
dJU.
domo-ja!
The
rather rare wide range melodies VII-8, 1-8, 1-9, (151) also deserve
attention,
**
especially
[bs]
|3^
or
LLJ
See Bart6k, 44 Duets for 2 Violins, Universal Edition, Vienna, 1933, Nos. 11, 33. Reprint
[54]
(rural)
Morphology
caesura, or a^B'^a b content-structure, or with a fragment of such structures.
(rural)
The Hungarian
may
Turkish
origin.^^
ish influence
number
"Tab.
refers to the
3 [H,
6",
ab
H, 1-8,
c;
<?,
Hungarian
vilajet);
I]
H, 1-8 structure,
Hungarian Folk
var.:
H EH
(Kuba XII. 18) 12, 8, 8, Ul G, 1-\?10, abb; Turkish var. "Turk.
Folk M. from A. M." No. 17 a.b., with 11, 9 U] El, 1~\^10 structure,
Music,
828
Mat."
of
with
7,
detailed enumeration
b,.
ab
1-8,
^^
No.
17,
with
S, 1-8 structure.
<?,
from Kara
(Seyhan
Isali
<?,
II
<?,
vilajet).
[3
8,
3 [3
li,
1-8,
with
11
6",
Q, 1-7,
5",
abb
c;
Hungarian
VII-8
CI] LI,
<?,
Hun-
structure.
var.:
H ED EI or k^ CD
Ik^
or
first
melody;
IyS; with
VI1-7,
c,
or with 1-8,
<?,
1268
5',
<^,
from
Tiiysiiz
Music, No.
(Seyhan
19,
with
5",
vilajet),
D EH
Hungarian
var.:
Hungarian Folk
1-8 structure.
CI,
*^ The reader may keep in mind that there is an essential difference between rural and urban
Turkish music, too. The former is of Central Asiatic origin, its main characteristics being widerange four-section melodies, pentatonic scale structure (or one derived from pentatonic) and
"descending" contour-line of the melody.: The urban Turkish music derives, on the contrary,
from Arabic urban music, showing some unessential adaptations.
^^ Bartok, Hungarian Folk
Music, London, Oxford University Press, 1931.
[55
Morphology
1269 (Kuba B. H. 110, 1049):
,?,
or
[I]
I]
I]
[U H;
i-bP,
aa,b
first
c;
3 HI
vilajet).
melody)
<?,
14,
with 11,
3 H]
[I,
1-8 struc-
we extend
69,
with 10,
Iv^^l k^,
the Serbo-Croatian material. For in the former there are 278 melodies of
this type, that
is,
is
little less
all
the Bulgarian
still are,
many purely
may
ally
borrowed from the so-called New-Hungarian material. These meloand Hercegovina in fragmentary
last
number
Xm
[56]
Morphology
i^'
UU ^
[lSj ^^-^
II
and 3d missing]
B
2)
f"f^r-fr
irrrr irrT
3d section
4th (and
^\^m^l
^)
Ip-gHf r
;}n71
1st
^U
j^^
*)
ir
^^
1st section
r^
2d section
Ej,
liaj,
^j,
vaj,
g"6n-d6r
rin-dir
ba
bam
ba
baj
3d section
^efr)
Wrtu
5ze-rel
i^
I
en -
az
i
gem
ii--
i- g"a - zaa.
5)
^:lr
c?r
ir
t
ir
^
3d section
pr
irr-f
^U^fL ^^ j
4th (and
[57]
(on
missing]
Morphology
1st
)Y
ip"*-
f)r
"(^
^ F=^
^=p=p
-f''
|-p
19=
3d section
4tli
fand
1st) section
[2d missing]
II
^^
4
^^
The missing sections in the Hungarian variants are as follows: in (1) and
(3) unknown; in (2) and (5) similar to the third section, but with d^ as
final tone; in (4) as
tion,
but one
fifth higher.
In
(4)
(7) similar to
the
first sec-
distortion of the
58
"new
Morphology
style" which began to flourish at about that time. Therefore, old-style
melodies could not have been taken over from these troops.
Another
possibility
is
the infiltration of
this,
however, seems to be
p. 24)
less probable.
called
We know
this
of the so-
as in the
melodic
style,
SCALES
(cf.
Owing
pp. 52-56)
scales,
or "defective"
turning at times to
the
first
has/ a(b)
Before the
final
*^
c as
lower seventh
VII
seems
= /) The
.
difference
is
g,
this
gb{\i) d.
reached,
anybody would
originates,
^"
its
this is
March"
For example, with minor third and augmented fourth, or minor third and diminished
[59]
fifth.
Morphology
pentachord (or tetrachord, hexachord) of a major or minor
this scale is
common,
scale.
Where
of
are
in succession
of transposition.
is
Much
scale.
will, of course,
speculation
may
My hypothesis is
Ruman-
it.
As
foreign
generally have the imperfect cadence at the end of the second section
(the
end
among
On
is,
among some
is
a marked trend
if
melodies are too long. Accustomed to two-section structures, the borrowing of the
first half of
" They will observe other modal relations as well. The melodies in this book do not contain
examples, but in my Rumanian Folk Music, Vol. II, there are several very enlightening demonstrations for this phenomenon, for example
No. 301, in Mixolydian mode, with final tone b, and No. 270, in Aeolian mode, with final
tone c^^, both performed attacca by the same two women;
No. 321 in Dorian mode with final tone b, and No. 124a. in Phrygian mode with final tone
c^^, both performed attacca by two other women.
62 Especially in the Banat area.
f
60
Morphology
would
may have
imperfect cadence,
Such incomplete
new
The imperfect
formations.
There
is
another
scale,
by melodies mostly
is
a differ-
is
analogous to
main degrees
d\
in the first are e^b g^ b^\> (e^b); in the latter, (d^) g^ b^\?
Augmented second
Whether they
b^\? c"^^.
is still
common
b^\f c^d^\?
(for
here,
in the
an unsolved problem.
the above-mentioned /^g^a^b 6^b c^b,
still less
frequent
number
and
fl^b b^^,
scales.
which includes
also the
examples in Kuba's
article
them
N.
is
g. u.
given
D.
(p.
There is at our disposal an example of a rather recent borrowing of a melody which shows
that this hypothesis is not as fantastic as it may seem, perhaps. See the Hungarian melody
(6) on p. 58, its second and third section with a^ as final tone. The Hungarian variant has
of course g^ (first degree) as final tone of the entire melody; the Serbo-Croats, however, took
over only its first and second sections; therefore, this borrowed fragment has a^ (the second
degree) as final tone.
" There are examples of variant groups in which some of the variants have their final stop
on the second degree, some on the first degree. Closer examination of these examples will
perhaps help to solve this question. For example,
"Tab. of Mat." No. 158 a.-g.: Dordevifi Nar. Pev. p. 77, second melody, Ka^erovski 40a),
Bosiljevac 47, Kuhai 878, Kuba B. H. 581 and 913 have imperfect cadence, Kuha 877,
^^
perfect;
"Tab. of Mat." 177 a.-d.: Dordevic Nar. Pev. p. 24, first melody, Iz Levca 23, Dordevic
449 have imperfect cadence, Kuba B. H. 175, perfect;
"Tab. of Mat." 810 a.-c: Kuba B. H. 817, 818 have imperfect cadence, Kuba B. H. 439,
perfect;
a.-h.: Kuba IX, 3, KuhaC 653 a)b), 1083 have imperfect cadence,
and Dordevid Nar. Pev. p. 69, second melody, perfect;
"Tab. of Mat." 1010 a.-c: Kuba B. H. 507 and 688 have imperfect, Kuhac 178, perfect;
"Tab. of Mat." 1440 a.b.: Kuba B. H. 578, has imperfect, Kuhac 1129, perfect;
"Tab. of Mat." 1591 a.-c: Kuhafi 1111 b) has imperfect, KuhaC 408, Ka^erovski 4 b),
KuhaC
perfect;
a.b.:
some
[61
Morphology
25) because of their importance; after the enumeration
Whole note
entirely.
D. No.
g. u.
means
final
No. 62
quoted
61;
is
this tone
N.
in the scales
of
"Tab.
of
c.
(Kuba B. H.
>- 1]" ^ *
-& jygtSurb'^
1004);
of
N.
N.
g. u.
L.
Kuba, N.
g. u.
g. u.
f.
D. No.
(Kuba B. H. 1018)^
>:
)
^
^
^
U)g\^\'M!-
62.
5,8+8,5
_0]
^^
f^
Tra
jxa.
I&
g-^ J
T"
HD
vc
vu
^e
SB
6@ ie-be, ira-VD.ko-iSi'l.kad ia
<^^,
f
Ira - VD
^^
KD
^e
na!
na
na
U. Zagvozdu; devojke
By
.^6
courtesy of Professor George Herzog, the owner of the Dalmatian record (transcribed
by Bartok).
[62]
5i
dZ "8
1;
"B
"1
i;
i
1! IS
1:1
1.
li:
k.
!'
..=
\i
\[
.tz
\i
]\
w
f:
)
(II
Eli
fn
N)
Morphology
As we
see, these "chromatic" scales are narrow range scales; the melohave very few ornamental tones. Chromatic changes affect the
second and third degrees, both appearing as naturals and flats in the same
melody (except in one case, where only the third degree has both forms)
dies
One may
and naturals
is
inadequate for
in connection
degree
flat
is
mean
here
that
that the two forms differ only in "color," but not concerning
is,
their function
this is
it
appears that the single tones, whether or not they show the same degree
position through the inadequate notation, are treated as independent
and 6^b having nothing in common with a^b^ and b^}:\, respecis used as an independent degree. Therefore these scales
be regarded rather as a segment a kind of pentachord of a
tones, a^\?
ought to
As
to the
many
variants, all of
them
a clew
in diatonic
and generally with the same text or with text variants. These are
Mat." 835) Kuhac 979 (from Istria, the closest
variant), 977, 978, 980, 981, Kuba X, 40, B. H. 556, 557; Slovak variants:
Slovenske Spevy" I, 194, III, 36, 62, 286; Moravian variants: Peck^ 121,
183, 209; Cernik^^ 69, 282; SusiF" 780a). Hungarian variants (rather
remote) Bartok Hungarian Folk Music, No. 299 a.b.c.
scales
as follows: ("Tab. of
This proves that the Serbo-Croatian melodies in question are borrowings from northern foreign material
is
similar process of
when we compare
(Kuhac
scale.
250, 251,
it
f.
(Kuba B. H.
Kuba X,
34, B.
H. 387,
391). If
we
try, as
an experi-
is,
" Slovenske
*8
"^
8"
a\} ab{b\?
b^ into gat]
64
b{\}) c d,
Morphology
most
of
them
will
artificially
is
it is
medium range
(if
one
permitted to
is
call
the latter
Dalmatia
in
is
or both their chromaticism and that of the heroic song motifs are, though
influ-
RHYTHM FORMATION
The
is
this book.
The
shown
in
most
rhythm
rhythm gain a
mainly of
certain importance.
J J jj| jJjJi|,
having more or
less
first stanza.
some
is
is
The melody
of the eights
remarkable. Because of
its
"chapters" (portions
65
this
lines)
Morphology
will
mus.
(see
ex.
contains three (No. 20) or four (Nos. 34-36) more or less different pat-
may
is
last,
however,
The
text lines
Meho
Jaric).
we
its
No. 35
stanzas,
except the
first
stanza. If
strip these
No
trace of
it
is
form. ^2
So few examples of
melody
it is
tion or a wide-spread usage. In the latter case, the discovery of this phe-
nomenon would be
method
of record-
The
rest of
more
rarely,
may
may
appear to be somewhat
Examwe start by
of simple original
rhythmic patterns as
fol-
lows:
a)
nn
|-
JTO
>ii.
,1
l)J77}\ni^U J
3.) /TO|JTO|J^J
1)
';
We see a)l. in
No.
and extended
to twelve-syllables
values
Nos. 16
a.
(JJJJ|JJJJ|JJJJ|).
" The second stanza of No. 20 presents an exception inasmuch as its last repeated hne is not
the last line of the respective text chapter.
^^ Some signs in the Bulgarian pubHshed
collections seem to indicate that a kind of free
stanza structure exists in the Bulgarian material, too. See also Bart6k "Rumanian Folk
Music," Ms. deposited in the Music Library of Columbia University, II, pp. 25, 26.
[66]
Morphology
Then we proceed
simple patterns.
to determine
We
what kind
of changes
follows
b)
1.
MJiJJMJ:JJ:||
2.
4.
|:J1J;|;3J
.r773l/3j
5.
No.2
jJJlJJidJlJJ'vl)
iL
J J
:|K
J>|J J
^)
2.
3.
4.
5.
JTn
JJ
IJ
J J
JiJ-H
J J
J.
J.J.
jjjj
icijv^.g..j.|j. j.oiiiNo.i4
IJ
J J J
IJ
J |J
J J J J
|J
iyr,
/m
/m U
rm N
/m
ij
|:J
6.
J J
J J J
happen to these
two measures
J J J |>No.l6b.
)
II
iJ
:||}No.l8
J jjijj J^7^|
)^ ,ijj j:3ijjj^yv^iip-^^
[67]
Morphology
d)
No. 3
JiJd
|o.
No.391>.
i--
(a. riibalo)
ND.43.44a.b.
4.
d iJd
5. |:J
/T-n
HJJ
Jl
J d
m<i
No. 45
(rubato
:=
No. 4 7
d o-
e)
/]
J.
J^J J
d o.
|(vac
Jo
JJJ
d
((vac
JJJ iJH
3.(
JJJ
ffv
J>)
JJJ
d d
(var. J.
J..PJ
|:
>
J-J'J
5.
6.
ioH
1:J3J
d
id
J^
;(vacJ
JJJ
J
d.
No. 40
^^d
Id d iJ^d
d-
rm
J J
d lo
J)
No. 41
J. ;
d
o(
51
I:
7.
JiJ d
d.
J. J"
i.^
J
>No.26,27a.-e.,28a.b
(28d. rubato)
d-Jid d
s
Jid d
No. 12 a. -e.
/I)
(varJ.
Lap. J.J>)
4.
J)
-HJ Id
2.
No.6a.b.c.
/f\
IJ
d J^
No.
^
[68]
30
Morphology
J.
J.
W.J.
d
oC
J J
J J
/(van
2.
3.
4.
J.
c^
J.d J
>Ko.31a.b.<3.
i.
J>
J.j
J.
J"
J-l
J.
No. 32
No. 33
No.31d.
g)
=^N
3.
Group
b)
IJ
Jj
IJ
J IJ J
o^lJ
J J lo
doubling
consists of patterns in
)j^4
:||
J
J
rhythm
Variety of
is
Group
c)
(2.
consists of patterns in
4. 5. 6.
(Nos. 16
17, 18).
In
the
first
1., 2,
in 3. (No. 14) j j J J
either the
17), or
b.,
rhythm
becomes
JJo
J|
As
an altogether
change
(3. 6.,
69
it
Nos.
JJ
has
14,
Morphology
In group d) there are patterns which use the combination of J J and
J
and
(or J J^
tion; the
J>J) rhythms, in
combination
may
first sec-
common
-\-
some variation
of
it;
d rhythm or
rhythm
is
in double
a)2.
simply a repeat
first
section
(1. 2. 3.).
(pp. 44-46),
No
special
into j J
jcl-
J or J J J J (in 4.,
i
comment is needed
line
by
the
appears.
is
attained
PART-SINGING
Here follows a complete list of two-, three-, and four-part songs from
the printed material and the Parry Collection.
Kuha B. H.
"Tab. of Mat."
Number
337
500
a.
338
500
b.
456
283
a.
474
752
c.
829
1553
1005
115 b.
1006
308
1019
285
1018
303
[70]
2
f.
of Paris
Morphology
Kuba IX
"Tab. of Mat."
1002
a.
321
g.
1162
690
15
1296
16
588
21
473
610
49
1892
52
1024
2
3
3
a.
3
2
2
b.
1372-73
23
46
Number
3
2
e.
a.
iTMfeaX
12
624
13
1506
14
249
22
743
23
1381
2
f.
4
2
c.
24
227
ZZ
229
43
1486
45
1093
48
1154
54
3
c.
383 b.
59
1758
Kuhai
370
487
1088
1729
1470
485
2
a.
Borievit
218
498
570
508
Bartdk
1020
1223
0r Afjw.
Ea;.
71
a.
3
2
of Parts
Morphology
This
list
Some
northern and
in the
1).
The majority
A peculiarity
representing
sometimes
fol-
enters
middle of a measure
which
to
not
it
However,
in
in
is
an
major seconds. L.
it.^
may
Dalma-
seem
to be
more or
less
" In his article N. g. u. D., second part, pp. 1-6 (see also "Tab. of Mat." 1223, a melody
recorded by Bart6k)
^* I obtained similar information from the Rumanian inhabitants of a near-by village,
Nagyszentmikl6s (Sannicolaul-Mare), the only village where Rumanians spontaneously
cultivate part singing, probably as a result of Serbian influence (see "Rumanian Folk Music,"
11,44-45).
Pp. 12-15.
"Readers who
Z 2041-42; Z
Z 2104,
issued in Yugoslavia. For the
2105,
transcription of the
Z 2043-44; and
first
same
others in the
series,
proof for this is found in the instrumental preludes on the commercial disks, which
for technical reasons invert the melody played on two sopela (a kind of oboe), that is, there
appear minor sevenths instead of major seconds. These minor sevenths are never changed into
any other interval.
'^
72
Morphology
It is difficult to determine the origin of the
An
intrinsic feature of
their
is
Europe are exceptions a) the German southeastern regions, h) the GreatRussian, and c) the Serbo-Croatian northwestern border territory all
three sections having normal part singing except Dalmatia. Does this
usage originate in Western European^^ art music? This is possible, since
the means used in both art music and peasant music are similar. So far,
however, no evidence establishing this origin exists.
Explanation of part singing in major seconds is even more difficult.
Analogous phenomena are entirely unknown in folk music anywhere,
:
it
a transformation of a kind of
an extinct
art music? Or perhaps the major seconds are simply "compressed" normal
thirds. The latter theory seems to be the most acceptable explanation,
since this part singing in major seconds is closely connected with the
normal part singing, or does
it
And
if
is
the
PECULIARITIES OF PERFORMANCE
Ornamental
tones.
The
many
lines
little in their
and west.
It is quite different
are,
heavy
When we
and melodic
patterns.^"
below the first melody stanza of most melodies, we get the picture of rather
"Western European" is used in an extended sense, including German territories.
Except in a few examples from Bulgarian territory.
"">
See our Nos. 2, 10 b (two examples of simpler ornaments), Nos. 4, 6 c, 10 a., 11, 12
18, 22, 27 b., c, 28 c, 31 c, 41, and many others; the last is exceptionally rich.
"8
"'
[73]
e.,
Morphology
simple, less appealing
actually performed,
we
was
it
is
Kuba
L.
Line-, word-,
come
and
syllable-interruptions.
In
this
paragraph we again
by
for decorative
is,
the
line-,
one
for expressive
purposes.
This
when they
There
is
is,
will
without
fail
as section caesuras.
rest,
As
however,
for the
non-
articulating rests, there are three kinds, referred to above; the difference
and word interruption, however, is not essenbecause the length and the placement of the words used in the text
will determine whether there will be a line interruption or a word
between
tial,
line
line interruption
interruption.
'^
Since the Parry Collection contains very few samples from other areas and the earher
measured the rests between melody stanzas, we do not know the geographical
collectors never
[74]
;:
Morphology
Line (or word) interruptions have been observed by the editors of the
printed material in 105 melodies (generally not in the
tion)
first
melody
sec-
74 by
Kuba
place in the
appear
first
melody
first of
which takes
as an exception
in the first
melody
section also)
27
is
have
it
also:
Of the
Nos.
latter,
which occurs
21
a. b.,
No. 14
mode
first
From
the
first
one, in
and because
some stanzas.
this description it
melody
section.
may
The placement
of
an interruption
the
may
first
6, 6,
of
assume the
larly,
all
an interrup-
fact,
no
rests
between the
syllable
not at
pattern
is
-'-
5, 6,
(that
is,
it
sections.
b. e. g.
For
has the
first
d. g. h.,
with pattern
8,
-'-
6,.
Simi-
1, 6, (inter-
ruption before the sixth syllable of the second section) will be interpreted
,
^2
examples in this
[75]
collection.
Morphology
2
by Kuba (one has two interruptions, the first of them in the first melody
by
section)
first
of
them
in the first
melody
section)
and
melody
in 1
No. 28
in this book:
c.
syllable interruptions.^^
They occur in a
considerable
however, are
and
there-
fore they do not give an impression of being used for decorative purposes,
but rather as a mode of taking breath. On the whole, their use seems to
be due to Yugoslav influence. The Hungarians and Turks do not know
them at
all.
vak
made on
Slo-
territory.
permanent
syllable interruption
on the
fifth
section cradle song. Considering the apparently very great age of the
all
young, performed this song in the same way, we are fully satisfied that
perhaps the only one on the entire Norththis interruption is a remainder
Slavic territory
single case, it is
Swallowing the
melodies
this
still
flourishes in
last syllable of
by Kuba and
in 1
Yugoslav
section.
extinct
among
territories.
by Bartok ("Tab.
No
of
Mat." 39
d.,
3,
a.,
and
b. (the
swallowing occurs, however, after the third syllable of the second section
in 16 a.,
Readers who are interested in further details are referred to the last column of the "Tab.
of Mat." Line- (word-) interruptions are marked there as 4 -'- 6 ( = 10) ; syllable interruptions
^3
as ^ -f
^*
'^
5.
6),
5.
Published in B. Bartok, Five Village Scenes, Universal Edition, 1927, Vienna, No. 4.
More details in the last column of "Tab. of Mat.-^
[76]
Morphology
known
The same phenomenon is even more frequent in the Rumanian material.^ The Hungarians of Transylvania have it, too, probably as a feature due to RumanThis feature
ian influence.
purpose
is
is
We
Clucking sounds.
deliberate and
There
its
however,
existence
is
manner
it
in the
of singing
else. Its
result of
a haphazard or individual
most deliberate way.
(1)
anywhere
by no means the
mannerism; the performers employ
not quite
all of
shown
is
quoted on
common
in our
p.
it
trill
sign.
Their only
1;
sign as a substitute.
known
precise tran-
Kuba
To do Kuba and the
the variant of
it is
almost impossible
of clucking
sound
is
used to their
Nos. 12
b.,
15, 19,
23
a.,
27
d.,
is,
and others; 12
mus.
ex.
exceedingly rich in
b. is
such sounds). These sounds are never used wilfully, and they appear
either at the
end
as
and transcribed,
for
Both kinds
sively
in
in
lished collections.
" See Bart6k, "Rumanian Folk Music," Vol. II, Nos. 534 b., 639 a. c, and others.
Vol. II, No. 613 a.-h., and Bart6k, Volksmusik der Rumdnen von Maramures, No.
''''Ibid.,
23 a.-h.
[77]
Morphology
Kuba (B. H.
and by Kuhac (955). The same mannerism occurs in
the Turkish materiaP^ and in Arabic art music. In the latter, rather long
ornament groups with accented tones sung to the same syllable account
This kind of emphatic performance has been observed by
for
it.
In the former,
also. It
its
use
is
Serbo-Croatian emphatic
is,
it
ago.^^
is
of jocular
one example (No. 54) since this has been recorded only once and has an
undeterminable structure, no conclusions can be drawn from it. The
;
Kuhac, and
by Kuba,
by
by Dordevic:
Kuba B. H.
"Tab. of Mat."
265
257
d.
572
152
809
969
869
890
824
905
583
d.
475
1023
1619
117
e.
1826
987
1878
34
"
See Bart6k, "Turkish Folk Music from Asia Minor," Nos. 20, 24.
designation "hehhentes," still in use a century ago, for melismatic groups
in art music, is significant; the h sounds in this onomatopoetic word point to a possible use of
h sounds in the performance of those groups.
^^
The Hungarian
[78]
Morphology
and in addition Kuba N.
''T ah. of
905
g. u.
D. No.
64.
Mat."
Kiihab
1101
e.
590
1084
"Tab. of Mat."
867
p, 86, first
1755 bis
p. 15, first
this
kind of emphasis
is
This
absolutely
is
melody
melody
not
is
clear.
unknown
Accord-
elsewhere.
c. g.
(Kuba XI,
47,
the repeat
is
to be used for
the
Rumanian
humorous
We mention it in
effect.
Rumanian
This
is
The
so-called liquids
/,
is
achieved
Rumanian a
sometimes also
j,
or the
-er)
m, n
to the
do
not
generally need this addition (for instance, music ex. No. 14, syllable
Si-td;
St. 2,
in
No. 21
a.,
measure
measure
measure
11 po-dd-.
3: di-l-he-r;
2, 5,
No.
For
syllable
/, r,
see
mus.
ex.
No. 21
a.,
however, vi-ha-rd]
etc.).
The new
sylla-
[79]
Morphology
ble.
No
Kuhac No.
tions, except in
sung as
(more correctly,
''piraviti"
official
was
pd-raviti?).
we have
we have
in a
our mus.
la-dd-\-na in
i-gd-\-re in
No.
33, St. 4,
No. 8
da-\-o in
3,
measures
St. 2,
b.,
No. 39
ex.
measure
a., St. 6,
become
syllabified
and
syllabified
mus.
bar
1;
it
ex.
will
2, 3,
No. 23
5; instead of la-dna,
and even
i-gre-,
u-gd-\-le-\-
instead of w-|-g/e-|-^a-|-o.
it
may happen
last;
When
that the
first
will function as
No. 27
b.
instead of
measure
e., St. 3,
b., St. 4,
bar
1.
As
a., St. 3,
bar 4; No.
melody.
This usage
many
is
spread over
all
central-eastern
other territories.
folk
music (except
in
however. This
is
upbeats, sung to syllables not belonging to the text proper. Such elements
in Serbo-Croatian songs are: 9 (see p. 79), dj, h9j,
ej,
oj (the latter
32),
and
i,
n,
m, hn, sometimes
p.
so forth.
ej, oj,
may
of word-beginning
"liquid" con-
even after
line
and
and 31
b., St. 2.
These upbeats
[80]
No.
may appear
14, St. 2-5).
Morphology
This usage
is
very
common
in the folk-song
rather rarely (at least, in our melodies, the other editors having neglected
phenomenon), except for the two final syllables of the participle perf.
io, which generally appears as ijo. J is used in other instances, too
(for instance, mus. ex. No. 28 b., St. 4, measure 2). Hungarians, Slovaks,
and Rumanians use j for the same purpose, Rumanians also d; Turks
this
ending,
much more
frequently.
When
a great
many
own
it is
text: texts
among
more
Examining the largest variant
groups "Tab. of Mat." 983 a.-ll. and our No. 27 a.-e. we find not
more than ten variants (out of 41) of which several have the same texts:
five (g., 1., bb., ee., ii.) with U Omera vise Sarajeva, three (c, bb., our No.
27 b.) with Beg Aliheg (or other name) na kuli (or somewhere else) sjedase,
and two (p. t.) with the same lullaby text.
These data prove that in the majority of the songs text and melody
have remained interchangeable, within the limits given by the differences
in the metrical structure of the text lines (and excepting songs of urban
variant groups;
text.
origin)
by the
This is the actual situation in the Rumanian rural material, for instance, within the limits
difEerences in the subject matter of the various ceremonial categories, as well as
of the nonceremonial songs (but not in songs of urban origin)
^'
set
by the
[81
Morphology
formance of ceremonies, or with special occasions, distinguishable from
by
others
The printed
or other designations.
An
collections, especially
enumeration of these
many
ceremonial
is
Outstanding events
1.
II.
III.
Work
a) Work
1.
2.
Na
in the fields
song);
3.
Na
kopanju {kad
2.
se
Kad
kopa
u branje zdravca
se ide
(when at work)
work
b)
[in
the
6.
kopanju kukuruza)
when hoeing
maize]); 4.
Kad
se vraca sa
Kad
Pri radu
fields])
3.
Na prelu
wool)
2.
Cilimarska (carpet-
ter-whipping song)
IV. Recreation
1.
2. Pripev^''
saboru
(song to
(girls'
match a
girl
5.
men, and
so forth];
(clapping dance); 4.
7.
9.
Vanjkusac (pillow
[or cush-
given here.
* Crane's
*^
[82]
by the various
editors; only
one form
is
Morphology
VI. Songs connected with certain days of the year
1
3.
Na
on Ascension day)
5.
4.
oci Jeremijinog
maskarada
9.
Carnival Sunday);
11
Krstono^ka
8.
10.
Na
premlaz
Koleda (winter-solstice
[or
season)
1,
dren's song
when
it is
2.
^^
(chil-
raining)
REMARKS
Represented, unfortunately, by only two melodies (Dordevic, Iz
I. 2.:
is
scarcely
conceivable.
1.:
The designation
is
apt to
mean
erings as the
for
Kolo).
usage
is
Would
this
mean
that the
songs?
VII.
1.:
village.
Very frequently the designations apply only to the content of the text.
text in the Parry Collection which contains conversations among
making" {pjesme za
[83]
Morphology
no
rial.
this
According to
all
village, at least
one kind);
lullabies; harvesting
of
call
(in
every
"Colinde," as they
mourning
is
extremely rich in
many
girl
dies of certain categories (for various special days, such as Lazarus's day,
St. Nicholas's
ever,
classes.
and
it
A category quite apart and very well known in the Hungarian, Slovak,
German, and French material is that of the "children's play songs." These
melodies often have no symmetrical form, but seem to be a potpourri of
The Turkish material has
rain-begging songs the Rumanians do not know
kind of melody in
at
all.
its
nameday songs, festival songs, and (in one case) as wedding songs. Since they
have an undeterminable structure, they are placed in a separate category
besides being real children's play songs, serve also as dance songs,
("Tab. of Mat.,"
^^
p. 135).
See Bartok, Melodien der Rumanischen Colinde, Universal Edition, Vienna, 1935; 484
melodies.
^^
[84]
Morphology
CONCLUSIONS
After our intensive analysis of Serbo-Croatian folk-music
its
main
we can
state
characteristics as follows
The prevalent
structures of melodic content may be expressed with the formulas a A(v),
AAA(^) or A A(^) A, and a b B(^) or a a^^) b (pp. 47-50). The main
result
prevalently on the
first
is
fourth (or
52).
The
fifth)
characteristic scale
with/^, a^ or a^
flat,
and
is
first
first
(p.
c^ as its
As
is
lines are
preponderant.
As
74).
for
mode
of performance:
emphatic
heavy ornamentation
much for
is
The performance
of
many ornamental
tones
is
(p. 78)
Melodies with these characteristics are spread mainly over the "au-
tochthonous"
Montenegro, Hercegovina,
and Bosnia.
Foreign influences are found chiefly in the remaining
cially in Croatia, the
Croatian seashore,
(p. 24).
four-section
is
The
Foreign influence
melody
is
"autochthonous"
territories, espe-
Istria,
territories.
it
As
for the
is
originates probably
numerous more recent melodies in the western areas, it originates from central or western Europe. The very few recent^ borrowings
as for the
""
last sixty or
seventy years.
[85]
Morphology
in the
"autochthonous"
come from
territories
New
Hungarian material
(p. 56-59).
MATERIAL
very-
Some melodies of urban origin are common in SerboRumanian and Hungarian material. This fact, however, is
irrelevant when it comes to the "autochthonous" material of either of
these peoples. Instrumental Rumanian dance melodies have probably
undergone some Serbo-Croatian influence. The scarcity of published Serboexert
any
influence.
Croatian,
The
in Serbo-Croatia, those
of Sb syllables in Bulgaria.
(b)
So-called "Bulgarian"
rhythm formations
SIGNS POINTING
two tenta-
tive hypotheses:
^^ This opinion is based mainly on the Parry Collection; the published material cannot be
regarded as quite reHable in this respect.
86
Morphology
(a)
a possibly ancient
common
style
of
narrow-range
melodies
(p. 54).
(b)
a possibly ancient
common
trait of
performance, described as
avoid
slips
[87]
Morphology
Number
on
Pages 95-230
Melodies
Collection
Date of Recording
Singer
Place
Bosnia
Bare
Bihafi
Kulen Vakuf
Ibrahim Masinovic
7,34
20, 28b.,
of
35
27e., 39b.,
44b.
(male,
65 years of
age)
Dalmaiia
Kijevo
Livno
Girls
Meho
c,
36,42
Hercegovina
Gacko
May
Dervisa Biberovic
21, 1935
4, 6b.,
18,31
6a., 8b.
33,38
21b.
(female, 50)
Dzefa Grebovic
(female, 45)
Ibrahim
Hrustanovic
(male, 23)
Halima Hrvo
(female,
60)
April 20,
May 21,
1935
April 22, 23, 26,
27, 1935
5, 9, 12d., 14,
30, 40,
Fata Krajisnik
10
10a.,b.,
54
25
(female, 65)
Cerima Kurtovic
(female, 12)
April 24,
1935
May 21,
60)
Hajrija Sakovic
(female, 18)
May
29
20,
12b., 19
21,
2,
16,
2
12a.,
6c.,
31a.,
12
32,
1935
46, 49,2 52
Almasa Zvizdic
(female, 45)
May
19,
18
c, 31b., c, 39a.,
41, 43,
47, 48,
50, 51, 53
Raba
Zvizdic (female.
