1 25 47 https://astoriedpeople.oberlincollegelibrary.org/files/original/cd54ab50cd5a9c29c9b2472465b5887e.jpg 8ed2f537a1e4458aface2122711a15b0 https://astoriedpeople.oberlincollegelibrary.org/files/original/cf4721a5f3c578e96a75ba740bbbccee.jpg 60512efa832ff9c1ada1ddaf548f968c https://astoriedpeople.oberlincollegelibrary.org/files/original/3cc9e70f3f5ca53fe5dee292d4923dac.jpg f18709fb3faaf39c66f88607a682acb9 https://astoriedpeople.oberlincollegelibrary.org/files/original/6d96a3a6724394f02a2e394b0bc06d93.jpg a63058dcd9fcc4ff1e75b2fc0ce41280 https://astoriedpeople.oberlincollegelibrary.org/files/original/56be6cceed7076189ceb3daaea2e51b9.JPG 8c93743ea3a4c435d2cbfbbba1d94f71 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Peri Levin Creator An entity primarily responsible for making the resource D. Szutesányi Gypsy Band Date A point or period of time associated with an event in the lifecycle of the resource 1975 Description An account of the resource An eight track record with music from a specific gypsy band. Described as "moody...sentimental, mournful, passionate..." When "A Vén Cigany" Hungarian Gypsy Melodies came out in 1975, it was in the midst of a time of change within and around the Hungarian gypsy community. In the 1960s and 70s radios and televisions began appearing in gypsy settlements throughout Hungary (p 45.) The easier accessibility to mainstream popular culture posed a potential conflict to the ever traditional communities. Romani nomadism was already in decline during the interwar period, and by the 1970s, gypsies were obtaining regular employment more and more regularly (p 45.) Since the beginning of the 1960s the guitar gained popularity steadily overall with Hungarian youth and community, but also in Romani settings. However, while the guitar symbolized more opportunities and expanding music to become more modern to the general public, to the Hungarian gypsy community, abandoning the traditional music style would have meant abandoning inherited communal traditions that had been around for centuries (p 47.) This commitment to traditional music, is echoed in Carol Silverman’s discussion of banning Romani wedding music and other traditions in Bulgaria resulting the continuation of traditions even under threat. This album represents a taste of the ever important traditional music for a gypsy audience, using more traditional instruments including violins and cellos. This more traditional music in the contemporary medium of an LP represents gypsy music staying true, while still evolving with the time. Works Cited: Kovalcsik, Katalin. "Popular Dance Music Elements in the Folk Music of Gypsies in Hungary." Popular Music 6, no. 1 (1987): 45-65. http://www.jstor.org/stable/853165. Silverman, Carol. "Chapter 7." In Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press, 2011. Format The file format, physical medium, or dimensions of the resource LP record in a paper covering case. Approximately 12"x12" Identifier An unambiguous reference to the resource within a given context CSC_GBA_15 PLD2028 https://storiedpeople.oberlincollegelibrary.org/items/show/18 https://storiedpeople.oberlincollegelibrary.org/files/original/51325ee4847f47d4f40bf20d06286e8e.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/111b5facc4d7f9f83a17658c005ec6a0.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e0070182ce4ab3a036add79db7ff2ff4.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/3146b5b86bca09017cf9380409fa4298.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/cdb884359408b3c91fb793e10c06c793.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available Peters International Inc. Rights Information about rights held in and over the resource Rights of the recording company and of the owner of the recorded work are reserved- no unauthorized reproduction prohibited Subject The topic of the resource Romanies Music Title A name given to the resource A Vén Cigany: Hungarian Gypsy Melodies "An Old Gypsy" A Vén Cygany: Hungarian Gypsy Melodies Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/8196727554c997627e1d7ba64813c51d.JPG f57cf9e0c0dbb84055b3d42e3ad35f80 https://astoriedpeople.oberlincollegelibrary.org/files/original/409dd28ddc33bcca67c5f0a12f38d778.JPG 6a49c27af80a8ef599c762023d91f849 https://astoriedpeople.oberlincollegelibrary.org/files/original/31e9d18570eff17f8c47497842004fde.JPG 841e66766655eb7d7e679c31e399bfb3 https://astoriedpeople.oberlincollegelibrary.org/files/original/6f01ca72e1654a8ed888c4d1b5e4f44b.JPG 5c0a8b57a14f34d2bd27b37e3d0efece Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Peri Levin Creator An entity primarily responsible for making the resource Editor: Heinrich Möller Date A point or period of time associated with an event in the lifecycle of the resource date unknown Description An account of the resource Books of German// Hungarian folk songs featuring 44 songs, their notation, and translations into both German and Hungarian. Remarks on each song are featured at the bottom of the page. Format The file format, physical medium, or dimensions of the resource Book. 68 page ; 31 cm Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/6 https://storiedpeople.oberlincollegelibrary.org/files/original/0ad0459e9819bab43c5a518498dc1d6f.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/507d289a7dbd2eb1b4ffdee7d3ed8e47.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/78d5b70a8e8f3fd4d91580ac9f4f165a.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/8385453263245cc2df12f0811e99df4f.JPG Language A language of the resource German Hungarian Publisher An entity responsible for making the resource available B Schotts Sohne Mainz-Leipzig Subject The topic of the resource German- and Hungarian-language folk music book Title A name given to the resource Ungarische Volkslieder: Das Lied der Volker "Hungarian Folk Songs: The Song of the People" Type The nature or genre of the resource Print https://astoriedpeople.oberlincollegelibrary.org/files/original/d0e9b6d507ff9c7d23bfdfe309153da2.jpg c0c8b04e5c957fe42454d3f2f81ca2dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Patrick S Monnius Creator An entity primarily responsible for making the resource Demény, Desiderius (Original Hungarian text) Lockwood, Elisabeth M. (English Translation) Heidelberg, Adalbert (German Translation) Date A point or period of time associated with an event in the lifecycle of the resource 1935 Description An account of the resource This work is a collection of sheet music for 100 Hungarian songs and includes the text in the original Hungarian with translations in German and English. Desiderius Demény is listed as the composer. Elisabeth Lockwood and Adalbert Heidelberg contributed the English and German translations, respectively. According to Barbara Lange in The Power of Discountinuity in Hungary Gypsy Nóta, “magyar nóta is a type of nineteenth century Hungarian popular song (Lange, 519).” This suggests that the songs within this book are not specifically from a gypsy or Roma origin, but instead stem from this traditional Hungarian music. However, it is possible that various Roma groups throughout Hungary could have sung any number of these songs in some context. It is also interesting to note that the composer or compiler of these 100 songs, Demény, does not come up in any research, save for when he is mentioned as a student of Victor von Herzfeld (Pfitzinger, 237). Herzfeld was a violinist and composer that studied in both Vienna and Berlin before moving to Budapest to become a professor of music theory and composition at the Franz Liszt Academy of Music (Csando). It is here that one can assume he became the mentor of Desiderius Demêny, who would later come to compile this work. Csando , Mária. “Herzfeld Viktor.” Zeneakadémia , Franz Liszt Music Academy , lfze.hu/hu/nagy-elodok/-/asset_publisher/HVHn5fqOrfp7/content/herzfeld-viktor/10192;jsessionid=16646DCD8A62A701C17DE93AE9B37902. Lange, Barbara Rose. “‘What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota.” Ethnomusicology, vol. 41, no. 3, 1997, pp. 517–537., doi:10.2307/852762. Pfitzinger, Scott. “Composer Genealogies: a Compendium of Composers, Their Teachers, and Their Students.” Composer Genealogies: a Compendium of Composers, Their Teachers, and Their Students, Rowman & Littlefield, 2017, p. 237. Format The file format, physical medium, or dimensions of the resource Metal spiral bound book ; Hungarian Music for Voice and Piano. 104 pages ; 31 cm Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/3 https://storiedpeople.oberlincollegelibrary.org/files/original/e70bd24c98173bc5b6548ec0ea24efb2.jpg Language A language of the resource Hungarian German English Publisher An entity responsible for making the resource available Rózsvavölgyi & Co., Budapest Rights Information about rights held in and over the resource Copyrighted 1935 by Rózsavölgyi & Co., Budapest Subject The topic of the resource Hungarian songs for Voice and Piano Title A name given to the resource 100 Magjar Nöta Ungarische Lieder 100 Hungarian Songs Type The nature or genre of the resource Print https://astoriedpeople.oberlincollegelibrary.org/files/original/ed56088923b9773b97655c54a6b10a22.jpg 00120555ef430e46a3529a7e76de2126 https://astoriedpeople.oberlincollegelibrary.org/files/original/458cec55e0c4ec10ced74feafcd2a07a.jpg c7bec597c9eb0725fd9e3c68a3ddee8c https://astoriedpeople.oberlincollegelibrary.org/files/original/46d81f4f943b4ba0c8b8f9733f2c0710.jpg afee3c461ca150189855d791498a465f https://astoriedpeople.oberlincollegelibrary.org/files/original/a376022f6aed73378bb808cd9927e701.jpg 1e9cdb905044db787e1f547791def617 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Phyllis Jones Creator An entity primarily responsible for making the resource John Brenkács and his Gypsy Orchestra Description An account of the resource Performances of Hungarian Gypsy music by violinist John Brenkács. Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_02 B and F S-640 https://storiedpeople.oberlincollegelibrary.org/items/show/36 https://storiedpeople.oberlincollegelibrary.org/files/original/fd9d6bbb23a50f84d9350c577e0dcd64.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/38111124bf4272e6a3402b2594cf0c44.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/6e6f3e615f25f7c62370438ca76ed691.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/c68a54faa5ca4bf6a172441642c44431.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available B and F Records Subject The topic of the resource Czardas Romanies Music Music Hungary Title A name given to the resource 28 Hungarian dance csárdás 28 dance csárdás Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/d0f973ab0a331592fdbed2d06656009e.jpg bc282890d1f1379ba762b48901bffe97 https://astoriedpeople.oberlincollegelibrary.org/files/original/6727add84b5592c9928187f31c54d033.JPG 113a489930d52aacb5637465f4ff4b3d https://astoriedpeople.oberlincollegelibrary.org/files/original/4565b3311176684d495d8a465de27ca2.JPG 418641106a1d7c61bc3a0cd240ad0429 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Francesca Scola Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungary Creator An entity primarily responsible for making the resource Music by various artists English translation (except #13) by Nicholas Lany German Text by J.F. Bárd, W. Donáth, A. Hetênyi- Heildelberg, and J. Nādor Designed by Georg Nemes Contents: There's but one girl – Szentrimay E. Ever'y little maiden – Népdal- Folksong- Volkslied Leaves are falling – Rácz P. Oh my heart – Balázs Ā.