**4. Methodology of classification of melodic types**

In the process of evolution of folk creations, the classification has developed in close interaction with the theoretical results of musical folklore. The methods of musical classification applied so far to the music of different ethnic groups are distinguished by the morphological element pursued and by the hierarchy of structural features. We will briefly list the main methods and their characteristics [9].


3.The typological classification follows the grouping of the melodies into related categories, the models being constructed on a melodic and rhythmic level. In this case, a balance will be established between the two morphological elements, but the melodic element will prevail. Most of the typological classifications were conceived on the basis of the melodic criterion, comprising only vocal creations, (for instrumental music a sub-rhythmic classification and melodic subsidiary are elaborated). In the typological classifications based on the melodic element, there are various points of view regarding the hierarchy. As a whole, it is all about giving priority to the general features that will gradually evolve toward the particular features (timing system, architectural structure, etc.).

The establishment of the melodic profile is indicative because there are various intermediate variants; when they are combined, a variety of models result—the unilinear profile is neutral to the other two. Take as an example the profile called zigzag or combined vault (combination between upward and downward arching).

Once we analyzed each song and identified the melodic profile, I made an order of them starting from songs with two melodic lines and to the most complex case, in which the number of melodic lines varies between four and five (improvisational

I have also encountered cases where the final was in the second stage. In this case

Regarding modern style songs and playing songs, identifying also a short refrain, a support refrain, positioned at the beginning, middle, or end of the song, we agreed that in the melodic profile scheme, next to the melodic line that has the refrain, we

corresponding to the melodic line if the refrain is also in front of the respective line and vice versa, after the letter corresponding to the melodic line if it is after it:

I wrote only the number of melodic lines and the number corresponding to the

put a symbol ("+"); the position of this symbol will be in front of the letter

In this case we are talking about songs with four or more melodic lines.

The musical classification thus follows the sequence:

*Research of the Musical Folklore From Maramureș: Chioar Area*

*DOI: http://dx.doi.org/10.5772/intechopen.90682*

form).

1. Uniliniar

2. Boltit

3. Boltit combinat

cadence of each:

**193**

The songs belonging to the neocational lyrics are classified into three categories, old style songs, modern style songs, and vocal playing songs. Within each category, songs are classified musically, bringing together songs with common characteristics and melodic types. In each case I first separated the minor songs from the major ones, and then, I ordered them according to the number of melodic lines (with two melodic lines, minor and major; with three melodic lines, minor and major; with four melodic lines, minor and major; and with five melodic lines, minor and major lines). I took each copy separately, and, depending on the number of melodic lines, I made a diagram of the form, which also includes the main lines. These shape schemes present, from a geometric point of view, a certain general melodic profile. It is shaped by the relation of three or more points (depending on how many melodic lines we have) linked by an imaginary line: the starting point, the climax, and the end point.

In some situations the climax may be missing, resulting in a unilinear or rectilinear profile, this being the simplest: .

• When the climax coincides with the initial point, a descending melodic profile results.

• When the climax coincides with the end point, an ascending melodic profile results.

If the climax is located at the middle, at a distance approximately equal to the initial and final point, then a vaulted, ascending or descending melodic profile results.

*Research of the Musical Folklore From Maramureș: Chioar Area DOI: http://dx.doi.org/10.5772/intechopen.90682*

The establishment of the melodic profile is indicative because there are various intermediate variants; when they are combined, a variety of models result—the unilinear profile is neutral to the other two. Take as an example the profile called zigzag or combined vault (combination between upward and downward arching). In this case we are talking about songs with four or more melodic lines.

Once we analyzed each song and identified the melodic profile, I made an order of them starting from songs with two melodic lines and to the most complex case, in which the number of melodic lines varies between four and five (improvisational form).