12e., 21a.
. 32)
Serifa Zvizdic (female,
12c.
13, 28a.
55)
Rotimja,
dis-
trict of Stolac
Naza Rokic
(female, 26
Dec.
15,
1934
or 27 years old)^
"75
Total
Remark. For further information on the singers and on the circumstances of the recording,
^ With Ibrahim Hrustanovic.
^ With Almasa Zvizdic.
* She says this about her age in a recorded conversation.
[88]
Morphology
The voice of
when he or she tries
considered "beautiful"
by
rural people
a singer
is
to imitate
Jaric in
No. 28b.
styles.
the almost
is
unvarying pitch; eight out of ten have e^b or a somewhat high d^ for the
final tone. She has less sense for constancy in tempo; in almost all her
performances there
is
in a pitch too
low and
is
compelled to raise
Almasa
it is
pitch.
Her
tempo
is
no absolute sense
of
occur in her pieces, except in one or two. Her performance has on the
urban
8, 5, 8, 5,
melodies; there,
resembles
of the other
or
more
variants.
following the
above the
tone considered as structurally the last tone, appear the numbers desig-
[89]
Morphology
nating these tones in J or L_J or L. Above the first staff, at the right,
appear the numbers indicating the syllable number of the melody sections
and the range of the melody. For these symbols see pp. 27-28.
At least three (sometimes more) melody stanzas are written out in full;
those portions of the remaining melody stanzas which show essential
changes appear after the full forms as notes or variants. For example,
"St. 6 (ref. to St. 4)" means: "Stanza 6 has essential changes; see numbers
over the respective portions of Stanza 4."
After the piece follow the record number, the name of the place (village)
where the recording was made or from which the singer came, the name
of the district (in parentheses), the
name
of the singer,
of
the recording.
Preceding the
first
men
measure
women
In order to
facilitate
Time signatures in parentheses mean that, although the values indiby the signature are originally intended in the respective measures,
nevertheless, certain deviations appear in some or in all the measures
cated
(see p. 6).
When
lando-rubato without
,
Key
when
sign
par-
of note values.
The
is
slight lengthening;
is
affected
p. 13.
^ a slight short-
ening.
The wavy
line
glis-
Above a note
it
it
indicates vibrato.
[90]
by
gliding.
Morphology
note, pointing upward,
than noted; pointing downward, sHghtly lower pitch. They are used
flats
means that
theses, it
may
their validity
mean
staff line
sometimes be interrupted.
an interpolation from the structural point of view, and is disregarded when establishing the structure of the melody.
Melismatic groups always bear a slur or tie each single note in groups
without a slur is sung to a separate syllable. Broken slurs mean that the
melody
is
two
(or
rS
JJw
(No. 12
d., St. 4,
measure
<
The
J.
3)
5
'
J'J
measure
5)
means
by a beam), have
to be subtracted
by
fji
^;
equals /J
When
equals
4IR;
"
IXU"-.
7,
tion to the
own
equals fj>.
J>
values, the
and
Small-head notes with heads in outline are used for "clucking" sounds
(see p. 17):
The use
of
means
Letters in italics are used for syllables or sounds not belonging to the
text proper (below the music also indicated
(inverted
e),
by a wavy line)
for example, 9
Aa-ga stands for dra-ga). See pp. 78-80. Syllables or words marked with
^ represent interpolations not taken into consideration when establishing
the syllable numbers.
[91]
Morphology-
letter.
tie
first
(e-i, o-o)
means
example (No.
20.,
measure
second vowel
is
The
a bilabial
(No. 21b.,
St. 2,
signs *
[92
Works
Cited In Part
One
Bartok, Bela. Five Village Scenes; for voice and piano. Vienna, 1927. Universal
Edition.
Melodien der rumanischen Colinde (484 melodies). Vienna, 1935. Universal Edition.
La Musique
"Rumanian
1889.
J.
Slovenske Spevy, Vols, I-III (about 1,800 melodies), Turciansky Svat5^ Martin,
1880, 1890, 1899,
Susil, Fr.
Szabolcsi, B.,
93
1859.
Music Examples
J=144
i'i.iHf
[^\ui]
^ No-na U-na
^.bj
piyyy^
ri-ce,
i'fgir [ii7
Ne-goie-be
Ne-go te-be
i.[y^
dru-ga
mo-lia
ce.
^
k)
iom po-sla
^^^^^^s
Ne-moj ce-ri
Ne-mqj ce-ri
uiff-kim po-^a,
(accel) - - _ ^/ J = 108
jtj^^
ui^-kim po-sla,
f7 ^^i-^V^
^^^l^^^i-
.rnj
|
Me -
ne maj-ko
ko
20 -ve,
torn
mo -mo
CO gdi je
No - si
(accel.)^
Pa
+f^
/nU/y=mf=mH
r^
f^^-^i
sr-ce iuX-no.
i,
Ku
3'j o-js
nfi-moj, ruS-no,
NG-inoj,li-po,
=108
,j,>|i
2)-
^
J
ri -
^
~f>
foi-nT]|,^7n| ^j^ll
^ccel
mo-lja dru-ga-
me
Ilj
Me-ne inaj-ko ko
accel. - - - _ ^
za-diu,
Ku-6ogdije
^^^^ n
_ _
bo - di
_<9Z J = 125
ko'
95
Pa
me
mo -mo
i^
i"
ho-di
ko'
te
vo -
Ijo
torn,
te
zo-ve,
za-d2u.
^F
vo - Ijo.
ca.
(continued)
qcuasi rtibato)
i^ ^
^^^
Hej
hd-li^-liiij hoj
hoj
>
Ba-Kd-ha
\b\^
^
hj^-hd-h* hoj
hoj
3
Hoj
hoj
hoj.
hoj.
i
hd-h^-h^
hoj
hoj.
hoj.
^^
n.
.K.
hoj..
hoj.
hoj.
Var.
MJ^n
*_4)
"^
ii
j
r jjjl
77^
11
TIT
rrt
"
^1
._.Ha
h*
e^. o^ o\ o^ p'
hoj
i>
|S:
J7T]
rji
,_^
^i
1^^^^^ P
o"'!
|L
J^IJJ'^J.^^'^J.
hoj
hoj hoj
e-
lu-h^ hoj.
Hoj-
[96]
(continued)
*5-1
r-g^
2.0 - ko
>
,1
= 95
.^j-
jjiJ^
3.H0 - ce
zu
sa-di,
^^
#*
roe
ck_
pre
va -
JjJ ^.;JJ3^|;JJ
/^J
Ho ce
pre - va-ri.
4-.N-ne-ka
di,
jjj^^B
lo
sa -
zu
CT^
me-ne
^^^
h\,
- le
J ^Ji^ii^ jg
ku - le
Jo-ko
J
fa,
ku
gra
da
3
'
ne
JT:^ ;^
Ne -ka_
Var.(ref.ioSil)
gra
ne
St. 15
J.'^?-rf |
|
ka
sa -
di,
rjiJjM-^
ijg
- di,
^jsic)
- di,
-^j'
ri,
ka
sa-di,
1)
i
R.
3572-35Gacko
97
(continued)
i^
2,Ne
4;hrJ_j
^e
^
3.N.e
j;h
^,bi,
re
J^>
Ne
re
se.
se.
l3
JjJ
O'r
ci
;j
krarA-aj
Ne
I^-J^
kraj
,[^j
za -
mom-ka.
no(5
:J
rJ
- HOC
JT-p
U-
mom'i-ka
za
ifea
re'!
pla
pla
rPi
tve,
ha,
\^i
^a -
re
da
vo -
tva
-da
vo
je-
^^
|i)J_J
;=&=
'y
Ih---
Nie
;J :{iJ.Jjj NM-j;j
,1
>i
ci
tva
j_j
4. Si
g ^bjf
j.
'^
j>7
Ne
i^
iflr
tii
1^---
- ni -
je
la,.
jel',
Var.(pef.toSt.l)
St.
10:
iSt.ll.
^r^Jibi-J
msi-ta
5t.l2
S ^
St.l4
miJi-un
i
reiLf
^i^
PPP
St.17
^St.l9
J^jHa.
>
lSt.29
^m^jinir
j^fM
- ia - di
PPP
ti
PPP
St.31
rT\u uAnri
j^
-nu -
^^
bi
ti
PPP
R. 3557-95 Gacko (HercegovinajjAlmasa Zvizdii, May
98
21, 1935
8b,l-4
J =108
^-^T
r'
"1
p
--^
"v
T* V
El
_L
i
-
3. j
ju -
,1,
ju
nac-ku
nac
'--
ce
vo
di
ble -
jo,
^ J'ICDr gfe. s
1^
ku_ 6e
tu
tu
vd -
c^
di -
Ifi. i
-^
- jo.
i?i
ih
n\\^nT.
vj'jv
^
\
Do
5. >
M
e^
'_-\
Do
sam ma
sti
- ja
- Iw eve
Ija
is
^Tm ^^^
^
- sti
-o, ,Li^-le
- le,
iSam
516
ma -
jak
St.8
4L
eve
St.9
^
Ija
Aa
nei*
99
o,
jt-g
^y
*?=*
'^
Var.(ref.ioSt.l)
f.
May 21,
1935
Pull
if)b
la
ne,
da
JLB^J'JJJjj
Do
2.Hn.
j',b
ni im-hi puit-ni,
do -
mi,
6i
i^J^iJj u
-
Do
;'v-
ga
yj'SJl]
dra
mi, do-di,
di
dra -
(ti,
^a-Aa-Aa
ir""
3.
mo - je
^^^S;3
mo
U-
^;
do
^
A.<^
Do
do - re
ve -
- di
l ^ ^ r^r
^'FTrJJ
rT ^'[cf
di
I
i
bi
- ne,.
je
le,
- je
VB
re
I'^'-^'Hi
J'-.-i^J'c^,^jU.^
Q^'MT^
vo
.^^
"
^o-ga
bi
'I
za
'
LI
- Jle-le.
je
>|
so-^o
'
.,i:__,>r?^?~^
bo - - - ra,
^^^^^^^
^
J"''-NT) f
za
do - ga
<j-
100]
^'
^e^^^
[i?
&o -
ho
bom
(continued)
^."mr
JJ
a O
ga
4i
ii
fr^C)^
za
jM'j
g ru-
i^ fr.J'g]
O.Nc -
'
ru-5i
J'Jj]j|j
h^
Sve
1*
5.S^--ve
jm
& se ^ WJIr
.f
ne
'.^ifc.
f^
^^
2=r:s
jr,) ';r
,rc,ry
|
mi - ri -
la
Se.
r-5-1
i^hwf^^^w^
A->r?^Jjgj|^
Ne
7.
f.b
Ne -
mu
ka
ru-4a
ciu-
mi
ri
u-Zc^-di - -
^a
se,
;5e,
Ne -
mu
ka.
tej
^a - Aa - ne
za
J.
- he,
H/ilyl L[f
li
mu ru -
ka
g*- ra
:^3t
ka
mu du-ia
z<>-<Ji
- - ^e!.
6a
10, "5:11-4
J=:112:f:
4^"^*^
St.l-StI2-5t25
lHaz-bolje
Be-
:se
ier-de-lez
li
- -
ja_
ia_
rr"
pla -
ni-ni
pod
[101
je - lorn
ze
le
nom.
6a (continued)
fjjm^
fryhiiu^.^ir
nje-mu
2r.Na
bi - Ai-je-li
.se
Kaj - no
gru-da
gape
ea pe
re
mai
maj
rfjf^^^tp; i^
ii
Ija,
VT gj].j
.-
,fr
srge - ga.
ni
j^l^i;jl>lk;?Va|njJ>i.^J
3.Nil;
Su
ko -
pla-ni
muA
f(?)jJJU;,^:|'rjl.ll(t)
-
4".Sivmu;So
se
tii
ca,
,^f4)jij...>gi
"ve -
de
na.
1)Jl
de do-no
fitri
PfJl
vo
ko.
j^
!ft]
sko-ro do
re - na
ni v^-ie
- ka,
&a - &e,
'32
Be-
r-de
le-zu
ra
ne
- le.
is-pi - ra
f J^5^gJi^,^ir^l(|);E^H|J>^J^f^Sp
A
5.
Go-vo-ri - -
lu mu
fr|..^;rjj i:j.^ii,^
Bo - ga
j^.'^gJl].
6.Ka-kyD
ti,
ferm
.sa
L^-ja:
li
po-ji^
^I
J'
ti -
i^J
i'f
do-bro
ti
^j-iiifiM^
50 -ko - -
.siv
fo j ^ .gJJ ^J.^
Tq me
21]
A),
die-lez
be
li!
jj?
HljJ
u-Ci- -ni
OTliiJfjjJ.
- homvo - - - dom
102
Ill
jo,
la-dnDm?"
6a (continued)
Var. (ref.toSt.3)
Bi
Ji
c/
St.12
St.l3
Da
(first
od-lfi
ii-H^
haHonV!)
po - USt.
14
St.l5
i^iti'^r
^^^
II
me
Si 17
St.l6
")^"W;
ijij^^r'
rL^J^-^'f
aj
ajfl
Timtt
aj
St.l8
2)f3)t4)i-^
7)
+ 8)+9)+10)
St. 22
J-
Si 23
i
J)
II
fe-^n)jjMlJW4H
zdra-v-lje
Si24
Si25
i;^ j
mo
HJ^JQi^r
jjJlri.flliVj'jM^rrii
St.21.
J-
7)l-8)+9)
jjJ^i|
^aA-la
jI j
klju
=;>.
St.28
^m
i>iPrr^{jj^
Sa - b.4jom.
Si30
St.31
l)t^t3)-t-4)-f5)+6)
i)+:^+3)
A za zdra-va-lje
R. 3153-5. Gacko (Hercesovma),HaliilaHabe^, April 24, 1935
103
ga
4.5ta-do-^e
tri
fr{;*J?].jfcjr^,N'
,Ej,
ne
ka
te,
^^
ko-nju
na
die-voj-ke
de
Var.(ref.toSi.2)
St.6
St.5
TOii
j^^^ 3
ill
I=E
o - ni
104]
|St.7
^^
kle
ti:
^=3^
li
- ja!"
J^-<l>.
6b (continued)
Si8
1 ^^^ fHsI
>
M ,*f4* 7^ h
Nay 21
5tl
St.
6^^
pegjn end
kri
St.4
begin eofl
=^
92
lu
joj
/.bj^J EJ];p-JS5
Progo-VB
ha-ra
Da
lif
^ * ^
'^=-^'
ve-did. - ni
"^
St.3
begin end
..fy)':fdjd;" 5
E^L \fe-zak ve -
3.
10,TZII-4
3 ^
Ifa
iAb-
1935
6c
beginnirig'
- a
_,^
gi6
Mu
Aj
ka,
- jo
if()f:
^S JlJJjJ
1 - hh. o-dia
fea
maj
- ka,
("continued)
6c
^
Zlo_
5.
ji
^^v/if
- to
.fo
-^-1^
to
- I6e
da
jo
Knji-^
Knji
^^(reltoSt.7)
518 2> 3)
o-kre
Jj]jlJl/j.i.
j""^jfn"^^
^^^
ne _^-iia
^-^
pi-^e
,
ve-dri-Ai-ni
ve,
^:
Haj - ki,
ve-dri-ni
5t.9
ba-Aa-be,
ba - be.
je
^n
pi
gu
o - kdr-re - ne gla-iia-ve,
da
Mu
6a-ti-je
J^H]
g? ;7]1t]
jj]fa
*'"=^:;
jo.
J)
i?u -jo-
7.
JlJjfJ.
'J
^'iii
i'
ca-ti -
i - -^iz
Mu
a - /la -gi6
i - Aiz
n j,p3iJ^-iJj
;t3 JIT]
Ke
lif-
/Ir'-^irf-ki.
b-MiNe-iSieMu
,i'.b
n ^
J=9i
Prj
Da
ju - tro,
ti.
(.Seiqjre
Haj
5t.lO
^
^iT jiji-j3.irjiir.J7]]].^;T^
ki:
i
StU
106
ii
r'njr'^^ ^ ih ii
22,1935
Ej,_
siv
mu
ko
50 -
ser -
na
d2a -
^^
^^E s
ku
pa-<ia.
accel.
251
F ^ J ^ J bJi-i-,
$
p W
Ne- mfl
2..^
td
ka - da
^
^iin
Ve
ce.
6
>i
.0 m P
iie-l&
.,
ta
^accel)
\r^
Siv
I^-
^^
P
(f
sw
ze -len
f
a
flo-ko
**
^
I
^^
i P
Si - vo-
le,
r^
107
jQyy?
pri - dfl-de,
ge-lam
^accel.)
[7-r
'r
l^H^jJJJJyjJ
da
^^'?
&o - ko-la;
ic:*ii[
al
= S
3=y^
pe
mo-je!
- ro
^
>
(continued")
=130
^;by^ rj'^J
3e -
tur - ska.
li
po
ft
tfi''-Ti;C} 3=M
ja-ju r
k^
Svi-ral'zvir -
3. Js^e
ze -
se.
^Tiiii>-r'
- le
b&ga
ka
>
>
dui
P0
frta
So - ko
Rr
po
^
'Pf;U
=*
sti
.fT^
108
-ska?
J^v^r
pPpPf
gs^
i^
Jj-J!jj'ij
\oj
ja-a,
ba-r
ni
32
mil
com
^^^^
!32
(i
- ni -
^^
#
Lo4
^^
i^
^^
Vi -
- cb-
^m
^^
c:7 r o
-^
be-ga ?"
i re
ka-4e:
^pnry
(continued)
J6>"
je -
4.Sko-ro
>
>
>
>
'.>=^r
ir
>
di - JO
JP'J
sam
si
^ f}b
-ju
ja
aife
ii
se
-(
Kb -
fe-*
ze -
J-
-\i-tu-^
zi
mi
f=F=^
(^
r r
p p'
de
be
^^
FTP
^
-
ms
^-
hla-ci,
^^^
^-
no
MM ?:
>-p-p
voj-sku,
(-
- ni
le
tes
'>''
lo
tfztf
5.Vi
7.
bi-jo,
sic
2=SZZjB
(^
6.
>
>
^"^fl^ppjii
Vi -
LoS-ni - Com
pod
sam
>
mrr
s ^
li
bla
- ci,
'
poco riienuio
^j_J^J
ju -
109
na-fli,
P'
^^
(continued)
7
a tempo
Tu
- ^e
bu-banj
be-gaKu
Ijen-be-ga,
P:
9.
_ ta -
^rjr
1
- be-ga,.
p* kl
A
p f'^pt^
^
1=184
&
Zdra-vo
o-.T
f=f=^^
= 170
^)b ffr
10.
be-gaFip-dus -
lam-bas
r^^'i^
iS
je -
po
.ste
bo
- Ije-la.
voj - ska
^p
*'
P'
8a
(continued)
8a
ji
(f,b hJ~]
^j
^Aj^n
^r-n
J?||)J
\^7
No -Sim
ba
fe
^1 iJt
6.
Mi-di-nja
- e,
ii
ko
de
vDj
te
7.
To
j'
ni - ko
ne
cu
|^rj,^j
hj.
r3
ni -
i
^r^
la
5
;
ko
^)
J
d
lU"
le,
(4)^
ja - Se.
fe)
n-i4
-^n^'
Bi - se-r-be -
ja
6u -
ne
^^
n H
r ^
J
- ca.
12:
Dja - e,
za - 6u -
fii
3=H
Mi - di -
ga
J
J
r;
j^
ij
,^)
^J
ka,
(continued)
8a
Var.(ref. toSt.7)
St
IfST 1
]e-(l-va
St.l9
Sl.18
St.
--p
i)
JTi
'IT
io)-ni)
1,1
ii
St.27
St.21
12)
,m
20
m)-t-u)
i S
8b
J
-106
2./
,ft,B.
A.
-j-i m-i
fj^J
be-ga
1^
jjLje -
be - ie
je
Lje - pa
pa ti
-1^
ti
be - ie
3"
MJ
g - le
g'^-le
ffl
vje - re
si,_
M.
u-
'
3.
.'
JT .^
1
1
,JT]
J >i
J I'^'^j^
^rj^
j^^ .T^
i4r
be-grfje
Nr
li
li
j-_
M.
da
ce
ce
J^-
hi
Iju -
r=^
vje
si,
112
re - A^-ni
o,
'4
rd
ck -
Iju - bo!
J
bo,
.h
8b (continued)
-^^j4. 1
frJ3]JJ3:^
maS
']o-'L*6siji
Em
^^J
,f
sr - ca
od
via - da,
:in^jJpty'lif.Uii^.:-"j V
'/
Sr - ca
od
3o-l*dayi-iiia
e-va--
la -
da,
ifMi|lJjJjJ>JJrL^Jl.^JJJ.J';i.^ J>J.
Ti
5.
me-ni
ti
JjlJji^Jlr
fr
Ti_
ti -
ja
li
jo^
mi
li
bi - la."
ja
la,
j)A;^
-]/'3-n]ljjj;'.P.iHJjj
me-ni
bi
Var.(ref.ioSt.5):
mi -
joS
St.6
a
R
io,:En:-5
;)=i26
a)l.
^
go
Mi-la maj-ko,
me
ji.
s <r-<
i7rrfldh
'zr
go
maj-ko.
me u
ji
hla
i.
fr-.f
itd'i'-<
JiJ| )r'
#^
^^
je |
^^fi:r*Jo
Ej,
du,
io,va-5
J'r'
Pa mepo-dgy
?(
Sic
HE
,|
hla-du,
&
s ^^^^^^^
m
mi -la
^
Z.
sic
jil;)|trf^ajgj ^
Aj,
^^n
-4_
dnnm.
;s
3=2*
pa me_ po-daj
je
fce -
gvx-
JftjVjW^^
-
S.?
113
doom.
be - gu-
mla -
du,
l|r
i^^
t^
^4
\ '''1
trda-Aa-Aa-du!
PCS
r
(continued)
ftJJJ'a|fr-r.Mj]^^^.t;^ri^-^j'
3.Ne-(^u be-ga,
ne
ge
be
- ni
.h=166**
+ 1
ga,
Sem.
I
^^^m^f^j-m^{^kt^i^- ^j^\
\
ne-cubeiega,
Ej,
j^ ^jjjJSi
4.
ne
be
ge-ni
em ga,
&f^^^i^^p ^ -^
i
ni - -
nija-ge,
me
za
jt
drf
- ra - - gi,
a
a
ni
Ja
iA\T^
S.Damida-ju
- ge,
\^^\
m-
mm
pro
^
-
ni
za
je
dra-gi.
I
2=zf
vj^;>M^ Lf
bi
me
ra -
T
ti
i^r
s
'^^7t
mom-
ke,
I
Ej,
da
mi
Var.(ref.toSt.5)
pro
da-iza-ju
bi
^)St.6
'\f^
J
3).h
II
ra-ti
mom-ke,
P)Si9.11.12.14.15l
)SU-4.6.8.U-14
Jj
]'
10a
Parlando - rubato,
J)
=135
114
^i^
10a (continued)
pA^jgin ^nm-nijHi
i
2.
- ra
ni
- JO
pla-ni
lov
fr^^Pl^.r3^,gn.
U
ra
3.
jo
nu,
JjJI31r^
pla-ni
!^^m]\n^n\i^n
T^-ri
go
pla - ni-ni
po
di-ne
bi
JO.
go
Tri
- di
ne
^^
fe
4. //g
mmi^niim
j^j^n^m!^
>
||
nu.
,^^^^-
i*
/.
u_
lov
__
J)=115
,f.i>
ni
ni -
ka
kva
lo - va
ni
lo- vi
ni
lo-va ne
kva
ni-ka -
pla -
po
ne
lo
vi
bi - jo,
jo.
jo,
LUIT
^,l>
^^ M
!^rrm!^
5.
6.,,
0-n na
^^
i>
A-l
si
si
vi
de -
al siju
la^
JJj^J
li-je-pu
de
J-
voj
f?3 J
-Sb
vi -
la,
a-1
si
ju
- ku,_
tvor-nji
ca,
115
ca,
^m
i
-
J_l
IvD-r-nji -
pp pPr
rr
^JJJ-
^=270
Po
e - ta
^^
la
.Miin/]Jii]jMji
2.1s - po-d^
ku
Is-po-<ldfku
ze -
po
ze - le-he - noj
po
Je
^
-
le
Jba^-cii,
BaWi
noj
ih=289
fr i,inj^;^jM.F
3j^ JiT3;'i^i!i?!j
3.
sta
na.
na
de
ka
to
lo-
pe
ra,
iHb\t^nnnA\^^rAi[%
4:Hu
Ea. - Id - pe -
T-4
nr
ka-kvo
ra,
ui
^PB
_ M^
cvi
je
- ce,
,fi!?..ff3;ij]T].ni53;ig]i'i'(t),n.n--M
Ka
5.
- lo
N--m
- pe -
ti
ni
ra,
Cav -
{i&,
116
ka
ni
kyo
cvi
sje-me
je
na
ce!
da-val,
10b (continued)
ji-iiifnfiiirn^n;iii'n'-"i
Ni
ti
CSV-
tii,
sie -
ni
^=330*
36.
iS<*^
ta-de
Sitri
- pa,
sta-de
me
na
zve-Jsa li-pi-je
da-vaS,
du
ka
ia,
MP^J' ^''jlj]^'li'_.^^i^l}.PA^HI
ka
Ji
- pi-
je_du- ka
- ta.
Vair(re.toSt5):St.21
St.29
133
iSt.34
St.35
St.37
St.40
St.41
1
i
jirffiiiiiipjr|iiijMjiirM;^rj_i
fl
U^^- - N
3_
MA
R.3128-9,3133;Gacko(HGrcegovina}FataKrajinik,April 24,1935
11
J=ca75
'
(continued)
11
na
tiia-o
2.3el
ra
staa-ka.
r-ffrfM^^^^^^^^^
Aj,
jel ti
ia - o
na
ga
^e
ra
stan.
ka,
3.Ra-sta-ja-nja,
j'.tf]i%iia.!j.i
.^^
ne.
ja samnJa-da,
i.1^4
ce
- ce
Ija -
pre
^^
Ija-ita-rya?
pro
nja,
'^
-
se
-pro-le -
^lyj^
pre - p ro
na,
se
Cj'^!^''/[[[f[j^ |
l
na
is-pro-e
Aj ,_ is-pro-se
/lj,_
ma -ha - net_ u
na,
Van(ref.toSi3)Si6,7 SiS
ma
net
St.lO,
ze
ze
na,.
na.
st.u
...
8)
J'JJ
:S
St.
^ i
16
^^
na,
^^^^^^s
^ "L^^^^-lf
li -
5. Is
ju
g^^ g^^H
--1-''
ju
,/,tfj|MlnV^r^,gP:fr
Aj,
dav
sa-stav-
ne
BS^iZS
'^^
sa
^^rM
.g^^jg
a
Aj',_ra-sta-ja - rya,
6)U)
St.23
12)fl3)
^===5^
.i .1| JIljk^
St.22
St.l7
U)^-13)
||
m m
St.26,27
118
12a
Stl
s^,
beginning
2.
O-oa
bu-di.
Scer-ku
4i?r-)i^;^Jg3g
jii>
;
staj
si
;.
- lee
v_" ^-
"
Me
Ice - ri
- ne,
begrmairig
eml
laa
e>nn^il.^U'
'^
Me
S147 Sf49
&<.45
StJ9-St27 Si.28-SI:40-St.44
^
p""
lee;
TP"
nu-.
g=g=
ha
na!
|j'iu:J3r^icjJ^.].n(^)Er7^-g)-
3.
E-vo
to -
Se
ti
.fcl^-rJ3^n
Bog
4.
Bog zna
zna
- de
- la
maj
^n. -n._^.
i
da
da
de
Ije
pre
bo
pre - bo
ka,
nij.;
ne-6u,
Ijet
ne
Ijel
cii,
njfyi)^y^?^'n.i^jj-}
u
sm
frl^r
Jjer
bo sam.
ti
ru - ian
119
sac
- la,
(continued)
12a
^)=
''"
rt
T^
^
')-
%^W^
6)
Da
s'
na
me
ni
2
St.l2
Var.(ref.loSt.5)St.6
)f
/-r^
'
/_\
K'
|%^^:^=^|
za-pa-li-la
St.l3
di- ta,
St.14.15
St.l6
1
St.21
St.35
St.64
St.62
St.51
3)
y
,
hn
^.
ijii
mi^iiJn^ ii
i
y.
12b
io,ni-4
2.1
pred nji-iii -
Za-ba
- sta
-vi -
ma
o-ho6 Cen-gL-ii-ca
tri - 6e&
te,
Fa
die
VD
fo^j:paAi^.n],miR
3.Ne ba-caj -te
120
ta-.
ja-ka,-
^ii
i
laa-^a-ke!.
12b (continued)
^^^^^
[j-cj^.> fcjLlr
i
su-hu vje -
A-Aaj, ju-na-ci
ra-i^a i -
iii
ne -iie-yje -he-va
fo^.Jl]!^r''^i^'i r ^^Jjg3i)7^^f^ *
4.Kad.ielju
i>
'J.^Cj[^
-=?-
Iju-bi: U -
A-iiaj,kad-te
fan
JJ -
bi:
lA-
5.Kadob-lju-
^^
S
6.
tVr- O
Ce
,,
i^'
Zi-mado- &,
ho
je
.-'
-.
d d
.^
/''"^i
^
^
^--^p
- se
\U(i
ni!
^^^ ^
^iHJI "H
!'J]1j
kaj 60 -
k)!1^
ie-he, du-lo!.
ze-hecu
^^r
Ce
Bi:
ze-cu ie-he, du
Ir
ya
iie-ka-iiaj do
"
iw) je-^e-se- ni !"
d
ji-hi
g^^ei
w,. g=
pro - - de,
Ije-to-Ao
^ffliiiniijjAv i
J=108
fiiMi
9.
Rre-va-ri
^.
Oni
mr-?
o
me,.
fr ,[?arprfj;n
i
A-Aai, preva-ri
im-hi
li
Ce,
gra Omiir' m
mi-M-li -
ce
St.l4
(J
rj
'
nriiiTT'i
- b<^-i]u-bi
Var.fiUoSt.l) St.7
r
/^~K>x4
'^'^
"'
'
il
da-vnoiio
121
-:7>^
iiMr[">
l
|
Z.,^
Ko
J=
j'u
j'
J-
104
^A
N-nekne
p rp
\
Nek-_ n
6,
J =
'-
^p-
^pznat
-
de
j
de
ra
ra
S
no
sa
^'^''*
od-ni - la
pa -
dva
li
pa -
122
na
si
ko-na
ko-na
J
na
ka!
^^
&i
^'
P ^
^
,
^^
jj'
-
P
ka,
ko-na
ku,
ku,
ro - bi
lEIIilK
&a
no
^r-ft
je
nB ko-na
rHiJy-JJTl
zzz
5. I
Sd-
106
4. U-te -kla
ca -
no-ca-S<rBa
'OT
u ko - ga
^m
3.
no
ko - ga.
na,
J
12c (continued)
!^^
od-ni-k.
o-dU-ve
6. I
^,Hi
^a
dva_pa-si
Mu- ja
la
J1^
na
ka-zna.
o
-
si
da
1^'^
Pr
^u
^r
vu noc-cu
ra,
- ra.
su
jSu -
Sre
- ti
U*
Ji,_
^^
nju
su -^re
su
li - li,
Zvizdic,Apra 22,1935
ifl,ya-4
Parlando
2.
/iiNanjojNa-za-y te
- le
no-ne
pra
p m7fmM\^
\ C^^ui^,\j>
Na-
[
.Ej
>
na njoj
za
lje4e
i^
*9.Rr-vxi noc-cu-
na,
'
^^
tH
'">
J-
r^t ij\tfjf!ln J
od-ve - la
Mu -ja lia-zjaa-da
1'
J^
iiJ'r
123
no - ne pra -
la,-
12d (continued)
J)id j)j_J^4^i%
2>.M Be-leno
hn
- ne ji
Ml
ti - je-le
^JiJUcif irjJ^
ru
c^
be-le
Aj,
- c^-ne^
tiD
f^J.Ju.^'tfi^ff^
bi - je
_j
ri'jjJWi j]3;^B^^N
|
^;^
;?
J'
'
tu-rariD-n
A,
jta
iijJ I
Be
Mi na-lu
^
ii
ru -
zla -
dze
tne
rjrti
J'lJ^JTj^J'.
fr>
5.
ArLju
TLa
jjlri
- lo -
^na
bo
ti
pui Sam.
vL
ke,
po
be
^,
^
ru
- le
ke,
^'----V. l
H^i'hm^.if
VI
- c:u,
maj
"
ne.
frf^Vi^Jl]. IJ-r/]./.
u_
ne,.
XT
le
ru -ke.
- le
ke,.
ni^M-\m^^M\^--Mm.4}
^.\>
Iri
se,
124
Lju
bo-vi
^
-
- cu,
ka!
put
^am
se
12d (continued)
j^TO
fr j.i_j)^
Ju-nak.
^e
\^LJ--^'''^?
- ni
jo,
~3~
(?P.'>
tri
S<i^-va
Sa.