- Antal I. When I look in your eyes –Dankō P. – Álgyai G. Oh, they've robbed me – Vajda J. Marthon G. Do You want to have a good time -- Népdal- Folksong- Volkslied (Arrangement by Huber Sándor) Old almond tree – Dóczy J. Stars are shining brighter – Nádor J. Sweetheart, darling – Kartész Zs. L. – Kubányi Gy. Maids grow to be women – Erõss B. Where the winding waters – Fráter L. Csillay K. Roses of Whitsuntide – Vitéz Kókay I. There's my pup –Szentimiklóssy- Bankó I I have sent you dearest – László I- Takáts S. If your soul is sick—Murgács K. Date A point or period of time associated with an event in the lifecycle of the resource Copyright 1938 Description An account of the resource A Bouquet of Hungarian Songs is a selection of Hungarian folk music compiled into a book of musical scores. The collection is 20 pages long with 16 traditional songs from various artists, including the sheet music as well as English, Hungarian, and German translations. The work can also be found under the other titles: Ungarischer Liederstrauss mit ungarischen, deutschen und englischen worten Magyar Nótacsokor. A Bouquet of Hungarian Songs was published under joint copy right to Bárd Ferenc És Fia & Nádor Kálmán in 1939 Budapest, Hungary. 1939 marks the start of the deadliest conflict in human history, World War II. During World War II Hungary was a member of the Axis Powers and suffered a large number of solider and civilian deaths. This was also a period there both Jews and Roma people faced discrimination and later deportation/ extermination throughout Hungary and much of Eastern Europe. The publication of “A Bouquet of Hungarian Songs” during this time shows that while Roma people faced extreme racism, their culture and music was still widely enjoyed and consumed by the same groups they faced discrimination from. Works Cited: “A Bouquet of Hungarian Songs with English, Hungarian and German Words = Magyar Nótacsokor = Ungarischer Liederstrauss Mit Ungarischen, Deutschen Und Englischen Worten.” Find in a Library with WorldCat, WorldCat, 3 Sept. 2017,  Silverman, Carol. “Part III: Music, States, and Markets .” Romani Routes: Cultural Politics and Balkan Music in Diaspora, Oxford University Press, 2014, pp. 127–177. Taylor, Becky. Another Darkness, another Dawn: A History of Gypsies, Roma and Travellers. Reaktion Books, London, England, 2014. 1 score, 20 Pages, 31 cm Format The file format, physical medium, or dimensions of the resource Bound songbook. 20 page ; 33 cm Bound Sheet music Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/4 https://storiedpeople.oberlincollegelibrary.org/files/original/586be17a07b3d17b9f8f4b2a7461c399.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/c1bafeb870ea7e6ff506b53358eed97d.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/563f55b292ee62763a84b6d371a9d56a.JPG Language A language of the resource English Hungarian German Publisher An entity responsible for making the resource available Gemeinshaftlicher Verlang Von, Budapest. Rights Information about rights held in and over the resource Joint copy right: Bárd Ference ÉS FIA and Nádor Kalmán Subject The topic of the resource Folk music Hungary Title A name given to the resource A Bouquet of Hungarian Songs Type The nature or genre of the resource Print https://astoriedpeople.oberlincollegelibrary.org/files/original/be51bb380e29f079cf25953e3dc0630a.jpg a9b97fe95ab41a904b36195bee493e73 https://astoriedpeople.oberlincollegelibrary.org/files/original/209d5262a2a3214fb6f1c4d856bf7d11.jpg 19f94734eb7c114eb4c0ba6dcfa83e1d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Hannah Halpern Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian folk music Creator An entity primarily responsible for making the resource Joszy and His Orchestra Date A point or period of time associated with an event in the lifecycle of the resource ©1956 Description An account of the resource Vinyl record of music by Joszy and His Orchestra. There are 15 songs total. Seven songs on Side A and eight songs on Side B. Side A: Rare Grows The Wheat A Maiden Cries At Ake Balaton You Are My Man Ballad Little Picket Fence Long Ago Take Wing Side B: My Sweetheart Will Never Be Mine Sad Song Outlaw's Song Gleaming Stars Berry Chant Secret Love Starlight Night Farewell Mother Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_03 WP 6016 https://storiedpeople.oberlincollegelibrary.org/items/show/14 https://storiedpeople.oberlincollegelibrary.org/files/original/0546641410efd805356b632c099f3c2a.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/cb6910f7e3c4163f2cd424b2d2998e8f.jpg Language A language of the resource English Publisher An entity responsible for making the resource available Westminister Records (WP 6016) Rights Information about rights held in and over the resource Vinyl released in 1956 Subject The topic of the resource Romanies Music Folk music Hungary Title A name given to the resource A Gypsy Night Type The nature or genre of the resource LP Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Related Resources and Donations Subject The topic of the resource Romani Music Description An account of the resource Monographs and edited volumes of relevance to materials in the Batyi Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Balkan Fascination: Creating an Alternative Music Culture in America Subject The topic of the resource Balkan Music Description An account of the resource Monograph on enthusiasts of Balkan music traditions in the United States Creator An entity primarily responsible for making the resource Mirjana Laušević Source A related resource from which the described resource is derived obis.oberlin.edu/record=b2574327~S4 Publisher An entity responsible for making the resource available Oxford University Press Date A point or period of time associated with an event in the lifecycle of the resource 2007 Rights Information about rights held in and over the resource © Mirjana Laušević Format The file format, physical medium, or dimensions of the resource Hardbound book; x, 299 p. : ill., music ; 25 cm. + 1 DVD (4 3/4 in.) Language A language of the resource English Identifier An unambiguous reference to the resource within a given context ML3560.B28 L38 2007 (Oberlin Library Call Number) https://astoriedpeople.oberlincollegelibrary.org/files/original/31ec4f3db66c9b156b335fb0965038de.jpg f20d1c32a45051169bc9cf44f0ea6ffc https://astoriedpeople.oberlincollegelibrary.org/files/original/5ef828948828c98a7ca074147aa1854b.jpg 1c23ebb2bf7f76363262217326dfd1d6 https://astoriedpeople.oberlincollegelibrary.org/files/original/19aec79ee840aa3750db61bf83566e83.png 19db2f74634fb542cbbe815fcc1dea78 https://astoriedpeople.oberlincollegelibrary.org/files/original/be087151d31a5aa5428203b86fdbab21.jpg aabc04b15eb978ddabd9e7e16f56db37 https://astoriedpeople.oberlincollegelibrary.org/files/original/d203d63372e80eeae47e85469cf7b517.jpg a9d161a94de6d0833a9ec9a55126f5c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Basav Roma Lavuta (Play Gypsy Violin) Subject The topic of the resource Romanies Music Description An account of the resource George Batyi is a world-renowned Romani violinist. He is considered by many to be the top player in the genre. Starting at a young age (seen in one of the pictures at around 7 years old) he is well versed across musical styles of eastern European origins, folk, classical, country-western, Latin and more. He has been a bandleader since the age of 13 and has attracted talented performers to play with him including Alex Uduary, considered the world’s greatest cimbalom players. His album was released in 2011 with Alex Uduary and Billy Rose. Batyi embodies how music can transcend human conflict and discrimination. Silverman writes “For Roma, musical performance has been one of the positively coded arenas in a long history of exclusion, and thus it charts a potential site of transformation” (Silverman 5). Batyi embodies the power of musical performance for Roma by remaining one of the most desired and well-known Gypsy musicians in the US. George Batyi shows his pride of his culture through his music while also revealing to the world similarities and beauty that remains in Romani Culture. His music ranges from traditional Hungarian and Romanian songs to classical composers such as Brahms as well as traditional tambura. Work Cited George Batyi with Alex Uduary & Billy Rose. “Basav Roma Lavuta (Play Gypsy Violin).” Piskor, Steve. Gypsy Violins: Hungarian-Slovak Gypsies in America. Saroma, 2012. Silverman, Carol. Romani routes: cultural politics and Balkan music in diaspora. Oxford University Press, 2014. Creator An entity primarily responsible for making the resource George Batyi with Alex Uduary & Billy Rose Date A point or period of time associated with an event in the lifecycle of the resource 2011 Contributor An entity responsible for making contributions to the resource Gabrielle 'Teddy' Ment Rights Information about rights held in and over the resource © George Batyi Format The file format, physical medium, or dimensions of the resource CD 120mm diameter, 120mm square case Language A language of the resource Hungarian Romani English Type The nature or genre of the resource CD Identifier An unambiguous reference to the resource within a given context CSC_GBA_22 https://storiedpeople.oberlincollegelibrary.org/items/show/25 https://storiedpeople.oberlincollegelibrary.org/files/original/934c8a03104ef8035e7d593b255d316a.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/a444a0dc24f2a55fc61c21bd48c6aeb2.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/359595c63a722693adcb7b2202dbc4e5.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/a8ec5c5ed6390381f45aeb75b9099209.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/9e7f6c134750e33d97aaa79e50a502c0.png Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37">George Batyi Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/35">Billy Rose Interview</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/43b295126b094170e0e78e267fa27fd1.JPG af6a621011096cc8f784f0bef8312934 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy Rose Description An account of the resource Photograph of Billy Rose (guitar, center) playing with Chris Rose (bass guitar, right) as part of George Batyi's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Emily Peterson, Hannah Halpern, Rae Friedman Interviewee The person(s) being interviewed Billy Rose OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC04.