The musical classification thus follows the sequence:

1. Uniliniar

3.The typological classification follows the grouping of the melodies into related categories, the models being constructed on a melodic and rhythmic level. In this case, a balance will be established between the two morphological elements, but the melodic element will prevail. Most of the typological

classifications were conceived on the basis of the melodic criterion, comprising only vocal creations, (for instrumental music a sub-rhythmic classification and melodic subsidiary are elaborated). In the typological classifications based on the melodic element, there are various points of view regarding the hierarchy. As a whole, it is all about giving priority to the general features that will gradually evolve toward the particular features (timing system, architectural

The songs belonging to the neocational lyrics are classified into three categories, old style songs, modern style songs, and vocal playing songs. Within each category, songs are classified musically, bringing together songs with common characteristics and melodic types. In each case I first separated the minor songs from the major ones, and then, I ordered them according to the number of melodic lines (with two melodic lines, minor and major; with three melodic lines, minor and major; with four melodic lines, minor and major; and with five melodic lines, minor and major lines). I took each copy separately, and, depending on the number of melodic lines, I made a diagram of the form, which also includes the main lines. These shape schemes present, from a geometric point of view, a certain general melodic profile. It is shaped by the relation of three or more points (depending on how many melodic lines we have) linked by an imaginary line: the starting point, the climax,

In some situations the climax may be missing, resulting in a unilinear or recti-

• When the climax coincides with the initial point, a descending melodic profile

• When the climax coincides with the end point, an ascending melodic profile

If the climax is located at the middle, at a distance approximately equal to the initial and final point, then a vaulted, ascending or descending melodic profile

linear profile, this being the simplest: .

structure, etc.).

*Heritage*

and the end point.

results.

results.

results.

**192**


2. Boltit


3. Boltit combinat


I have also encountered cases where the final was in the second stage. In this case I wrote only the number of melodic lines and the number corresponding to the cadence of each:


Regarding modern style songs and playing songs, identifying also a short refrain, a support refrain, positioned at the beginning, middle, or end of the song, we agreed that in the melodic profile scheme, next to the melodic line that has the refrain, we put a symbol ("+"); the position of this symbol will be in front of the letter corresponding to the melodic line if the refrain is also in front of the respective line and vice versa, after the letter corresponding to the melodic line if it is after it:


In the case of each song, the transcript corresponds to the first verse, except in cases where the beginning is unclear or has an incomplete form, in which case the second or third verse was transcribed (a fact marked by the number 2 or 3 next to the first melodic line). I have also encountered some examples of songs in which the performance has an improvisational character, the variations targeting both the rhythmic-melodic parameter and the formal aspect, these songs being transcribed entirely. All the transcribed musical material is present on a CD in MP3 format, the order of the songs on the compact disc being the same as the one in the work. The own song, a genre rich in themes and ideas with countless variants, is a fundamental material in the research of musical folklore. Especially confessional and intimate, the song expresses varied feelings and ideas, depending on the nature of each individual or the spiritual state that they externalize through the art of sounds. To the common name of the *song* in the scientific terminology was added by Constantin Brăiloiu the *own* explanation, to distinguish it from the occasional songs, integrated to some habits, particularly functional and thematic. Permanent renewal explains the very large number of melodic types and variants existing in the repertoire. Within the musical material I researched, I came across songs that have one to eleven variants. Some songs have common melodic types with other areas. An example in this sense is the modern style song *S-o dus badea-n cătănie* which is sung on another text

and slightly melodically varied and from the Alba area:

*Research of the Musical Folklore From Maramureș: Chioar Area*

*DOI: http://dx.doi.org/10.5772/intechopen.90682*

*Șurdești*, MM.

Pop Maria*,* Pop Mărioara.

*Cul.* Istrate A., 1978; *Tr.* Uță L.

*Apuseni* [10]:

**195**

Example 1 from the archive of the Cluj Folklore Institute:

Examples 2 and 3 from Ioan Bocșa, *Muzică vocală tradițională din Munții*

This symbol ("+") is only used in cases where the refrain represents a complement, that is, the support refrain. When it is a stand-alone refrain, we use the following spelling:


There were also cases in which both situations were present, proper refrain and support refrain:


Having as an important reference the musical typological classification, we made a numbering of the songs according to it. In the case of songs that had several variants, we proceeded as Béla Bartók (1881–1945). In the case of variants, it does not change the order number of the song but keeps it, adding a small print letter, starting with "a" (e.g., 187a, 187b, 187c … 187, etc., depending on how many variants we have). This numbering offers a good visibility of the songs belonging to the same melodic type.