^m
Li - je
mo
XE
po^
sum
ta
sam,
ie
tZZi^t2t:
xc*
pu -
pu -ta
Tri
fifi
^^^
:25iz
iJl^^-;i:
g.i--le
daj,
dnom,
SB.
^^^m
e^
de
Lul
- do - vi
com..
ko - li-ko
sam,
mo
TOO
^m
-
A^-vo
I'e \e-
da-Do-m
d^-HD-m
tij . J
^j - kom
ji'
12e
J=106
=^
St%spll(end)St.l3
LE5VSU(end)St.]
^im'iiiWm^^Q\M^n^
1.
Go^'omja-Se
pe-ie A-li
be
ze,_
St.24
- j,go-romja-^,go-ru ku-ni ja
ge:_
(continued)
12e
ne o
2.,^jtgo-ri-Ce,
>j)i'
fL;r^^
go-ri-ce,
Ej,
l^[
ze - le-nje -
la,
^^w-'-n
:SF^
ne o-ze-le -
nje -la!
4^'::m\:f&m&[i}r^
3.Ej,tra^i - Ce,
ne o
ru
me-nje
Pi^m^^^^&
tra-vi-ce, ne
Ej,
o -ru-me -
- la,
^-^'y--'\\
jaje
la!
S^>n^\H\m^4i^%[^r^
4.Stou te -hi m-de
4.Moute-iii_
vo-die ne
ni-de vo-de
Sto
5.
Te je iiLe-ni_ mk-du
^ Da_
ie -bi
do
za-lQ)-!|eiiide -
- di-ja
ma,
be -la do-ri
jma,
lo,
na,
lO.'Cn- 7,4+3+3
^,
Vi-te cu-da,
pri-j
126
VI -
de
^e,.
(continued)
13
"
hi^
"t
'|'
2.
^Bj lS
!JUlTH
i'
Kaj-ta-zo
Iz-nadbje-la
Spa-zi-la
Ip
3.
Mi-la ne-no, Ha
^J\pic_
rJPf
4. Svi-je bi
tnia -
t ^^rWr^
Sve-kru
\T-,
La-Jbi_
i
I
va!
luk zva
J*^
lu
bje -
mS'v
Svi-Ie joi_ se
va
la.
lime-di
p,
ju.
se,
svi - la -
6u
ko-sti o -
d<^
da
127
ko-su
bo
- le
J^
Bogda,__
\
lu!.
p:#7
nji-ma
vl l
^'OTIJII^^
ce - fi -
n. .
U
ti.
ffif^i^i>'^jw^jijy
ro
7.
di
^^^'i^fWnnim
^ai
6.
' d
sva-to
da da
'
5.
na.
nrrmFmi
'^'
J^jy/'
rrQ^
'
ji
ra.
^ JMlN'- J^^^
u jen
Ne-lce me-ne
iia
fi
mi-ni
f,''i^J'
(J'l.
va__
ai;^=175
dvo
va
Kaj-ta-zo
ji_
slo -
Iju,
sti,
re,.
J??]J?]fflJJJJJv
mi -
la!.
(continued)
13
8.
Ko-li-ko
)'1?ijj
u ma
je
To-li-ko ga_
1^1.
j^
- te
Vi
^^
JIC
/J'i>
2.
do
mi g-ra
f!L''-H{jj*[jf
pa
- ruu
ste
vi
se -
pot
ca
pa-tki pot
ze
li
gu-
ski
se 6u-dim. ze - cu
tu-dim
na.
j^^ "^
ra
lo
na
Smo!
dla
rm?.
r*d*i*
rTM'iJ^'-'J^
pa-tku
se du-nitn
ge
"^
^rJT^lly
Ni
Ni
r-3
gf
Vi-db-steli
Vi
ste_li_ gu-sku o
c:jjJ7
(fP,''lJ>
3.
db
do
hra
6u-da, pri-je_ ne
Vi
va
itfJJJJJJiJiJijJiJi.JjJ
ga
ca
Se -
ma
ko - va
Iso
JA
dla
<
noj,
noj,
i)=190
4. Ve
fr
gy rgiir^n
Ka-da
e;a
pi-li,_
ko
- ca
xna.-.
u)
mu ga
ce
dri
Si?
128
14
J
=92
(7)11,1-
^ f(p|??r
ffl
Mi
1,
:^
2..N
|.rap iJ
iSvL-le
j^N^r r r^J
-na,
do
Jj]..^)^ ||!i_^rojjJ^
si-ttHoa tra -
Si-ta^-na tra-vo-lio
Do
ze -
vo
L_
- le
fivi
fia- 6io -
le-cia,
ra,_
Dosvi-le-na, dosvi
- le
na
fia
- do-ilo -
ra.
U\%h%^f0^ sss
_
3.
j^hfr
JJJ
Ifel^.
ro-m
c^-do
de-VD-Aoj-Jsa,
^^^dljMJkf^m
6a
rom
"-do
de-vo-iioj-ka
sic
Tif ec^ i
ff>%J3rg3jl(^)JjJir#r)fT^ tfffll
4. Si - je,ve
S.iifc.
ze,
ve
^i-je,
Dada-ru-je,
da da. - o^-ru -
129]
da - ro^-ve^
./-ze
- je
sva-to-^o-ve,
(continued)
14
J
=130
Mr ^j im^^'''^-^m^0^-^$h"^
da da
)ada-ru-je,
<y--ru
Sva.-io-Jio-ve:
je
f jq-g^rJpjIfelJ'^-Jf .WftMy^
l
6.S}--va-kiQmsva-tu, s\a-koiiL
Pit
7.
iu
po_ja-/ja-glLik,_
Sva-kDm5va4u, sva-kom
= 140
sva
sva
_^^^
A de -ve
ru,
a de
po
tu
*^
bo-lda-luk,
ve
ja-Aa-gluk,
J =146
A
J
(te-ve-ru,
de
<^
ve
ru
bo-;6a
luk,
= 164
c;e
A-dra-go-me,
dra
go
me
de - Jie-ii-hi
ri.
15
11,1-5
acctel.
^^^^
J
=74
J = 70
rZ
~
.
~ ~
i
1.
Fa-li-jo
se
^ iu
- ti
k-mua
Israj
mo -
ra, a-man^a -
map
(continued)
15
jd
jjiBic
^f
2.I-iiial'd2.-Bas
-ma r da-nas
i'# ^ ^:j
v^i
man,,
^
/-iv#^:^
N?'v.:^iQf>
iS3t
Ije-vsi
--___al-J
accel.
rc:
ko
Ije
Iff)
j'.Htj..f^:^rHfr^I
'[^ a-
od
me-iie
= 98
ne?_
feEB'[a^fW^-:^^:t^rjll
J.
,fat
^e-r-te
^o-spo-da
3. S*i--va
J:^rrTO[cf^J'-
Sva go-spo-da
^e
r-be
accel.
4.
pi
ja Zc^-na-dem
im
ja
Var.(ref.ioSt.4)
Si
de
je
^Pi-^^
bre
-
ga
zjme-he-ne,
al J
1Q5*
man,
gg,:^>lj33j^^JJ3l^,
ga
pi
je
kraj
vd
Ao-de.
St.5
R. 3213~4;Gacko
1.
zna-dem.
die
(^L.,J|(1llr
pi - je
tcj^-na
kyi-ga,
na_
ia-los
si-t^-na. knji-^a,
J.y.|p'^:,
Si-irf-naktijigaj
ua
ia
131
los_
si -
t^-na knji-ga,
16a (continued)
M}Ui:ir\iMM^\M::^i\^^
2.D<t-vo-rugti-g'a-ia,lju- bo-vi
jf
,7
Iju
i^^d ;_#iv.
bo
vi
J-'
dvo
ru
rusti;g*j4aJ)vD-rustigJaj
1^
dj^-vo
Ca
6a
J1 Jfyvsti-g<*-la.
^^
3^
^^S
(i
jjj djjjj^j J
I'll
4.
Na
ba-ci,
sto
Jjg
^, /? jj31
Na
sto
j_H iJj
pa
V iy
*) *ii
maj
je
jjg] h;J
je_
iju,
F?
na
ci
j>y>-
(8)8,12 ,8,TZn-''3
rm-^^
11
pi
Sto
7.
II
ba-ci
sto
16b
J=96*
ba-ci
sto
ci_ na
roaj
JTn Oj ijjig
i]J'
pa
bac,'
'
be
^e
g^ La
- ki -
i6,
M'j;^
Sto
nam pi-e
nam
^^
Jin^j
beg
'
dif-je-VDJ -
i^'
^^
u
ku,
faijTOjHig
Po_
La-Jd-Sic,
be-g.*^
La
^'nmLt
Po
igi JI]]]py
de
Var.(ref.toSl.7)
VDJ',
- kil'.
be - g*>-La-ki-^c
pi - e
% J=108
12.
s--va
JlJ'
sva - to
jiji^
f If? ""^
-to - ve
-I'nj
- ve
ji<r
po
de
voj -
ijj^j
po_ de
voj-ku.
St.ll
132
ku,
17
(8)12,1-4
St-l
last
stanzas
=80
l.Raz-to-lje ^e
zo-r-na Zo-r-ka,
zo-r-iia Zo-r-ka,
zo-r-na Zo-i>ka,zo-r-iiaZo^'-ka
Raz-io-lje se
=84
C^
Z.NaCe -ti-nju
NaCe-ti-nju
r-no-gi>r-ka, Q-r-no-go-r-ka,
C^-r-no-go-r-ka, Cj^-r-no-gp-r-iia.
fo|JBrfL|jgj'j]j:gni-nj.i jw
3.Ki^oj do-la-zi
fa.iJlBrr
Krtjoj
J
4.
cio
- la-zi
mi -jo
1:
Jlj]^ p-J'Jjl-
l
mi -jo
Ji
mi - jo ta-ta,
taJ:]j^r^Ji.^^^Tj77
Mi^o_ ta-ta,
Mi-jota
ta-ta,
80*
IC3K
mi- jo ta-ta,
ia-ta^
kra
Ij
Ni -ko -
la,
iHmr^A^wi^rimn^
5.Sio je_ie-l)i,
133
S^
- ri
Zo-r-ka,
- ri
Zo-i>-ka,
(continued)
17
Ice-ri Zo-r-ka,
Sto je_te-l)i,
Ice
riZo-r-ka?
i^^}iJB\nJ2^
mo-ga
17 Ro-da
m
^
i_po-iio-
ite
^l^fjiv-'
rlo-dla
mo-^a
i_.
i_
isa,
po-no-sa
\^<^ rj J fel
po-no-sa,
po-ruj-sa.
R 3123-4, Gadio(Hercegovina),Ceriii]aKurtovid,April24il935
.
^
j
2.
n ^g Q ^ '-^g
^]<n=s
Doj
CLT
Ij)
do-vB-ce,
vo
Pi
di
cu,.
.f.i-f^Q ffi>jmi^,;^.Baj..-.-H
Doj
do - ve
na
ce
134
ve
ee
ru!
(continued)
18
J
=90
^S
4 j^-
3.
Do
r-^
ves-ce
mo
de
^
pre-dc>
nji-ma
- tku Sa-vu,
Jo**-*
ma -mi-
Se -
se
dva
Ci
ma
mi
Pi -
^e
he
Var.(ref.toSt.4)
^r^T-
tku
Sa -Aa-vu,
St.l2
Au."
na
ju
ka
sla
4. Sla
5.
vo
jnjMiPr
rt'^Fm
1(4)
ri
y -v^ ^iJ.
-
vo
na ve
di - 6a,
6e - ru.
St.15.,16
Z)'
135
19
^^
1.
^S
-
bu-ko
ca
Bu
isLtSUt^
le-ni
Vi
j^^^
10, 1 - 5
J>=152
lis
&
5g
^ 3a3:
'
'
ko-vi-ce-Ae,
- vi
Ito
- i?a:
1^ r
r.
;i)fc#
po-Ao-ia
si
Ai - ta
pi -
i^ 5
cu
vi
Ai
^
I
la
a
Bu
ko
- vi
ir
slo
ce,
vo-ho -iz
si
(j
2.
So -
^'^';^a:?
bo
tu
gL-r
M^=^
Iz,
tf)
Sa
lia
-Aa-li
hi
e:
li -
na-Aa
sa iLr-r-da
Ae
se -
F^'.^^
-^^-
xna- iza-si- DC
r^V
Plr!rr.ir
Za-Aa-pa-li
fr i^M'iF-^iJ
-
iz
^p njr
- la
Aa
ku-ce
ffi?
pa-k-Ai-la- Aa
136
kre-ije-ce,
ca
kre-Ae-6e.
2 pr---
^J-;:>-7F
skca
i -
sa Se-r-da-
c
3.
'
rirgf^^--pa rW-^
Ma-Aa-li-Ba Se-lie
Ma
da
se
la?
vi
'
^^
le
j*
ti-Ai-la
i^p
'
Aa,
=^
rB^.
du
-".
Ca - ne,
^rf%r-d'--Hi
ku-6e
du
ca -
ne,
4.
J^
>
>
Ai dia-mL-je
rd S;
S^
gc"pTi
) ^
i
y [^
S S
Ae
do Su-lej
ni-Ai-je -
5
ma
t'
C-F
va - ro -ske
Ae du
:.'"J^i
^
p-
da
>"
:'
-Aa-ne
he,
^^
g^^
ff:=fti
D
va-ro-ke
du
Wigf ''J'
-
<5,a
ne.
20
Parlando.J
tff.i>
ii
|
f>
= ca.92-94
^r'^'l i J'f_^
Jte,
- ni - -6-1- je
^^
Po-Ao va-ro-li- Ai
R.
L a r^. S
5.Po va-Aa-ro-i
^^
ii
Su- le-Aej-ma
do
je
j'v^
KiS
dia-ij-a-mi
(continued)
^^
^.165
l^j.^
JTJ
20 (continued)
ra-se^^,
138
20 (continued)
o>^
Ba^
tar
'si
139
jo,
Si -
ro-ka
si,
20 (continued)
Kr-fl^^- ma
<*
Do
<i-
Var.:
A^
ce,_
ri
fi -
pri - eu
na
va
si,
li
la.
St. 6***
inline
St.5
ll'i'liiie
rj^ijfNS[g^'tyBf ',MJ^I
i
iw
Sl'^i'i
i
St.7
l<t]ine,
IS^i^line-
^i-.^.'
R.
ffli t'^
i
jt
^iii'#f,^oif:i:iro|fl
j:<
140
21a
8,1-4
P" - J
frjj'^7f-^'
Pi -
VD
pi
p J-J^r pJ
jjDi -
J';i
l-be-r 3
^s
J-
j^r
Jji
no
3.
Di
be
Jo
ko,
J
^>u-
;^r
Di-1-be-r
^si
[rEr^^
ce moj',aj
ve - le-m^
= 156
,
Jo-ko,
me-ba-na,
Sr
P"HiFr rrtogJ.4
.sr
p r'h^mnijJir
Je
- lem,
fes
ko!
?jiJ;iiiiijj^[/rn?>'Jmrr
1 -
lem,
i^
f
ve
f^fl
p^
rTJ'/l^u
haj vaj, cr -
ko,
ve
bei, aj
di- l-be-rJolL,aj
<^
lira
mf- >[; f
6}.
0- n do-zi
(fb r;
dif^n?
Se -
^baj
vaj,^
141
- ce
Of
o
moj'
ve -
aj
Je
-ax
,,
Wjj .jm-^
i
ivo - re - na,
(continued)
21a
^m
i>r
nff^[]
li_ 6a -
Je
,a,_
haj
rpT
vaj,
na
^^n
r^^^
cc
to-6e
- oa.?
Var.(ref.toSt.2) St. 6
__il
Ni
21b
J
8,1-5
=150
no
pi
- je,
bajvaj,
142
pod
vri-sku-je,
21b (continued)
jfy2.
j',"
JJ'J^ JJ
Pa_ do ziv
-
J^jg
Di
f.flr^^jrlt}
di-1 -ber
- Ije-
girl 'rv^y
Pa do -ziv
Pa_
c^
- Ije
lie
c^
1-ber
r'f ^>
i
? fs
Jo-ko,
ber Jolo-
baj vaj,
ve-le.
Jo- k,aj
^^ F^^r
di
^J3Jji
lLlSit
ve
-fe^aj
-l^aj
- le
04- rcj-nouo-ko!
^m
* miii^mw^' ^m^'m^h'
3.
rv-
Je
Je
me -ba
1L_ a
-tvo-re-
5a,
haj
vaj,
na
ve -
n^aj
li
le,
ve -oa,
22
Vi
3.
Pro
Pro
4.
ha- r
Ku
^u
bu
tu
ne
ne.
(continued)
sa.
ra,.
di
di
era
S'
Die-hu
hn
Die-hu
Dze - h
ga
de
(ie
dfi
de
[
144]
VDj
voj
voj
ku,
ku,
ka,
voj-ka:
(continued)
22
tg^
Die
^'''
ha ^e
=100
VDJ
ka:
i)
5.N -
ne
ka
vi- ha-
te_
mo-ra,
Sa.
ra^
.ft[Sf^g?<>^-''^j'i-i'j^^^
Ne
ka
te
4^
sa -
VIi- ha-r,i-
H ^iSh g'^^^
m%\m^Vi
ha-r^
Var.(ref.to5t.5)
mo
^a
St.6
ka
- is,
ra
Aa mo
^'
- ra.
II
St.7
2)
I
r=f
<
23a
8,6,6,Vn-4
J-82
Is
- pred (ivD -
^
W^
ra.
145
23a (continued)
4^
Z.
^
-
gi
na
gi
s
Ko
ho]
na
ji
JM
Da
de
H^^-
ji
J'
5. 7\r
'
Da
pen
J'
Le
^
be
^^
he
*^u
ne:
^^^SZS#
=^^=^
du
S^
ni
de
iix
'^- '
dz<
ne,
,
i
pa
4^
fc^
Ko -
moj
- da.
g-ie
r,
ds
r
li
dier.
^"r
-^
4.
pen
moj
pa
- di;e
*:
ti=m
gle
Aa
^^
-
,f.M-iJ.
pen.
pu
l^
(tu
di
^
^S
l\^
dan pa
,']e
accel.
3.
^^ ^S
ts-
re
fe
-h
- ize
V*'
- 1-
ba - ^a- ;^u.
5=^
ru
^ ^
DC
re.
Sam Bo-g*- do
'Pj
do
fflj
- - jua
146
T'-C?
ti
la
Aa,
23a (continued)
6.
Rui$
ku ti
La
va\x
^ ^^^
1-va
pe
-e
Ida
Jba - iia
Ce - ri
fie -
ba
ri
1^
i F=^
Po
i
py-ira-
ve - Ce
ka
ri
^^
pe
vxi
^=
U
nie
nje
ga
se
dra
me
LSICr~~J
rye
me
ga
dra
vu.-
l<la
VLr-
4-""?v||
=^
#
\fe
kla,
-g gi
TT"
he
kla,
ai
^
tla.
= 1Z5
- tla.
=120
MA
\S^\i
a)
1.
Po
23b
le
- Ce
*
-
la
147
S,6,6,II-5
^^=f^
23b (continued)
= U2
S^3
i
2.
Po
- le
-t-
pre
la,.
^
le
6e
'
ne
bi
Ja
ce
la,
EXJ
^'[J
k,_
-J.
hi
3.
^.
j^.
;r-
ne
VI
cj
gam. mla
s
+
^
Bi
hi
ir
do -
da
k.
ie
^108***
Da
Ji^TO.^^
nxa
i]
^*
fa
ii
bi
la,
S
la,.
^m^ ^
Bi
)U
hi
I 1^ 3
J.'
4. Zc^
fa
la-tarx bi
ti
7 ^^r cccf^
>ii!l)r
!:=z:
hi-xn^
148
ka.
fez
pie -
la,.
23b (continued)
'
.2)
i\
.1
ii
f,
II
II
J'j
II
(8i>)n,8i58i>;cii-5
2.
Da
J)avi
si - je -
sit -
di-insta_<^,
[
149
no
baj
bo-si-lje,
to- Si
-Ije,
- z-y-ni - cat!"
(continued)
24
.fol
y^
Iz
3.
- ni
j^J^jji/j^^ EEf^r
na,
tra^^^^ va ze-le-na, ze-le
- 6e
tra
TO-ga
jyj
f,'^
G^
5.
le
Var.(ref.toSil)
yaj
i^a,
ga
,_ ru-me -ua.
pro-vo
di.
p^ fQr
[L
ga
vaj
ia,
JJJ-3j
flam
Gle -da-iiam
ru
vi
ta ko
jacT.
na,
vaj,
sill
St.10
^^
^ia
^+4)+ 5)
^s
pen-die
^^
p
3:2
ra
St.l3
1)
i/jjiji
St.l4
3)*4)^
m4miumM
\\^%m
150
25
J
(10)6,6,10,1-4
=100*
l.<f
Na
K 3
Mu
jo
ma
151
VB,.
ni-ko ne Li
so,
.;
ja
Se,
(continued)
25
Au- bu
ua-iiaM-lu dr -
ia
he,
fflffl^g^^j^.i(paj'4)imj,
fr>
Aj,_
.Fgi
J'"t^r
.^1>
:^
6.,)
-j,
,f.[>(j)r3
Z,a
na kci-lu dr
Mu-jo Iju
\je-r-na
J'
- - ni - la
Cr rpTfi
Iju
za
se.
ifc=t
^
be
.^yJT^JJ^J^-
bo^
me,
Sl-
ti
g j3f^" ^|ji:jjf
Aj,vje-r-iialju
za-niJati
152
! it
i
).f.Bpu j'-t
si
- - hi-hi me!
25 (continued)
Var.(ref.toSt.6)
St26,34
St.35
i)
similar to St.
,^
35
f}o^i!^,n
^-^'ILUji'J
X)-3)
/1I^^J^, rr
rtr
7Lffir^r.mira-...iM
26
J =100
Irr
Stl-8-endofla^St.(lO)
IPo-sko-fii
ce
24,1935
(10)10,64^04.-5
mPirr
ji
ccff^^^
2ZC
3_
po-
/e
na,
J =120
fi-MBrY#J4
Joj
po-sto-ci
#Na
tra - vapo-t<^-r-ve
ce
ga-tac-ke spa-hi
je
2.]oj,po-tr-le
= 106
i^
tac -
na
je,
5
5pa
ke
lii
je,
[]oj,_po-tr-le
153
je
ga
ta5-ke Spa-hi
je,
26 (continued)
iftJlr^brr
rM#^^^^
i-gra-ju-
3.Aj,
^M
a-te ta-lu-me
ci
r_^
A-te
ta
li
ki
ci,
me
ci,
lH0 ^fi:iM^-^'\'^:i\^.H
ti
3oj,
i-gra-ju -
Vai'.(ref.toSil)
ci.
ta-Ju-me
te
- 6i,
St.5
27a
Quasi parlamlo*
-III
J=ca98
mm
Aj, ta
je
Z.Dva bunttu
:rp
o
(lO)lO,6,10,'ZIl-4
f^
Un
iS
^^
no,_
- Ja.
PP p
:^
a-iDan,,mo-ja
svu
[
^S ^
154
iid-c<>-
pro
Iju
- pje
iry d-
bo
va
la?
le,
27a (continued)
Svu
Qoc
^
M''^iJj^^^
!j.vv^^ riyT'
i
pro
va
pje
^'>
se,-
SiC
~3
fr
JP-!^
^^
fe
Al go-vo
3.
-126**
Aj,
4.Aj, ve
er
p
be
li -
Ai,
J
jt
ca,
^
ca:
5;
no
rd
dve
su
'
bum-bu
Ce
Dze-ne-ti
ci
Dfi
ZS
^ip
ca
ie
Die- ve
CV
ti
ffig
St.11,14
6a_
me,
ma,
Si7
4)
1)
me.
Stb
Var.(ref.toSt.3)St.5
g=^
^^
ti
ka-kva
k,
^^
<
li
pti
^^
a
ytf^jf^"*^
rii^^ijj^
SI
vi
go
I
-
^u
Di e
go
r^
P P g=
;f
e!
3)-
^)
Wd-tri
=:^
ne da-do
J =116
* P=P 'P ^
^j
:^
dom. za - Spat
ri
be
li
^^
J
frjJ.
grf
^)
ri
ll
St.8
s)
3)
m^lN lJl ^
^)>i)
II
5t.24
St.21
Kt.l7
||7)-t-8)
^)
8)
11
Ke'^Tt^")
II
pjli75;[Jflirj|fr[fl
155
II
27b
^J
^'i
ve-r-nu
Aj,
\^
I'
fr(|: '^Ei
(^
d- r
ia
\m^
ciaTr^
ra -
VD
-tfi
Si.#H^fa Cr^-igc
1 n,..
a-mai^v&-ra te
bo,
- la,
bi
Aj,
3.
ve-r-na
Stoie pi
Se.
Se:
-1^'"'3^+
'
bu, a-mayiakri-iu
Iju
ko go
jr
ia
Iju
m,
a-man^ve-ra
bo
ko
- 6ei li
te
jm_
ka
'
'
^^
\y
bi - la!
zat',.
i2j
Aj_,_lto
te
pi - tam,
.a-iDaD, i>o^g
SlT-!
156
mi
ka
zat'?'^
27b (continued)
4, Aj
ka-zai' cu
ka -
Aj,
m
18.
te
ti^
zai'^u
-zeA
- li
a-Tnan,be-ieA-]i
ti,
ie,.
bi
be
- ie,
'^\^mo:?wn!S
Aa
na
Co-ba pu-6e
^e
ii
stra -
ri_
Be,
H^- J^-^g^K^toM^r
Na
- -
Te
- ti
lo
pu
stra
ri
ce,
fQg^l^otHlljl^ll
u - urda
ne,
ca
U)+14)+15]_
J7^'->yL
va-
^_
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'
ALaj,ube-kfri-ii
it2)->-3)*4)+5)+e)
i
Aj,
i^j-<tiii.i
lo.
St.7
CT)+lB)+19)tao)
r. fi iP\ "
10)+ll)g^
7)+^
6)1:^
^^
Var.(retoSt.3)St.6
5)
iia
je -
-ni-g-*
d<j
St.l5
St.9
if*4j*^V3)*n)*12}
3519-22,Ga(Jso(Hercesovim),
"'LyiyU'^'^/ri
Be -ieieAJi
be
Aboaa^aZvizdi^,
-lie
157
May 20,1935
27c
4
= ca81
dvavra-na
LAj,po-le-ce-la
St.l~StJ2
flf.
.j.
i'
Dva
wa
0-
d^Ni-Si
d<*^Ni-si
3.0-mira-2.u
Mia
'
di
my
- Ca,
a-mau,prek) Kioj -
- iu,
- na,
di
de -
vo
tii
re-ni
ja
^a
isa,
ka,
ja
a-man, mla-di de
158
vo-ja
|>6
de -A7D
v<j-
jnla -
ni Ira
Q
ga
Ba
ga-vra
ka,
2Zc (continued)
Be
- -
vo-ja
ka,.
Var.(rettoSt.2):Si5
^HHrS^
a.-mar^ od svo-ji
a - kra - ma:
llSilO
^-
II
j^^
^j
-
ie
^mi'.'i.'iing
Ja
27d
(lo)
2.Pa o-6b.
Sna.
na
no-ge
ako-fii
io,64o;isi-s
(continued)
27cl
yiT^i
J)-210
.M-.
Pa o - da_ Sna
jt
fr
J)
ge sko -ti -
A/^-la,
3.^ De_
-{5j.
no -
na
se
ve - ^
^=1^
- to
pro
lo
^^^
ne-topro-lo-mi-it^-lD,-
dro
=166
Ne
ji^H
A^ -
mi
AcA -
Id.
J^-154
Sja-jan
mje-sec
pa
no
N.e-A<^-re -tvu,
1^=236
5. h
Be Sa-re
ko
$ve -
ga
na
o-pa-sa
li
la
pa
Se
gu
ja,
dvo - h<f-v&
Var.(ref.ioSil):St.6
R, 3111-2;GackD(Hercegovma).Halima Hrvo,April26,1935
160
[
27e
(io)io,6,io,va-s
^.ca406
m^^m
*
PU934
2.Aj,po(lZa-gor -
m& m m
f^rtf^m
podCengi-cadb
je,-
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re, a^iiaii,a-in2n,
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sx
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u^
is
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^
a
re,
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ti^E/'^^T'^
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to
le
gai
ih^u^m^il^-^^^mm
^==^
^g^^
Tambiira 5ola
kJ=125
^trrtr
161
t'^n
27e (continued)
J'h'/
Mm
AjT^
cfva
mu
sve -
gD
tla
re,
^S
1^
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ni -ie
foil! f^-j;
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nJa^ pla
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ce,.
,"
P UPI
igta-ri-ja_ Se
^^
spni
21
je, ajnan,a-inaa,
27e (continued)
5^A_^o
Se
smi
rf.^^ra/'J^
mo - ja
i
i
i^fi
Se 5mi-je3,
j^ J ^^//y
i'p
l^j^
ver - na
^>^lffPg Er
Iju
i^
f^
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tu tu
J-=58
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a-
V ^
- bo,
^^= f-^^
J.
Sto
i^^ mrni
J;
Aj,
mo-ja\'er-na
je,
^g^
"^
inati,u-tnri-]e - cu.
^T3 ;^
?
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sa-(k?
13-
1^
J =136
tr
J
= 125
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5:
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--- ----
-al-
Jjjjji^Jij^TuV]!.^ j'/3ij';iij.^ nw
lis r u^f tr ^'tr P'tr ^' ^
163
27e (continued)
ji' ^
m n i'g m.
^^^
da
Aj,
:Se
1^
i
'
'
mia
u-dam.-
na,
a'
ii
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y
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i
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a^
R.2935 Tamburaj^^2.5o
rrt/0
J>=406
po
L,ce-Salj
da/^
pd
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t'
urur
27e (continued)
Aj,
jel'
sva-
nu
- Id
dav"
no,
ifffw=^=rQ"T=r
=^s
i/.|f
Mo-gul'sii-ci,
A<5
J^
Jj
ff
U"^
m'M
15=^
mi-jof
a^nanjfliAsamiia-u
@:
^^i m^^ ^ a
eSF^
IT
fpTtrMrrtrr fro
1,
1935
28a
(l0)l0,6,10,mi-7
$
lAj,
Ugo-ri
Ze
i'
,f.^
ra
E/'i:
a-
dna,,
i D^r
2,Aj, joanje
1(
njimle-ii
vi
&e.
^^
P^EVE
iECl
-mu
bi - je-li
Sg.
ka
^pS
- ' p
p p
166
?^^fri^
5U-:-Au
Ija,
28a (continued)
)i>
Bi
Bi
L^e_j'
- iii - je - Ji
ko
- li
je
yf^mrl^i
ff^
kogru-da
BaS
^m
ma
p-*-la -
ni - ni-
sm P
Ba-izai ko
-^j^.^i
^p:U
"
Siye
J-
---i
'4
"
- g-a.
A} d
Crs
ifiAJ^yt] jjggjr^
33
3.Aj,
ga
jail
pe
maj - ka, ni
rC-
jr^r^.g
tIS
y
i^
Maj
ka,
^^
ni
Se
^ti
#=F
Ma-i^ - ka
167
st:ri
se
^^
ca,
ca,
28a (continued)
4.Aj,ld.-iSa
pe
iar- ho sun-ce
- - re,-
i?#
if'
Aj
5.
pa
mu
no -
B Pf
im
Eif
- Ai
si
k*-lju-
i?*
- Si.
^
pod kri-lojn
'
rm VD
si.
iNgt
JJ
^J|t
/
g?.^J
'
- di
ce,
^J]l
r>
no
jsu-iiu
klju
nu VD -
m^
^^l
Li
je - le
168
2'
^
po
ga-ce.
^"y
28a (continued)
6.Aj,
Bo
ga ii-M
^^
'j__3
FJ=qi;t
#=F
Sh
26 - len
p^f'lMt,
Kak
i'.^
vo sam
ko
So
t^
ffi
r
u
do - hjr-ro
ti
le.
pa mi no-
si
u_
klju
vd - di
vo
rua
igr- ^
ce,
^
-
ce,
i^
f-p-F
"^ ^
Ta
JO.
u k^-lju-nu
i&ii_
^ ^ i^CPrgr gr j^r'
7.Aj,
^*I'T'^"
nif^st o o
s=^=tw
=y^^g=s;
pod kri-lom
VarreioSt.L:St.9
SLID
bi
sta
je
le
po
ga
ceY
St.l6
fefe
fLr^jfCffifTrlffflfiff^p
Parlanflo,i'=dal70
169
28b (continued)
jr
^v-
2.
[]oj,
Jfrgfe a'-^^
- j,iiej-niaka -
pri-da
da
da
se-ls
ti
ma,
Se - la
ti
(cough)
k'u'^u'mi^m^'^^^ -s
on
^A-nian,yeg
3.]oj,mDJ so-k)
pi
A-
j,
je
si -
li
vo
per
vo
^
-
per -
len ^o-ko-la:
je
mo
je,.
rrri>-^'^
mo
je
Sa - da,
2e
Siv
si -
le,
'^ir
^A-Tnati),
ta
je,
ska
28b (continued)
fr?3oji
^igj ^^xj'^'^l
i pa
ri
a-man
pi,
<F=g
-
Se-sio-kri-lo
vi
-ca?