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Billy Rose Oberlin College IMC04 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Billy Rose Emily Peterson, Hannah Halpern, Rae Friedman 0 http://ohla.info/wp-content/uploads/2017/11/Billy-Rose-Oct-30-2017-interview-171030_003.mp3 Other audio 1 Introductions BR: I was born in Braddock, Pennsylvania in 1931. And my birthday is April 21st. And...uh...I lived there until I was about 10 years old, then we moved to Detroit, Detroit Michigan. The interviewers Emily, Rae, and Hannah introduce themselves and where and when the interview is taking place. Billy Rose also introduces himself. He was born in Braddock, PA on April 21, 1931. He moved to Detroit, MI when he was 10 and then moved to Dearborn. Braddock ; Detroit ; Oberlin Family -- Identification ; Genealogy &amp ; local history ; Oberlin College 17 96 Family History HH: So were your parents also from Braddock? BR: Well originally yeah, my father was born in New York but he met my mother in New York and then they moved to Braddock and then they moved to Detroit. Billy Rose had four children, three of whom are still alive. He was married 31 years to his first wife and has been married 34 years to his current wife. His grandparents came to America from Europe and his parents were from New York, which is where they met. Children ; Grandparents ; Marriage ; New York ; Parents family origins ; Hungarian background ; married life 17 214 Marriage to first wife BR: I met her at a birthday party in Cleveland, Ohio and she was 16 years old then. And then her mother was a good friend of my mother's and they used to come to New York for weddings and stuff, big weddings we had. And my mother talked to them I guess and then they got me into a situation when I was 19 and then I went and see her in New York. He met his first wife at a birthday party in Cleveland, OH. He describes his marriage as &quot ; sort of&quot ; an arranged marriage, where the parents were definitely involved in the process and knew each other well, but there were still strong feelings for each other. Cleveland ; Detroit ; First Wife ; Marriage Arranged Marriage ; Hungarian Culture ; Hungarian Musicians 17 287 Were your parents musicians? Were your kids musicians? BR: And he played music too on Friday and Saturdays. He played viola...in Hungarian we call them contra, contrash. That's the guy that plays chords. And they played in nightclubs you know and on weekends mostly. Hungarian nightclubs, strictly Hungarian music. More about family history involving music, moving from Braddock to Detroit. His grandfather played the violin, his father played the viola in Hungarian nightclubs. Rose speaks a Gypsy language that he learned from his grandparents, and doesn't know Hungarian. His kids can understand some of the words in the Gypsy language but can't speak it. Braddock ; Detroit ; Grandparents ; Gypsy language ; Hungarian ; Nightclubs ; Parents ; Viola ; Violin Budapest--Violinist ; Musicians--Detroit ; Musicians--Pennsylvania 17 455 Did you encourage your kids to marry a Hungarian person? RF: How did they keep the culture alive? BR: Through the parties and weddings we went to and stuff like that it was Hungarian. The food was Hungarian like stuffed cabbage and chicken paprikash, you know Hungarian food. And we still cook that way. Rose didn't encourage any of his kids to marry Hungarians, but they all did anyway. His daughter married someone from the neighborhood of Del Ray where they lived, and his son married the sister of the person Rose's daughter married. His other son also married a Hungarian woman. There was a strong Hungarian community, even though no one spoke Hungarian. Culture was kept alive through celebrations and food. Birthday Parties ; Celebrations ; Chicken Paprikash ; Children ; Community ; Culture ; Del Ray ; Hungarian ; Marriage ; Neighborhood ; Stuffed Cabbage ; Weddings Family, religion, and culture ; Gypsy Musicians ; Hungarian Community ; Hungarian Marriage 17 554 Do you feel like the culture is fading? BR: The thing that it died off like that...I think it was the music today. See, it's different. Even playing in a nightclub. We used to play five, six days a week in a night, you know and I used to play three jobs a day, you know, but now no restaurants want to hire cause their just going to that other music. Or they'll hire a piano player, they don't want to pay. Rose says that Hungarian people who live in Europe still have a strong culture, but Hungarian Gypsy music in America is declining because of other types of music. Traditions like weddings are also changing. Rose feels sad about this decline. America ; Culture ; Drinking ; Europe ; Gypsy Music ; Hungarian ; Hungary ; Money ; Nightclubs ; Rock and Roll ; Wedding Dance ; Weddings Fading Gypsy Culture ; Fading Gypsy Music ; Gypsy--Culture ; Hungarian Dance 17 714 Performance spaces BR: I used to have 20 men playing Hungarian music, you know, but that's when they were living and they played that music. But now they're all gone and we're mostly playing American music. Rose prefers to play at a &quot ; classy&quot ; place like a restaurant. Once in a while he would play in an auditorium, but most work came from restaurants and nightclubs. Hungarian music is less in demand, so he plays other genres like country and rock and roll. He used to play the same venue for up to 15 years. He also talks about the money, although it wasn't much it was steady. Concert halls ; Concerts ; Genre ; Hungarian ; Money ; Music ; Restaurants Hungarian Music ; Hungarian Nightclubs ; Hungarian Venues 17 832 Did you say your kids all play instruments? RF: So Was it important for you to encourage them from a young age... BR: Yeah because they wanted to play. I started them off when they were seven, eight years old. Cause I was playing, and they liked to...they were always in it. But they... and they all were music except my daughter, my daughter didn't play, just the three boys. Rose's son Chris still plays music and plays with Billy still. His kids wanted to play because they saw their family doing it. All the kids played music except for Rose's daughter. He says it wasn't necessarily because of her gender, she became a housewife. Women are playing music in Hungary, but there are still more men playing things like cimbalom. Rose also talks about one of his favorite European artists. Neither Rose nor his kids has not traveled to Europe. Children ; Europe ; Family ; Gender ; Hungary ; Music ; Travel Family Musicians ; Gender and Music ; Music--Classical influences 17 981 Are your kids interested in your family's history and their identity? BR: My granddaughter that just got married, Chris' daughter, she goes on YouTube, she got the backgrounds to my grandmother, my great-grandmother, to find out where they lived. And she wanted to find out a lot about our culture and who the family were and all that. Oh yeah, she's a computer wiz. Rose's granddaughter is interested in family history and culture, and finds things on the internet. GPS and the internet are also discussed. Rose has an album that was released 15 years ago. Album ; Culture ; Family History ; Granddaughter ; Internet Background and Culture ; Grandchildren ; Hungarian Identity 17 1071 Do you feel like part of your culture is erased when you sing American music? BR: I like to do all kinds of music. My favorite music is Hungarian, that's my favorite, I love Hungarian music. Cause I grew up in it, that's what I learned first. Rose likes to play all kinds of music, though his favorite music is Hungarian because that's what he grew up with. He started playing American music later partially because he had to because the music was changing. There isn't demand for his kind of music any more at parties and celebrations. In the US, Hungarian music died 20 or 25 years ago. American ; Changes ; Hungarian ; Music Change in Culture an Music ; Diversity in Music ; Music--Hungarian influences 17 1226 Do you ever think a revival of Hungarian music could be possible? &quot ; They'll want us to play an anniversary party to remember the days they got married&quot ; Rose doesn't think so. However, he believes that there will always be places where people will want to hear Hungarian music. He mentions anniversary parties and celebrations where he plays the music. He then explains that it's not just Hungarian music that is losing popularity, but Polish, Italian, Jewish, Romanian, Irish, Arabic- all types of music he has learned over the past 30 years. Polish, Hungarian, Italian, Revival Diverse Music Experiences ; Popular music and art music 17 1284 How did you learn so many different varieties of music? &quot ; I played with people that know that music&quot ; &quot ; My ear got trained to understand what they're playing&quot ; Rose explains that he has played with many people that know cultural music. His ear has been trained from a young age to pick up on different types of sounds, chords and melodies, so that he can easily learn new pieces and play along. He is proud that he still has a great memory for songs and different peoples' tastes/preferences. Music Knowledge, Music education Diverse Musical Talents ; Speech, music, and hearing 17 1371 What are the differences between the many types of ethnic music you play? &quot ; The chords are mostly the same type of chords, but they go in a different formation&quot ; The chords are basically the same, but the patterns and ways they fit together differ depending on the culture the song is coming from. He describes Hungarian music/chord patterns as mostly &quot ; melancholy&quot ; , but when Hungarians dance, they play csárdás. Rose explains the two step dance technique used for this style of Hungarian music. csárdás, chord patterns, ethnic music Chord Formation ; Chord Patterns ; Dance Rythm ; Piano 17 1531 Did your family ever try to hide their gypsy identity for fear of being stereotyped? &quot ; I've never met any people like that&quot ; &quot ; A lot of the gypsies were fortune telling gypsies, our type of gypsies don't do that&quot ; Rose's family never hid there identity. He explains the difference between fortune-telling gypsies that steal and are discriminated against, however his &quot ; type of gypsies&quot ; spend their lives playing music. He says that some become doctors and lawyers, and that his people have always been &quot ; good people.&quot ; stereotyping, fortune-telling, discrimination Gypsy People ; Gypsy Pride ; Music and Business 17 1596 What is the Gypsy community like in Dearborn, where you live now? &quot ; We're all separated now, we're not together&quot ; &quot ; When we were in PA we were in one area, everyone lived right next to each other&quot ; Rose explains that there is no longer a section of the city where all of the Hungarians live, everyone has become scattered, unlike Pennsylvania where everyone lived right next to each other. Rose says it feels much lonelier now, without the physical connection of the close-knit community. The only times he feels like he sees the gypsy community come together is at weddings and funerals. He feels sad about this change. Cultural divide, community Community Separation ; Hungarian Reunions ; Lack of Community Distinction 17 1714 Returning to hometown of Braddock, PA &quot ; When he showed me that I wanted to cry&quot ; &quot ; There was nothing there no more&quot ; A few months ago, Rose returned to his hometown of Braddock, PA visit where he used to live and where his grandparents were buried. He explains that nothing is there anymore, no railroad, no stores, no house, just &quot ; junk&quot ; . This made him very upset, saying it &quot ; tore my heart out&quot ; . His family couldn't believe it. Neighborhood change, historic city Local history ; Neighborhoods--United States ; Shrinking Cities ; Urban Renewal 17 1887 Do you see yourself passing down your cultural musical traditions to younger generations? &quot ; The older people have it (music) in their minds because they knew what it was, but it will never come back. Never&quot ; Rose strongly believes that the popularity of Hungarian music in America has come to an end. He does not have any interest in passing down musical traditions to younger generations because they seem completely uninterested. Musical Legacy family, religion, and culture ; Musicians, Romani ; Romanies -- United States -- Social life and customs ; Romanies--Hungary--Music 17 2126 What role has religion played in your life? &quot ; I still go to church and all that&quot ; Rose grew up catholic and raised his kids catholic. His first wife was catholic and his second wife converted after they married. All of his kids married catholic spouses. He explains that he probably would not have married someone who was not catholic. Catholic Church--Customs and Practices ; Identification (Religion) ; Marriage--Religious aspects--Catholic Church ; Religion, Catholic, Marriage 17 2361 Of all the restaurants/bars/jobs you worked at, what was your favorite and why? &quot ; It was an Italian restaurant and I met a lot of movie stars there&quot ; &quot ; We strolled around the tables and played requests&quot ; In 1946, Rose worked at Giovani's restaurant in Detroit where he met many movie stars. He met and played for Anthony Quinn who was very impressed by his music. He also met Barbara Streisand in the downtown Detroit music scene. Downtown Detroit, Gypsy performers Detroit (Mich.)