#### **5. Specific aspects of the transcription of the songs in the Chioar area**

At the level of the musical language, despite the fact that we have not found sources that talk about the particularities of the Chioar area, we consider that the musical material we submit to the study (335 songs from the neocasual lyrics, of which 84 are variants) is a representative source, in which we can identify a number of elements that outline the specificity of the area. The repertoire of the neocational lyric contains the most alive genres of folklore, being subjected as such to a continuous preface, in order to be in step with the life and feelings of the people, the melodic types materializing in countless variants. The broad sphere of the neocational lyric is defined only on the basis of the literary and functional criterion. Taking into account the musical criterion, we distinguish three genres: the doina, the song itself, and the vocal song of play.

I made the transcript of the musical material in such a way that the score would play as accurately as possible the sound reality, be easy to decipher, and not create a barrier to the one who has the interest to decipher it and the song would illustrate the idea that was wanted to be transmitted with his help.

Each copy in the collection was transcribed at least twice, so the musical material was learned much faster, and when I met several variants of a song, I could make the correspondence between them much easier.

#### *Research of the Musical Folklore From Maramureș: Chioar Area DOI: http://dx.doi.org/10.5772/intechopen.90682*

In the case of each song, the transcript corresponds to the first verse, except in cases where the beginning is unclear or has an incomplete form, in which case the second or third verse was transcribed (a fact marked by the number 2 or 3 next to the first melodic line). I have also encountered some examples of songs in which the performance has an improvisational character, the variations targeting both the rhythmic-melodic parameter and the formal aspect, these songs being transcribed entirely. All the transcribed musical material is present on a CD in MP3 format, the order of the songs on the compact disc being the same as the one in the work.

The own song, a genre rich in themes and ideas with countless variants, is a fundamental material in the research of musical folklore. Especially confessional and intimate, the song expresses varied feelings and ideas, depending on the nature of each individual or the spiritual state that they externalize through the art of sounds. To the common name of the *song* in the scientific terminology was added by Constantin Brăiloiu the *own* explanation, to distinguish it from the occasional songs, integrated to some habits, particularly functional and thematic. Permanent renewal explains the very large number of melodic types and variants existing in the repertoire. Within the musical material I researched, I came across songs that have one to eleven variants.

Some songs have common melodic types with other areas. An example in this sense is the modern style song *S-o dus badea-n cătănie* which is sung on another text and slightly melodically varied and from the Alba area:

Example 1 from the archive of the Cluj Folklore Institute: *Șurdești*, MM.

Pop Maria*,* Pop Mărioara.

This symbol ("+") is only used in cases where the refrain represents a complement, that is, the support refrain. When it is a stand-alone refrain, we use the

There were also cases in which both situations were present, proper refrain and

Having as an important reference the musical typological classification, we made

a numbering of the songs according to it. In the case of songs that had several variants, we proceeded as Béla Bartók (1881–1945). In the case of variants, it does not change the order number of the song but keeps it, adding a small print letter, starting with "a" (e.g., 187a, 187b, 187c … 187, etc., depending on how many variants we have). This numbering offers a good visibility of the songs belonging to the

**5. Specific aspects of the transcription of the songs in the Chioar area**

At the level of the musical language, despite the fact that we have not found sources that talk about the particularities of the Chioar area, we consider that the musical material we submit to the study (335 songs from the neocasual lyrics, of which 84 are variants) is a representative source, in which we can identify a number of elements that outline the specificity of the area. The repertoire of the neocational lyric contains the most alive genres of folklore, being subjected as such to a continuous preface, in order to be in step with the life and feelings of the people, the melodic types materializing in countless variants. The broad sphere of the neocational lyric is defined only on the basis of the literary and functional criterion. Taking into account the musical criterion, we distinguish three genres: the

I made the transcript of the musical material in such a way that the score would play as accurately as possible the sound reality, be easy to decipher, and not create a barrier to the one who has the interest to decipher it and the song would illustrate

Each copy in the collection was transcribed at least twice, so the musical material was learned much faster, and when I met several variants of a song, I could make

doina, the song itself, and the vocal song of play.

the correspondence between them much easier.

the idea that was wanted to be transmitted with his help.

following spelling:

*Heritage*

support refrain:

same melodic type.