,(i^=cal40)
5.]oj,pu-da-ju
SA-
Balj-ko-vi -
- ske
man pu
,,
hhe
ji,,
Sja - ji
Balj -
i^r
ko
vi
ca,
i^^ ^
f Cr- tg
30-
pu
li.
Ca?.
i^l,.-^^^^^:^^ !..!-.-!
li
a-aQan^ cor -
se,
da Lju-bo-vi-6a?
St.8
Var.(reftoSt.5):St.6
n
(^rM>f|-
^^1^
-^"r^;-
^ ,rHB
tj
[[jj
^''nu':''ij9\Lj-i!:^\m- Ji^:iiff%h
jms u-iim
jN!'?:&fi
>^j^juj..-i
bi-la..
g-JOii^'t[[
i'
^1-
r^-^^"
a -man.)
Ai,
A-man
30-j je
li
JiodJ
(Z8),^tember
21,
Ma
1934
- re
28c
Parlanflo,J^=cal40
{1410,6,10,1-7
171
28c (continued)
Na me-ra-ii,
2.
ioi,
N-na5er-dza-di
pro-star-ia 5er-dza
Ce-le-bi-cu
Mu
da
-----
i-io,-
iz
s;
Ce
- -
Mu
-ti - cu
le
JO'
^M^m^,^ :t!^^^'y0m
nfl_ cu
- re,
a-mnn, du.-iiiruk
f{J"[^[^rr^r^^m
zu
sJ-va-kacu- ra
3.Aj,
A- man,zu-ti du-kal
4Tud_se
Se
3oj,vri-ska
(5e
&e.
^!tS^^i^^
-
je,-
?w^^.r:g
da
j^'
Fa -ta,
>-j,le-pa
u-zi-ma^
da
- ti du-Jffli
i-i-#
mp^-jm
Zla-taA-tla -gi
sta - de,
(28),
172
ts
ca,.
a-maoMu-je Ce-le -
bw
ca.
[8)8,[l2l8,'Cn-l>2
31
Po - $e
Z.
Se - stra
Se -
mi
la
po
la
mi
istra
Ta
cu
pa
po
La
mla-da,
ra
Lu
Lu
pa
ke,
Iffi,
i
^
3.
Po
5.Ku
pa
da
Lu
- kfi
de^,
Or
cu
mla
ro
J
Ku
62
ga
na
de,_
cu
da,
JVr
IJ
ro
ml a
Kg
dom
maS,
Cu
ro?"
173
^i
da,
hy -
J
-
ke,
je
II
^^1^11
^r-
M
J
p^nf^J"
)e
re^_
oj:_
=96*
3.Ka
ran-fi
le,
i -
Aj'-me
mo
mzm
tw-je,
Moj
dil
be
174
re,_
moj,
tvo - je
je
P=?
30 (continued)
4.
^i
Skim
ti
niie
ne
mla
du
du
- -
stav-lja^,
gtav- ljaS,_
St.7,8,9
ig ffl
R.
lu
^a
3Z06-7; GacJa)(HercegoviDa)iHaliinaHrvo,Appil26,1935
31a
i[
Sil-eiidofSt4-endof^t.9*
J=80
^/Hii ffiffl^'^'j
2.c^Go-ri-ca
;p3
ij
/lim
j!
^j^tjgttj^
s li-stapro-go
va
JS-
':{4i^fttJ
Sli-stapro-go
175
va
1
ra,
ra
:^
g-o
ri-ca
t ,5!=-
/lim.
31a (continued)
3.Kucl i - de
te,
ki-
cie-ni Sc^-va
- to
vi,
J-80
Ki-6e^ii
$jr-va.
to - \d
frj^MLJ]j :lJ3^..Da|ijm^
|
4.Kud
de
tekudkwqe mo
- ri
te,
jH^^-^ i} ^
%JJ3iJ----
KidlflH^'e
J =
mo
- ri
Wi-de
ie,
te?
88
accel.
ze-le-no-nitra
vom,
J=92
iJr#rDaj
I
Var.(ref.toSt.2):
St.
13
ze-Jfi
St.
- DDin
^-
tra - vom,
^\M^lh
Cr-namzem
St.l5
14
s wm\% v^ ^m
^^ m
\n n^
6)
1)
1)
Mo-DL* dra-
St. 16
5)* 6)
.rTni|
i l
St.
6)
St.l8
2'
rUl
[fr
Ijom.
^ ^p
II
176
17
31b
(K))4,676,4,1-5
J=callO
Ti
1.
Go-romja
[2]
j,
to-
ki--ce-ni sva
In
^)^)
. r\
^3) 14)
"-):
C>
15)
Ei
- ce-nisva-to-vi
to-vi
c
^^^^^^p
Z.<^Go-ri-ca
Ziiiiisli-stapro-go-va
Slirsia pro-go -
3.,J(uil i
dfi
te, JiL -
ce-ni
^o-romja
ra,
va -ra
go-ri- ca
^a-to
VI,
f-^H#grr&
Ki - ce-ui sva-to-vi
5.U- mr
la
I'e
k)-nje
mo
mla-da i^-pro-se
Mia
177
- -
su.
-ri-"f;e,
^^^
Wide
kudide
iti>^--i'
- ie,
te?
na.
dais-pro-se-na
u-mr-lfl -
- je.
'
31b (continued)
bi
6.Ka-(l<-je
u-mo-rumla
na
la
ri
Na u-roD-ru
Si9
Var.(ref.toSil):St.8
15)
16)
14)
m^ m
:s2
S115
da,
r r
mla-da
!i^
r^-yit^i
kadjebi
St.lOJl
Si.12
5)U)
2)
e:^
la.
ff^ s
15)
gO-^d^
St.l7
St.l6
s &S ^s a fe S
^m ^iii fi^mi ft^
HJ
l)-*-2)+3)
fe
Sva-
St.
18
Jo_ ka-cL
go-nxcc
St.20
St.l9
^2)
15)+16)
lo)
5)
Mo-medd^-ra-
ko-nirf
l^-ns)^
St.2I.
^tl5)t-lt>)
Jil
^-2)^3;
Sva -ko-nic^
ii)+ii|+i3)
gl^JrJJ
fftJl
Il]i-12)-^L?)i-14^
.nf|J]fj
St.23
efi
......
St.
t^i-7)-'-8)
b|^7)^8|
4)-^5)
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9)t-Jfl)
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15)
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12)tl3)+l^->-15)^-16)^
Si24
\:^
- jne (L-ra
*-
Mo
p^
P)
'
25
]^-^..^
J^k^.
s),
8)eea
wl'l^l
St.29
u - bu
St.33
g-ro
s ^l^
similar
:to
St.32
ma-Aaj
St34 St.35
St.36
r^
m^
St.36,37
1^+13)-H4)tl5)
17)
a^a
St.38
taB-hs
sa-iza-m^
ba-Aa
R.
178
31c
(10)4,6,6,4,1-5
j^,M.'gcfccSj-J|P^ra-g^
2,.
Sto Se pri -
mi
ko -
mfi-Jd-je!
^
la - ca,
j^ht'raujA^H-^tfSEr^iirl^^^jjjH-ii
3..y-
Da
Da
pi,
Ce-<i^gro-iiiflnL
gro-mnm
Li pe-de,
A.Sio ce^ lu
Sto
hi pe
ko -
me-ki-je!
Sto Se pri-ini
ga
na
na
ces lu-ga
sa<^
goj - re
sa6 na
na
a, Sto Se pri-mi,
goj - re -la,
k, -
iz.
la
ba
ta
Da
la,
ci
- la,
fii
la,
iiipe-teS,
Sto ceSlu-ga,
m^iMfrmmi^ ms:^i
8.3a
^amrfdo -
Sa-ni^do
^la_ Fa -ti-mu
Fa -ti-mu
lla
raz
raz
- ~
go
go
- vo-ri -
-vo-ri
Var.(retoSt2):St.6
'4)
R. 35Z7>Ga(iko(Hercegoviim),AlmasaZvizdiiC,May20, 1935
f
179
ti,
31d
i
4SU-i^St.6-<l)St2
(io)4^^rfer-i,
J=82
1-4
fri^r^JS
*
a)LRu z-nu cu
du
ru
u-da
- ka-li
ju,_
J=Zi
,|^a^|j^)r|E2f'aff>g]-^.||JA^
Du- ka-ti u
Ru-,
Ja
me - ae ce
si-ro-ta,
Me-ne
Ije -
po
-ta,.
-po-ta,
ce Ije
cu-ru-
E^
foj^rlgii^CJlCfir
2.
ruz-nu
ja
la,
si-ro-ta.
'"3-1
3.
Mi
sli
te samja si-ro
rue-liD,-
BesaiiLJa 5i-ro
Ain
Da
Se
^^p
U-dad za
^.
5.M - me-ne mo - ja
u-dadzaii-vo -
ne-cu
.fii>ff% cr
- ta,
zi
ta,
Mi
- hi-,im.-sh. ue-ko,
ta,
S?^ fi :^
vo
j JC]'L:l
sje- to-va-la
ta,
maj - ka,
180
Da,
da
B] JJn-ll
l
se
ne-cu.
31d (continued)
Sje-iova-la maj
G^jjUo-brogle-daj,
ru-lseSe
ru-ke se ne
ne_
Var.(ref.ioSt3):St.c)l.
R 3190 -1
.
ka,
Me-,
xne-iiB
mo-ja
daj
dai,
^ Do-,
^^
^J
do-brodeJai!"
32
Stl St.l4
(l0)4,6,[],4,
J -92*
^^V^
3
1.
)^
Ko
31
p>
i""^
F-rr
LC^
lya
ku
je
Ija
2.N;
Sred
po
E - js, na -
fired
po
Ija.
181
Me - ho
inom-^
po-(Lrje - - lom ze
le-noin,
1-4
32 (continued)
iio
Ua-lia,
^o-vo
-mu
mu go-vo
ri-la.
la.
fSmffltlfi-^
E
j<f,
gle -
cia
la -
da
la
Aa_ga,
4.Gd-le
ga
pa
^.%r,^mm^
E
j^;
gle
da
la
Aa_^a:
cal00-98
^o
J =
=caiuu
^^Mift
^^^1 ^
19.
Kad
ii
E
to
i<f,
la
kad
f.H;llR&
2aR-u
10-
- da-ji
*^
Zla-ia,
la,
^r^
^J
|lr^,r3%fe
ka
ma
je
E--V, vas
fiu
^mKJS]
rJHJJJ'M"
i-0-
tu
ri\4r^>^/
je
je
pro - zor
pro -
na
zor.
182
te
dzam u-da
do
sa
- ri-la,
5u-la,
32 (continued)
Vat(ref.toSt.l):St.5
St7
Si9
Si.8
^iSa
&a^
StJD
St.10,11,12
bad traki0g
^-1
33
io)4,6,[],4,VII-t3
4H^, Sva
ke
su.
se
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Se,
i-g,r-reza^i-gra
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p
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i
vu-tayi yo
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ce,
183
Jt
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33 (continued)
l^
J^Jl^ r^'QJ]
J-
Haj,_ te-la
ov
H^,_
ov
7.
be
la
- ca
fT^^Jilj
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ca.
8.Haj,_ u-L*-va-ti.
Ifcy,
u-do-vi
suia-]>ul
Fr^i]
rj>b
JJ]|r"^
J]
IJ
mD-sta-r-skidi-7;da -
je-
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re,
A ^-^
i
u-h^-va-ti.
Var.(StoSt.l):St.lO
34
8,'yii-4
^ ^^
J
-120 acc.
,
US"
1.
if
Kni
N^ p T^
gu
pi
^
!
^^
knja-ie,
srp- ski
hej,
Gviflle*
P>
A3
^iiirT]
na
^m.
ru
ke
J
Sa-lih
im
pa
h.-.
^^
184
(continued)
34
A*
[^
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EE*
Sa
lib
pa
maj - ko
- sa,
Pro
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ma
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zi
^
lial, J =
^i
144
za
II
>
sre
bro,
za
zla
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it
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2.
na-fe!
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ace.
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za
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ko
to
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ce
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185
pi
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34
(continued)
--alJ = i75***
=
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186
(continued)
34
jM^n
ji'j'
na
bo
gvo - je
PL^
^
n
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ro
i=
za
- nfi:
&
t^
ro
S^i
za -
mo-ja!
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ni.
?^
^
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i=^
mi
0-
fc
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Ne
ka
71
he- ga\
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bu
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fcu - Iju
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,
rft
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ka
r-na
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^^
187
35
8,TZE-7
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3al
zz
sve
bro,
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Na
3.KDLJaz
ko
Mi
Ije
Ja.
za
jal
f^'d
Mi
knjaz
ne,
188
zJa-to,
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ski
IJ
-
J-
la -
ca
''
nu
re!.
35 (continued)
ja
kua
do
sam_ po
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Si24
Var.:St.l4
liueZ
sa
ba-boia nJa- do
Si27_
Srp-fce.
F6
^,2)
laj
later
ling3 '\
flffliJlPlJJJJ
0- smi Him-za po-go- di-jo
mi -jo
R. 855-7. Bare (Bosni^, Mustafa Goro, October 10,1934
pro
lo
189
ho-g2a
ako
^
^^^
s
36
ParlaoiJo-rubaio,A 230
^i:^
6^1 V7
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ua ru-ke
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la
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^^
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Daj_ nam, pro
190
f^P ^^j^Jo H
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su-je
ca
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re-vi-ne.
lib.
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36 (continued)
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ski
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Hi'
ti.
m-ze
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ro
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193
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37 (continued)
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>
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194
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38
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[
195
noni
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38 (continued)
i mi_p
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41
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1
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(continued)
41
fo r^
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(continued)
41
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da,
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42
^^
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8,5,8, 5,"2n-4
= 130
208
(continued)
43
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'V
f y
mla - do,
di,.
^Ci
'hpil'y J'^v)
:i
ve
<)eZ_
.ff)
de
do
p' TO
|i
^^
lu - do
ra
ie,
f-M.
%\i
(^
lu
^^m
ffi
=100
/'"^
- ie,
do
>e
i ^5
be
mi
- de
210
lu -
do
de-1:e,
II
44a (continued)
Ne
da
ce
j^l^l'^^^
f,b
4,
be
se
^^
y^
ra
gf---^
-=^
Pg;JJj)^
ba
li.
la.
JJa
^i
\4t se
be
- Si
Da
Dj
ku
je,.
Qj
.^
iJ
ba
Ji
ka
- mi,
ku
Var(reftoSt.l):St.5
St7
St.6
g ^s
1)
a-lJUNi'
^^^
mi,
^^
;i
JM-3 ^rrTr.r^
c/^
di,
st.s
St.9
gHB
2)
s)r-5
S)
3l
StJl
StlO
mywmwW
faully
record
44b
Tambxira
j =
I* #t'j
126
iJT:
^^
^^
8,5,8,5,
n7i
AAA
.TO]iJ
CE-
s
f r
211
44b (continued)
jMn
rhi-^X'/J
^ ^w
/ r r
,1'
'r
.pg
^^^ s
1.
Za
pla
Tambura
^r
ka
*
i
^^
\l]
Jj=3=ij ii 2'
Dza
fer
Le
;gta
ij^^=F
^^
m-
^m
CT^MiJ;
\'
r r
^KJH ^ K
fT^
m
u ^
^ ^^
-
ra
maj
^
r
iffli
ka
^^^
[4]
go
va,.
=^
ka
i^'^'nt LT
Za
pla
'^"^Tint
i Sf
la^
^n
StE
212
ffl]
maj
ka.
44b (continued)
ii
i5
Dia
fer-be
go
E w=s- i
=?
^
va:
L/ ^- f-
J=120
-T^
p^.\
fer -
ke
lu
ie,
nam
Sio
m Ti
>
i i
m:
?^
ixr
fer -
te
4e,
4-^
^
6q
de
io,
(sic)
5
r
de,.
^^^^^
-
^^
ve
do
D^a
a.r
^m ?
m.
ai;
2.D4a
^M
r
r~EE[r
ffl;
lu
do
.t
J^J-
ralJfint.--al
213
^^
det'.
r
J
-115
44b (continued)
=120
leX
we
i^ae
3.
Do
^.^'
nam
de_
O'
-^
Do
nr
3X
rg;
mlfl
du,
uninj}
t:
[>
du
uBm.
d(
de
du,
te,-
i(
ve
;]n]'j..g;i
,^:
7f<>^^.
mla
lu
du
lu
fi
?
i
r*f
Lu
>
ve
^E
W=F^
O.t^n
dp '(11
^^
^
T
rail, al J =115
?=?
Var.(reto St j) St.4
l.J
^f
a s^-nah'
mr
il
^^^
.many
II
J'n
tunfiS
214
^
C.^
M=4
45
Parlando,
2.
Vet
J^=ca
io
6,5,8,5,
154**
ub.^
vaz.- dan
tu -
pro -
ze
lie
Ij
Atna
^o
^p--H
,f>gjj3^^T^jrTjgFrl
&u
VE-4
vam,
j^^^Jcrr^^W
^lfflrmtir^n
vaz-da-n
i
Yei
]a
to
215
pla
tu
cem,.
nui-n2L gto
(continued)
45
R. 3541-2
pa-lg
(iaciD(herc:eg'oviiLa),Hajrija
tern,
akovic,MayZ0,1935
46
(id)
1-4
8,6,8,6,
J=95
iZa
St.l-emlofSi.2-St.49
pro -
za
si - jo,
pro
- Si
*[!
fy
ri
^^
^> A
Ej'f^Dtr^
u
2.
I?
""f
AhT7iJ.
i
Li-vruj,
;. ~\
im
ffi
Li
je
f
pu
216
J^ J-
mi
jo
^^
r.
Li
ij.-va--iiu
i^ V
nu,
46 (continued)
add.
jp ^'r\. is^
'
nm
i,T'^
-''CIP-
u Li-v^-nu
u Li-vnu, a
al
J^^.
ft jjr
Li
je -
h.^'-i
ij
pu
--J=100**
i^^
3.
^r
^r
Ce
gto
ts^ ^t^^}
be
A-l-kat-me
^
Ce
ih
te
- ie,
Spre
re
be -ie,
sio
sto
^:=^a
-
iTiT^ 111;
-
^
^^^
6e
ka
- tcj^-me
-jTi/gg^
re_
h'^^'
Spre-ma,
^,b
ku zJa
4.
ku
ili-^
- ia,
rj> r^J
^
^^^
I
d<y-ve
^_
dj^-ve
$vi
- ia.
1)
9)
tff
zla
tf
le,
^&B
ku Tla
^-
2)
J3.;]J'?-r
ke
ze
be
^lo
fo ^} t''^-
ie
ma.,
nn^fsu
A
- 1 -
^
be
217
zla
ke
ku
SNd -
le.
ii
>
II
46 (continued)
Var.(ref,ioSi4):Si7
b)+7)+8)
r-p,
Stl5
Sil2
j
-32,35-49
5)
St.l8
m ^ m
St.38
4)
^+2)+j)
9) +10)
9)+10)
^^
9]
St.39
St44
9)-H0)
9) +10)
a
^
II
^ ^y
R. 3192-65 GackD(Hercegovina),HairijaSakDvic,April26,1935
47
(l0)8,6,8,6,Vn-5
=96*
re,
4l^
B.
grad
f
iz
218
Soj
- slaj,
mo
re,
^^
47
^R.iTOJ.U.IJ^rl rrrl
U
7^T^
^#4
i
^
jJ
3.Ne
j^^Hl)
go
^J:
Ne
ka
re,
'm
'
istaj,
mo -re,
^1
go
;^i|,^^
ka
ka. -
^F^mF^W-^-^^-[f
"^"T^
I
fflS)
o - g-rad ix
-k]
J?D
-
mo
staj,
Be
'/>^^1
(continued)
ko
ka
ri,
^3
6ri
mix
-^:Jjffi..-,ii
go
g-o - ri,.
ri,
rrr^
-
ka
[ig
go
- ri,
(continued)
47
Van(retoSil):Sl8,10
St.l3
m\fji!j}i}
S^ m
3)^4)
1)
SlU
St.l5 St.l6
>n
48
J =
Sil-St.9
(,10)8,6,8,6,
123*..
^ dl
k-vo-de,
1.T<^ - ri
a.l4
tri
li
vo
j:2j
f
Ni
1-5
- de
fe
ftJ?^r
m
gr
ma,
la
de
jr^
ffiffi'S
Jf'J'J-jJV
Ni. -
de
la
P,
a
2.Sa
Ru
mo
ia_
f
ma,.
(la.
je
dna,
Isa
220
It
Sa
- Ip-m
l)e
jqid
la.
P
JG -
doa
II
(continued)
48
a^m
r^
^\^
3.Tu
ru
je
- iu,
ih
tu
mi
le
iu
gy:""-
LJ
Ka
ru
je
i -
Hi
jo-
me,
^F^
Ka
mi
le
jo
me,.
Vai:(retoSi2):SU0
j-Bt|
May 21,1935
49
94**
^W
J
i^
*
1.
-raj
va,
^
Ill
f^nfl
ta
E
t:
Sa
kr^y-
^
J
"je
Sa
Kraj
(11)8,7,8,7
II
^^'
raj
J'
r
-
ze
-S6a.
le
- raj -
k^ -
va,
raj
Sa- raj
'
^^^^^^^
Sa
-^
na,.
;^
Kraj
va
va
^^
Je
ana
ba
sea
221
ze
le - na,
49 (continued)
l&J^r
f
2.U
ba
toj
u_.
s6i,
ba
ioj
Is
- Id
vre
dno
f
U
^m
ri'^'-'^'
pJ'
jl
log vre -
vre
eJi'
plo
J'
Kraj
m
-
dna
kcaj
mer
F'
la
i'
J-
- ra,.
tog
la
me
- ra.
|St.6
St.5
3)
me
KiiO;'. j>-^
plo-6a.
Var(ref.toSt.2):St4
i'
UT
- la,
ri,r
le
"'
tog vre
mer
c;a
lo,
tog vre
i^^^-
la,
^h
r
dna.
^^^
f^
-.
ba
Q.-
J'
pro
:jin
Je -
r^
Iqj
lyr
ba -s^i.
toj
Kcaj
'K
pro
i^
S&
tflr^-^'
[]e
3.
.7)
.8)
1)
a)
3)
5)
St.8
J-
pi N.B.
R. 3505j
222
50
8,7,8,7,Vir-5
Parlanilo, J*
I-
Te
4.
la
ca 160
go-Spo-ska
jJe
dna
si
Sam
si -
ja
me
roc
maj
ro -ta,
Taj-nu Iju-bav
na,
na?
ke_
rifij
vam.
ol
223
mam,
50 (continued)
^m
Sil2
Var.(ref.toSt.l):
Stll
Var.(refioSt4): Si.lO
3)
i)
.-
ra g
rFFf^
fe^j--
51
(U),8,7,8,7, "ZII-S
126
J =
'
I.
tl-ZMIJ
J^
Kad
ja
I'l'llS"
Ka - cL
po
22
a-man
dem,
ja
po -
g]
no
2. I
^1
ka-(Lr ja_
[5
uenx,
dem,
,a -
man
4)^
Be
_
lo
ja
lirFf
,
po
^''-
de-m^^da-nmn,
jg
jJ
^^mM
'
man,
po-ve
de
- m,
* n
^;^g
nje.
iSo
v-
>
bom,
^^
5)
po-ve
aa-rmm,
iH'^^i^t^ffmmf^^^m.
I
wm fr^rf^^m
m rrr^p^
:^
Ef^W-i
a-man
dfim,
224
po-ve -
de
-^..
m^ .dia-num
(continued)
51
3.
Sve
-voj
dfi
a -
ke,
man
^rr^r^a^r^
ft
pro
j'.^
g>
el;
Sve
zo-ra.
pro
rn^ f^^\h f
de-voj
frr
ju,
de
Sve
num
mS^'^
-
voj
'
f f i P
r-'k!:^
gle
zo-
Var.M.loStZ):Si4
da
ju.
St.6
St.7
9)
1)
da
ke,
.w'
man,
ke,.
r>r)r
gl^
j^r
Jj
sve de-voj
HOT
^ iltl^rlP ffiP
a
ty^y^).
fej
mm
ma-n^
ik'ti
de-tc
St.8
2)
4)
6)
jl^ffiirigjlrftftff'jrf'l^f^
aj
me, a-ma-iza-ii^
^U
mff-ny
R.3487-8;GackD(Herceg'ovin^,AIinaSa ZvLzdic,May20,1935
52
(l0)l2,6,12,6,
^^
fe
frWhlr.rrrrl
i
lDegirL.of St.1
= 104
L Vi
St. 7
BO
pi-li, tta-Dfi
vi
no
I'd
W=P-
pi-li,
na-ne
El
^
)i>
jj^? p
ge
225
Sa -
J^
jjf
li
p'"
r
je,-
'*-"
'-''
v^
52 (continued)
#^
[2*
rrr
r.,llr1r.
Vi
2./fc
Na
i!^
Sa
I-
[7
ie -
i3
i^>^''
Slu
ir-
r^
na
I-
-aa-ne ,
Sa
- raj
T)
Slu
i'
ii - la
# r&
rff
na-ne
na-ne,
Ce,-
r-
[^
na
r
-
Ji-dzi,
i'
J=106
^
slu
de
na-ne
la
na-ne
VDj - ka,
ill
-
i,'
in
i\u - ii - la
voj
226
ii -
'
f^l^J
Sa-raj-ka_d<r-je
ce,
ka
li-dii,
f-i
TO
^ ^^^
ix i=P
- it - la
^
ni
2e - Ijez
na-ne
--J
PLTr
pi-li,
li
'">
3.
^--
Ijez
- li -dzi,
po-kj^-raj
na-ne,
Ji-dzi,
*y^
)^
raj
*^
Na
no
w^
po-kj^-raj
(^,b'-
rrrr
r)ir
r D rr
no pi-K, na-ae vl
A ge
f'
la. >^^
i
i'
na-ne
52 (continued)
^^
-p-1-
4.
Ka
ko ko-me,ria-ne, ka.
r'r
Jl
se_
do
da
.f.i'''
Ca
bf
ko ko-me, aa-ne,
va
fJ
le,
^a
F=#
i:=:i
;^
Ka
- ko
^ ^u
ka
ko -1116,113-116,
da
do
kD-ine,iia-nfi,
rJ^^--
va
ko
z^s
a *
r*;
Ca- le
i f
Li;
Sa-raj
Pc^-ro
- raj
Var.(ref.to
ka_
^m
Sa
[^
c>
fH
5ZJ
T)
go - va - ra, na-iie
Jl
d<r-je
e;
pro
P,rf-ro-g'o-va-ra,na-iifi,
P
r
p,
I
e,
-^=^
M'
- ka,
voj
:,-=jL
W^^
P
-
St.l):
ka_
F P
f'
d<>^-je
voj-ka:
$18
St.9
1)
1)
^^
m
ve - r R. 3523-4,3525-65 Gacko(Hercegovma)
ii
S^-'va.-ko
Hajrija ^aknvid ,
f
227
na
May 2
1935
53
5+5,5+5,5+6,5,'5IL-7
J
2.
=90*
Gra-ua
- le
o-(l<rje
>^jgj
na
di
- ne,
^^
uj'^
- (Lr je -
le_
cva-
J^U^^fflMlJJciU
Sje
me
SI
f|'irg
ra. -
cva-lakraj
me
iccaj
la
l|j
Isnaj
me
- Jie^
Lyg'O
^'--yiJ
ne,
c;^iJrTr
Ej
joj,
Ma
ri
228
ce,_
Sr-ce
du
so,
53 (continued)
Do
3.Ka.
Sje -
di
mi
cu
i
mo
it^
ta
na
kraj
te - be ?_
Mo-ri- ^a
iia-na,_
doc':
eru.
na
gu
je-rme-iia
mo
kraj
Mo-ri
<5a
tia.
na,
Ti
Var.(ref.ioSil):Si4
as Si. 3
Var.onR. 3514-5:
^n'
3
2^r
ffld^nq^J
2
ne
Ei
St.
'
606
ii
me
je
6oc^
ti
6u
Ej,
J'
mi
Ka. -
me
kraj
(li
^^l
St.5
St.3
1)
T^v
si
Gacko (Herzegovina),
,'
1.1
^i Ji
Almas a
Zvizdic
J
,
IMi
I
^.^
229
l:ll'i-4i
54
^i
'Silt
*O -
BD
on-di
r^
^a
^f
to
^^^
dra-g"!
^a no
on-di
Sto-no
^^
i3
S^
^to- HD-
g^
j)'>
io
^
-
me
iU
me
no
mo
no, Sto-no
g\e-
sje -
^z -^e
J
^i-^e
i^
ja^
li,
li,
^z-^e
ru_
li,
Si
^
CJ^Ll^-^-^^ E^
^
ffi
Ti
l^j
mo
accel-
ga
dra
- ja
^^
im
Na
gi
gaj
me
Na-vi
Be,
n^^
^'j
^a/
g'aj
nu.
J>=175
^>^'"ni^"r
gg
u^i-i
'
.fyrvniniu^TT r..
i
Da ma-
lo,
du
^o,
po
^i
uem.
230
Notes
1.
Music Examples
to the
* This
to
"Var. 3)-4)."
This
is
among
8-syllable lines
Collection included in this book. Texts of 10-syllable and
consists in
which
of
are equally used in this type of song, the peculiarity
on p. 77
described
the addition of a coda which uses the clucking sounds
and
is
L. Kuba, N.
D. No. 59
g. u.
L^iLUU
i^hr'tf
'
-ife^er-cu giz-do-va-la,
^^^
te
Gi2-do-va-mi
Vrlika (probably
t
Giz- do-va-rm.
Jft
u-da-Ia
P-,
5IJ
.u-da-]a,
girls)
B. H. 1018 ("Tab. of Mat." No. 303 f.) is another example for this
type of song. See also Kuhac 1062 and A. Dobronic, Ojkanje. Zbornik za
narodni zivot i obicaje juznih slavena. Vol. XX, Zagreb, 1915. Pp. 1-25.
Kuba
Dordevic 569
b., 578,
Kuba
B. H.
231
2,
lines).
1045
3.
Kuba
Kuhac
a.
4. *
is
126 at
and
St. 6,
to J
138 at
150(!)
is
stanza where
(last)
attained.
Variants: ("Tab. of Mat." 243) Dordevic 20, 28, 44, 55, 175, 249, 311,
332, 379, 394, 556, 558;
6 a. *
Tempo from
on
St. 13
Kuba
is
B. H. 786.
of the song.
**
These sixteenths are due to a mistake. The singer began here the
St. 3 and sang three eighths on/^ with "iVi/ ga pe-' syllables;
words of
b.* From
St. 5
on
words
any
stop,
yet
of St. 2.
tempo, leading to J
116 in
c.* From
St. 5
b^\}
rising.
**
The
higher than
it
mainly on
this tone. It is
is
sung slightly
maintained in the
following measures.
The same
44, (2)
R. 3217-20,
(3)
R. 3489-93; the
one
is
(1)
R. 3142-
again recorded on
text).
Kuba
related.
7.
No. 34 on
gusle, below.
+ +
232
Line 2 of
syllable
a.
150 at
St. 14,
From
(P-
at St. b)
7.
Then on
due
(last) stanza.
remark on
No
***
further change.
The first melody stanza differs in some essential details from the following
stanzas; the singer apparently did not yet hit on the real form of the
melody. Therefore the symbols and the skeleton form are given for the
second melody stanza.
10
a.
f^^ approaches /^ ^
10 b.
the low
a^,
11.
360 in
St. 41.
Kuba
250, 251.
*This pause
is
J^
8, 6, in St. 36!
d.
Kuhac
reaching
similar
Kuba
faltering.
The
on the long-
drawn-out tones, especially on the last tone of the melody stanza; these
are sung on a slightly higher pitch, which is maintained in the following
parts.
**
From about
leading to J
St.
St.
55 there
is
a sudden drop to J
90
(at the same time a drop of pitch from a^ to/^), probably due to a new
beginning after a
St. 61
and to J
rest.
Then a gradual
increase leads to J
233
102 at
3550-52.
The
text-line
lines:
1.
1.
Same
2.
Record 3550
sunce granule,
Ogrijalo Derdeleza dvore?
torn dvoru niko ne bijase,
2.
Same
3.
Sem
Sem
3.
Same
4.
Same
5.
Ne dade
4.
5.
6.
7.
8.
9.
is
as follows.
Record 3549
mlade jetrvice,
etiri mlade jetrvice,
Medu njima Ajka zaovica.
U dvoru se redom voda nosi.
Dola reda skorom dovedeno,
Dosla reda skorom dovedeno
Ne dade joj Ajka zaovica
Vet nataSe burme i prstenje,
Cetiri
6.
7.
8.
These deviations
9.
Has
2.
3.
4.
5.
6.
7.
8.
9.
12 b. *
Is it early?
it
In his
Except four young daughters-in-law,
Except four young daughters-in law,
And with them his sister Ajka.
Each takes her turn in carrying water.
When the new bride's turn came,
When the new bride's turn came.