--History ; gigs (employment) ; musicians (employment) ; Musicians, Romani 17 2545 So besides the cool performers that you met, what else did you like about certain places that you worked at? &quot ; It was a good adventure. I loved music and I loved to play. I played in Vegas, opposite Wayne Newtown when he first started out, in the Freemont Hotel in 1960&quot ; Rose remembers that there were always nice people that worked in all of the restaurants he played for. He particularly remembers an expensive restaurant in downtown Detroit where he played in the 1960s. The name of the restaurant was London Chophouse and he believes it's still around. He recalls again, as previously mentioned, playing with Wayne Newton in Las Vegas in 1960. Nice people, downtown Detroit, adventure, Wayne Newton, 1960, 1974 Detroit (Mich.)--History ; gigs (employment) ; musicians (employment) ; Musicians, Romani 17 2654 When you were playing in Detroit - who were you playing with? Were they relatives or just friends?&quot ; &quot ; They were all just friends of mine. Distant cousins. After awhile my sons started to play with me...&quot ; Rose discusses how he for the most part place more-so than relatives. After awhile, however, his son began to play with him but for the most part he played with his friends. His sons all grew up and moved to other places such as Florida and Las Vegas. family, friends, performing, band Family, religion, and culture ; musicians (employment) ; Musicians, Romani 17 2733 Did you ever use sheet music or was it almost always from memory? &quot ; No I read music too...&quot ; Rose mentions that he had to be able to read music because when he moved to New York with his first wife he joined several klezmer Jewish bands and needed to make sure he could read the notes. read, music, sheet, klezmer, Jewish Genealogy ; musicians (employment) ; Musicians, Romani ; Romanies--Hungary--Music 17 2782 Were you ever interested in learning Classical or can you play Classical guitar at all? &quot ; Oh I can play classical but not the heavy Classical, like the dances and stuff...the Rhapsody and things like that&quot ; He could play whatever the leader, the violinist would play. But he could play some Classical music. His speciality however is Hungarian music and the following the speed of the violin classical, music, Hungarian, speed, violin, leader Music--Classical influences ; Music--Hungarian influences ; Popular music and art music ; Romanies--Hungary--Music 17 2858 Venue for Concert Later Brief interlude on the venue Billy Rose and his band would be playing at later that night. Question about what type of venue and whether or not it's equivalent to an auditorium or not auditorium, venue, Cimbalom ; gigs (employment) ; musicians (employment) ; venue 17 2899 And your cimbalom player is coming from Cleveland right? EP: &quot ; Have you ever played with this person before? BR: No ER: Is that scary or is it regular? Is it normal? BR: No because Georgie we follow him. He's the violin player. So whatever he plays we gotta play with him. See, we don't have anything set Original cimbalom player was from Chicago but he hurt his toe and is unable to participate in the show. At the hospital they told him he had problems with his heart. They found a replacement from Cleveland. He hasn't played with the person before. Again it is mentioned that since Rose follows the violinist, Georgie, he does not have to worry about any other members. Everyone just has to follow Georgie. Cimbalom ; Cimbalom makers ; gigs (employment) ; musicians (employment) 17 2973 So you guys don't necessarily plan what you're going to play? It's more improv? &quot ; You can't just play music and just read it and that's all. There's many people like that. Like symphonies and stuff they can't play without the music...&quot ; Rose acknowledges that since Georgie is the violinist, he decides upon the tempo and songs that are played. Since everyone else just follows, they don't bring any sheet music. They just listen to Georgie's pick and tempo and use improvisation from there. Rose discusses the importance of practicing music. He mentions that his daughter and wife both can't play music without reading the sheet. He believes that if you practice something until you truly know it that you'll be able to play regardless of sheet music. improv, program, Georgie, violinist Music memorizing ; Musicians, Romani ; Sheet music 17 3073 Potential songs for the show later &quot ; He might play a Greek song, called a Coffee song&quot ; Rose gives brief rhythm of song Georgie may lead at the concert. Rose does not know what Georgie was in the mood to play for the concert tonight so he guessed that potentially he may play a Greek song that he likes - not just Hungarian music. Coffee--Songs and music ; musicians (employment) 17 3126 So you know his general repertoire? &quot ; Mostly but he got so many songs that I don't know that I've never played&quot ; Rose noting that even though for the most part he knows many of the same songs that the lead violinist, Georgie, knows - he still is unclear as to what songs they will play that night. music, songs, repertoire musicians (employment) ; Musicians, Romani ; Performing arts--Repertoire 17 3191 Do you have a favorite artist? Musician? &quot ; And then there's the jazz guys, talking about Johnny Smith, George Benson - all great musicians&quot ; Rose discusses some of his favorite guitarists including Andre Segovia. He was a classical guitarists. He used to listen to him as a little boy. He mentions several jazz artists including Johnny Smith and George Benson. He also loves a French Gypsy guitarist Django Reinhardt who passed away. &quot ; He was so great that every jazz guitarist wanted to be like him.&quot ; Rose recalls that three of Django's fingers burned together but he still played so quickly and beautifully regardless because of his technical abilities. Rose saw Django Reinhardt play on tour with Duke Ellington. jazz, Django Reinhardt, Johnny Smith, Andre Segovia, George Benson, favorite, guitarist, Guitar ; Guitar music (Jazz) ; Musicians ; Musicians, Romani 17 3300 Are Hungarian guitars any different? What type of guitar do you play? &quot ; It doesn't matter whether it's a French guitar, or an acoustical guitar, it's a guitar and it got the same notes as any other guitar only some of them sound a little bit different&quot ; Rose says he plays a Jazz guitar but mentions that it doesn't really matter which type of guitar one plays as they all have the same notes. jazz, guitar, notes, sound, French, acoustical, electric, amplifier, different, Guitar ; Musicians, Romani 17 3359 Conclusion Brief summary of what will happen with the interviews and requesting a final signature. signature, interview, thank, you, Interviews 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Billy Rose Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC04 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/62c1a95c193d937f28328ca596927f2d.jpg 2392875d47e8967e923fcd8bf9dc56b3 https://astoriedpeople.oberlincollegelibrary.org/files/original/9be29231450b2a82d59b37e253988029.JPG ec2129ae4444f7852a2b931c9ccac82b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Molly Thayer Creator An entity primarily responsible for making the resource Sándor Lákatos and his Gypsy Band Date A point or period of time associated with an event in the lifecycle of the resource 1965 Description An account of the resource This is a vinyl record of songs performed by Sándor Lakatos and his Gypsy Band, an instrumental group from 1960s Hungary. The album is from 1965 and in English is titled Budapest at Night. Lakatos was a violin player who's family had a long history of playing Hungarian folk music, specifically violin. Lakatos was also "... a descendant of the legendary Gypsy primas Janos Bihari" and was himself a very well renowned prima (the orchestra's soloist and leader).(Piskor, 94) He and his band made traditional Gypsy music while also incorporating innovation, and performed all over the world. Lakatos was Romani, a word describing a population that has existed in Hungary for centuries, and are often referred to as gypsies. (Junghaus, 3:17) They are a nomadic people who emigrated from India about 1500 years ago, and now mostly live throughout eastern Europe. Romani are all very different, living in small communities each with their own characteristics specific to their evolution and host country. But two defining characteristics that most Romani people have in common are the fact that they are highly discriminated against both socially and politically, and that they have an extremely strong cultural foundation in music. "It is very hard to live from a love of music. So hard that many of us went over into other [classical] styles..." describes Istvan Farkas, a Hungarian Romani violinist who started making violins to support himself. As shown, music is an integral, unavoidable aspect of Roma culture. (Junhaus, 1:40) Farkás, István, performer. Redefining Roma Culture. Produced by Open Society Foundaitons and Tímea Junhaus, 2017. Open Society Foundations, www.opensocietyfoundations.org/voices/ it-s-time-roma-people-speak-themselves?utm_source=news&utm_medium=email&utm_campaign=news_060317&utm_content=Mm4zvs8dtPNtGg49yW4nEgO3gWN7H6N90wLxl_sZJw. Gypsy Violins Hungarian-Slovak Gypsies in America. E-book, Cleveland, OH, Saroma. King of Gypsy Fiddlers. Orchestrated by Sandor Lakatos. last.fm, CBS Format The file format, physical medium, or dimensions of the resource 12'' Vinyl Record Identifier An unambiguous reference to the resource within a given context CSC_GBA_14 Qualiton SLPX 10071 Qualiton LPX 10071 https://storiedpeople.oberlincollegelibrary.org/items/show/22 https://storiedpeople.oberlincollegelibrary.org/files/original/f6c694de70934c8c0a0224c75581b207.