**194**

*Cul.* Istrate A., 1978; *Tr.* Uță L.

Examples 2 and 3 from Ioan Bocșa, *Muzică vocală tradițională din Munții Apuseni* [10]:

If we sit and analyze, these general features are the resemblance to the doina; the essential difference consists of the character of the architectural structure: the free,

Unlike the old style song, the rhythm of the modern style song, as a result of the transformation tendency, is an exclusively *divisive* one. In the last two centuries, a new style, called "modern" (Constantin Brăiloiu), also appears within the regional frameworks and on the basis of the national fund, following the important changes in people's lives: the gradual disaggregation of the closed peasant economy and patriarchal life., large population changes, either in search of work, or to escape exploitation, intense village-town or seasonal commuting, military service, the importance of the fighters in the life of the villages and their heterogeneous reper-

The new style is imposed by its great accessibility; wide and fast circulation; uneven development on a regional level (it seems that the first new style songs appeared in the sub-Carpathian area); the exuberant, dynamic character, achieved through fast movement and regular rhythm (close to the measured rhythm); the simplification of the melody by giving up the melismatic richness; varied melodic

Other features are as follows: developing the melodic verse by adding new melodic lines or repetition and adding to the traditional metric pattern some interjections; short melodic drawings sung on refrain syllables, at the beginning or the end of the melodic line; amplifying the sound material and the ambitus; new relationships between the final cadence and the inner cadences; the appearance of the major-minor tones; the tonal structure; the sensible

formulas of ascending cadences; the preference for the songs with a single functional center; and the presence of the refrain in the end or inside the musical

Regarding the vocal dance music, in Chioar there are also songs performed vocally, on tetrapodic lyrics, usually appearing beside the text and shouting with satirical character. As a way of execution, often the rhythm (in most cases punctuated) is exceeded by the importance of the words, the performer giving priority to them, within the dances being close melodic variants. In the vocal dance song, the words are only a pretext for singing in the rhythm of the dance, and whole verses are often being replaced with the syllables of a refrain, *la, la, la,*

Example 6 from the archive of the Cluj Folklore Institute:

improvised form in the doina, fixed (strophic) in the catalog itself.

*Research of the Musical Folklore From Maramureș: Chioar Area*

*DOI: http://dx.doi.org/10.5772/intechopen.90682*

toire, etc.

discourse.

or *na, na, na:*

**197**

*Coaș*, MM.

Petrică Elvira, 36 a.

*Cul.* Răciu S., 1975; *Tr.* Uță L*.*

contour; and large interval breaks.

After the transcription stage, the material was classified into three broad categories: old style songs<sup>17</sup> (in 179 songs out of which 56 are variants), songs of modern style (in 95 songs of which 16 are variants), and songs playing vocals (in 61 songs, of which 12 are variants).

The old style song is characterized by the execution *parlando rubato*. Depending on the style of zonal interpretation—sometimes depending on the vocal capabilities of the performer—the melody is richly ornamented. In the Chioar Country, the songs are not very ornate, and they have a much more melodic outline. The most common are the anterior or posterior grace note and the lower or upper mordent; we do not find a loaded ornamental pallet. The song itself is widespread in an individual interpretation, a way preferred by the lyrical categories. Some creations, long crystallized and entered into the consciousness of the community, can also be interpreted as a group. And in this case, I met songs, performed especially by a group of women. I noticed that there is a person within the group who is somewhat imposing, both in terms of the interpretation and the smooth running of the song text. In these cases, the women sang with a loud, penetrating "metallic" emission, and in the individual singing, they were much more gracious.

Many of the melodic types we encounter are based on formulas specific to the melodic recitative. We give as an example the first melodic line in two songs: *Munte, munte brad crengos* and *Cucule pasăre blândă*.

Example 4 from the archive of the Cluj Folklore Institute: *Buteasa*, MM.

Bodea Ion, 51.