His sister Ajka would not let her go,
But she put on her rings and ringlets,
Fastened her veil, and wrapped her cloak about her.
She went up the hill to the spring.
At the spring was an unknown warrior,
At the spring was an unknown warrior,
Muddying the clear water with his golden spear.
The maiden Ajkuna said to him:
"Move away, unknown warrior!"
From
faster, reaching
there on
no further changes.
[234]
108 at St.
9,
and
c.
12 d.
faulty.
is
6^t]
the deviations are so slight that the use of arrows would not be advisable.
** The performance is rather rubato, changing the basic rhythm which
The
this
melody.
additional expansion of
six,
becomes
The
8, 6, 10,
followed
by an
may
be subject to change.
first
12
e.
There
to
is
No. 6
d^.
Kuba
c.
The same
it
reminds us of certain
Old-Hungarian types.
It has no variants; its place would be between Nos. 403 and 404 in
"Tab. of Mat."
Text variants of 13 b) Kuhac, 1121 Bartok, "Rumanian Folk Music,"
Vol. Ill, No. 940.
;
14. *
The
pitch becomes gradually slightly lower toward the end of the song;
in St. 7: J^; in St. 8 d^ is again slightly sharp. Cf. first note to No. 9.
** The rest between stanzas 7 and 8 could not be measured because of
The
interruption in the
first
is
on
it
and "Tab.
of
disappears entirely.
is
that of a wedding-song.
From
Variants: ("Tab. of
235
is
799, 805;
St. 6.
missing.
184, 315;
Kuhac
508, 578.
a. b.
may
St. 3,
measures
measures 3-4 with
singer), St. 3,
7,
+ jevojka.
This piece
is
structures to the other: the singer uses, in fact, alternately two melodies
for the
same song
Variants of form
Kuhac
a.:
17. *
11)!
1042, 1245.
Variants of form b.
22;
7, 8,
Kuhac
This tempo
Kuba
B. H. 454, X. 39,
XL
is
toward J
84.
From
St.
speed
is
105 at
** This exceptionally short value (St. 3) and, later on, the break (St. 5)
The tempo
20. *
of capital letter
symbols see
first
note to
36, below.
At
slip of
vnj VII
I
VII
There are no variants; the melody's place (as a threewould be between Nos. 682 and 683 in "Tab. of Mat."
section melody)
21a.
The tempo is gradually rising from here on, reaching J = 166 in St. 10.
The elided vowels are: St. 1, beze; St. 2, Joko; St. 3, moje; St. 4, otvorena.
236^
and counted,
are considered
a.
some
slip of
the tongue.
23
a.
There are no variants; the melody's place would be between Nos. 727
and 728-29 in "Tab. of Mat."
*This tone is faulty, its pitch unclear on the record; probably it was
intended to be
c^, as notated.
** Barely audible.
*** On R. 3082, St. 1, 2, 5-7 are recorded again
Hrvo
by the same
singer
and
latter
and
h^
changes.
all
** Later [l2l!
***
on
The
last
two stanzas
Variants: ("Tab. of
24. *
b)
4, 5
again have J
112.
From
St. b) 1
The
the
first
954.
melody section
is
considered a non-
essential addition.
No
Kuba XII,
(first
20.
***
From
St.
is
6 on, the
first
half of the
faltering.
(first
melody); Kacerovski
1.
237
p. 14
kept
is
As a matter of fact,
Uj
should be
first section.
virtually a
is
Ijj,
also.
Kuba
27
a.
variant
**
a.,
No
From
which
In
B. H. 700.
melody seems
originally to
giusto
27 b. *
this
we
St. 5 on,
is
free
St. 5, b^ is
final
is,
no
lowering to a^ occurs) this has happened already in St. 3 from St. 6 on,
;
first
and second
sections
is b^.
27
c.
Unusual prolongation of
ment
this tone,
** In this stanza
and
which
is
The
sixteenth (that
is last)
stanza has
280, reached
by a
gradual accelerando.
27
e.
thought
St.
.2
St. 1
it
head
of the piece.
is
1 is
faulty.
and placed,
We
therefore,
faulty
St. 4, 6, 7
have pure 6/8 rhythm; St. 5 has at the end of the melody
two measures of the 2/4 instrumental interlude. The
sections one or
raising of the
melody
line
which appears
again.
[
238
in
The
sound of the
is
singer's voice
barely audible
drowned
it
out
on the record.
The tamhura
is
frets,
about the
size of
viola,
played with a plectrum. It has four pairs of strings, both strings of a pair
are tuned to the
same
tuned
differently.
leading to tempo I.
**** Slip of memory: he began with
error,
^'jes sva[nulo],^^
and perceiving
his
rhythm and a 6/8 rhythm; the latter wins out in the end.
It did not seem necessary to add a skeleton-form of the melody
to this
piece.
Kuba
melody); Bosiljevac
28
a. *
The
first
1,
Kuhac
132
(first
melody), 138
46.
c.
shows the
staff
first
first
on R. 1538
a)
version.
(both), St. 11
this
sto
vidual) features; they are found in one of the published variants as well:
The
first
The same
28 b.
c.
No.
13.
Kuba
1114, 1115;
Kuhac 361,
(first
melody),
16-18 have J
85.
Kuba XI,
[
22.
239
Kuba XI,
Kuhac
22,
X,
39; B.
first,
H. 454;
are fragmen-
92.
(first
tune).
31
a. *
The final tone (of the first and second melody sections), a^, seen at 5)
and 10), is later more and more frequently changed to g^, and is finally,
from about St. 20 on, stabilized to g^. Final tones generally are not
subject to such changes. The same singer sings this melody to a different
text on R. 3158-60 where again a wavering between a^ and g^ as final
31 b. *
tone
is
Zj'
',
from
St.
9 on g^ appears as
31
c.
The
first
when
she started.
** This extremely long rest seems to be an involuntary stop.
The
has again J
last stanza, f) 3,
Kuhac
736, 892,
title.
75.
Kuba XI,
Bosiljevac 16.
32. *
The tempo
The
gusle
is
manner, that
seated singer.
is
bow has
is,
like
about that of a
viola.
horsehair as well. It
cello,
The tuning
is
string is
made
of
The
first,
240
The
singer of
No. 34
tone (a raised
a\?)
first finger
(g).
The
by hundreds of examples.
melody
turns
below
the
final tone (for example, to
Therefore, if the sung
substituted
for
this tone on the accomVII), some other tone must be
panying gusle (on which, by the way, the melody is always played with
more or less deviation from the sung form), although an agreement
between the melody range and gusle range could easily have been attained
by a change of pitch. That this was not done is by no means a sign of
awkwardness or accident; the procedure must be regarded as intentional.
lished rule with gusle playing, corroborated
** For explanation of the use of the capital letter symbols, see first note
to
No.
***
36, below.
From
St. 7 on,
Kuhac
is
a gradual accelerando.
801.
No. 36.
There are no variants, the melody's place would be between Nos. 1224
and 1225 in "Tab. of Mat."
to
36. *
These
number
or motif-groups are
letters are
added
marked with
different capital
which type
of motif
was sung
to
A gradual
Nar. Pev.
From
St.
J^
370 at
St. 11.
p. 10 (first
Cf. ("Tab. of
37. *
Kuba
=90
d^).
38.
slight deviations
between the
There are no variants; the melody's place would be between Nos. 1339
and 1340 in "Tab. of Mat."
Variants: ("Tab. of Mat." 1469) Dordevic 41 Kuba B. H. 400, 492, XI, 37.
This melody seems to be a fragmentary form of an unknown (urban?)
melody, although Dordevic 41 is somewhat more "elaborate": it has
;
[241
39
a. *
39
b. *
above.
e.,
is
maintained
**
The second
half of St. 7
is
missing.
is
8, 5, 8, 5, structures, p. 51.
Pev. p. 131
(first
Cf. ("Tab. of
Kacerovski
43. *
by coughing.
on
Kuba
Kuba
p. 146 (first
melody);
18,
has a
8, 6, 8, 6, structure
a. *
faster,
reaching J
approximately 104
44 b. *
From
it is
record whether there are any 16th-pairs instead of single eighths in the
242
The
e.,
above.
J^t]
b^ of
of the pitch.
# =
200 in the
last (8th)
stanza.
*** "Sto"
is
as a complementary syllable to
Some
Variants: ("Tab. of Mat." 1561) Iz Levca 19, 27, 29; Dordevic 259.
47. *
There are no variants; the melody's place would be between Nos. 1572
and 1573 in "Tab. of Mat."
48. *
There
beginning with J
this
tempo
is
135, then
an accelerando leading to J
132.
tempo
140 at
St. 6;
Kuhac
1433.
seems to
is
no change
in pitch; this
is
The complete
melody appears
in St. 1
only; the others were sung to the second half of the melody.
[243
and St. 12
The per-
rather rubato;
is
its
The
text seems to be of
our No. 39
51.
urban
origin; it
has a
8, 5,
5",
5,
variant in
b.!
There are no variants; the melody's place would be between Nos. 1615
and 1616 in "Tab. of Mat."
Variants: ("Tab. of Mat." 1622) Juz. Srb. 414.
Cf. ("Tab. of Mat." 915) Kuba B. H. 237; ("Tab. of Mat." 1619)
Kuba B. H. 116, 117, 231, 642, 646-48, 697.
Text variant: Kuba B. H. 101, 627, 935.
52. *
and E.
** See third note to No. 16 a. b.
*** The same song is recorded by the
Later also
e^
The tempo
is
is
same
singer again
a somewhat low
on R. 3525.
at the beginning,
e^
in the text.
An
is
c^;
tempo constantly
Pev. p. 136
III, 135.
(first
Kuba
ca.
100.
II (Narodni Pisne
1889), 443, III (Narodni Pisne Moravske, Praha, 1899, 1901), 605, 1521,
p. 425.
assigned to
it
among
244
Part
by
Two
ALBERT
B.
LORD
Introduction to Part
THE
in this
Two
book are from the
made by
Professor
Milman
Yugoslavia, where I had the privilege to assist him. Of the 12,554 texts
in that collection, 758 were recorded on aluminum phonograph disks.
Most of these recorded texts are of "men's songs"; long narrative heroic
poems sung or, more properly, chanted to the accompaniment of the
primitive one-stringed
There
gusle.
are,
however,
of the collection,
and
it is
By
number
of the
two texts
of this present
is
in
Sarajevo and Gorazde, in Bosnia; three (Nos. 27a, 44b, and 39b) are
in unison
in northern Bosnia;
girls.
does not
mean
collected
songs. This
women
or that
they are sung only by women. The men's songs are peculiar to the social
of the men, they always have a narrative text, and the cases on record
which women have practiced this type of singing are exceptional and
life
in
247
Introduction to Part
only prove the
rule. If
we
define the
Two
tambura by men
women's songs as
poems, having
young men
women
or
own amusement.
Vuk Karadzic was among the first,
for their
songs:
which songs the young girls sing and which the middle-aged and older
have found a classic bit of evidence of this slight difference in
the manuscript collection of a certain Slavic collector. In one of the books of
Luka Ilic Oriovcanin there is a note of sixteen pages in which Antun Rodic, the
"As
to
women
recite, I
down thirty-two
Most of the
Ilijasevic
of the collector
himself.
'
The young
girls
says
Rodic
Vuk
248
I,
his
mother
recited
p. vi.
Introduction to Part
Two
maintain that they are finer than 'those old ones which the
women
recite,'
but
on the other hand the women Hke their own better, because 'the old ones are
better.' This document is particularly important because it classifies the popular songs by the age of the singers and reciters, and shows in which category
each belongs."^
By
women's
songs.
The
We
longer narrative
in stanzas, even as
Moreover, these are no more the exclusive property of the older women,
alike.
The women's songs in the Parry Collection were at first recorded somewhat incidentally, most of the attention being given to the heroic songs.
But in Gacko the circumstances for collecting women's songs turned out
Mr. Parry seized eagerly the opportunity offered
would
estimate that at least two thirds of the traditional music of this region
was recorded, and the large proportion of songs from Gacko in this collection reflects the richness of the provinces of Bosnia and Hercegovina. The
work started with the commissioning of two young Moslems, Ibrahim
Hrustanovic and Hamdija Sakovic, to supervise the collecting of songs
from the Moslem women in Gacko and the surrounding villages. All the
children and young people, encouraged by the monetary reward, were
pressed into service; they began to record in notebooks the texts known
to their mothers and grandmothers. In this district only the young could
write. At first many notebooks were received which were so badly written
they could not be read; some were merely copied from printed songbooks
(pjesmarice) It was found necessary to have Ibrahim and Hamdija, both
very honest and intelligent young men, control this amorphous mass. The
to be so favorable that
texts submitted
families, these
everywhere and treated with the utmost respect. The reputation of Mr.
Parry, the American professor, was enhanced
We
in the seclusion of
the courtyard of his house. It was possible in this friendly setting to meet
^
249
p.
xii, xiii.
Introduction to Part
the
women
of his family
Two
visitors
and
later
this
Islam than
all
the others.
Two rooms on
the second story of the old stone house were turned over
The
250
Two
Introduction to Part
only her housework and embroidery to occupy her. She had learned songs
in
frequently to visit her. She was our best singer. Eighteen of the songs in
this
her.
(seljanka).
Ahnasa's
shriller,
more ornate
singing.
ten songs in
this book.
knew many
all
the
new
in a shrill voice.
She
won
to talk
was not
had once been. The Dizdarevici had been rich landowners in
Korite, a small place on the road between Bileca and Gacko, during the
Turkish occupation. Her stories of historical events at the end of the last
century and the early part of the twentieth will be well worth publication when they are translated.
over, the texts of her songs were good, even though her singing
what
it
Old Dula, as we affectionately called her, used to roll a large copper pan,
a tevsija, about eighteen inches in diameter, on a short wooden table, while
[251
Introduction to Part
Two
young Hajrija sang across it. The rumble of the tevsija furnished a weird
and crude accompaniment to Hajrija's tight-voiced song. Dula was the
only singer in the region who employed this accompaniment, which is
mentioned by some authorities. I owe to Mr. Bartok the information that
this type of accompaniment is used also for Turkish melodies performed
by women and that its use by Serbo-Croatian women is probably the
result of
Turkish influence.^
in
book
is
from
is
in a class
her, she
is
by
herself.
Although none
if
you
one of them (see note to No. 31c). She was born and brought up
in
is
I believe that
Turkish was more natural to her than Albanian. Probably she was
in her thirties.
She had been married four times, and her husbands had
been a motley crew. One was a highway robber; he had been caught and
hanged. Another was a baker, and respectable. Biberovic, the incumbent in
1935, was a gypsy, a worthless individual who was languishing in jail in
Dubrovnik for having knifed one of his fellows. Fatima was glad that he
was in jail, because when he was free he would beat her. She knew no
Serbian songs, but she did know some of the common ones in Turkish and
Albanian, and we recorded a few of them, as well as a long conversation
life.
We
had
left
The
village of
Bare
is
on the road
along the level top of this mountain. There was a coffee house (kafana)
Bart6k, "Turkish Folk Music from Asia Minor," melody No. 40 and note.
[
252
Introduction to Part
forgotten
it.
Two
it
we went on
in the rain to
Gorazde, but not without having photographed the hodza, his wife, and
his pretty little daughter.
The
this reason
in
cumstances,
as, for
singers are likely to think of songs about weddings or reaping rather than
Most
and
Choosing the songs for publication primarily for their musical interest
offers
an advantage
an
Many
of
them
Collection or elsewhere.
Some
and corrupted,
yet they are excellent laboratory specimens and they furnish a rare
style.
We
minor
emendations, but many points were checked with the records. For the
punctuation I am responsible. Footnotes refer to some minor differences
between Vujnovic's and Mr. Bartok's transcriptions, which are given
with the music. Otherwise the two sets of texts agree. The text transcriptions follow the conventional Serbo-Croatian spelling, which is phonetic,
except for a few minor additions called for by phonetic accuracy. For
instance, in a few cases dj and tj were written for variants of the common
as recorded; they
For a detailed
list
253
Introduction to Part
d and
Two
usually possess
(e.g., sitjan
in
No.
8a).
many
repetitions. It
here, but in order to save space, only the essential text line
is
all
out
printed and
the repetitions are indicated in the notes to each song. Meaningless, orna-
italics
is
irregular (for
instance, Nos. 7, 12d, 18, 20, etc.), because the musical structure itself
of the recording.
Text and melody do not always form an inseparable unit in SerboOn the one hand, some of our text variants are sung
Croatian folksong.
differ-
ent texts are sung, sometimes to the same melody or to close variants of
a melody, as
may
as variants merely for the sake of uniformity with the musical grouping
(Nos. 12a, b,
c, d,
and
e).
Also, in
some cases
different
and apparently
if
they
formed a single song (No. 23b). These texts are designated by capital
letters on the left, but the numbering of their lines is consecutive where
uniformity with the numbering of the musical lines called for it.
The
[254]
Introduction to Part
all
Two
the versions of each song which were available in the Parry Collection
am
indebted to
series of indices
many
my section
was made under the auspices of Harvard University, the American Council of Learned Societies, and the
Milton Fund and the Clark Bequest at Harvard University, with the
co-operation of Yugoslav government authorities. My own research has
been sponsored by the Society of Fellows at Harvard University, the
American Council of Learned Societies, and the Milton Fund. The committee for the Parry Collection at Harvard, consisting of Professor Robert
P. Blake, the late Professor Samuel H. Cross, and Professor John H.
Finley, Jr., has always been helpful and co-operative. They and Mr. Metcalf, director of the Harvard University Library, made it possible to
combine some of the results of my work on the texts with the fruits of the
musical scholarship of Dr. Bela Bartok. The library co-operated by sending the required materials to Columbia University for his use. Dr. Bartok
himself has aided me much with suggestions and guidance in the editing.
I have followed his advice in almost all instances. Professor George Herzog, then of Columbia University, has been helpful in every way. To him
fell some of the burden of correlating the two parts of this book, especially
after Dr. Bartok's death. Mr. Samuel P. Bayard, of State College, Pennsylvania, who, with Professor Herzog, was one of the first to show an
interest in the music of the Parry Collection and has himself made a
number of musical transcriptions, has read the manuscript and has made
of this book.
many
The Parry
Collection
valuable recommendations.
Milman
Parry.
255
1.
2.
3.
Kuco
gdi je
momo
Pa me hodi
R. 553
10
zadzu.
voljo,
ko' te voljo!"
Sung by
girls
^ The words of this song were not transcribed by Nikola Vujnovi^. The text begins on
record 552 and ends on 554, but only 553 has been transcribed. A begins with six lines on 552,
but B is complete on 553. The transcription given here, with the exception of lines 8-10, was
made at the request of Mr. Bart6k by Yasha Herzog, a Yugoslav musician; lines 8-10 have
been tentatively transcribed by A. B. L. The music of these three lines was not transcribed by
Mr. Bart6k. The meaning of this text as it stands is obscure and it defies translation. B appears
to be a conversation between a mother and her daughter. Lines 4-6 seem to mean, "My
daughter, you mustn't have anything to do with anyone, either good or bad, for my heart
with sorrow."
Lines 2-4, 7-11, and 13 are repeated.
Note the "ikavski" dialect form of this word and of "gdi" in line 11.
is filled
2
5
[257]
Sedam sam
R. 3572
hi prevarila,
Davno
li
si
10
me, Muhamede!
me
R. 3573
isprosijo.
"
15
Hajrija akovi6,
May 21, 1935"
'
In the notes to
of the place in
all
name
of the singer is
collected, the
of recording.
258
mentioned
number
first,
followed
by the name
Parry Collection,
He
But
it is
Muhamed whom
want.
So I say to Muhamed:
'Listen to me, Muhamed!
It's a long time since we were betrothed.
"
Gather the wedding-guests, Muhamed!'
Muhamed
And takes
10
her
home
to his house.
15
1 There is only one other text of this song in the Parry Collection, No. 5395, dictated by
Najla akovi6 (age 35) and written down by Camila akovic (age 20). It is like the published
version except for the use of "premamiti" instead of "prevariti."
259
:; : :!
3
A
Oj,
Ne
seci se kraj
Neretva
je
voda
momka
Sinoc
R. 3557
Nere(tve)
pla(ha).
zanijel(a),
A jutros ga
na vrh ba(ci).
u momka svoja ma(jka),
Za dan bi mu glase cu(la),
Da
j'
A za
A za
drugi razuzna(la),
na grob do(sla).
u momka tuda majka,
Za godinu glase cul(a),
A za drugu razumil(a),
A za trecu na grob do(sla).
Po grobu mu rasla tra(va),
Vet
treci
10
j'
R. 3558
Tu
16
Ni vezena, ni plete(na),
Ni u niti uveden(a),
Vec od zlata saliven(a).
20
Tud
"Voljo bi je poljubi(ti),
25
!"
Vet sa carom vecera(ti)
Drugi dervis progovar(a)
"Voljo bi je poljubit(i),
29
R. 3559
"Voljo bi je poljubiti,
Vego
vezir postanu(ti)
!"
May
260
(in
21, 1935
3'
Oh young man,
Walk not by
The Neretva
the Neretva.
is an evil river.
Last night it carried away a youth,
And this morning it threw him onto the shore.
Had the youth a mother of his own,
She would have heard his cry the first day,
On the second she would have understood his need,
And on the third she would have come to his grave.
But the youth had only a stepmother.
In a year she heard his cry,
In the second she understood his need.
10
grave.
15
there,
20
25
It
sultan!"
said:
30
Than become
vezir!"
1 There are thirty-four other texts of A and one other of B (No. 4880) in the Parry Collection,
beside five other texts of A and B combined (Nos. 3424, 5932, 9360, 9781, and 788). As an
of the way in which songs are made and remade, this text is most instructive. Unhke
many instances in which the folk singer merely adds one song to another, the version given here
example
shows no
common
theme
to
Odobasic,
p. 307.
cf.
is
Vuk, Vol. I,
Vuk, Vol. V, Nos. 429-32, pp. 292-94.
II, 137;
For
[261
moja starino/
Kolko sam kroz te hodijo,
Junacku cetu vodijo,
Pianino,
3586
Te
Te
su
mu
kolo hitale,
Muju
I pjesme
10
pjevale
Dervia Biberovif, Gacko (Text 6496)
May 21, 1935
R. 3074
"Lele"
(11.
1, 13,
14) or "hlele"
(11.
2-12)
is
is
repeated.
";
''Line begins "do
The
singer sang
slip of tongue,
"Oner"
This
tongue;
is
line.
for the syllable "is" the first time. This is probably a slip of the
of the son in a variant text.
262
4'
mountain,
How many
And
And
led a
my
ancestral home,
band
of heroes,
Many
But
especially
10
^ There are two other versions of this gruesome poem in the Parry Collection: No. 2483
from Halima Hrvo, and No, 6204 from Arifa Zvizdic. The unfortunate son in both these texts
is named Jovan instead of Mujo. Compare also OdobaSic, IV, 31.
* There are forty-four other texts of this song in the Parry Collection; thirty of them have the
same simple pattern as our text. Cf. Odobaic, IV, 65; Vuk, Vol. V, No. 298, p. 204.
263
6a
1.
4.
5.
2.
3.
"Aj,
Boga
ti,
6.
7.
8.
U zelenu
A
9.
10.
ti
10
15
travu popadali,
"O Boga
Bi
11.
R. 3153
Da
li
ti,
mene
odletis
Pa da
20
nesto poslusao,
mom bijelu
vidis je
1'
dvoru,
mi uzgor
kula,
15.
16.
Kad mu
"Ovudi
'
This
is
je
[264]
R. 3154
25
30
6a
1.
2.
3.
Nor
4.
5.
6.
What good
10
cool water?"
7.
8.
great service.
10.
11.
12.
Gathered
my helpless
young,
my
15
aged mother
20
is still alive,
My sisters married,
13.
And my
25
14. Alija's
15.
16.
17.
30
There are twenty-five other texts of this song in the Parry Collection, of which twelve are
The remaining texts vary considerably in the narration of the events after the return
of the falcon with news of what he had seen.
^ For the theme of the falcon caring for the wounded hero compare "Marko Kraljevic i
Soko," see Vuk, Vol. II, Nos. 53 and 54. Compare also the note to the translation of our
text No. 28a.
' There are obviously one or more hnes missing
after this, telling of the flight of the falcon
^
defective.
to Ahja's house.
r
265
6a (continued)
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
To
Pa
Derdelez Aliji.
kaze sta je i kako je.
Podize se Derdelez Alija,
Pa on ode svojoj beloj kuli.
U odaju majci ulazijo.
"Udijeli, Alagina majko,
Za nezdravlje age Alibega,
A za zdravlje Jasic Hasanage!"
"Ajd' otole, crna prosjakinjo!
Da su meni moga Ala kljuci,
Sabljom bi' ti otkinula glavu."
Pa on ode Alagini seki:
"Udijeli, Alagina seko,
Za nezdravlje Derdelez Alije,
A za zdravlje Jasic Hasanage!"
"Ajd' otole, crna prosjakinjo!
Da su meni moga brata kljuci,
Sabljom bi' ti otkinula glavu!"
Pa on ode Alahinoj Ijubi:
"Udijeli, Alagina Ijubo,
Za nezdravlje Derdeleza tvoga,
se vrati
Sve
35
beli,
mu
40
45
49
R. 3155
55
Izvadi
31.
"Evo
tebi,
crna prosjakinjo!
i napi se vina!"
60
Kup' opanke,
266
6a (continued)
18.
19.
20.
"There are
my well-dight
wedding guests,
Had
25.
Then he went
26.
would cut
"Give alms,
Long
27. "Off
Had
40
45
my All's keys,
24.
35
life
off
to Aliaga's sister.
sister of Aliaga!
to Jasic
50
Hasanaga!"
my
brother's keys,
28. I
29.
30.
31.
"Take
55
60
The Turkish titles "aga," "beg," "pasha," "vezir," and so forth, have been kept in the
As used in the poetry, they are rather vague, particularly the first two, and it is
believed that they are well enough known to cause no confusion.
*
translation.
[267
6b
1.
Tri devojke
Jedno Saca
bijelile platnjo,
2.
Drugo
3.
4.
Sisa sirokoga
im pogazijo
Bijelo
Stadose ga
"Ej, neka
5.
6.
"Ej, neka
platnjo.
devojke
tri
kleti:
te,
na konju
te,
10
delija!
7.
Sve to tvoje
8.
Kad to zacu na
On se faca za
zito pomlatila!"
konju
.
na konju delija!"
Otpucaju puca niz njedarca,
A oni vade prebijele dojke.
Vaka
R. 3574
sirokije gaca,
delija,
doru.
15
zito bilo.
10. Odrijese
11.
"Vaka
Sve to tvoje
zito pozobala!"
12.
Kad
na konju delija,
od caksira:
20
to zacu
R. 3575
Odrijesi uckur
13.
25
May
268
6b'
1.
2.
3.
4.
5.
And
6.
8.
9.
They undid
11.
Eat up
The
10
warrior!
all
the
.
mounted hero
20
your grain!"
heard
from her
father.
269
25
of corn
Collection.
[
this,
trousers.
15
May
13.
10.
12.
May
7.
!"
.
of
it
in the
Parry
6c
A
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
13.
14.
oruzlje
u sanduk
9
R. 3072
slozila.
.^
12.
R. 3071
Hasanaga
15
ikindiju klanja.
mu
R. 3073
The
270
6 c'
A
5.
6.
Mujo
7.
He
1.
2.
3.
4.
8.
9.
10.
Ajka
11.
"My heart, my
of
Vedrina replied:
10
soul, Dalifagic
Mujo,
12.
13.
And
14.
Hasanaga
is
chest,
15
rug.
Of the fourteen other texts of this song in the Parry Collection, twelve are short and vary
from the published text. For A cf Vuk, Vol. V, Nos. 401-402, pp. 267-268.
For the opening theme of B compare our Nos. 7 and 10. There is only one other version
in the Parry Collection (No. 11489). The last four lines of this
the first five are substantially
*
little
are as follows:
me
ladna nepijana.
[271
7
1.
Beg Alibeg
Ej, siv
2.
Nema
R. 609
ikindiju klanja.
mu
Vece pita
Svira
1'
3.
Njemu soko
4.
E vidijo
pojfistini kaze:
sam
10
bijo,
silovitu vojsku.
5.
6.
Kano
7.
8.
9.
10.
by
false
bega.")
^
Mistake for "barjaci." After "ob" the singer pauses, and then completes with something
Firdusbega.
like "raci."
272
T
1.
Beg Alibeg
is
him
3.
The
4.
7.
8.
The drums
5.
6.
9.
10.
rug,
truly:
10
15
The army
of
is
in fine fettle."
^ There are three different songs in the Parry Collection introduced by this same first line.
No. 6684 from Emina Hrla, of Ljubinje, tells how a falcon brings news that All's betrothed
is being besieged by suitors and Ali sends a message that he will come for her. Another song is
represented by our No. 6cB. Nos. 7 and 28b in this book belong to the third group, and there
are ten other texts of it in the collection. Compare also Odobasic, IV, 28; Ristic, No. 39, p. 53.
273
8a
Biser nize Biserbegovica/
R. 3125
"Nizi mi
se,
moj
sitan^ bisere
To
je
majci vrlo
Kod doma
mucno
joj Biser
bile.
ne bijase,
Veg u lovu
otiso da lovi.
Jedva ceka ostajrela majka,
Kad
Da
Je
10
ga pita za snahinu
1'
istina sto
mu
rijec,
Ijuba kaze.
vratima,
15
Kad
si
mene
Moja mlados
Kad
truhne
vehne.
Each
"A" omitted
je bilo
25
ozenila mlada,
na prvom konaku,
Ja joj dizem purli duvak z glave.
Ona mene bratom pobratila:
"
*'
*Ne, Biserbeg, moj po Bogu brate!'
Raspucam joj puca niz njedarca.
Opet mene bratom pobratila:
" *Ne, Biserbeg, ja te bratom kumim!' "
Pa ja uze' kuran hamajliju,
Da ja vidim sto mi kuran kaze.
'
R. 3126
20
line is repeated.
it
[274]
30
35
8a
Biserbeg's wife
is
Stringing pearls
"Be thou
stringing pearls,
my
strung,
little
pearl!
And
10
15
20
am
tell
you.
25
And
me
brother:
Then
To
'
Koran,
see
my
brother!'
35
said.
siderable variation.
30
this song in the Parry Collection, and they show conOur text is the only one including the Koran theme. For another version of
No.
22, p. 27.
275
8a (continued)
Prvi kaze,
hoces i neces.
i seka ti je.
Drugi kaze, ko
Odma sam
Stid
mi
R. 3127
majko.
nisam nikom kazo."
se okanijo,
bilo,
Almasa
40
Zvizdid,
8b
Glavu veze Alibegovica.^
R. 3156
"Ljepa
ti si,
vjerenice Ijubo!
Ne
daj, Boze,
kucni sahibija,
10
Bog
Ona^ rodi
Da
lijepu devojku,
Each
the
'
first
line is repeated.
time.
276
lines,
an "I"
is
8a (continued)
First
it
Second
said:
'You
may
if
you
wish.'
a sister to you.'
Then immediately, mother, I abandoned her.
I was ashamed and told no one."
it
said: 'She is as
40
8 b'
AHbeg's wife was putting on her kerchief.
Alibeg was watching her.
"My
give me a child.
not give me, God, a master for this house,
But give me a girl, the enemy of a house."
God granted what she asked.
God gave her a child.
She bore a beautiful baby girl
"Oh God,
Do
To
10
This song belongs to a large group of songs which begin with a similar theme of domestic
In some instances the wife is arranging her hair, while her husband holds a mirror {ogledalo)
for her. ("Ogledalo" might be a corruption of "ugledao," or vice versa.) Another combination
of lines frequently used to introduce this theme is "Beg Alibeg na kuU sjedase, Vjernu Ijubu
na krilu dr2ase." (Beg Alibeg was sitting in his house, holding his true love on his lap.) Among
the songs which begin with this picture are "The Pale Wife" ("Blijedna Devojka"), "Separation" ("Rastanak bega i begovice Hasanaginica se preudaje i rodi sina"), and "The Tenth
Girl-Baby" ("Deseta Devojka"). The first of these shows the young wife as pale because of the
mistreatment she is receiving from her in-laws. In the second, the Hasanaginica, hurt by the
rebuke, marries again and bears a son. And finally, in the song of "The Tenth Girl-Baby," the
husband threatens to kill his wife if the next baby is a girl, as she has already borne him nine
girls. When the tenth girl is born, the wife drowns herself and it. (See footnote 1 to the translation of No. 27e in this book.) No. 9828 from Dervisa BiberoviS of Gacko is an excellent example of a combination of the theme of Text 8b with that of "The Tenth Girl-Baby." One
song is simply tacked on at the end of the other.
^
life.
277
Mila majko,
goji
me u hladu/
R. 3197
ni yage, nije za
me
dragi.
Da mi
Gacka do dva
Iz
R. 3198
Fazlagica,^
Iz Trebinja Resulbegovica.
Jadna
sam da hocu?
Babo
veli
''Hajirli^ ti bilo
10
!"
R. 3199
15
ja cu z' zeniti!"
De
R. 3200
10
To devojku
bijelu
vrlo^ ponijelo
Each line
A nine-syllable line.