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/6729a06f86b87ea2b3e9bdd4b6eee112.JPG Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available Qualiton Records Subject The topic of the resource Romanies Hungary Music Folk music Hungary Title A name given to the resource Budapest éjjel Budapest at Night Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/7c289fab6707df16897510e4746167fe.jpg 018fd2d9d9acb6eb72daba42a94e6ee5 https://astoriedpeople.oberlincollegelibrary.org/files/original/7780747bdeee02e0858600b2914d4fc3.jpg e761cd8e9d1c20f01208fde9e0b28b17 https://astoriedpeople.oberlincollegelibrary.org/files/original/cf8a8a9a5886279e2d1ac811cf215db5.jpg 29ebb663d6b3c9f1cf54d5fe4e71a8cc https://astoriedpeople.oberlincollegelibrary.org/files/original/b19223f882fcda6ed36d843d053c7b85.jpg 6168cb2a4990c38897c7f3b2e996027f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Phyllis Jones Creator An entity primarily responsible for making the resource Balogh István és Cigányzenekara Description An account of the resource Hungarian folk songs and czardas. Format The file format, physical medium, or dimensions of the resource 12" vinyl Identifier An unambiguous reference to the resource within a given context CSC_GBA-05 Fiesta Record Company FLPS 1446 https://storiedpeople.oberlincollegelibrary.org/items/show/38 https://storiedpeople.oberlincollegelibrary.org/files/original/6038b9d1e97b95e31b349d392cb25142.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/906ed598cc4e32e5220ecc7776f45def.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/5e387b411c70c4741347fdffaeb62db2.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/62101d2dec300134b33724013cf7c994.jpg Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Fiesta Record Company Subject The topic of the resource Folk music Hungary Czardas Romanies Music Title A name given to the resource Budapesti Emlekek : Válogatott Népdalok és Csárdások Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/24016bbf8bbeed3e60c4c19b0297a1af.JPG 1f03fcf0c6bd426d40096b63e6b7799e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chris Rose Description An account of the resource Photograph of Chris Rose (bass guitar, center) playing with Billy Rose (guitar, left) as part of George Batyi's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Patrick Monnius Francesca Scola Peri Levin Interviewee The person(s) being interviewed Chris Rose OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC05.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 Chris Rose Oberlin College IMC05 Ian MacMillen and class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Chris Rose Patrick Monnius Francesca Scola Peri Levin Audio Recording 0 http://ohla.info/wp-content/uploads/2017/11/Chris-Rose-Oct-30-2017-interview-171031_003.mp3 Other audio English 1 Family background &quot ; My dad was born in Braddock PA, and he like marriedmy mom and my mom is from new york, and me and my brothers and sisters we all grew up in detroit.&quot ; Was your mom part of a gypsy community? &quot ; Yeah, sure, her dad played violin too on that side. Both sides of my family...they both came, like my grandfather actually on my moms side was born in Braddock also... but then they moved to NY after so my mom was born in NY and her sisters and brothers and their family lived over there. It's like a melting pot, I don't know...they didn't work in mills or anything in steel mills in Pittsburg or Braddock. This was like turn of the century, I guess because the culture and music cause Hungarian people are really close and like we eat the same food like stuffed cabbage, chicken paprikash and all that stuff we are from Slovakia.... all the european things are related so close the culture, music, food, weddings. We're all musicians, all the men at least. It's something to see you know now theres not that many left...only my dad, Georgie, and a couple others but it used to be like 20 or 30 people, when someone passes away you know you cry, and they play one of those slow and really soulful, you have to hear it to understand, it goes through you. Chris Rose discusses both his parents growing up in gypsy communities (father in Braddock, PA and mother in NY), history of immigration to the U.S. within his family, and family traditions (including cooking) and the aspects of Romani/ Hungarian life that bonds people of those origins. Braddock ; cooking ; cuisine ; Eastern Europe ; family ; gypsy ; Hungarian ; Hungary ; immigration ; New York ; Pennsylvania ; Roma Cooking,Hungarian ; Music--Romani influences ; Musicians (employment) ; Romanies--Social life and customs 17 151 Interview introduction and metadata First we'll just say that we are at Oberlin College and it is Oct 30. We're interviewing: &quot ; Chris Slepsky, but we use a stage name Rose.&quot ; In this segment we give metadata for the interview including time, place, and names of people involved Gypsy ; Oberlin ; Oberlin College ; Romani Oberlin College ; Oral History 17 195 More about Mom's family and family diaspora My Moms family were also, you know played music, and did the same thing. Her brothers and sisters, she had one brother actually that played the bass...with Carmen Miranda. They were from Chicago, but they were living, my grandmother, they were living in California like in the 40s and my uncle, his name was Max he played the base with Carmen Miranda. He was in a lot of those old movies. My daughter just did this ancestry.com, she tried to put our family trees together and it's so interesting she found out my grandfather on dads side he lived in New York also and my daughter just found out my moms family and dads family lived like a few blocks from each other and they weren't married yet just in New York. And I asked my mom ya know your grandmother was out in California. My mom had an older sister and her husband when he was working as an electrician they were in California. All sides of my family played music. Chris Rose discusses that his mom's family is also of gypsy origin. He discusses his mom's family, the prevalence of music on that side of his family, and where they were located throughout the United States. He talks about the accomplishments of his family members, for example his uncle max who performed base with Carmen Miranda in California. He also talks about the coincidence of his parents at one point living mere blocks from each other in New York. Bass ; Braddock, PA ; California ; Carmen Miranda ; Chicago ; Diaspora, Immigration ; Family ; Family Music ; Gypsy ; Gypsy Music ; Gypsy Tradition ; Hungary ; Migration ; Movies ; Music ; New York ; Roma ; Tradition Double bassists ; Miranda,Carmen,1909-1955 ; Romanies--Music 17 300 Chris' life growing up Could you talk a little bit about your life growing up and how you were as a kid, when you started playing music? Yeah I was a normal kid, playing baseball, doing everything you could think of, I had two brothers. Like I said my dad was constantly playing music, we had all these instruments in the house, and my brother was playing piano at that time and I remember he brought my brother a bass guitar for his birthday- my other brother Anthony. When I was 5 or 6 he brought me home a little drum set, because really that’s my instrument and we would just go down to the basement and practice and then we got older and we started playing you know like Santana and all that Chicago and just had fun and my mom used to be like that’s enough! And flick the light, we drove my mom crazy, like the brady bunch. But we just ya know and I got a little bit older and my dad was like you guys are learning the wrong songs, we need to learn standard music he said, like Sinatra. When we were coming up restaurants had a lot of bands so we had to learn the right music to play and make a living there which we were lucky enough at the time like in the 80s, like late 70s and ya know my dad started showing the songs he could play and it always came in handy throughout all the years learning music...but none of us really played. Chris is asked to discuss his childhood, he gives an overview of a &quot ; normal&quot ; childhood with his siblings and playing baseball etc but then dives into the influence of music in his household from a very young age and his father giving instruments to Chris and his brothers and teaching them what they had to do to be successful in the restaurant music industry. bass ; childhood ; drums ; gypsy child ; Gypsy Home ; gypsy performer ; mentorship ; music ; practice ; restaurant music ; roma household ; roma kids ; santana ; standard music ; teaching Childhood ; Guitar ; Romanies--Music ; Sinatra, Frank, 1915-1998 17 411 Discussion of Cimbalom My older brother did play...and you’re gonna see later at the concert, it’s called a cimbalom, now that’s a history in itself, goes back a hundred years. I don’t know how they made it, how they thought of it, just like amazing, and uh so it’s unbelievable. My brother played it for a while but then he got older and wanted to play guitar, but it’s such a beautiful instrument. I’m excited to just see what it looks like It looks like a square box, but it has piano strings on it and you play it with these little sticks, look like mallets and then theres cotton on the ends, you tie it with string, it’s real melodic. Interlude about a santoor player from Pakistan who Patrick performed with, and comparing the Cimbalom to similar instruments like a dulcimer. In this segment Chris attempts to describe the Cimbalom, a traditional Romani instrument that his brother used to play. He explains that it is a big box with strings which are played with mallets, it is compared to a santoor or dulcimer. The interviewers will see the instrument being played at a concert given on the night of the interview. beautiful ; china ; Cimbalom ; cross-cultural ; dulcimer ; education ; gypsy ; hungarian ; hungarian music ; hungary ; india ; mallets ; music history ; musical experiments ; pakistan ; rare instruments ; romani ; santoor ; traditions Cimbalom ; Folk music--Hungary ; Pakistan ; Romanies-Hungary--Music ; Santur 17 512 Continued discussion of family music tradition and family careers My childhood was normal, I just grew up in a musical family, my dad taught us how to play music me and my brothers, my sister didn’t play. Oh your sister didn’t play, was that because of her gender? Oh no it wasn’t like you can’t play because you’re a girl. My mother was a beautician so she started working in that field, started working for my mom. She was cutting hair, you know when she was younger. My nephew’s a drummer out in Las Vegas he plays in this ? show, he played with Suzanne Summers, plays with a lot of different people. And I taught him when he was a kid! So we just kind of passed it, whoever had the talent had the talent to start with, something. We just grew up in a musical family, and this music [gypsy music], like my dad I just feel sorry that I didn’t learn it sooner, I was playing percussion I was playing drums and I love the music, I would go with him all over. I was a kid and I’d sit in the chair next to him and they’d go to a party or wedding or something and they’d just be playing all this music. So lately I’ve been playing gigs with him, I play bass, I play a little piano, I’ve been playing some jobs with my dad, it’s great to get into it. You