*Cul*. Șter C.I., 1975; *Tr.* Uță L. Example 5 from the archive of the Cluj Folklore Institute: *Remecioara*, MM. Filimon Leontina.

*Cul*. Șter C.I., 1976; *Tr.* Uță L.

*Research of the Musical Folklore From Maramureș: Chioar Area DOI: http://dx.doi.org/10.5772/intechopen.90682*

If we sit and analyze, these general features are the resemblance to the doina; the essential difference consists of the character of the architectural structure: the free, improvised form in the doina, fixed (strophic) in the catalog itself.

Unlike the old style song, the rhythm of the modern style song, as a result of the transformation tendency, is an exclusively *divisive* one. In the last two centuries, a new style, called "modern" (Constantin Brăiloiu), also appears within the regional frameworks and on the basis of the national fund, following the important changes in people's lives: the gradual disaggregation of the closed peasant economy and patriarchal life., large population changes, either in search of work, or to escape exploitation, intense village-town or seasonal commuting, military service, the importance of the fighters in the life of the villages and their heterogeneous repertoire, etc.

The new style is imposed by its great accessibility; wide and fast circulation; uneven development on a regional level (it seems that the first new style songs appeared in the sub-Carpathian area); the exuberant, dynamic character, achieved through fast movement and regular rhythm (close to the measured rhythm); the simplification of the melody by giving up the melismatic richness; varied melodic contour; and large interval breaks.

Other features are as follows: developing the melodic verse by adding new melodic lines or repetition and adding to the traditional metric pattern some interjections; short melodic drawings sung on refrain syllables, at the beginning or the end of the melodic line; amplifying the sound material and the ambitus; new relationships between the final cadence and the inner cadences; the appearance of the major-minor tones; the tonal structure; the sensible formulas of ascending cadences; the preference for the songs with a single functional center; and the presence of the refrain in the end or inside the musical discourse.

Regarding the vocal dance music, in Chioar there are also songs performed vocally, on tetrapodic lyrics, usually appearing beside the text and shouting with satirical character. As a way of execution, often the rhythm (in most cases punctuated) is exceeded by the importance of the words, the performer giving priority to them, within the dances being close melodic variants. In the vocal dance song, the words are only a pretext for singing in the rhythm of the dance, and whole verses are often being replaced with the syllables of a refrain, *la, la, la,* or *na, na, na:*

Example 6 from the archive of the Cluj Folklore Institute: *Coaș*, MM.

Petrică Elvira, 36 a.

*Cul.* Răciu S., 1975; *Tr.* Uță L*.*

After the transcription stage, the material was classified into three broad categories: old style songs<sup>17</sup> (in 179 songs out of which 56 are variants), songs of modern style (in 95 songs of which 16 are variants), and songs playing vocals (in 61 songs, of

The old style song is characterized by the execution *parlando rubato*. Depending on the style of zonal interpretation—sometimes depending on the vocal capabilities of the performer—the melody is richly ornamented. In the Chioar Country, the songs are not very ornate, and they have a much more melodic outline. The most common are the anterior or posterior grace note and the lower or upper mordent; we do not find a loaded ornamental pallet. The song itself is widespread in an individual interpretation, a way preferred by the lyrical categories. Some creations, long crystallized and entered into the consciousness of the community, can also be interpreted as a group. And in this case, I met songs, performed especially by a group of women. I noticed that there is a person within the group who is somewhat imposing, both in terms of the interpretation and the smooth running of the song text. In these cases, the women sang with a loud, penetrating "metallic" emission,

Many of the melodic types we encounter are based on formulas specific to the melodic recitative. We give as an example the first melodic line in two songs: *Munte,*

and in the individual singing, they were much more gracious.

Example 4 from the archive of the Cluj Folklore Institute:

Example 5 from the archive of the Cluj Folklore Institute:

*munte brad crengos* and *Cucule pasăre blândă*.

*Cul*. Șter C.I., 1975; *Tr.* Uță L.

*Cul*. Șter C.I., 1976; *Tr.* Uță L.

*Remecioara*, MM. Filimon Leontina.

**196**

which 12 are variants).

*Heritage*

*Buteasa*, MM. Bodea Ion, 51.