Syllable division
^
6
^
^
is
is "ha-ji-rli"
Record 3199 begins with the last four syllables of line A 14.
"Ajde" the first time.
Record 3200 begins with the last four syallables of line B 7.
"Lepo" is substituted in the repeat.
278
7.
Mr. Bart6k.
9'
dear, bring me up in the shade,
then give me to some young Beg.
I do not want the Beg; I do not love him;
Nor the Aga; he's not my beloved.
Were I to choose a man,
I know whence I would choose him
The two Fazlagici from Gacko,
Or Resulbegovic from Trebinje.
Alas, what shall I do? I have agreed.
"Mother
And
10
Go
ahead,
sister, I'll
"
15
Her
10
These are shepherds' songs and melodies. There are no texts of either A or B listed under
Parry Collection, but Nos. 2261 and 4641 from Dula Dizdarevid and
Dula Campara, respectively, of Gacko, have some elements in common with A.
^
279
loa
Uranijo bego Omerbego,^
Uranijo u lov u planinu.
Tri godine po planini bijo,
A nikakva lova ne lovijo,
A on nade lijepu devojku:
"Al si vila, al si yutvorn jica?
Al si danas lijepa devojka?"
"Bogom brate, tuda ja baF bijo.
Evo ima tri godine dana,
Zir zobala, s lista
Sotom^ sam
"Sto si ode,
ti
R. 3137
vodu pila.
mlada bila."
10
ziva
devojko?"
mora dava,
Preko mora hiljadu dugana,*
Mene dava za morskoga kralja,
"Mene
ja
lijepa
brate preko
mlada
gori
15
sam pobjegla."
Vego tebe u
Pa odose
R. 3138
20
25
"Kud
ides, lijepa
li
devojko?"
me
aga Hasanaga."
pred bijele dvore,
Progovara lijepa devojka:
"Srce, duso, bego Alibego,
De je tvoja prebijela'' kula?"
"Povede
Kad
su
bili
'
Each
Slip of the
"Sotem" the
The second
^
8
The
line is repeated.
first
time.
time, "konaka."
280
30
Omerbeg
He
rose early;
And
10
15
20
25
am
going to
my
white house."
When
The
beautiful
"Alibeg,
Where
30
is
maiden
said:
my heart, my
soul.
[281
10a (continued)
"Cu
li
A jos
mene,
ima
lijepa devojko!
tri bijela
35
dana."
R. 3139
40
45
50
55
Jos
Progovara
"Da
su
lijepa devojka:
bili
R. 3140
60
konji za jahanja,
Kad
su
bili
gojre us planine,
65
70
A nekmo
Kad
'
Pronounced
in singing as
su
li
bili
mladi i zeleni^''!"
poljem^ zelenijem,
"polj3em" here.
282
is
not
10a (continued)
"Listen to me, beautiful maiden,
three white days more."
35
We have
It
seemed
"Oh
beg,
"They
When
The
"It
beautiful
is far,
"No
40
maiden
said:
Alibeg."
it isn't,
beautiful maiden."
45
is far,
Alibeg."
When
The
50
my
soul."
beautiful
"My head
maiden
said:
aches a Httle."
Alibeg said:
55
"Be
quiet, beautiful
In a
moment we
maiden.
be at our white house."
When they were high in the mountains,
The maiden prayed to God.
"Dear God, thanks be to Thee for everything!
Grant that the wind blow from the mountain.
That
It's
shall
girl to travel.
untried!"
283
65
better.
When
60
70
10a (continued)
I cetiri polja pregrabili,
I planine
nogam
pregazili,
"Ne
Sve
pitaj
75
R. 3141
80
Tu
lob
Posetala Alibegovica,^
R. 3128
Ona
stade na to kalopera:
Kolik' ni ja Alibegovica,
Pa doziva
"A moj
Cujes
li^
sina
Muhameda:
mijo Muhamede!
nam nase snahe mile,
sine,
11
12
'
10
284
15
10a (continued)
foot,
75
sight
"But
in
When
And he
80
85
lob
Ahbeg's wife was taking a walk
In the green garden by the tower
She stopped by the flowering balsam.
"O balsam, you are no flower!
You have no fragrance, and you bear no seed.
No more do I, Alibeg's wife.
I do not love, and I bear no offspring.
Nor do I know where my beg sleeps.
Where he sleeps and where he takes his sup.
In the winter he sleeps with the young men in the stable,
And in the summer he sleeps with the men in the cellar."
She thought that no one heard her,
10
mother heard.
But
Alibeg's
And
Muhamed.
285
15
10b (continued)
ta
nam
"Cu
Kad
ti
R. 3129
20
25
Kad
30
da
35
R. 3133
40
286
"A"
is
10b (continued)
What
"Is
true,
it
my
dear daughter-in-law?"
Muhamed."
"Go to the upper rooms,
And prepare a lordly supper,
That we may invite the beg to supper."
They brought several kinds of brandy,
And they brought the supper to the beg.
And he fell asleep like an innocent lamb.
"It
is
When
true, brother
20
25
And
she
came
to Alibeg.
is
now
30
three years
men
in the cellar,
"You
Muhamed
caught her.
And
35
own white
40
house.
From here
to line 34 confusion reigns. The translation of line 27 is uncertain, the first half of
not clear on the records, and the text of Hne 33 is not definite. Nikola neglected to
transcribe it, as he was not sure of it. As transcribed by Mr. Bartok it makes sense only if it is
agreed that there is a reference to the practice of pederasty (common enough in the heroic
society of the Balkans) in the mention of the Alibeg's sleeping with the young men in the
stables and in the cellar. This, however, is not borne out by the conclusion of the poem (Hnes
34 to 41). It is interesting to note also that all other texts of this song which are available
(there are sixteen in the Parry Collection, all from Gacko, although eight of them are so much
aHke that they are probably copied from the sam.e original, and one text (No. 10384) is
incomplete, ending at hne six), are clear cases of the Ahbeg having a mistress, of whom the
wife knows. In many of them, she even mentions her name and says she can never be happy
as long as the girl is around. A number of the other texts actually end with this girl's violent
death. I believe that the singer is simply confused here, and does not return to the real theme
until Hne 34. It is possible that the confusion has been caused by the crossing of two themes,
one about the young men, the other about the mistress, but it is not hkely. For a pubKshed
version of this song see Dr. Vinko Vitezica's Antologija Narodne Poezije, Beograd, 1937,
1
line
29
is
pp. 14-15.
2 No. 1545 in the collection purports to be a dictated text from our singer, and it attests to
the correctness of this hne, as does also No. 4455 from Dzemila Poskovic, of Gacko; both
omit the following hnes and proceed immediately to the equivalent of our line 36.
^
The
mistress.
287
1
Je r ti zao, zalosna ti majka/
Je 1' ti zao nasega rastanka,
Rastajanja, al' ne sastavljanja?
R. 3109
amanet
Isprosena,
Amaneta
uzela,^
trides sufurina,
R. 3110
10
15
R. 3111
20
R. 3112
25
i majka!
u krajinu, dragi!
Vego
bjezi
Almasa
Zvizdic,
2
2
288
1
"Are you sad, my luckless swain,
Are you sad that we must part,
Part never to meet again?
Yester eve another won me,
Won me, and a token gave;
Gave
And
A golden
my
right hand,
if
10
not.
I don't arrive.
my
And
demand
15
new
the
20
jar;
My valiant brothers-in-law
Will destroy your
And
Sad
But
new house
25
you!"
^ This song is sung at weddings, as Almasa herself tells us in recorded text No. 6519, record
No. 3668. Other dictated texts which purport to be from Ahnasa (Nos. 1517, 4527, and 4685)
vary considerably in detail. There are ten more dictated texts of this song in the collection,
and they are all from Gacko. For another version cf Vuk, Vol. V, No. 384, p. 254.
* A sweet cake, with honey and walnuts.
.
289
i2a
4.
5.
Jerbo sam
Jerbo sam
6.
Da
Da
7.
to
To
1.
2.
3.
s'
s'
Svi
8.
9.
10.
11.
12.
13.
ti
ti
15
20
R. 3181
25
umrije Hasanaginica.
Kad
30
mezara vrate,
Ponajzadnji aga Hasanaga.
Gledala ga Kasum pasinica,
Gledala ga, pa mu govorila:
se Ijudi sa
18. "Jesi
Hi
19.
10
To ce ti se babo ozeniti,
To ce ti se babo ozeniti
Prvom konom Kasum pasinicom,
Prvom konom Kasum pasinicom.
17.
14. I
16.
R. 3180
li
si se,
Ako
Evo
se,
aga, umorijo,
aga, okahrijo?
si se,
aga, umorijo,
taze
kahve u ibriku
290
35
i2a^
6.
7.
That
8.
That the
1.
2.
3.
4.
5.
And
the right
hem
my
of
my
Means
Means
brocade caught
that your mother
right
hem
of
skirt
was burned.
will die.
my
skirt
was burned
11.
She
She
13.
And
14.
15.
16.
17.
15
10.
12.
10
fire
9.
will bring
20
will bring
25
Kasum
30
18.
19.
said to him:
"Are you tired, Hasanaga,
Or are you lonely?
If you are tired, Hasanaga,
There is a cup of coffee in the urn.
Gacko and
all
dictated.
[
291
35
Parry Collection,
all
from
12a (continued)
20.
21.
Pode aga uz
Pa
Pa
40
bijelu kulu,
je
je
24.
25.
26.
R. 3182
45
50
27.
33.
34.
Otvora
joj
I desetu
55
60
64
R. 3183
devet katanaca,
bravu dubrovacku.
292
70
75
"
12a (continued)
you are lonely,
Here am I, Kasum pasha's wife."
Hasanaga went into the white^ house.
He took her by her white hand.
He took her by her white hand
20. If
21.
22.
And
came
own white
house.
24.
25.
By
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
45
there.
26.
40
50
55
60
65
70
75
^ The use of "white" as a formulaic epithet is well illustrated in this poem: "white day,"
"white house," "white throat," "white hand." Probably it is the most common epithet in
Yugoslav traditional poetry.
293
12a (continued)
40.
41.
80
43. I
44.
Kad
45.
vidis
46.
47.
da
Kasum
85
R. 3184
pasinice!
90
I desetu
Kasum
48. Povrati se
49.
pasinica,
95
50. I
Da
52.
dariva svasti
Kad
54.
55.
57.
58.
59.
punice.
Melechana,
u dzam udarala,
Rukama je u dzam udarala,
Sve je dzame na testu sasula,
Pa prekida derdan sa grlaca,
Pa ga baci na sokaku pjevu.
''Pjevni, pjevo, moj po Bogu brate,^
Ne
56.
to cula dilber
Rukarna
53.
100
Mehmedbeze,
je
'
105
R. 3187
110
115
^ The section on record 3187 was recorded also on records 3185 and 3186; there lines 110
and 125 to 130 are omitted, line 114 has "veg" (an error for "vet" or "ve' ") instead of
"neg," and the first four syllables of line 123 read "pa on vice."
294
12a (continued)
40.
Now my
41.
42.
43.
44.
45.
46.
47.
48.
Then Kasum
49.
51.
the bride
85
90
95
80
is
ready."
100
his
mother-in-law.
52.
53.
54.
55.
When
56.
Woe
to you,
57.
You
You
are
58.
59.
are
Mehmedbeg!
not carrying away
not carrying away
lovely Melechana,
110
lovely Melechana;
[295
105
house
115
12a (continued)
60.
Pa
I desetu
61.
Povede
bravu dubrovacku.
120
Hajrija Sakovif,
April 26, 19352
'
For another
text,
125
130
Gacko (Text 6391a)
p. 234.
[
296
its
translation see
12a (continued)
60.
61.
62.
63.
64.
65.
120
house
my wedding guests!"
297
125
grass;
grass.
130
lib
1.
Vezak vezlo
2. I
R, 3052
trides devojaka,
/u Lipniku na
bijeloj^ kuli,
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
10
14. I vracaj
15. I vracaj
16.
17.
R. 3053
mi nebrojeno blago!
mi dibu i kadifu!'
20
Sakovifi,
298
2b'
8.
9.
He
1.
2.
3.
4.
5.
6.
7.
tricked
me and
kissed
my
10
lips.
14.
15.
16.
17.
Return to
Return to
me my
me my
15
countless treasures!
and satin!'
Beg Ljubovic, you lowly cur!
Return
And
silk
I shall give to
my
lips,
20
only one other text of this song in the Parry Collection (No. 1178 from Pemba
and it does not vary significantly from ours. For other versions of. Vuk,
Vol. V, Nos. 404-5, pp. 270-71.
^
There
D2ubur
is
of Gacko),
299
I2C
Telar vika od juce do podne:^
"Ko j' u koga nocas na konaku,
Nek ne ide rano sa konaka!
Utekla je'^ pasina robinja,
I odnila dva pasina sina,
I odvela
R. 3079
Muja haznadara,
susretili,
natrag povrnuli.
Pa je pasa njojzi govorijo:
"ta uradi, moja robinjice?
Kud odvede debela dorina?
Kud odnese sahat iz njedara?
Susretili,
Kud
Each
'
line is repeated.
slip of
tongue.
[
300
9
R. 3080
15
no
From morning until noon the town crier cried:
"Let him who spends tonight at another's house
Not leave that house too early!
A slave girl of
am
10
'*
15
may
not be late.
And I am riding the horse, for without the horse
!"
I could not ride
"I
This
is
[301
2d
1.
2.
3.
4.
5.
6.
R. 3225
R. 3226
10
The
2
'
The
first
repeat of lines
of line
line 7,
of line 2
by "Ej,"
four syllables of lines 5, 6, 8, 10, and 13 are repeated; in line 5 this repetition
preceded by "Aj."
[
302
is
lid'
1.
2.
3.
4.
And
5.
When you
6.
How many
Three times
10
you kissed?
lovers have
me;
girl!"
^ This text is made up of two quite separate songs. Lines one to five present a vignette of
small town life. There is only one other text of this part in the Parry Collection, a dictated text
from the same singer, Halima Hrvo (No. 2482). Lines six to thirteen are a very much confused
version of another song. The basic form of this second song, of which there are at least eleven
"Ljubovidu, 2alosna
Kad
ti
majka!
When you
303
lie
1.
Gorom
Gorom
4.
goru kunijase:^
"Ej, gorice, ne ozelenjelaP
Ej, travice, ne orumenjela!
to u tebi nide vode nejma,
5.
Te
je
Da
2.
3.
R. 3163
jase,
meni mladu
6.
Dorove
7.
A nesto ga
8.
"Ne kun'
dodijalo,
se krvi napojiti!"
iz^
oblaka vika:
10
Ne
9.
10.
Tu
11.
15
12.
14.
Pa
16.
17.
cara je
20.
22.
23.
24.
20
od istoka sunce!
19.
21.
R. 3164
caru cestitome,
je nosi
vilom ozenijo.
Tuj su bill porod izrodili,
Dvije sceri i cetiri sina.
Molila se prebijela^ vila:
15. I
Raba
Zvizdifi,
25
30
Gacko (Text No. 6381)
'
*
304
tongue).
i2e
1.
As he rode along
2.
"Mountain,
may you
may you
3.
Grass,
4.
For there
is
never ripen!
not a drop of water anywhere upon you,
6.
7.
8.
"Do
5.
it.
to
clouds:
15.
16.
They had
9.
10.
11.
12.
13.
14.
10
15
20
offspring,
Two
They held a
25
21. All
22.
fly.
30
This is a somewhat abbreviated version of a very popular folksong, of which there are
seventeen other texts in the Parry Collection. The only other sung text (No. 6499, from Hatid2a
Tosun, of Gacko) varies somewhat from ours. Hasanaga keeps the vila as his own wife, and
after she has borne him children, she escapes by requesting permission to dance with the girls
and by then flying away. The longer versions devote more time to the details of capturing the
vila. The voice from the clouds warns the hero to proceed carefully to the lake so as not to
awaken the sleeping vila. But the vila hears him and jumps into the lake, leaving her wings
on the shore. Ali takes the wings and gallops up the mountain. The vila pursues him, begging
him to give her back her wings. He stops and takes her up behind him and flees with her to
Stambol. Mr. Bayard rightly considers this song a Balkan version of the common tale of the
man who traps a mermaid by stealing her scaly fish-skin. After bearing him children, she finds
the fish-skin and returns to the sea forever. Compare also Matica, Vol. V, No. 30, p. 41. An
interesting parallel is also found in the Nibelungenlied, Adventure XXV, Strophes 1533 ff.
*
305
13
1.
De
2.
R. 1547
3.
4. Svije bi ji
5.
mlada darovala,
6.
od
10
bolesti
U njima
se,
Mome Hami
8.
1.
2.
3.
4.
15
gusku osedlanu?
patku potkovanu?
Vidoste li zeca u gacama?
Ni se cudim patki potkovanoj,
Ni se cudim guski osedlanoj,
Ve se cudim zecu u gacama:
Kada pisi, ko mu gace drisi?
Vidoste
Vidoste
li
li
Naza Rokid,
Dec.
306
15,
Stolac (Text
1934
3'
1.
How
2.
3.
guests.
They
would give
me
to be
them
matron
of honor.
4.
5.
6.
8.
gifts to
all.
May
To
7.
it
10
not invite
will
1.
2.
Have you
Have you
3.
4.
Nor do I wonder
But I do wonder
When
15
receive!"
at a goose in saddle;
at a rabbit in pants.
See the note to the translation of Text No. 23a in this book. A and B are related only by the
a very common one in the heroic poetry. B is a humorous "pripjev," or "foresong";
usually sung as an introduction to the singing of a longer epic. Its purpose is to attract the
attention of the audience and quiet them before the real story begins. For another version of
A see Vuk, Vol. V, No. 411, p. 274.
'
first line,
307
14
R. 3215
Do
svilena cadora.
Da
daruje svatove:
Svakom svatu po
jagluk,
A deveru, boscaluk,
A dragome, cetiri.
R. 3216
Halima Hrvo, Gacko (Text 6403)
April 27, 1935
15
Falijo se zuti limun kraj mora:^
"Ima r danas
iko Ijevsi od
R. 3213
mene?
A ja znadem
R. 3214
^ The first four syllables in each line are repeated; and syllables five, six, and seven are
added. This extended line is then repeated.
^ To each line is added "aman, aman," and then the line is repeated without this addition.
308
14'
Oh, short green grass
Round about
A pillow
best
man,
15
The yellow lemon
I?
But
drink
it
beside water.
your mother?"^
The mottled apple tree answered:
"Today I am more beautiful than you."
Is there. Fata, darling of
^ Judging from the text, this is a wedding song. Of the ten other texts in the collection beginning with this line, three (Nos. 11300, 11710, and 11844) are different songs from ours. Two
others (Nos. 2262 and 4642) vary from our text beyond line five, but the remainder are all
similar to
it.
There are twenty-six other texts listed under this first line in the Parry Collection. Our
text is not a good version of this "Contest of Flowers" song. In line three some texts read
"od mene" ("made from me") which seems to make better sense, although this is not the only
variant in which "brez mene," occurs. Lines four and five are likewise puzzling. This song i3
used in several texts as an introductory theme to another song, or songs, and Une four is a
transitional line in some cases. The reference in line five is not clear, but it may also be transitional. Cf, Odobasic, III, 97, and Clapier, p. 177.
' Dr. Rastko Petrovic has pointed out to me that "zlato u majke" is a common expression,
meaning "you who are dear to your mother." He would emend the line to "Ima 1' danas," etc.,
*
as in line 2.
309
i6a,b
Na
Da
j'
Hajkuna
R. 3232
nevjernica.
Ne
10
R. 3233
I?
Razbolje se Zorna Zorka^
Na Cetinju Crnogorka.
njoj dolazi mijo tata,
R. 3123
Mijo
"Mijo
od umora,
molim, mijo tata,
Da mi decu preporucis,
Aleksandra u Francusku,
A Dordiju u Rusiju,
Seer Milenu Crnoj Gori.
To je dika roda moga,
Roda moga i ponosa!"
cetiri
Vec
10
te
15
R. 3124
The
last four syllables of the line are prefixed to the beginning of the line,
310
i6a,b'
A
brief,
Came
sad letter
to Ljubovic's house.
That Hajkuna
And
is
untrue,
no longer mine.
But beg Lakisic's.
Besides, he asks for my brown horse
For the girl to ride in the wedding procession!"
is
10
\j
Zoma Zorka
fell ill,
Montenegrin lady
Her dear
Her dear
in Cetinje.
came to her.
father. King Nikola.
father
"My
Three of
But
my
wounds can be
healed.
10
They
And
'
the pride of
this
my
my
15
clan,
family!"
all
dictated.
There are thirteen other texts of this song in the collection, all dictated and
of this and of the preceding text (No. 16) is fairly constant.
The material
[311
all
from Gacko.
i8
1.
A na ruke
R. 3178
Pivodicu:^
2.
3.
5.
6.
10
on dode na veceru.
Od ponoca
pise,
sjajne noze,
8.
9.
15
U harar ga sasjekose,
U Neretvu ga turise.
To j' zaculo ludo dite,''
Ludo dite na sokaku.
Trkom trci Osman pasi,
Osman pasa na borije,
20
A borije
10.
The
na nizame.
Dovedose staru majku,
Staru majku Pivodica.
two
R. 3179
lines:
This
*
^
is
Pronounced "jo.''
Note the "ikavski"
312
is
"A donoca"
or
"A
tonoda"
in
8'
1
2.
3.
We
1.
Come
And
4.
Up
5.
6.
7.
8.
9.
10.
He
10
15
20
* This is a rather confused version of a very bloody and dramatic poem. It would be well to
sketch the story as told in other more nearly complete and less confused variants. The two
Cinti invite their sister's lover Pivodic for supper with malicious intent. After supper they
fight, and in spite of their sister's entreaties, the brothers stab Pivodic to death, cut oflE his
right hand and give it to their sister, and then throw the body into the river. The next morning
Sava tells the authorities, and her brothers are arrested. The pasha calls in Pivodid's mother,
and asks her what he should do with the Cirici. But the mother has gone crazy, and she tells
him to release them. He then asks Sava, and she decrees that they be impaled on a spear and
carried through the town.
This is a reconstructed sketch. Not all these elements appear in exactly the same form in all
versions, but this is the basic story. There are three other texts in the collection (8006, 4102,
and 1646). No. 1646 calls the two brothers the two Morici, and it is the only text in which Sava
pleads for Pivodic's life. The cutting off of the right hand does not appear in this version,
although it is found in the other two. No. 1646 is also unique in its ending: Sava wants the
brothers burned alive, and she carries out the sentence herself, after which she goes to Pivodid's
house to live with his old mother.
^ Lines 8 and 9 are in error here and are correctly repeated in lines 13 and 14.
' In all the other versions it is Sava who reports the murder.
[313
18 (continued)
11.
Mi
12.
sta
25
cemo od Cirica?"
dva Cirica!"
majka podludela,
Stara majka Pivodica.
"Vi puscite dva Cirica!
Objesite
13. Stara
14.
Ne
grijes'te
30
Pivodica!"
15.
16.
35
[314]
18 (continued)
11.
25
What
12.
13.
14.
Do
30
15.
16.
35
315
19
1.
2.
Masina
3.
se sa Serdaca^ krece.
Zapalila kuce
4.
Po
6.
Do konaka
8.
ducane,
bega Fadilbega.
kuce u bascu*
Majka sina za ruku vodase,
.
iz
10.
A
A
11.
Majka
12.
13.
Pa
14.
9.
I dzamije do Sulejmanije,^
5.
7.
R. 3050
majku za
sin
bijelu ruku,
da
moju majku?'
pita: 'Jeda
vidis
moga
sina?'
bega Fadilbega!
15
on uze sjajna
livervora,
16.
17.
Kondukter
18.
Pa ne
15.
10
se napijo se vina,
R. 3051
20
The second
'
The
first
[316]
191.
The pine
2.
3.
A
A
boxwood
all
tree:'
black?"
Mosque
4.
As
5.
And
6.
As
7.
8.
9.
10.
11.
12.
far as the
of
Sulejman
far as the
home
of Fadilbeg.
16.
17.
The
18.
And he was
14.
15.
10
And
And
13.
15
20
when he drank."
There are eight other texts of this poem in the Parry Collection. Four of them (Nos. 4060,
and 12160) end with the cries of the women and children in the conflagration
and the statement that the engineer was drunk. Three others, including the present text
(Nos. 1196, 6330, and 8465) proceed to tell of the death of the engineer, and two others (Nos.
2418 and 4576) add to this a curse made by the engineer's sister on his slayer.
^ All the versions in the Parry Collection except the published one and Text No. 1196 begin
with "jelovica," "bukovica," "bukovina," or "borovica," all different kinds of trees. "Vilenica"
does not make sense here. I have translated it as if it were "jelovica."
^
11615, 11684,
317
20
1.
Ferman
stize iz Stanbola,
Bujruntija
iz
Travnika,
A jadija jiz
Sarajva,
Da podignu
janjicare,
Ai
Janjicare-i^ granicare,
A2
Da
Ai
Dva
2.
Aa
Ai
Pofatase, zavezase,
A2
A2
Ax
Niz Sarajvo-i
natirase.'*
Kroz
Sarace-i
Aliju,
Kovace,
4.
Ai
Ai
A2
Ai
ti
nas odhranila,
15
A2
A2
Dobro
10
Ai
Od duzmana ucuvala,
Do danas nas pricuvala."
R. 526
Ai
Janjicare, granicare,
Moric^ Ibru
3.
Ai
A2
A2
Ai
20
Ai
A2
25
A2
Ai
A2
1 The added "i" is pronounced as a semivowel, that is, with the preceding vowel as a diphthong. This apphes also to lines 14, 15, 37, 66, 70, 74, 80.
2 The last line of each stanza is repeated. Line 7 has "aman" and Une 59 has "yaman" after
the fourth syllable which does not appear in the repeat; line 7 has "dva Morica-i" in the repeat.
^~'
' The singer first sings "Alu i Ali" and then corrects himself.
* The repeat has an added i after the eighth syllable, not after the fourth.
' That is, "krCmarice." The singer sang, however, "krd^amarice."
[318]
2 0^
A firman came from Stambol,
A decree from Travnik,
1.
An
To
2.
10
Alija.
3.
"By God,
districts
captain.
4.
"O
15
20
given us
much
to drink.
25
one, but
some
of this
Most
319
20 (continued)
Pitu kuha stara majka,
Stara majka dva Morica;
Ai
U ruci joj
oklagija,
A2
Au
/a kad
A2
Ai
Pa
A2
Ai
kros Sarace,
Kroza Sarace, kros Kovace,
A2
A2
A2
A2
A2
Ai
A2
Kad
Ai
A2
Ai
Pa za majkom
A2
Kad
je bila
poletise.
Kad
su bili na vratniku,
Tuj stigose Dizdaragu.
Progovara stara majka:
Jalijlbru, jaliyAlu!
Na poklon
ti
svi Saraci,
i Kovaci!"
Progovara Dizdaraga:
"Aj, ne luduj, stara majko!
Pusticu ti oba sina,
Svi Saraci
Do kad
'
The word
is
Ai
Oklagiju salomila,
poleti niz Sarace-i
320
35
R. 527
40
Ai
45
50
Ai
A2
Ai
A2
Ai
55
A2
A2
F
60
Ai
A2
Ai
A2
30
A2
triplet.
20 (continued)
5.
The
The
30
And
let fall
rolling pin
35
district^
With
40
district.
When
all
They
50
of the guard.
55
Here are
all
The captain
and blacksmiths."^
guard said:
mother.
I will free your two sons,
Tomorrow, when Friday dawns."
"Don't be
of the
60
foolish, old
Although blacksmiths and saddlers are fixed elements in the song, this gathering of them
not found in any other text I have seen. No. 5505 shows the old mother rushing out
to see her sons passing, a theme which persists in most of the versions. It goes on uniquely,
however, as Ibro turns to his mother and tells her to return to his wife. "If she bears a son,
give him my name, and tell him about Moric Ibro."
" In some of the texts the captain says that he will release one of the brothers, but not both.
In No. 11613a the mother simply tells him to let Ibro go and to take Meho. But in No. 3037
each is ready to give up his life for his brother. So she tells the captain that they are both dear
^
in force is
to her.
[321
20 (continued)
Ai
dva Morica,
A2
U hapsanu-i zatvorise-i.
Ai
Da kad
A2
Ai
A2
Ai
Izvedose/ obisise,
Do dva topa opalise.
A2
Kad
A2
je
majka tope^
Ai
Kad
A2
A2
dva Morica!
Meho
75
A2
rano-i
R. 528
Ai
Odma u
70
cula,
Poletila-i Dizdaragi.
65
F9
Jari6, Livno,
80
Dalmatia (Text 505)
"-doe"
is
The word
is
related motifs;
322
20 (continued)
call for
the
first
And
fired
When
65
70
two cannon.
When
75
straightway.
80
^ No. 11613a ends with the arrival of a decree from Stambol pardoning the two Morid's.
"But they replied that the two sons of the pasha had been hanged." No. 3037 ends with a common theme. The old mother goes home and fetches her son's sword. She then goes to the
captain and offers it to him. When he holds out his hand for it, she kills him, thus avenging her
children.
323
2ia
1.
2.
3.
4.
5.
R. 3161
10
casa natocena,
6. Jes^ ti
7.
Mehana je otvorena."
"Ko je grlo ogrlijo,
8.
Ko
Ko
je lice obljubijo,
je oci
pomutijo?"
15
10.
Mehana
Casa
ti
R. 3162
20
je otvorena,
je
natocena."
Raba
Zvizdie,
1 The last vowel of the first line of each stanza is elided; "aj velem" is added, and with this
addition the whole line is repeated. After the fourth syllable of the second line are added
"haj vaj" (stanzas 2-4) or "vaj" (stanza 1), and "hej vaj" (stanzas 5-10).
This
and the
time "Nije"
no doubt
is
is
sung instead
for correcting
324
it.
of "Jes"; this
must be an
error,
2ia^
1.
2.
3.
4.
He
He
calls
out
calls lovely
Joka:
"Lovely Joka, black eyes
Lovely Joka, my heart!
Is the tavern open?
Is the tavern open?
5.
brimming?"
Lovely Joka answered:
6.
"Selimbeg, my heart!
Yes, your glass is brimming,
Is the glass
10
The tavern
is open."
has embraced you?
Who has kissed your cheeks?
8. Who has clouded your eyes?"
"Selimbeg, my eyes!
9. No one has embraced me.
No one has kissed my cheeks.
10. The tavern is open.
Your glass is brimming."
7.
"Who
15
20
^In addition to Nos. 21a and 21b, there are thirty-two others in the collection. Most of them
are basically the same as the published versions. Many of them are shorter and have only the
questions: "Is the tavern open? Is the glass brimming?" Nos. 8903
325
2ib
Vino
Vino
Pa
pije
Selimbeze/
R. 3576
pije, podvriskuje,^
dozivlje dilber
Joku
pomucene,
Jesu
Jesu
1'
oci
1'
kose pomrsene,
Je
lice obljubljeno,
li
R. 3577
Je li grlo ogrljeno?"
"Selimbeze, srce, duso!
Jes,
10
mehana otvorena,
Casa ti je natocena.
Nisu oci pomucene,
Nit je lice obljubljeno,
Nit su kose pomrsene,
15
^ The last vowel of the first line of each stanza is elided, "aj vele" is added, and with this
addition the whole line is repeated.
2 Between the fourth and the fifth syllables of the second line of each stanza "haj vaj" is
Sung
326
in the
music notation,
lb'
1.
Selimbeg
2.
3.
Is the tavern
is
drinking wine.
calls out,
5.
6.
7.
Your
is
10
open.
glass is brimming.
9.
See footnote
to the translation of
my heart !"
Text 21a.
[
327
15
22
Kraj mora Dzeha zaspala.^
Puhnu joj vihar sa mora,
Probudi Dzehu devojku.
Kune ga Dzeha devojka:
"Neka te, vihar sa mora!
Vise ga nikad ne puhno
Lepo
ti
R. 3121
bijah zaspala."^
Almasa
ZvizdiC,
This
line
which the
repeated.
^The
"lepo
is
incomplete.
The
ti."
328
22^
Dzeha fell asleep beside the sea.
The wind blew from the sea
And awakened
it.
^There is not sufficient space to do this interesting text justice. What appears on the surface
merely a charming vignette becomes on closer scrutiny a sinister and tragic poem with
overtones of magic. Our text is only the beginning of the song. Beside the text presented here
there are thirty-six others in the collection. (For another published version see Mirkovic,
No. 116, p. 82. Compare also footnote 1 to the translation of No. 27d in this book.) Most of
them are short, but they continue beyond the point at which our text, which is the shortest and
most incomplete of all, ends, to tell that Dzeha was dreaming of her wedding. A few texts say
that she simply dreamed of the arrival of wedding guests to take her to Osman pasha or to
Mehmed pasha. But twenty-four texts say that the guests were pilgrims, her father-in-law a
"mufti," or doctor, her brother-in-law a judge, and her bridegroom a judge. No. 4674 adds that
they had put on her veil, and the girl curses the wind for blowing it away. In No. 6919 we see
the first note of tragedy, when Dzeha says that her bridegroom is the black earth. It was not a
wedding of which she was dreaming, but a funeral. Four texts then proceed to interpret the
dream and to narrate its fulfillment. In No. 12008 a vila from the mountains calls to her and
to be
says that the arrival of the wedding-guests means that she will die; that her father-in-law is a
means that he will be the "efendi" at the funeral; and so on. This version and the next
pilgrim
tell the consequences of the dream. No. 12134 says that it was the wind which interpreted the dream to her. But Nos. 2669 and 12334 continue beyond the interpretation. In the
first it is a vila that interprets the dream, after which D2eha goes home and teUs her mother to
prepare her bed as she is going to die. Her mother says that she will care for her daughter,
but D2eha assures her that no medicine can cure her; she had had a bad dream which a vila
had interpreted to her. Finally, No. 12334 is the longest and best form of this poem in the collection. In this the dream is interpreted along the usual lines by "something from the sea."