know I asked George, I’m like how do you remember all of it? Hundreds of songs... Chris talks more about the role of music in his childhood and in his whole family and community. He discusses the musical careers both of his father and nephew and the way in which music is passed down generationally. He laments that he didn't learn to play gypsy music until later in life. bass ; beautician ; childhood ; dad ; drummer ; drums ; family ; fatherson ; gender ; generational ; gypsy ; hair ; hungary ; las vegas ; lost traditions ; memory ; music ; party ; piano ; roma ; romani ; siblings ; suzanne summers ; tradition ; wedding Drummers ; Musicians ; Musicians, Romani ; Somers,Suzanne,1946- 17 617 Romani community growing up What was the community like- did you guys have a Romani community outside of your immediate family growing up? Oh yeah, we had lots of friends and say there’d be a Romani wedding in say Chicago or Cleveland and people would invite their families and everybody would go and it’d just be a big party it really would. No tents or wagon wheels or anything hahaha Because you were in a romani community did your communities culture was different from others? When you go to school you see the kids I lived in a small town in Detroit. But it was a whole Hungarian community they had bars they had junk stores, they had restaurants. Chris tells us about the Romani community in his life growing up. He explains the prevalence of Hungarian culture in his childhood and neighborhood growing up. This culture extended to weddings and parties, but also just everyday food and activity. chicago ; childhood ; cleveland ; community ; detroit ; gypsy ; party ; romai ; school ; town ; tradition ; wedding Chicago ; Cleveland ; Cooking,Romani ; Detroit ; Hungarians ; Romanies ; Wedding 17 808 Community Pressure, Marriage, Family Growing up was there pressure to stay within your community as far as marriage? No...I married a Romani girl, but I dated a lot of girls, I got divorced a long time ago but I have two kids, I have two granddaughters. But like I lived in Florida, I dated a girl from Brazil. You know it’s not like...maybe years and years and years ago ‘cause I think everybody was closer then, ya know like my dad met my mom at some wedding. It was actually in Cleveland….but no there was no kind of people who would like kill their kids if you don’t marry this guy...if you love somebody yeah, you know my daughter she just got married in July. We ask Chris if there was any pressure from his family or community to maintain Romani traditions through marrying other Romani people. He insists that there was no pressure, and although he married a Romani woman (since divorced) he's dated a wide variety of women of different ethnicities and there has not been any conflict in his experience. community ; divorce ; exclusive ; family ; intimacy ; marriage ; pressure ; purity ; tradition ; wedding Children ; Dating ; Interracial dating ; Marriage ; Romanies -- United States -- Social life and customs ; Romanies--Social life and customs 17 923 Chris' children and their identities Are your children involved in a Romani community or your music scene? Oh yeah- my daughter sings with us on the weekends! She’s been singing since 3 years old, she’s so talented. So she sings with me and my dad we work like a weekend gig, and I’ve been practicing with her since she was a little girl...my son plays guitar but he works a day job...my dad never worked a day job, he’s been performing for all these years. Chris talks about his children and their involvement in the music scene. He discusses how passionate his entire family is about music, and the way it touches him in his soul, he attributes this to being Romani. career ; children ; day job ; family ; father ; finances ; gigs ; gypsy ; love ; music ; passion ; picnic ; romani ; singing ; work Children ; Romanies--Music ; Singing 17 1096 Romani Food! I don’t know if Cleveland might have some good restaurant, but it’s uh excellent, stuffed cabbage they call it, chicken paprikash they call it, it’s chicken like boneless chicken and they cook it in this sauce and they have dumplings, homemade dumplings. Oh my god...it’s very rich though but it’s very good, lot of noodle dishes. We all get very hungry discussing Romani and Hungarian foods that Chris has grown up with and still loves to eat. He mentions and describes chicken paprikash, stuffed cabbage and some other traditional foods that are part of his tradition and identity. cabbage ; chicken paprikash ; delicious ; food ; hungarian ; hungary ; hungry ; noodles ; paprikash ; recipe ; slavic ; stuffed cabbage ; tradition ; yummy Cooking, Hungarian ; Cooking, Romani ; Food ; Romanies--Social life and customs 17 1205 Chris's Daughter's Research &quot ; Do you know what made your daughter want to go on ancestry.com?[...]&quot ; &quot ; [...] She's been interested in this probably about 10 years now we found a lot a lot of stuff, my Grandmother, my mom's Mother, she lived to almost 100, she was 98. And all her family lived in Ohio[...]&quot ; Chis's Daughter became interested in family heritage and was able to trace back family history through Ancestry.com. This has enabled the family to find out more about their heritage and even find family graves and a death certificate of his father's brother who died in childhood. ancestry ; Grandmother ; heritage Ancestry ; Ancestry.com (Firm) ; Genealogy ; Heritage 17 1382 Decline of Romani Music &quot ; The traditional style of music is, you know, in decline. And there are fewer people. What is your perspective on that. Do your children have interest in traditional Romani music?[...}&quot ; The traditional style of music is in decline, what is Chris's perspective on this. His children's interest in traditional music. Hopes that he can learn more from his dad and older musicians. Children ; Traditional music Folk music ; Music--Romani influences ; Romanies--Hungary--Music 17 1572 Daughter's introduction to music Daughter's early introduction to music and musical culture. &quot ; Not a closed in kind of thing [the culture], its very open with a lot of wind blowing through it.&quot ; Daughter has been singing since she was very young. Took his daughter to see her favorite singer, Barbra Streisand, when she was young. Children ; Daughter ; musical introduction Daughters ; Rock concerts ; Streisand, Barbra 17 1618 Wedding music &quot ; They did all the traditional stuff. And then at weddings we have a traditional bridal dance. they call it the bride dance, and they play a specific couple songs and everybody dances with the bride [...]&quot ; Chris talks about Romani wedding music, wedding dances, and the traditional bridal dance. Bridal dance ; dance ; wedding music Marriage service ; Romanies--Music ; Wedding dances ; Wedding family ; Wedding music 17 1689 Grandchildren and music &quot ; Are they old enough to start playing music?&quot ; &quot ; Not yet, my Granddaughter is going to be four, the oldest one.&quot ; ages of Chris's grandchildren and their connection to music. Chris talks about family life through generations and shows pictures of his two granddaughters ; Demi and Mila family ; grandchildren Grandchildren ; Music 17 1765 Living in Detroit &quot ; Where are you based now, where are you living?&quot ; &quot ; In Detroit, I live in Dearborn actually [...]&quot ; Chris currently lives in Dearborn, Michigan. A suburb outside Detroit. His father also is currently living in Dearborn. current home ; Dearborn ; Detroit Dearborn (Mich.) ; home ; michigan 17 1812 Relationship with father &quot ; whats your relationship like with your dad?&quot ; &quot ; Im with my dad more like a beast friend.&quot ; Chris sees his father more like a best friend. Has worked with his father from many years. Although he moved away from his father/ home for 6-7 years he moved back and sees his father as one of his closest friends. They currently work together and see each other almost everyday. Takes care of his dad since his sisters and brothers have moved west. family relationship. ; Father best friend ; father ; work 17 1897 Music with is brothers &quot ; Our first gig was like a Sunday gig. In this place my dad used to work at [...]&quot ; Chris talks about his first gig playing music with his brothers at around 10 years old. In the 80's and 90's. Never wanted to be stars just enjoyed playing with his family. Brothers ; first gig ; Music band ; brothers ; dad's work ; first gig ; music 17 2036 Family in Detroit &quot ; Nothing really crazy. And even back then, everyone lived close together.&quot ; Chris's daughter and her family live in Dearborn as well as his son and father. Family all goes to church together and live nearby. Also talks about the support he gets from your family. church ; daughter ; Dearborn ; family ; son church ; daughter ; dearborn ; family ; michigan ; nearby ; son 17 2123 Traveling to Brazil &quot ; Ive been to Brazil and South America. Because I way playing, I was living in Florida for a while, like in 2000[...] And we did this, like a Brazilian CD [...].&quot ; Chris talks about traveling to Brazil to play/ record music while living in Florida in the 2000's. Brazil ; travel brazil ; CD ; florida ; music ; record ; travel 17 2182 Hungary ; Slovakia: Son's Wife &quot ; My sons's wife, she came here when she was 10.&quot ; &quot ; So she speaks fluent Slovak and Romani.&quot ; Chris talks about wanting to travel to Europe. His son's wife immigrated to America as a child and speaks fluent Slovak and Romani. Europe ; family connections ; Hungary ; Wife europe ; family ; hungary ; language ; romani ; slovak ; son's wife 17 2271 Losing the Language &quot ; Its hard too, you know, you lose the language. My grandmother would talk Gypsy and Hungarian all day [...]&quot ; Chris talks about losing the Romani language. His grandmother often spoke Romani but the language died in his family during his parents generation. Today he knows only a few Romani words. Today his daughter in law still speaks the language and hopes his grandchildren will also learn. Language ; loss of language ; Romani grandmother ; gypsie ; hungarian ; language ; roman 17 2337 Daughter in Law &quot ; She's the perfect daughter in law [...]&quot ; Chris talks about his son's wife Rinkia and her (Rinkia's) extended family. Daughter in law ; Extended family daughter in law ; family ; perfect 17 2420 Romani music culture in Europe &quot ; The culture there, they teach kids from young [...] Little kids playing, and they've got so much talent [...]&quot ; Chris talks about Romani music culture in Europe as being more alive and vibrant. He hopes that the traditions he grew up with will also continue in America's Romani communities. American Romani culture ; culture ; Music in Europe american romani culture ; europe ; music in europe ; tradition 17 2473 Change in frequency of concerts &quot ; Things change, there wasn't really a call for it. They used to do concerts every year or twice a year. They knew a lot of different people that loved the music. There was a big base of people in Detroit, Cleveland, and Chicago.