D2eha goes home, has her mother prepare her bed quickly, and Ues down and dies immediately.
do not
329
23a
Polecela dva goluba ispred dvora moga.^
Jedan pade u dulbascu, drugi na moj pendzer.
Koji pade na moj pendzer, oni gleda mene,
Koji pade u dulbascu, oni bere ruzu.
Da sam, Bog do, doma bila, bi ga ufatila,
R. 3081
23b
Polecela dva goluba iznad^
moga
R. 3486
dvora,*
bila, bi hi ufatila,
Da
pozvati,
May
Zvizdid,
19,
1935
The last six syllables of each line are repeated. The ornamental syllable "Ej" precedes
"/" precedes line 2, and "a" precedes lines 6 and 7.
2 Mr. Bart6k heard "halva"; perhaps the singer's mistake.
^
1,
'
Sung as
In
In
"izna'.''
line
330
by the
last six
23a'
Two
my house.
And cooked halva for his dinner and baklava for his supper.
After supper I would have brewed coffee for him and
cuddled him in
my lap.
23b'
A
Two
my house.
They flew over and flew past, but I did not see them.
Had
I
it
with pearls.
for their dinner,
If
my love wanted
And
I
to invite
me
and baklava
5
to get married.
to the wedding,
In addition to the two published texts (23a and 23b), there are fifty others in the Parry
Twenty-seven of them are like No. 23a, varying only in details, whereas twentyone of them, like No. 23b, go on to tell that her lover overheard her and married someone else.
Were he to invite her to the wedding she would bring a bad-luck charm for his father-in-law, a
silk waist for his mother-in-law to bring illness upon her, and so forth. Compare also our
No. 13A. For another published version see Ristic, No. 14, p. 31. No. 7806 is not like the others.
The girl addresses the doves and asks if they have come to woo her, to look at her, or to take
her away. They reply that they have come to take her away, and she tells them that they must
ask her father. But if her mother will not give her away, she will escape by the window. The
use of a dove as the symbol for a suitor and a falcon or a raven for a hero is widespread.
Many poems begin: "Two ravens flew from ... to ... They were not two ravens, but the
^
Collection.
brothers
*
."
See footnote
to the translation of
Text 23a.
[331
24
1.
2.
3.
R. 3547
6.
7.
Mnogo
8.
4.
5.
9.
Kad
ja brinim
svom domu,
ides, duso,
10.
11.
12.
13.
14.
Neka
15.
Da
su
10
mislim,
R. 3548
15
duso, poznaje,
se,
nam
20
srca Ijubezna!"
Almasa
May
21,
Zvizdi6,
1935
' In stanzas 1-4 and 10 the last three syllables of the first line are repeated, then in stanzas
1-4 the line is repeated in its original form. In stanza 10 the second Une is repeated.
' In the second line of stanzas 1, 3, and 4 and in the repeat of the second line of stanza 10
"vaj" is interpolated between the fifth and the sixth syllables; "haj" in the second line of
stanza 2.
^ The line of stanzas 5-9 and 11-15 is repeated three times; first, the last three syllables are
repeated, and the third tirae/'vaj" is interpolated between the fifth and the sixth syllables.
332
24'
1.
2.
3.
And
4.
Thither
And
5. I
6.
7.
my
beloved comes
look at
him
in sorrow
from
my
window.
8. I
9.
10
to
your house,
11.
12.
13.
14.
15.
There are
15
20
are
much
shorter.
They
differ
military service.
[
333
25
Vihar behar niz polje nosase/
dvore nanosase.
U dvorima niko ne bijase,
Vet sam Mujo i Mujova Ijuba,
R. 3131
Na Mujove
Mujo
Udade
10
R. 3132
15
se Alibegovica,
20
25
29
R. 3133
from "Hasanaga"
334
25'
The wind
to Mujo's house.
There was no one in the house
Except Mujo and his true love.
Mujo was holding his true love on his lap.
"My true love, dear you are to me, indeed,
But if you had children,
You would be still dearer to me."
"Harken to me, Alibeg.^
You get married and give me away in marriage."
It carried
it
10
Alibeg answered:
year passed.
Alibeg sought her in marriage.^
Hasanaga sought her in marriage.
15
20
"Harken
to me, Alibeg.
send the children to you for a visit."
When the time had come
And they were seven years old,
Hasanaga's wife sent them.
And they went to Alibeg.
He received her children
And gave them lovely gifts.
To one he gave strong cloth.
To another he gave unridden stallions,
To the third he gave shining weapons.
I shall
25
30
^ There are a number of songs in the Parry Collection which begin with the same theme, but
the songs themselves are not the same as this. However, under the first Une title "Hasanaga na
kuh sjedase" other versions of the published song are to be found.
2 Note that Mujo has become Alibeg.
'
This line
is
in error, but it
is
corrected
335
25 (continued)
Aj, odose svojoj miloj majci,
Aj, ostade ago Becirbego,
35
26
R. 3560
Da mu^
A je
budi,
medu
R. 3561
oci Ijubi:
10
May 21,
1935
1 Line 2 is preceded by "7o/," lines 3-9 by "Aj," line 10 by "Oj." The last
each Une are repeated, then the line is repeated, preceded by "Joj."
* Upon repetition of the Hne, the singer sings "Da j' " for "Da mu."
336
six syllables of
25 (continued)
And
Becirbeg* remained,
Remained
35
26'
The
The
spahis of
down
Gacko trampled
it.
He
"Arise,
Becirbeg
Compare
is
obviously wrong;
my heart,
it
should be Alibeg.
and Mirkovic, No. 84, p. 63.
337
10
lya
1.
2.
4.
Al govori Alibegovica:
"Ono nisu dve ptice bumbula,
Ve asici Dzenetica Ume.
5.
3.
Bratu mladu
6.
7.
8.
A braticu
dovela
9.
Prevari
11.
Daleko
Daleko
12.
je
"Nemam
13. Jer
14.
sam
Uma ugledala,
Uma ugledala,
kade
10
bi' je!"
je
R. 3553
15
R. 3554
20
sjesti ni besjesti,
25
U platna
U platna
The last six syllables of the first line of each stanza (except stanzas 11 and 14) are repeated.
The second line of each stanza, except stanzas 2, 11, 14, and 20, is preceded by "Aj." In
stanzas 2 and 20 it is preceded by "Aman." "Aman" is interpolated between the fourth and the
1
stanza
Sung as "Dzevetica"
1.
this time.
338
27a
1.
2.
Two
And
3.
4.
5.
"What
my
let
me
true love?
sleep."
6.
Now Alibeg
7.
8.
me Uma
I will give
10.
11.
you
you
my
love,
soul.
Dzenetic.
my
my
mills
and
stores.
15
I will give
9.
said:
10
Uma
Uma
20
13.
14.
the index to the Parry Collection under the first line title "Dva
are two variants, the fifteen versions in the collection
being divided almost equally between them: A: Nos. 2424, 3591, 4584, 6477 (published here),
8741, 8761, 8915, 8968, 9949, B: Nos. 4485, 5616, 5978, 7099, 9206, 10159, and 11158. Variant
B is best represented by No. 7099. The birds keep Alibeg awake singing of Uma D2eneti6,
and his wife tells him that if he knew Uma, saw her, kissed her, and slept with her, he would
feel better. So he asks his wife to arrange it for one night, promising her silks and satins, pearls
and ducats. She goes to Uma's house and asks her mother to let the girl go home with her to
help on some embroidery. Alibeg, she says, isn't home. He has gone hunting and won't be
back for three or four days. Uma goes to Alibeg's house and spends the night there. But
when Alibeg's wife calls her the next morning to take her home, Uma refuses, saying that she
thinks she will spend the rest of her Ufe where she spent last night. Then AUbeg's wife weeps
and curses the silks and satins, the pearls and ducats.
^
This song
is listed in
339
27a (continued)
15.
30
16. I
Biser
mece prema
ogledalu,
23.
Kad
35
R. 3555
40
to cula Alibegovica,
Ona uze
45
svilene gajtane,
24. I
25.
26.
Dok
majka!
27. Obesi se starija kaduna,
I obesi sina Abdulaha!"
28. "Nek se vesa,^ nek je mlada Ijevsa!"^
"Alibeze, zalosna
50
ti
R. 3556
May
This line
'
The
is
singer sings
(slip).
''
21, 1935
Sung as "vjega"
[340]
27a (continued)
15.
16.
Uma
bed,
Alibeg went in to her.
18. In the morning, when morning dawned.
She put her pearls by the mirror.
19. She put down her pearls and the ducats clinked.
17.
20.
21.
22.
it
for
But he gave
23.
When
24.
And
And
25.
26.
you
it
to
35
40
last night,
me
this morning!'
"
45
Then
50
Your
the
"Alibeg,
27.
30
hanged
And
herself.
[341
27b
1.
2.
3.
4.
5.
"Kolko
6.
7.
"Tri put
Prvi put
8.
si
10.
Bekrija
puta udavala?"
se
Samo jedna
9.
R. 3519
sedefli
me muski
R. 3520
10
tambura.
milovase.
bila.
Za tobom sam
14.
Sva
tri bi'
hi
Bekriji bi' za
15.
16.
17.
15
Udari
je
Kako
je
tri
R. 3521
sina rodila.
na telala dala,
aksamlug dala!"
20
beze Alibeze.
on lako udarijo,
Svaki njojzi zub je poletijo.
Udari se rukom po koljenu.
25
19.
20. ta
21.
22.
23.
24.
Almasa
^
The
by
May
20, 1935
6-12, 15, 21, 22 and the second line of stanzas 1-7, 10-17
"aj." After the fourth syllable of the second Hne of each stanza (except stanzas
first line of
are preceded
Zvizdi^,
29
R. 3522
stanzas
1, 2, 4,
6 and 23) "aman" is inserted. In stanzas 1, 3-7, 10-18, 22 the last six syllables of the first line
are repeated; in stanza 2 the third, fourth, and seventh through tenth syllables are repeated
instead.
2 Lines 4-8, 13, 16-17, 23-24, 29-34 including the "aman" after the fourth syllable (see
above), are repeated; in stanzas 6 and 23 this "aman" does not occur.
^
Sung as "je^derom"
342
lyb'
2.
3.
Will you
4.
1.
"My
5.
6.
true love,
tell
7.
8.
He
He
10
10.
11.
12.
13.
When he
Now I'm
fell
15
out.
And
auction
20
16.
That
17.
He
18.
That the
And
19.
all
cloth
his skin
"Alas, alack,
25
lightly,
sides
Compare
20.
What
21.
The
first
[343
30
lyc
1.
2.
Od
To
3.
4.
5.
6.
7.
8.
9.
10.
Od Odzaka
11.
12.
R. 3116
R. 3117
10
to je selo jedno!
Almasa
ZvizdiC,
The
tion of stanzas 4
'
"Aman"
"Aman"
In
this
and
and
In stanza
is
is
and
and
12 the first
Une
repetition of the last six syllables, cf note 1), with the interpolation of
.
syllable.
^
344
by
is
is
"aj."
repeated.
27c
1.
Two
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
10
^ Three other texts of this song in the Parry Collection diverge after line eight. Two of them
(Nos. 2499 and 4528) follow closely the published version up to this point, but then they become different songs; they tell how the friends Meho and Alija seek an aga's daughter in
Travnik, find and woo her. The third (No. 2900) relates the wooing of Uma D2enetida by
Osman and Salih. This is another good example of the migration of themes.
[345
lyd
San usnila Alibegovica,^
na podne na pasinoj kuli,
Pa oda sna na noge skocila,'^
De se vedro nebo prolomilo,^
Sjajan* mjesec pano u Neretvu,
R. 3211
De
Oko svega
Na
Kakav sam
ti sanak borovila,
vedro nebo prolomilo,
Sjajan mjesec pano u Neretvu,
Sve zvijezde kraju pribjegnule."
"Cujes li me, moja snaho draga,
De
9.
10.
se
10
R. 3212
151
11. Taj^ se
12.
bozja nesretnice,
Sta su tebi moja braca kriva?
13. "Svekrvice,
14. Je,
20]
De
15.
16.
The
In stanzas 2-4, 6, 9,
six syllables; cf. note 1.
2
There
is
16 the
first line is
de
^
^
se
346
by
error
last
2 yd'
1.
Alibeg's wife
At noon
dreamed a dream
3.
4.
5.
And
2.
rent,
13.
14.
15.
16.
And
6.
7.
8.
9.
10.
11.
12.
he died.
Woe
10
15
20
shall
to his mother!
commonest dreams
is
She told the dream to her mother-in-law, who said that she hoped the dream would not be
consummated in that place, but that it should happen to her daughter-in-law's brothers,
the Atlagici. A week later Hasanaga was killed by lightning, and his mother was left alone in
his house to mourn for her son. See footnote 1 to the translation of No. 22 in this book.
[347]
lye
A
1.
^Je
rano, je
li
Mogu
2.
Pod
De
3.
1'
stici
Zagorje,
1'
svanulo davno,^
R. 2934
mu
svetla gore,
6.
Mlada
10
same as above.^
6.
7.
R. 2935
10
April
*
*
The
The
is
1,
1935
B6 begins with "a" (Al, A5, Bl, B2, B7) "aj" (stanzas
A6, B4, B5). The last six syllables of the first line of each
by "a" (stanzas Al, A6, B2), "aj" (stanzas A2, A5, B4, B7), "oj" (stanza
Bl), or "ah" (stanzas B3, BS, B6) are repeated. In A2, A5, Bl, B3 and B5 this repetition is
stanza, preceded
348
^q^'
A
1.
2.
3.
And
4.
The younger
5.
"Why
6.
10
7.
"My comb
10
^ There are 52 other texts of this song in the Parry Collection; none mentions the comb and
powder of the last few lines of the published text. The commonest variant relates how the
elder wife tells Smailaga that if she knew he were going to recover, she would put on mourning,
but that if she knew he were going to die, she would sing and dance and make plans to marry
again. Other variants disclose the reasons for the elder wife's hatred of Smailaga, and here we
find themes which have migrated from other songs. In one variant she claims that he had given
all her dowry and possessions to the younger wife. In another, she reveals that she had borne
him eight daughters, and, when the ninth daughter was born, in disappointment and anger he
killed it (see footnote 1 to the translation of No. 8b in this book). Finally, in yet another variant, sometimes linked with the preceding, his wife accuses Smailaga of sending her back to her
brothers because his mother had thought she was with child at the time of their marriage. Her
brothers would not take her back, so Smailaga kept her secluded in a tent in the courtyard for a
year, but no child appeared. Cf also Odobagic, IV, 24.
.
349
28a
1.
U gori
2.
3.
4.
Njem
5.
R. 1539
susi.
Pa mu
6.
7.
10
8.
9.
10.
Je
li
Da
11.
12.
13.
se juba^ preudala.
"Majka
je svijet
ti
belilo
Na
Ijubu
The
Kad
R. 1540
25
za bakamilo.
ti
svati navalili,
20
preminula,
Za
14.
mi
j'
15
se vodi."
u nevoji^ nade,
Ode Ale gorom i planinom.
se Ale
30
preceded by the interjection "aj" (in stanza 6, of the duplilast six syllables of the first line of each stanza are repeated,
with the following variations: in stanzas 1 and 8 "sto cu jadna" is inserted between the end of
1
first line of
cate recording,
each stanza
1538, "ej").
is
The
the line and the repetition of the last six syllables; in stanzas 1 and 17 "a,a" is added after
the repetition, "ha,a" in stanzas 2 and 11, "a,ha" in stanza 8, "e,e" in stanza 5.
2
'
*
Sung
Sung
Sung
Sung
thus
thus
thus
thus
for "Ijubovca."
for "prijatelja."
for "ljuba"
and "Ijube,"
respectively.
for "nevolji."
350
2 8a'
1.
2.
3.
4.
On
A
5.
6.
7.
8.
9.
him
am
To have
10
15
To
10.
20
farther."
11.
And your
this world,
12. 'This is
13.
14.
15.
He
fled to the
mountains.
25
love.
30
1 Lines 1 to 30 are a somewhat broken down version of No. 6a in this book (q.v.). Line 40
begins another song, but only the opening theme is presented. It is probably the heroic ballad
of the contest between Marko Kraljevic and Derdelez AHja.
351
28a (continued)
16.
Kad
je bijo
Susrete ga Vlasce
17.
18.
19.
momce mlado
Na konjcicu
dorcu od mejdana.
Sitno pjeva, jasno pokuciva.
Njemu veli Vlasce momce mlado:
"Turce momce, ukloni se s puta!"
35
A
20.
21.
40
li se ikad prepanuo?"
"Ciglom jednom u vijeku, majko,
Jesi
22.
Ud Kunaru Raminu
bunaru."
Naza Rokifi, Stolac (Text
December 15, 1934
352
886)
28a (continued)
16.
17.
18.
19.
He would
35
But he drew
20.
And
22.
On Kunar,
in
my life,
mother,
at Ramin's well."
353
40
28b
1.
Beg Alibeg
Siv
2.
mu
ikindiju klanja/
soko na
ziliju
R. 524
pada.^
3.
"Moj
4.
I paripi Sestokrilovica?
5.
6.
Pucaju
Sjaji
li
Cuje
li
puske Baljkovica?
corda Ljubovica?
se-i' grlo Badnjevica?
li
10
se
Je
7.
8.
9.
10.
Je
li
Je
li
kod
Je
Je
li
li
i^
14
R. 525
Jaric,
20
Livno (Text 504)
Line
5, 9, 10),
in each stanza
and the
is
[354]
28b'
1.
Alibeg
When
2.
3.
4.
Do
And
5.
Are the
rifles of
6.
7.
8. Is
9.
10
there
Do
Do
15
10. Is
20
For another version of this song see our Text No. 7. Compare also Odobai6, IV, 28;
No. 39, p. 53; Matica, Vol. V, Nos. 64-65, pp. 96-97.
Ristid,
355
28c
1.
Pod Tuzlom
2.
Na
Na
3.
5.
5v32
R.
se zeleni meraja,^
ispod^ vrata.
Tud
6.
7.
Kako
8.
dagme napravijo,
Dvije dagme na bijelu vratu,
A dvi' dagme na rumenom lieu
10
R. 533
ju je slatko poljubijo,
Cetiri joj
Meho
15
Jarif,
'
Sung as "prostarta."
syllable.
first line of
(The second
"Aman"
'
Sung as "izpod".
is
the
line of
stanza
1 is
356
8c
1.
2.
3.
4.
Mujo
6.
You
5.
Tuzla,
will bite
10
life!
life!
7.
How
8.
will scold."
text.
[357
are
15
all
R. 3122
popa Luke,
u tamnice,
A cetiri u glavice,
A kod kuce sam pop
"Kuda
ides,
Luka."
10
euro mlada?"
Crnogorskom odmetniku.
Kolika
Pandurica,
Radojica.
Visa mu je kabanica,
Vet sve brdo Pandurica."
Nas
je
15
je visi
'
Each
line is repeated.
358
29
A
The dear
"I
am
10
To Radojica of Niksic,
To the Montenegrin rebel.
As high as is Pandurica,
Our Radojica is taller.
His cloak
Than
all
is
greater
Mount Pandurica!"
There is one other text of this song in the Parry Collection, No. 8937, from Melfia Kurtovid,
Gacko. It follows ours very closely.
of
15
[359]
30
Karanfil se na put sprema,
S kim
ti
moje
ej
R. 3206
sprema.^
place.
tvoje,
ostavljas?"
Men'
R. 3207
'
The
each
360
dilbere moj."
30
KaramfiP prepares
for a journey.^
Karamfilka brings his horse and weeps.
"Oh Karamfil, by our troth,
With whom will you leave young, innocent me?"
"I shall leave you with your mother and mine."
"What are your mother and mine to me,
When I have not you, my beg, beside me?
When I go to my room to sleep,
My room seems to me a prison."
This is a very well-known song. The first line is frequently "Moj se dragi na put sprema"
beloved prepares for a journey). Of the 31 texts of this song in the Parry Collection, not
including the published one, 26 are variants of the published text, all very close to it. The
remaining five texts use this as a point of departure and add to the basic text a dozen or so
lines to complete the story. The lover promises to return in three years, there is an exchange of
letters, and in some texts the lover dies. For another version see Mirkovic, No. 41, p. 37.
' "Karamfil" means "carnation," but I have treated it as a proper name. "Karamfilka"
is a feminine form of the same name.
' Line 1 should read "Karamfil se na put sprema i pjeva" (Karamfil prepares for a journey
and sings). The repetition of "sprema" is a slip.
*
(My
[361
3ia
Gorom
Gorica him
s lista
R. 3509
progovara:
u gornje bojove,
Moga
9
R. 3510
15
R. 3511
The
syllables.
*
362
first
four
3ia
The wedding
And
The
On
10
But give
And
nine to
my
beloved.
15
^ In addition to Nos. 31a and 31b in this book there are sixty-one other texts of this song in
the Parry Collection. Sixty of these are variants of 31a. One of them, No. 2137, is much longer
and fuller. When Hamdija Sakovic wrote it down from seventy-year-old Hamida Tanovic,
is different from the others which begin with the same lines."
After the usual opening, the bride directs that the horses should be let out onto the meadow
and the guests seated in groups of five. But her lover should be taken to her room to see where
she had died. There follows then the theme of the suits. Afterwards the bride says: "Give him
the pillow embroidered with silver which I myself decorated. Let him gaze upon the branches
and sing: 'O orphaned pillow, where are the hands which worked you, the sweet lips which
counted the stitches, and the dark eyes which looked on?' " No. 780 from Ziba Rizvanbegovic
of Stolac belongs to a different version from either 31a or 31b. The gifts are not the same: a
mirror for the beloved, silk waists for the bridesmaids, silk shirts for the bride's in-laws, etc.
The dying bride also gives instructions for her own funeral, and breathes her last. Her mother
weeps and prepares the girl for burial. No. 31b is unique from line 22 to its close. Cf. also
Odobai, II, 69.
'
363
3ib
Gorom
R. 3086
Gorica him
s lista
progovara:
mlada isprosena.^
na umoru mlada,
Svojoj majci vako govorila:
*Mila majko, kad mi svati dojdu,
Dobro moje svate docekajte!
Sve him konje u podrume svez'te,
A svatove u gornje ahare,
Dragog moga u sikli odaju,
De no mu je zlato bolovalo,
I de no je dusu ispustila!
Kad
je
je bila
10
R. 3087
15
Mome
Mome
podaj,
20
R. 3088
Kopajte
Viz'
25
On
On
je
30
R. 3089
35
The
Zvizdic,
syllables.
364
23, 1935
first
four
3 lb"
The wedding
And
Where
10
And where
As
his lot
is
bitter
15
and sorrowful.
to
my
20
beloved.
Dig
My
A hint of
common
365
in English balladry.
25
30
35
3IC
"Ej, Fatima, gromom izgojrela/
Sto se primi mekije' kolaca
Da
gromom
hi peces,
izgojrela!
Sama sobom
R. 3527
udarila.
tli
To
medom
Almasa
May
10
kolace polila?
first
Zvizdid,
20, 1935
in stanza 8.
if
366
3IC
"O
Fatima,
may
came
it
10
While we were recording at Salih Zvizdic's house, Professor Parry asked Fatima Biberovifi
make us some Turkish cakes. The pastry was prepared with fond care, as his request was
'
to
be a great honor, a compliment to Fatima's ability as a cook. But after the cakes had
been placed in the oven, Fatima became absorbed in the singing and recording, and forgot her
cooking until it was too late. The cakes were burned to a crisp. Fata burst into tears of bitter
humiliation. Our hostess, Almasa, deftly turned this tragic situation into an amusing incident
by making up a song about it. Text number 31c is her impromptu composition. Fatima retaliated later the same day with a song of her own in Albanian, which has not yet been transfelt to
[367]
3 id'
A
R. 3190
Ja
Da
Mene moja
Ogrija
Neka
me
sunce
Rogatice.
Alaj
imam
neces.^
oci migavice.
Kad namignem,
sedmericu dignem.
R. 3191
The songs of this text are called "Cobanske Pjesme" (Shepherd's Songs).
The last six syllables of each line are repeated and then followed by a repetition
line,
the
first of
of the first
1,
"Dukati
Sung as "udad."
C consists of two Unes, but the second was omitted
I also find
it
uninteUigible.
[
368
3 id'
A
money
It's
am poor, and my
Some think
girl.
marry me
will
off.
am poor
that since I
my life get
I shall never in
But
beauty
married,
my
Let
it!
Were
Rogatica.
I don't care.
it
to
warm me from
I should like
it
Foca,
very much.
"My
just to
all.
"O
grass
is
dewy."
* This text is a conglomerate of fragments, bits of traditional themes torn from context.
Separately these fragments make some sort of sense, but together they do not form a unified
song. In perusing the Parry Collection I have come across five texts which contain the same
fragments present in 31d, though sometimes in different groupings.
1. No. 5769 from Zada Agovic of Stolac begins with B (word for word the same) and adds
lines 1 and 2 of A.
2. No. 2096, from Halida Dizdarevic, of Gacko, also begins with the first two hnes of B,
and then goes on: "My mother enclosed me in glass. May the glass break and the youth kiss
me! Her dear mother said to her: 'My daughter, may ill luck follow you! How will the young
man kiss you? He will kiss you and then leave you!' "
3. No. 1733 from Almasa Zvizdic has two lines (the first and the last) in common with 3 Id
and shows a connection between A and F: "The sun warms me in Rogatica. O moon, shine
on Saturday evening! Let my boy walk in my sight, that I may not lose the sound of his footsteps! My beloved from Ostrvica, sharpen your scythe! The sun will dry the dew." This
seems to be the same sort of conglomerate text.
4. No. 2794 from Zulka Tanovic (written by Ibrahim Hrustanovic) seems to be another
version of a nonsense poem, or possibly a collection of proverbs and witty sayings, strung
together. At any rate it shows a relationship between E and F. It begins with the first two lines
of F and then continues: "Sharpen your scythe! The sun will dry the dew. O maiden of Ostrvica, send me a letter [one word obscure
A.B.L.]. The young fellows and the old have come.
And
No. 3300, written by Mejra Zvizdic at Almasa Zvizdic's dictation, belongs in the same
category as the preceding. It begins with the same three hnes as No. 2794 and then continues:
"The young fellows and the old have come. I like the old, but I talk with the younger. By
Allah, I have winking eyes! When I wink, I make seven rise. O maiden of Ostrvica, send me a
letter [again a word is obscure
A.B.L.]." There are twenty-nine more Unes.
5.
369
32
Konja kuje Meho momce mlado^
Nasred polja pod jelom zelenom.
R. 3031
9
R. 3032
15
R. 3033
je
20
The
Sung as "testo."
first
370
line,
preceded by "e/J
32
Young Meho was
Do
young man.
For your Zlata has married another."
When young Meho heard that,
He let his horse go into the green field.
And he went to his white house.
From its peg he took his mother-of-pearl tambura.
And put on his best suit.
Then he went to Zlata's window.
Lightly he strummed and loudly he sang.
And ever he sang of Zlata:
"O Zlata mine, to whom are you given?
My vila, with whom have you
Silver treasure mine, with whom have you lain?"
When Zlata heard that from her room.
She struck the window with her hands
.
And
hurled
it
10
15
20
to the street.
a song with numerous relatives, some very close and others more distant. There
first line title in the Parry Collection.
Seventeen of these are direct variants of No. 32: thirty belong to another stock ("Mujo kuje
konja po mesecu" "Mujo is shoeing his horse in the moonUght"), which is also rich in
versions and variants. The remaining eighteen are mongrels, versions, or different songs.
The published text belongs to the main group of variants and is somewhat incomplete. In the
fuller versions the girl jumps into Meho's arms and is carried away to his house.
^
This
is
[371
33
R, 3019
je
dizdare,
Uhvati
To
10
zacula dizdaraginica
te bilo,
Seb toga
Da
ti
si
Ijubis
14
R. 3020
mostarski dizdare!
prelo sakupijo,
sumbul udovicu!"
20
Each
line is
and "ej"
[
372
3).
The
first
33'
The
10
kitchen.
And
Then
15
20
^ Of the twelve other texts of this song in the Parry Collection, only two are noteworthy here,
because their endings are unusual. In No. 4721 from ninety-year-old Biba Mustajbegovid
the prefect gives the widow three necklaces after kissing her and takes her for his true love.
Similarly, in No. 1745 from Almasa Zvizdic, the prefect quiets the widow by promises of gifts
and of taking her for his true love.
2 "Sumbul," Persian word meaning "hyacinth." Under "sumbulj-udo^aca" in the glossary
of Matica, Vol. IV, we read "about the same as herier-vdovica one who is young and beautiful, but will not marry."
373
34'
1.
A na ruke
2.
3.
buljuka,
A2
A2
A2
A2
A2
10
F
Ai
A2
A2
A2
A2
buljuka Harnauta,
ides sad na Racu,
Pa da
Ai
buljuka Harnauta,
nek ide sad na Racu,
Bas na Racu raz tajine !"
Borozani zasvirase,
Himzibega dozivase:
"Himzibeze, carski sine!
tajine!"
R. 605
Ai
Dva
Dva
'
Ai
As
A4
5.
hej,
Salih pasi:
A2
A2
A2
A2
A2
A2
A2
A2
15
20
25
Borozani zasvirase,
Ai
Himzibega dozivase:
A2
the column following the verses refer to the musical motifs distributed
throughout the text; Ai, A2, and so forth, are related motifs;
[374]
34'
1.
2.
Betray to us Himzibeg,
For silver or for gold,
Or
for
3.
To
4.
10
his trumpeters:
"Trumpeters, my children.
Play and summon Himzibeg to me!
Let him take two companies.
Two companies of Albanians,
And let him go now to Raca,
Directly to
Raca
for provisions
15
!"
20
To
Two
And
5.
you
companies of Albanians,
go now to Raca,
25
to
This song was a favorite of Professor Parry, and those who were fortunate enough to hear
translate it, as he did occasionally for small informal gatherings, will recall it. He never
committed the translation to writing, but I have very probably been influenced by it in preparing my own. He first heard the song at the hotel in Gacko from an itinerant Gypsy band.
I myself first heard it on the eventful day on which we recorded at Bare, southeast of Sarajevo,
the day when King Alexander was assassinated in Marseilles. Hajdar Dozo started the song,
but was unable to finish it. Mustafa Goro then took it up and sang a complete version for us.
Later, by several months, when we were in a coffee house in Plevlje, another itinerant Gypsy
band played it for us at my request.
Of the eighteen texts of this song in the Parry Collection, four are recorded. Three of these
are published here. The fourth (No. 557, from Hajdar Dozo) is incomplete. Of the fourteen
remaining texts, six are fragmentary. The three published texts are good examples of the type
of variation to be found. Two songbook texts of this song loom large in its tradition: (1)
Pertev (see bibUography) and (2) Odobasic, IV, 32.
^
him
[375
34 (continued)
"Himzibeze, carski sine!
Dva
buljuka Harnauta,
da ides sad na Racu,
Bas na Racu raz tajine!"
Himzibeg je muska glava,
Te okrenu svome dvoru,
Svome dvoru bijelome,
6.
Kad
Ai
Na
je bijo
na sred
polja,
babom mlado
Srpce.
Izasla je silna
sila,
Sumadija i Rusija,
I bosanska Srbadija."
Himzibeg je odgovara:
"Od' otalen, stara babo!
Evo
Neg
se zenski povracati."
Kad
je bila
prva klasa,
Tu
beze udarijo,
I tu beze sretan bijo,
Pa ni rane ne dobijo.
10.
je
Kad
druga klasa,
Druga klasa Brankovica,
je bila
A2
A2
A2
A2
A2
A2
A2
A2
A2
A2
A2
A2
[376]
50
55
60
F
A2
A2
A2
65
F
Ai
Sung as "pomoge:
R. 607
Ai
Pa
ne dobijo.
45
40
Ai
A2
A2
A2
I tu beze udarijo,
35
9.
F
Ai
8.
30
A2
A2
A2
A2
A2
A2
A2
A2
A2
7.
A2
Ag
A2
A2
A2
70
34 (continued)
"Himzibeg, son of the sultan,
Salih pasha calls
To
30
you
Raca
for provisions!"
35
40
If
And
from Raca,
be headless!"
When he was in the middle of the plain,
In the middle of the green plain,
An old grandmother met him.
And behind the grandmother a young Serb.