&quot ; Chris talks briefly about how the culture of playing concerts in the major cities has changed over the years. Roma musicians used to have many more opportunities to play concerts in the past, with the frequency of these concerts declining in recent years. Chicago ; Cleveland ; Concerts ; Detroit ; Hungarian ; Jewish chicago ; cleveland ; concerts ; detroit ; hungarian ; jewish ; less oppurtunity ; roma music 17 2514 Younger Generation &quot ; If a lot of the younger people would start learning the music...&quot ; Chris mentions that if the tradition of Romani music is to survive, it is going to be up to the younger generations to pick it up and learn it from the few remaining players before it is too late. Generations ; music ; teaching ; tradition ; Younger learn ; music ; romani music ; tradition ; younger generations 17 2536 How did you meet George? &quot ; He's from Homestead and he started coming to Detroit because his uncle lived in Detroit that played viola. He was like 14 years old when he came and they would all play music together...&quot ; Chris talks about how him and his father met George. They originally met in Detroit when George was 14 and there visiting an uncle that played Viola. Detroit ; Homestead ; Michigan ; Musicians ; Pennsylvania ; Viola ; Violin detroit ; homestead, pennsylvania ; music ; musician ; viola 17 2635 Outsiders collecting music &quot ; How do you feel about the fact that people outside of your ethnic community want to collect these histories?&quot ; Peri asks how Chris feels about there being an outside push to collect Romani music traditions. Chris's response is that it is wonderful and he talks about some of the other things happening with research and the Romani community. Collecting ; Community ; Ethnic ; Interest ; Michigan State ; Outside ; Preservation ; Research ; Romani 17 2687 Negative stereotypes &quot ; I never even heard that stuff until I was older. We weren't like 'you gotta stay with your people and stay at home and associate with those people.' We were outside playing baseball everyday and going to school like everyone.&quot ; Chris mentions that he was not aware of any negative stereotypes related to the Gypsy communities when he was growing up. In his eyes, they were just like everyone else that they grew up with. Gypsy ; negative ; stereotypes community ; gypsy ; negative ; stereotypes 17 2723 Family tradition variants &quot ; Did your mom or your dad's families have any different traditions?&quot ; &quot ; They came from the same country. My dad's father came form Czechoslovakia. My mother's father came from Austria Hungary area.&quot ; Austria ; Czechoslovakia ; Europe ; Gypsy ; Hungary ; Immigration ; Roma ; Romani ; Traditions austria ; czechslovakia ; europe ; family ; gypsy ; hungary ; traditions 17 2832 Daughters findings &quot ; My daughter found out that my dad's mother had a perfume store in New York! She found an add. My daughter's like Sherlock Holmes.&quot ; Chris talks about some of the findings that his daughter made when she was trying to research the family history. Business ; Daughter ; Family ; History ; New York ; Owner ; Perfume ; Research ; Store Retail Trade ; Retail Trade -- New York (State) -- History -- 20th Century 17 2868 Pittsburgh findings &quot ; I found a lot about Pittsburgh too about Kennywood Park. They did this big hungarian Gypsy festivals from way back in the 20s.&quot ; Kennywood park used to be one of the important places they used to go to play shows in the Pittsburgh area. Concerts ; Gypsy ; Kennywood ; Musicians ; Park ; Pittsburgh ; Roma ; Romani ; Shows Amusement Parks ; Romanies -- United States 17 2910 Other occupations &quot ; Some of them had businesses. One friend had a candy store. Theres another cousin of mine now, he's an eye doctor in Las Vegas. But he used to play bass too so that music thing is always there. If the music thing didn't work out then...&quot ; Chris talks about other jobs that some of the people in his community have. Not everyone is a musician anymore and he mentioned things as varied as owning a candy store to being an optometrist. He also refutes the negative stereotype that Gypsy people are lazy and against doing work. Both him and his father also ran hot dog carts at one point. Gypsy ; Hot Dog Cart ; Jobs ; Las Vegas ; Occupation ; Optometrist ; Owner ; Roma ; Romani ; Small Business romanies -- music ; romanies -- social life and customs ; romanies -- united states 17 2972 Other music styles &quot ; What's your favorite type of music to play other than...&quot ; &quot ; I like Jazz, I like Brazilian music, I like R&amp ; B music too, all kinds. Everything's fun to play!&quot ; Chris briefly mentions some of the other styles of music that he enjoys playing, outside of Gypsy music. Brazilian ; Genres ; Gypsy ; Jazz ; Music ; Rhythm and Blues ; Styles Jazz -- United States ; Romanies -- music 17 3005 Learning music &quot ; When you were learning music was it like a structured learning or did you just kinda like...&quot ; &quot ; I picked it up, but I went for lessons. My dad used to teach guitar years ago at this music store in downtown Detroit called.... I was five or six years old and my dad goes 'I'm taking you for lessons'. He bought me my little set for my birthday or whatever...&quot ; Chris talks about how he began learning music as a young kid around the age of 5. His dad taught guitar at a music school and took him there for drum lessons. He also mentions that a lot of the learning that he did was by ear from listening to recordings. He learned primarily by listening. Bass ; Detroit ; Drums ; Guitar ; Learning ; Learning from ear ; Music ; Piano ; Private lessons 20th century music ; Musicians -- Education 17 3164 Differences between Roma people &quot ; It's nothing I'm ashamed of because it's all about music and life.&quot ; &quot ; What about some of the more negative stereotypes of Romani people or like stuff that's been in the media?&quot ; Again Chris talks about how he doesn't agree with the negative stereotypes of the Gypsy people. He mentions that there are people that fit these stereotypes however and that his culture generally tends to try and distance themselves from these people because they do not view them as real Romani. Culture ; Dialect ; Europe ; Gypsy ; Language ; Roma ; Romani ; Stereotypes ; Travelers Ethnic identity ; Romanies -- united states -- family, religion, and culture ; Romanies--Social life and customs 17 3484 Concluding thoughts &quot ; You guys are performing at the Cat tonight?&quot ; We talk briefly about what our majors. Patrick mentions that he is in the conservatory and we tell Chris that the conservatory and the jazz department are very good. Chris then gives Patrick some suggestions of some Gypsy jazz musicians to check out. Conservatory ; Gypsy ; Jazz ; Music Oberlin College ; Oberlin Conservatory 17 Interview taking place at Oberlin College with Chris Rose. audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chris Rose Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC05 Format The file format, physical medium, or dimensions of the resource audio https://astoriedpeople.oberlincollegelibrary.org/files/original/637af74d2e5695bf099c09103c32c61b.jpg 2615b63bd0b1bf9441f096bd46293b07 https://astoriedpeople.oberlincollegelibrary.org/files/original/f5440fc984704de7867a7e8708e4f15f.jpg 7d4390ba9855d8d0feef87b242ac6445 https://astoriedpeople.oberlincollegelibrary.org/files/original/5109be1481cba4758b634889dff8defb.jpg fe68311aa0973a51b7cfad52e6ae4f68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Molly Thayer Creator An entity primarily responsible for making the resource Grabócz, Miklós (arranger) Kovåcs, Apollonia (singer) Madarasz, Katalin (singer) Gal, Gabriella (singer) Lakatos, Sándor and his Gypsy Orchestra (performers) Járóka, Sándor and his Gypsy Orchestra (performers) Description An account of the resource Black record with a yellow center label noting the songs on each side and the musicians who performed them. The LP is in a paper and plastic casing, and its outer sleeve which is shiny and colorful depicts a warm and happy scene of mostly women in dresses dancing in a barn in a circular fashion. There are 11 songs on side A and 10 songs on side B. Format The file format, physical medium, or dimensions of the resource 12'' vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_04 SLPX 10103 https://storiedpeople.oberlincollegelibrary.org/items/show/13 https://storiedpeople.oberlincollegelibrary.org/files/original/282d42777253ec53492bd312da9ba165.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/ce88c4660380618ca3c6995bf95e6313.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e9398c03d165fbbc206380239961ed18.jpg Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Qualiton Records Subject The topic of the resource Romanies Music Folk music Hungary Folk songs, Hungarian Folk dance music Hungary Title A name given to the resource Ciganydalok Gipsy songs Gypsy songs Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/da120dfdca52ab7d12c329d51dfc1cea.jpg 2ce14cf5eb3c9f835567a6454d5067f5 https://astoriedpeople.oberlincollegelibrary.org/files/original/f9e093671ddb40dadc81dce968a52cbb.jpg 150d4e2d66cbe4bbe87b0768dbe7f3f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Hannah Halpern Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian folk music Creator An entity primarily responsible for making the resource Sándor and His Gypsy Orchestra Description An account of the resource Three records included in the vinyl, two of which are identical, by Sándor and His Gypsy Orchestra. Sándor Lakatos (1924-1994) was the violinist and leader of the orchestra. They began by primarily playing in Budapest restaurants, performing at a slower tempo for audiences as they ate (Malvinni, 2004). This is how most Gypsy musicians made their way. Gypsy nòta performers do not participate in mainstream media but rather gain regional fame through the avenue of restaurants (Lang, 1997). Many Hungarians disliked general "tourist" music that Sándor and his orchestra could be classified as because of the slower tempo and diluted vibrato. Much of Gypsy nóta has evolved in a way that flees from other Rom music norms into often being classified in general Hungarian music (Lang, 1997). While there was originally some resistance against the ways in which Sándor and his orchestra "conformed" musically, the technicality of the musicians allowed for both a domestic and international interest and adoration for them (Malvinni, 2004). Sándor is specifically known for his bowing, using a style often referred to as the "magic" of Gypsy bowing that's not formally present in Classical schools of bowing (Malvinni, 2004). It is typical in Gypsy nóta for there to be tempo irregularities and a variation of rhythm (Lang, 1997) as Sándor demonstrates in his bowing of the violin. On the two identical copies there are three songs on either side. On S701 side: Jaj De Szépen Víragzig (Blooming Beautifully) Szomsźed Asszony (My She Neighbor) Perdül A Kis Lány (Dancing Girl) On S702 side: Az Ejjel Kimulation Magamat (Let's Make Merry) Mit Mond Az En Rozsam (What's Her Answer) Adj Egy Csokot (Throw Me a Kiss) On the third record there are three songs on either side. On S705 side: - Nem Járok ęń Többet a Babåmhoz (I Give Up) -Sáros út (Muddy Girl) -At Ugrom (Jumping) On S706 Side: -Kis Lány, Nagy Lány (Little Girl, Big Girl) -Lovam (My Horse) -Bórral (Drinking) Format The file format, physical medium, or dimensions of the resource Three records (double sided) with multiple tracks on either side. Identifier An unambiguous reference to the resource within a given context CSC_GBA_27 S701-702, 705-706 https://storiedpeople.oberlincollegelibrary.org/items/show/8 https://storiedpeople.oberlincollegelibrary.org/files/original/493434cb001de434b1a32078a99204fc.