The old grandmother said:
"Himzibeg, son of the sultan,
I return safely
Then you
7.
You
45
will
50
55
Himzibeg
replied:
"Go away,
9.
The
10.
old grandmother!
60
65
The
And
And
377
70
34 (continued)
11
osvojijo,
12.
13.
osmi ga udarijo.
Ranjen beze progovara:
"Ibrahime, dragi brate!
Evo tebi kusa ata,
Pa ga prati Bajnoj Luci,
Bajnoj Luci staroj majci!
Neka gleda kusa ata,
A vis' nikad Himzibega!"
Opet beze progovara
"Ibrahime, dragi brate!
A vis'
14.
nikad Himzibega!"
Opet beze progovara:
Ai
A2
A2
Ai
A2
A2
A2
A2
A2
F
A2
Aa
A2
A2
A2
F
Ai
Nek on
F2
Mome
vis'
bratu Fehimagi!
gleda zlatan sahat,
nikad Himzibega!"
80
Ai
A2
A2
A2
A2
A2
75
85
90
R. 608
95
378
34 (continued)
11.
12.
pass,
75
Here
is
my
Take him
cHpped-tail horse.
to
Banja Luka,
To Banja Luka
13.
to
Here
is
Take
it
To my
my golden
to
85
sword.
Banja Luka,
brother
Muharem!
my
golden sword,
80
my old mother.
my clipped-tail horse.
90
Here
379
95
35
1.
Knjaz Milane,
Fi
Na koljeno
kopiljanej,
Salih pasi:
"Salih paso,
majko naso!
Fi
Fi
Njemu
Na koljeno
3.
5.
6.
7.
knjaz Milanu:
Ne mogu
4.
Fi
2.
care!
Himza dati.
Himzibeg je muska glava.
Za Himza nam i car znadej,
ti
B
B
Fi
Fi
Vec
B
Fi
B
Fi
10.
B
Fi
B
Fi
Fi
30
Fi
14.
Na po
Fi
Fi
35
babom mlado
F2
R. 856
I sa
15.
25
Fi
20
Fi
13.
puta kad
15
Fi
9.
10
Fi
Fi
Ja cu Himza opremiti.
Neka Himzo erzag prima!"
Car nazove borozana:
"Borozane, z Bogom brate!
8.
R. 855
Srpce.
Da
380
B
F2
351.
To
Salih pasha.
Betray to us Himzibeg,
Or
2.
To
prince Milan
3.
4.
Himzi to you.
Himzibeg is a manly hero.
Even our sultan knows about Himzi,
10
I cannot betray
And
5.
6.
7.
all
IS
host,
8.
9.
The emperor
20
10.
11.
25
12.
To
13.
14.
15.
Even
'
30
1 to
the translation.
1381
35
35 (continued)
16.
Na
Raci
je silna vojska,
Silna vojska
17. Izisla je
^ordija.
Rusija,
A ja odo' kud
19.
Na
sam poso."
22.
23.
24.
Topove im
25.
26.
27.
28.
potopijo,
F3
F4
F5
Fi
B
Fi
B
Fi
F4
B
F5
F4
Na
F4
Na
njeg puce
osam
topov'.
Sedam hi je osvojijo,
Osmi Himza pogodijo.
Pade Himzo z belog ata,
Pa doziva svoga brata:
Ufati
Bogom
mi belog
brate!
ata,
Pa povedi Banjoj
Luci,
F5
Fe
B
F4
Fi
B
Fi
33.
75
Fi
382
R. 8571
70
32.
55
bijo,
50
Fi
F4
F4
bogaz
45
29. "Borozane, z
30.
Fi
Ni na sebi, ni na atu,
Ni na svoja tri buljuka.
treci je
40
Fi
bosanska Njemadija."
Himzo babi dukat dade.
"Maj to tebi, stara baba!
Pa ti hajde svome dvoru,
I
18.
Fi
sva Srbija,
Sva Srbija
Fi
Fi
80
35 (continued)
16.
All Serbia
force.
40
has assembled,
and Russia,
is
45
19.
He
21.
50
them all
And sank them in the water.
Nowhere did he receive a wound,
Himzi
seized
Nor
23.
He
55
The
60
Nor
26.
He
27.
28.
And
65
70
29.
And
33.
75
383
80
35 (continued)
34.
35.
Fi
B
F,
36.
38.
B
F3
85
B
Fi
B
F3
Fi
90
B
Fi
584
35 (continued)
my brother.
34.
And
35.
take
it
to
And
36.
37.
And
take
it
to
my love.
85
385
90
36
1.
A2
Ai
A3
Ai
A2
BiF
Ai
A2
Ai
A3
Ai
A3
Ai
Oj,
2.
za srebro,
il' za zlato,
za koje pusto blago,
il'
Da
3.
Ai
Aj,
je
B2F
Ai
A2
Zasvirajte, zapivajte,^
B2F
Ai
A2
5.
Himzibega zavikase:
"Hajde, Himzo, carski sine!
Tebe zove, aman, Salih pasa."
Aj, a kad cuo Himzibeze,
On
A2
Di
A veli mu
Salih pasa:
10
15
Ai
A3
4.
R. 519
20
C
B3F
Ai
25
Ai
A2
B2
Ai
A3
Ai
A3
Ai
A2
B2F
30
35
R. 520
1 Lines
7, 15, 20, 24, 37, 45, 52, 64, 75, 91 are repeated with the omission of the italicized
words; "il' " is changed to "Jal' " in line 7.
2 Ikavski dialect for "zapjevajte." Note also "Di," 1.
40; "osic', " 1. 52; "srite," 1. 55.
2 Dekasyllabic line. The third word sung as "hiljada."
386
36'
1.
The Serbian
To
of Salih pasha:
hand
the
Betray to us Himzibeg,
Either for
Or
Or
2.
for
silver,
or for gold,
any untold
And
all
the nobles
4.
and
10
vezirs.
is
a manly hero."
Then Salih pasha gave orders
To his trumpeters:
"Trumpeters, my children.
Play, sound your trumpets!
15
Summon Himzibeg!"
And the trumpeters blew
And summoned Himzibeg:
20
That Himzi
3.
treasure.
25
When
30
And
four of Albanians!
Go, beg, directly to Raca,
Because there is a battle at Raca!"
'
to the translation.
[
387
35
! !
36 (continued)
6.
Aj, a veli
mu
Himzibeze:
Di cu
ja
ici
na Racu,
Racu ratovati,
Kad je Raca napujnjena
Ai
Sa Srbijom Sumadijom,
Sibiom vojskom svom Rusijom,
I bosanskom, aman, svom eskijom."
A3
Ai
Aj, na
7.
Aj, a veli
mu
Salih pasa:
Ako
se-i* ja
li
Ja cu
8.
tebi,
Aj, ode
Kad
je
ziv vratim,
aman,
Himzo
osic'
glavu!"
niz tirnjake.
na sred polja
bijo,
Ona
Ona
nosi
veli
"Vrat'
9.
mlado Srpce.
Himzibegu
se, sine,
Himzibeze,
A2
A3
A2
Ai
A2
B2F
A2
A3
Ai
D2
A4
Ai
B2C
Aj, a veli
Ai
A2
Cara hizlah
A3
Na
sretan bijo,
syllable.
388
65
A2
Tude Himzo
60
Ai
I bosanska,
55
A2
A2
Kad
50
Ai
uciniti.
45
Ai
10. Aj,
sung as one
B2F
D2
40
A2
'se i,"
Ai
A2
A3
D2
A4
D2
70
Di
A2
C
B2F
Ai
A2
A3
A3
74
R. 521
36 (continued)
6.
Then Himzibeg
said to him:
Why
To
should I go to Raca,
Raca,
40
fight at
And
7.
all
Then
45
all right,
change."
Salih pasha!
50
If I return alive,
your head."
An
And
9.
55
all
60
65
70
And be
I
am
But
am
man
to fight.
man,
woman."
Than
10.
389
75
36 (continued)
Bijel klanac osvojijo.
Tude rane ne
I
na drugi
I tu
dobijo.
udarijo,
Himzo
sretno projde,
Kad
je
trecem klancu
bijo,
Na
80
Di
85
A3
eskiju udarijo,
Di
A2
A2
Di
Sedam topa
A
11.
Ai
A3
A2
A3
Ai
osvojijo,
Ranjen beze
Ai
I dozivje
A2
Di
A2
A3
Ai
s ata pada,
svoga brata:
"Slatki brate, Ibrahime!
Ufati
mi dogu moga!
A3
Dx
Di
A3
Di
A3
Ai
Dx
A2
A4
A2
A3
D2
sam se ozenijo.
S crnom zemljom sastavijo."
A2
To
To
B2
Ax
line.
390
115
D2
Himzibeze,
aman, dusu pusti.
Jaric,
Another dekasyllabic
110
Di
Meho
105
T>2
ja
izusti
100
A2
izusti,
95
Di
gleda.
90
B2F
36 (continued)
He
80
And
When
And
11.
85
to the Drina,
90
And
my white
Take
95
horse
100
105
And
391
spirit.
.110
115
37
1.
Sad
2.
3.
4.
5.
se dragi z
7.
8.
De sam
6.
R. 3562
dragom pozdravlja.
10
Svu noc me
majka karala:
'De je, sceri, zuta marama?'
Daj mi, dragi, zutu maramu.
Da ne pravi majka galamu !"
"Ne dam tebi zute marame.
Neka pravi majka galame!"
je
15
Gacko (Text
The
each
line are
May
21, 1935
6481),
392
lines,
37
1.
"O
Now
2.
The
farewell.
And my
3.
4.
The
And we two
5.
'T
left
Where
6.
And
my
Give
meet again."
all
'Where,
7.
shall
night
my
me my
my mother
daughter,
is
10
scolded:
8.
There
is
texts of it in the
Between
I
lines
u medna usta
Ijubiti,
Za Ujepo
zdravlje pitati.
(No. 6294)
to na mome srcu i tvome,
Ti ne kazuj, draga, nikome.
Kad nas dvoje mlado nestane,
Nek nam
15
lijep
What
is
in
Tell to no one,
my dear.
spomen ostane
(No. 8024)
393
38
ono tonobil^
Crvenom, crvenom, farbom nafarban,
Sto vozi, sto vozi, bracu Gacane
Od Gacka, od Gacka, pa do Mostara?
Auto karaca Toma Relovca.
U njemu, u njemu, sofer Milica.
R. 3566
May 21,
1935
39a
"O Almasa, duso
Almasa
Zvizdie,
'
'
of the tongue.
394
R. 3157
10
38'
Whose
is
that automobile,
Painted red,
it is
chauffeur Milica.
39a'
1.
"O Almasa,
3.
4.
5.
is
thy glance!
my young life."
Thus spoke the young vezir, then his voice was whisked away.
But his severed head made answer: "Farewell, Ahnasa!"
"If you knew, my young vezir, what I too know now,
You would give half of Bagdad, and all Egypt and Syria.
Tell me truly, my young vezir, on your solemn oath.
Who gave to you the golden keys to my harem door?"
"'Twas your sister gave them to me, with two little kisses,
And how many more 'til dawn came, I myself don't know."
10
This bit of wit is an original song of Gacko life composed on the model of the song "Cija
ono devojka, Sto rano rani na vodu?" (Whose is that maiden, Who rises so eariy to fetch
water?). Toma Relovac and his brother had come to America years ago and worked in the
Middle West. Toma married an American wife, and after having accumulated a small fortune,
he and his brother returned to Gacko with their famiUes. Among other projects which they
undertook was the purchase of one or more automobiles and the inauguration of automobile
service from Gacko to Mostar. The Milica who is referred to in the poem as the chauffeur is
'
je
Toma's
wife.
See also No. 42 in this book. These two are typical of all the other texts of the poem in the
Parry Collection. Nos. 999, 5695, and 11670 belong to the 39a version; and Nos. 4026, 7036,
and 8712 (all beginning with the same first Une as 39a) together with Nos. 1607, 3656, 4418,
5509, 5893, 7427, 7523, 8268, 8412, 9717, 10916, 11020 (aU beginning with the same first Une
as 42) belong to the 42 version. Some of these texts are very good, while others are corrupt and
defective. This song, with its fixed stanzaic form and its rhymes is dependent upon songbook
texts. Although it has passed into tradition, it has not been completely assimilated.
2
[395
39b
U basci mi sumbul cvati, al ga ne berem;^
Pod sumbulom slavul peva, al ga ne slusam;
R. 2938
Na prozoru
40
Sve
R. 3075
ne pjeva.^
Nek me
vidi,
mlad
5
!'
R. 3076
Each
Each
line is repeated.
line is repeated.
other Unes
by
Sung thus
The very
first line,
the
first
"a."
for
"Vet."
[396]
time,
is
39b"
In my garden a hyacinth grows, but I do not pluck it.
Beneath the hyacinth a nightingale sings, but I do not listen.
At the window my doll sits, but I do not look at it.
In front of the house is a well of water, cold as ice.
In the well is a big fish, fat and young.
In the well is cold water, but I do not drink it.
In it is a big fish, but I do not catch it.
40^
began to sing, but one sang not.
mother had wished me to sing,
She would not have given me to an old man, that I should always be sad.
But she would have given me to a young man, that I might live like a queen.
When I would go to the bright garden, the old man will not let me.
5
'Come back, Fata! Come back, my treasure! Some young man will see you.'
Let him see me and let him take me away! I am no use to an old man."
All the little birds
"If
my
The four
other texts (6106, 7611, 3755, 5942) in the Parry Collection which begin with this
vary in detail, but not in spirit, from the published text, and make an important
addition. "In my garden a spring flows, but I do not drink from it. Beside the spring is a rose
bush, but I do not pick the roses. On the rose bush is a nightingale, but I do not listen to it.
beloved is not here to listen to it. He has gone marching off far, far away!" (No. 6106) Nos.
3755 and 5942 go on from this point into what is essentially a floating theme: "I write him
a short letter: 'Come back, beloved!' and he answers sadly: 'I shall not return for three years.
I have a loved one beside me who is more beautiful than you.' But I answer him still more
sadly: 'I have a better lover than you with me. Whatever roses I pick I give to him!' " For
1
same
first line
My
397
41
"Trepetljika trepetala
Ovi nasi
beli dvori
puna
R. 3077
bisera,^
puni veselja."
"Kakvo vam
"Ovo^ majka
Svak
veseljase,
pa se veseli.
majka najvise.
Veselje joj sretno bilo, amin da Bog da!
U dvoru joj sretna snasa, amin da Bog da!
Svekra baba posluzila verno i Ijepo,
A svekrvi podranila, kahvu ispekla,
Z deverim' se milovala, zaovam' vezla!"
se
tome
sina zeni,
Almasa
Zvizdic,
too.
398
R. 3078
10
Gacko (Text 6343)
41'
"The poplar is quivering full of pearls.
Our white houses are full of joy."
May
May
May
May
May
there
is
celebration.
10
^ Most of the eleven other texts of this song in the Parry Collection are shorter than the
published text, rarely going beyond line 6. The protagonists in them, however, vary considerably: in four texts it is the mother who marries off her son; in one, the father. In two texts the
father is marrying off his son, and in one the father marries off his son, and the mother, her
daughter. Two of the texts add a new element to the basic six-line song. No. 8247a (the other
is No. 8446) is the better of the two. "A golden thread came from heaven and encircled my
son's fez and his bride's veil. It was not a golden thread, but it was good fortune sent by a loving
God." A note by Nikola Vujnovic in the journal states that "this is the first song at the beginning of a wedding."
399
42^
A
1.
R. 529
Potok tece
3.
1.
2.
Ko
ti
ti,
mlad
vezire,
amana
ti
tvog,
4.
5.
3.
R. 530
bi,
7.
10
mi dusa^
mi
miris tvoj,
moj !"
Meho
Jaric,
September
^
'
*
^
21,
text 39a in tMs book. The rh3anes seem to indicate an art poem.
Pronounced as one syllable; the repeat has no "i."
The second line of each stanza is repeated.
Sung as "prestolju."
In the repeat, changed to "miris."
Compare
400
1934
42^
A
1.
2.
The brook
3.
1.
2.
Who
3.
5.
6.
7.
'til
the
dawn came,
I myself don't
know."
10
^ Compare No. 39a. Although parts A and B of this text seem to be two separate songs, they
are always found (in the Parry Collection texts, at any rate) as one song. It would appear that
the folk singers consider them one song, perhaps drawn to that conclusion by the fact that they
are sung to the same melody. This has undoubtedly accounted for the inclusion of more than
one song in a single rendition in other instances also. Part B of this text is better narrative than
text number 39a, because the story emerges more clearly. For A compare also Odobasit,
II, 95,
*
[401
43
"Ljepse cvece u proljece, vet na Jurjev dan^
momci ozenise, a ja osta' sam.
I ja cu se o jeseni, ako budem zdrav.
Konu imam sprema dvoru, ja je dobro znam.
Prevodim je o jeseni, majka mi ne da.
'Nemoj, majko, nemoj, jatko, umret cu ti ja!' "
Pa pristupi staroj majci, stade moliti.
Sazali se stara majka, da joj ne umre,
Pa dozvoli milu sinu, da je dovede.
Skoro joj je prsten dao, da je dovede,
Al' se momak razbolijo, nije je doveo.
R, 3174
Svi se
Almasa
Zvizdid,
Each
line
is
repeated.
[
402
R. 3175
10
43'
"The
All the
The four
line eight.
10
other texts of this song in the Parry Collection follow the published text as far as
this base three of the texts add "I gave her a golden ring, so that it might be
To
known
that she
1293, 3059,
my
!'
[403]
44a
Zaplakala stara majka Dzaferbegova:^
"Dzaferbeze, ludo dete, sta mi dovede?
Dovede mi ludo mlado, nece da radi,
Vet
se beli
R. 3034
bakami, da asikuje."
Na namazu
R. 3035
10
44b
Zaplakala stara majka Dzaferbegova:^
"Dzaferbeze, ludo deto,^ sto nam dovede?
Dovede nam ludu mladu, ludu od tebe.
Moja* Ijuba, tvoja^ snaha,^ nece da slusa."
On
R. 2936
*
'
*
*
'
^
Each
Each
404
44aThe
my
foolish child,
"Yes, pray,
my
foolish
love, pray,
my
soul's desire
!"
His sword whirred, his love screamed, and the newborn child cried out.
Then Dzaferbeg took it in his white arms,
10
And he carried it downstairs to his old mother.
"See, mother, see, unhappy one, what a sinful thing has been done!"
44K
The
This
is
No. 44a.
[405]
45
Niti spavam, niti dremam, niti sna imam/
Vet to vazdan na^ tuzna, sto suze proljevam.
R. 3541
Kako
Kako
R. 3542
Each
Sic;
Sung thus
line is repeated.
"a" for "na" in the repeat. See notes on the music examples, for No. 45.
for "stasa."
[
406
45'
I sleep not, I doze not, nor
do
dream,
by, I ask:
"Oh
traveler,
"It's easy to
know him,
is
dark, and he
is
wondrous
tall."
^ There is only one of the twenty-five other texts of this song in the Parry Collection which
deserves special mention. All the others are pretty close to the published text. However, No.
10809 from forty-eight year old Dula Tanovic of Gacko is unique. In answer to the girl's
question, the wanderer says he knows her beloved. They were together in the tavern last night.
When he went out into the street to see his girl, he found her with someone else. Then the girl
says that he swore that he would always be true to her and would never love another the rest
of his life. Four texts (Nos. 2092, 2566, 7942, 12254) begin with the same Hne as 45, but are
different songs. They are versions of No. 39b in this book. For another version see Mirkovifi,
No.
40, p. 36.
[407]
46
Zaprosijo^ Zajim
u Livnu
lijepu
Osmanaga^
Eminu.
R. 3192
Oku
Da dovedem
Ijepoticu
10
R. 3193
Emu!"
The
Every
first
15
line (except
6 and 27)
is
408
Note
1.
He
sent
Emina
many
in marriage
in Livno.
red carnations,
May
my
roof!"
10
may
Zajim Osmanaga
He was
ill
fell
ill.
15
This
is
409
46 (continued)
"Zajimaga, iza gore sunce!
ces umret, il ces preboljeti?
U
A
Boljeg
Evo
20
R. 3194
25
tebi
Kad
Kad
Nijesam
te
Kad sam
davno popravljao,
30
R. 3195
35
I dovesti Ijepoticu
Emu."
Vet
je dosla iz
Sto no
Sve
je tvoje,
Jal
da platim,
"Fala
Ode
Livna Emina.
imam ruha
i
zlato
jal
40
bijeloga,
i
svila.
da mi halalis?"
tebi, Ijepotice
Emo!"
Ema
kicenim svatovim'.
Kad su bili poljem zelenijem,
Zamlatise bande i borije.
45
R. 3196
410
46 (continued)
"Zajimaga, shining sun over the mountain-tops,
Are you going to die or will you get well?
If I were sure that you would get well,
I would wait another nine years."
But he answered in sorrow:
"Get married, lovely Ema,
Get married, do not wait for me.
I have found you a better suitor,
Even Hasan Osmanaga."
When they were on the green plain.
When
Ema
said:
house,
said:
why do you
leak?
is
And
30
Zajim Osmanaga
"My
25
Beautiful
When
20
to bring beautiful
Beautiful
Ema
35
Ema."
said:
40
blessing?"
"Many
thanks, beautiful
Ema
Ema."
411
45
47
"Oj, Omere^ Beogradanine,^
R. 3170
"Neka
gori
kako
mu
drago!
Sa jastuka
Oj, Hasane,
sa beli ruka.
na Savi vozare,
Jesi
R. 3171
Zvizdic,
The
Every
first
line is repeated,
412
1.
15
47
"O Omer
Arise,
"Let
of Belgrade,
my friend,
it
burn,
Belgrade
if it
is
in flames!"
likes!
my own troubles.
my mother married me off,
And this morning my bride ran away
From my pillow and from my white arms.
I have
Last night
Have you
"Yes, a
"Yes,
10
little
How much
of this
15
in seven minutes."
The remaining fifteen texts all belong to the common version. Some of them tell that
the girl stole various things when she ran away money, a watch, a horse, rings, and so forth.
And the ferrjmian is usually asked three questions: 1) Did you ferry her across? 2) How much
did she pay you? 3) How many times did she kiss you? In the songs in which the girl steals
defective.
three bags of gold, the ferryman says that she gave him one bag for the fare, one for having
and one as a bribe that he should tell no one about it. Some texts hint that the girl
kissed her,
has run away with someone else to be married, as there is a mention made of wedding guests
who accompany her. For other versions see Odobasic, IV, 73, and Vuk, Vol. V, No. 371, p. 246.
[413]
48
Tri livode/ nide lada nema,^
Samo jedna ruza kalem bela.
R. 3568
Tu
9
R. 3569
Sung thus
The
first
for "livade."
four syllables of each line are repeated.
added
Then
is
[414
48'
Three meadows and no shade
Except a single white rose bush!
Hilme planted the rose.
He planted the rose when he was a young man.
"Listen, Hilme, when you go into the army,
Don't pass my yard
Without coming in to greet me."
Last night Hilme came to me.
He brought me three fine boxes.
There was sweet chocolate in one,
10
And
the rouge to
my
enemy!
1 There are twenty-five texts of this song in the Parry Collection. Ours is the most common
variant (15 texts): it is distinguished from the others by the theme of the three boxes. For
another published version see Odobaic, II, 23.
2 Cf. No. 27e B, U. 11-13.
[415]
49
R. 3505
Na
mastrafi
mastrafa,
cvijeta procvala.
tri
Da mi
daju
tri
Jedno
seboj,
cvijeta s te basce,
karanfil,
ruzica rumena,
Hajrija Sakovic
Gacko (Text
is
^ The first four syllables of lines 1-6, 9 are repeated, and the whole
again repeated. In lines 7, 8, 10-11 the line is simply repeated.
416
10
6455),
line,
R. 3506
May
20, 1935
including repetitions,
49'
By Sarajevo there's a green garden,
In that garden there's a well of cold water,
By the well, a marble stone,
On the stone, an aged vase,
In the vase three flowers bloomed.
Were you to give me the three flowers from that
garden,
A wallflower,
a carnation, a red
rose,
10
"Fatima is
like the
golden
Emusa is the morning star beside the moon; but Habiba is the rising sun!"
Hamdija Sakovic has written down from Emina Sakovic two texts which differ somewhat one
from the other, but which are real variants of this song (Nos. 2324 and 2002). They begin
moon when
it rises;
girls
came
to the
A young man arrived on a horse, and greeted tliern. One of the girls received his greeting
in silence,
He said
1
to her: "I
to the translation of
[417
50
1.
2.
3.
"ta
je uzrok,
moj dragane,
4.
5.
6.
7.
8.
9.
10.
11.
12.
Koga nisam
13.
R. 3234
to me mladu ne volis?^
IF ti nisam custa staza,^
ir gosposka plemena?
ir da mlada majke nemam,
Te sam jadna sirotna?
to
me
10
15
20
25
volila,
dala za nedraga,
Koga nisam
volila."
Almasa
Zvizdic,
[418
501.
"What
is
the reason,
my
beloved,
3.
my
Or
is it
am
I disclose
5.
6.
7.
8.
a secret love.
my
dear beloved,
15
not.
But
10.
10
I drink
it
not;
my beloved,
20
not.
my own
dear mother,
am I.
my own
how sad am I,
dear mother.
Ah,
to someone,
not love,
That she gave me away to someone.
Whom I did not love."
Whom
13.
25
I did
in this song
many
floating themes.
The number
of variations in the
unstable and has no really
fixed form. The first four lines are fairly constant, but from there on divergence is great.
As in the pubHshed text, Unes and themes which are familiar from other songs in this book
appear. For example, lines 13-18 remind one of Nos. 39b and 45.
^
eight other texts in the Parry Collection indicates that the song
[419]
is
51
Kad
I
prozora me gledaju.
draga bijase.
Sve devojke jaglucima mahaju,
Moja draga sa belijem rukama.
"Pricekaj me, da ja idem sa vama!
Belo cemo ludo janje gojiti!"
Sve devojke
R. 3487
Na vratima moja
Almasa
May
Zvizdi,
R. 3488
20, 1935
52
Vino
age Sarajlije^
pokraj 2eljeznice.
Sluzila i Sarajka devojka.^
Kako kome case dodavase,
Svaki joj se lica prihvacase,
Omer hodza za grlo bijelo.
Progovara Sarajka djevojka:
Na
pili
R. 3523
Ilidzi,
"Ako morem
biti
morem
biti
svakom
sluga,
verna Ijuba,
Osim jednom, agi Hasanagi:
Hasanagi i sluga i Ijuba."
Ja ne
R. 3524
10
' After the first four syllables, "aman" is added; then the four syllables are repeated, this
time with the addition of "danum" (from Turkish "canim," equivalent of "duo moja").
Finally the last seven syllables are sung, and the whole stanza, including "aman" and "danum"
and
repetitions, is repeated.
syllables four and five "nane" is interpolated and then these six syllables are
repeated before the line is completed. Each line is then repeated with this interpolation and
^
Between
repetition.
^
Sung as "djevojka"
in the repeat.
[
420
51
When
I go to the river
Bimbasa,
And
we'll
tend the
little
white lamb."
5^The agas
10
^ This text is not truly representative of the song as found elsewhere. The story of the
majority of the texts is that the lover is leading a lamb and sadly seeking a glimpse of his
beloved. Three girls stand in a doorway, but his beloved is at the iron-grilled window. This is
the basic song. The seven other texts in the Parry Collection show some variations. No. 2188
does not mention the beloved, but brings in a floating theme familiar from our No. 49. "Three
girls were at the door. They had a mother-of-pearl cup in their hands, in which were three
flowers. Would that God would grant that I smell the three flowers!" Two texts (2511 and
4534a) omit lines 3-6 entirely. The maiden calls to the boy and tells him to go away from the
well. No. 2687 is different. The girl is pictured weeping at the window. The boy greets her
and asks why she is crying, and she tells him that she is going to marry someone else in a faraway land. They say a fond farewell. Finally No. 3691, after describing the girl at the window
waving her kerchief, tells that the boy catches the kerchief and goes to fetch his tambura.
He sings a song to her, and she breaks the window and jumps into his arms. They run home to
his mother. A version of this song can be found in the Sonart Album M-6 entitled Southern
Slav Song Gems, sung by Mme Zinka Milanov, and issued by the Sonart Record Corporation
of New York under the direction of Dr. Lujo Goranin. Compare also Omladinka, p. 107.
2 This is a good representative text of the common version of this song; it is comparatively
stable and very popular. There are twenty-three other texts of it in the Parry Collection.
Compare also Odobagic, II, 42, ibid., IV, 80, and Matica, Vol. V, No. 53, p. 73.
[421
53
1.
kraj mora;^
R. 3512
Grana od
jele
3.
Ne mogu
4.
5.
duso,
doc'
ti
6.
srce
Kupit' cu
Jagluk cu
Ej, ako
meni
jaki
ti
cipele.
ti
dat',
Bog
da,
Bog pomogne,
10
14
R. 3513^
duvak uzeti,
svom bijelu dvoru
Tebe^ odvesti!"
Almasa
May
The
first line
(except in stanza
'
'
*
of each stanza
is
1).
422
Zvizdid,
20, 1935
53'
1.
Come and
2.
"How
sit
And
is
mist has
6.
beside you?
in Moric,
and
fallen,
I can't
come
come
alone.
fallen. I can't
Ah me, what
5.
sit
by the inn
I cannot come.
me!"
beside
can I come to
The tavern
4.
beside me!
Come and
3.
sit
A pine
shall I
barefoot.
do?"
And
I'll
10
my own
15
white house
carry you."
Nos. 6459 and 1736 in the Parry Collection, also from Almasa Zvizdid, are the only other
which I have found in the Collection. The songs which begin with the line
"Grana javora cvala kraj mora" are entirely different from the published text and are not even
remotely related.
^
[423
54
Ono
ondi sto gi ga no
Sto no moje dragi ga no
Sto no ondi sje gi ge li
Sto no u me gle gi ge li
Sto no meni ve gi ge li
R. 3224
Da
Da
malo lezem,
10
Sung as "me."
This line
is
repeated.
424
54It
is
That
there
my beloved
Sits
And
And
looks at me,
he says to me:
"My beloved,
Grant to me,
O, grant to me,
That I sit with you a while,
That I lie down a while,
That I rest a while, my soul !"
first
know
of
no other
10
texts of this song either in the Parry Collection or elsewhere. Like the
is
somewhat difficult
[425
to translate.
]
Works
Cited in Part
Two
Bartok, Bela, "Turkish Folk Music from Asia Minor." Manuscript in the
Music Library
of
Columbia University.
Clapier, Genina,
La
Karadzic,
Vols.
I,
Vuk
and 1935.
V.
iz
Odobasic, Salih, Velika Nova Narodna Pjesmarica (Zagreb, n.d.). Vols. II-IV.
Omladinka, Nove
Najpopularnije Ljuhavne
JunaStvo
Stanoyevich, B. Stevenson,
Vitezica, Vinko, Antologija
An
Narodne
[426
SERBO-CROATIAN TEXTS
Alaj
imam
oci
Beg Alibeg
ikindiju klanja
(7),
272;
107,
354
(28b), 169,
gromom
Gorom
(31b), 177,
364
Ide lola
Je
Je
novi
li
rano, je
1'
ti
1'
(51), 274,
420
Karanfil se na put sprema,
174,
ej
sprema
366
Falijo se zuti limun kraj mora (15), 130, 308
Ferman stize iz Stanbola (20), 137, 318
Glavu ve2e AUbegovica (8b), 112, 276
Gorom jase beze Alibeze (12e), 125, 304
Ej, Fatima,
"^
(30),
360
Trepetljika trepetala
puna
398
Tri devojke bijeUle platnjo (6b), 104, 268
Tri Uvode, nide lada nema (48), 220, 414
U basci mi sumbul cvati, al ga ne berem (39b),
199, 396
U gori se zelen bajrak vija (28a), 166, 350
Uranijo bego Omerbego (10a), 114, 280
Vezak vezla u Vedrini Ajka (6c, A), 105, 270
Vezak vezlo trides devojaka (12b), 120, 298
Vihar behar niz polje nosae (25), 334
Vilenica bukovicu pita (19), 316
Vino pije Selimbe2e (21b), 326
429
of the singers
pili
videsmo
306
A), 126, 306
(13, B),
ENGLISH TRANSLATIONS
Agas
of Sarajevo
421
Ajka was embroidering in Vedrina (6c, A),
271
Alibeg asked his true love (27a), 339
Alibeg is saying his evening prayers (7), 273;
_(28b), 355
Alibeg's wife dreamed a dream (27d), 347
Alibeg's wife was putting on her kerchief (8b),
277
Alibeg's wife was taking a walk (10b), 285
Alibeg was riding along the mountain (12e),
(52),
305
279
O
289
in
the
367
Oh, short green grass
Oh young man
Biserbeg's wife
361
Meadow was
(30),
(3,
(14),
309
A), 261
Omerbeg
[430]
his horse
(32),
371
[431
(46),
409
Date Due
fff-
mm^^4
'{
and tra
ML
35.90
AUTHOR
Bart ok.
_B3__
378711
TJTLE
S erbo-Croatian folksongs.
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