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/f9d9db39aaac63e3afd15d695f577c4f.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available International Record Company Relation A related resource Malvinni, David. The Gypsy Caravan: From Real Roma to Imaginary Gypsies in Western Music. Routledge, 2004. Lange, Barbara Rose. "What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nóta. Ethnomusicology, Vol. 41, No. 3 (1997), pp. 517-537. http://www.jstor.org/stable/852762 . Rights Information about rights held in and over the resource Copyright in 1946 Subject The topic of the resource Vinyl record of music played by Sándor and His Gypsy Orchestra. Title A name given to the resource Csárdás Type The nature or genre of the resource 78 https://astoriedpeople.oberlincollegelibrary.org/files/original/a53d3c5b4970dc2310b5ee6da6b268be.png c025b19200916b11dca7b6c5bc7eaf9b https://astoriedpeople.oberlincollegelibrary.org/files/original/73b058a7c563d9bb08c38b9408ebc545.png 3df0074dca31a48bc75a952d83e92ffb https://astoriedpeople.oberlincollegelibrary.org/files/original/d839888056fe9778cd8807a71f80ec04.png db0fa189bd2a17c6e7d7a4cbfc15ba7b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Patrick S Monnius Creator An entity primarily responsible for making the resource Ilona -1st Violin John Sivak - 2nd Violin John Wenniger - Piano Steve Turoczi - Accordion Louis Szigeti - Bass Frank Mikisits - Vocals Date A point or period of time associated with an event in the lifecycle of the resource N/A Description An account of the resource LP Record of Hungarian vocal music with a backing "orchestra" and vocals by Frank Mikisits. Taken from the backside of the cover "the ensemble on this recording are Americans who through inheritance and study recreate the happiness, sorrow, and gypsy magic of Hungarian music." Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_18 TM505 https://storiedpeople.oberlincollegelibrary.org/items/show/23 https://storiedpeople.oberlincollegelibrary.org/files/original/81158aad8268887b8e051ac2765ecf4f.png https://storiedpeople.oberlincollegelibrary.org/files/original/8637f55341766d65b244597c84f929e0.png https://storiedpeople.oberlincollegelibrary.org/files/original/82d6cd9638dd603006249d8f2b9c6199.png Language A language of the resource English Hungarian Publisher An entity responsible for making the resource available TÁTRA Records Rights Information about rights held in and over the resource TÁTRA Records Subject The topic of the resource Music Hungary Romanies Music Title A name given to the resource Vidám Esték Gay Evenings Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/8fff8c0ca1a6e3e8197ccd7c81d9bdc7.JPG 7ea6b4f11b939bc6168654322d561c0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Batyi Description An account of the resource Photograph of George Batyi (violin, center) playing with Alexander Fedoriouk (cimbalom, right) as part of the former's ensemble Gypsy Strings in their performance at Oberlin's Cat in the Cream (October 30th, 2017) Creator An entity primarily responsible for making the resource Photograph by Ian MacMillen Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interviews Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Molly Thayer, Elia Tzoukermann, Alex Chuang OHMS Object This field contains the OHMS Hyperlink (link to the XML file within the OHMS viewer) https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile=Oberlin_College_IMC06.xml OHMS Object Text This field contains the OHMS Index and / or transcript and is what makes the contents of the OHMS object searchable in Omeka 5.2 George Batyi Oberlin College IMC06 Ian MacMillen and Class Oral History in the Liberal Arts A Storied People A Storied People Oberlin College Library Molly Thayer, Elia Tzoukermann, Alex Chuang George Batyi Interview 10/30/17 Oberlin 0 http://ohla.info/wp-content/uploads/2017/11/George-Batyi-30-Oct-2017-Interview.mp3 Other audio 0 Introduction: general overview of professional life as a musician &quot ; I play with several different bands, but I have my own band called &quot ; Gypsy Strings&quot ; . One is with these guys and we do traditional Hungarian music and then I have one back in Pittsburgh where we do Hungarian, but we do Romanian, Slovak, Croatian and those guys are university graduate musicians, except for me I went to another school...&quot ; George was born in Homestead, Pennsylvania and has been playing the violin for about 48 years. He primarily plays in Pittsburgh, but has traveled around the States to Cleveland, Chicago, New York, Missouri and Kansas. In 1991, George went to Slovakia and toured there for 10 days with 5 musicians and 12 dancers. George has his own band called &quot ; Gypsy Strings&quot ; , but also plays in other bands as well. At the age of 10, George went to Chatham school of music for two years of formal training where he learned how to read and write music, but his teacher quickly noticed how advanced George was and after a year and a half/two years he told George that he didn't have anything else to teach him. He then started playing with other people in Pittsburgh, expanding his talent through other instruments such as the drums, bass and guitar. Chattam school of music ; George Batyi ; Gypsy Strings ; Pittsburgh ; violinist musicians, Romani ; musicians--interviews ; Romanies--Hungary--Music ; Romanies--Music 17 201 Personal Life &quot ; When I was a little kid, I use to watch them all, because they got together all the time and they played and practiced, and I used to watch them play so like I said when I was young my grandmother told my father, she didn't speak any English, she spoke Slovak, Hungarian and Romani, so she told him &quot ; you better get him a violin to play&quot ; so my father got me a little plastic violin. I got pictures of it and I'm like 'oh god' and I'm posing like this with the violin and everything. I even posted a picture of me on Facebook and people commented saying 'how old were you?' and I was like '5 years old', they says 'you look like you already know how to play'&quot ; . His whole family payed music ; his father played the Clarinet, his grandfather on his father's side played was a violinist from Slovakia and his grandfather on his mother's side was a violinist from the Hungarian part of Slovakia. He has two brothers that played music as well, although they don't play professionally, only for enjoyment purposes. As a little kid, he used to watch them all play and then at the age of 5 George was given his first violin made out of plastic. When he was 10 years old, he went to the Chattam school of music and his teacher was with the Pittsburgh symphony and he took George to his professor and then he started studying with him. He has also played other genres such as Salsa, country and R&amp ; B music with other bands in the past. His favorite style of music to play is Hungarian Gypsy because of the feeling and because it is connected to his heritage. George has always worked a full time job while being a professional musician. People would come to the restaurant and ask George if he could teach them how to play the Hungarian style of music, but he didn't have an interest in teaching others. Family ; Hungarian ; Hungarian Gypsy ; musicians ; Slovak music--performance--united states ; romanies--music ; salsa (music) ; youth, Romani 17 487 Hungarian/Romani heritage and traditions &quot ; For weddings, they play at the house of the bride and march her out to the church and then play at the church and then during the reception too and we have traditions at funerals when the Gypsy dies. We go play at the funeral home, we even have a certain song that we play when people march with the casket.&quot ; George's grandparents came over from Slovakia and Hungary and spoke Romani and Slovak. Both his grandmothers spoke no English so he would listen to them and answer back in English because he could only understand. George explained how there are all kinds of gypsies. There are the musicians (who George is) and the travelers. Both are very different in terms of how they speak. George talked about how the Gypsy travelers are weird and do weird rituals. Traditions: Weddings - play at the house of the bride and march her out to the church and then play at the church and then during the reception. Funerals - traditions at funerals, they play at the funeral home, certain song that they play when people march with the casket. George recorded this song so people would know what this song was and what it means, it's on one of the cds he did. funerals ; Gypsy musicians ; Gypsy travelers ; Romani ; Slovak ; traditions ; weddings immigration ; Romani Language ; Slovak language ; weddings--songs and music 17 722 Women and Gypsy Music &quot ; No, they just never did. I don’t know why... There’s not too many women that get into it. I mean within our Gypsy community, we have singers, really good singers.&quot ; George explained how women never played Gypsy music. There was one band in the 30s and they were all women (they played violin, bass, symbol) but there hasn’t been any women musicians since then. However, they are women that sing Gypsy music currently. George also introduced a boy from his Gypsy community named Justin Shandor that is an Elvis impersonator in Las Vegas. Elvis impersonator ; Gypsy music ; Justin Shandor ; singers ; Women Elvis Presley impersonators ; women musicians ; women singers ; women, Romani, in music 17 801 Future of Hungarian Gypsy music &quot ; They’re playing the modern music of R&amp ; B and Jazz and stuff like that. They just never learned to play the Hungarian Gypsy style music. I mean there’s a few young guys that play the violin and are learning, but they need someone to teach them the right way. If they just play by themselves then forget about it. But I don’t know how long it’s going to last because it’s slowly fading away, ya know. We’re just trying to keep it alive and see, ya know, what happens.&quot ; George explains that there are not that many musicians left and the younger generations are playing more modern music and less of the traditional Hungarian Gypsy music. Even in Europe, Gypsy music is fading away and musicians leave Hungary to perform in Germany, Japan or the Netherlands. George seemed saddened that the younger generation doesn't have the interest to learn this genre of music, but he also mentioned how he doesn't have the patience to teach. People asked him if he could teach and he thought about it, but declined. However, George taught his two nephews how to play the bass and the drums. Gypsy music ; Hungarian Gypsy style ; loss of style ; modern music ; Younger generations conflit of generations ; intergenerational relations ; music--instruction and study ; Romanies--music ; youth, Romani 17 962 Personal meaning behind Gypsy music &quot ; I get enjoyment from it because I’ve been playing it all my life. And the other people, I think it’s just the exotic songs and stuff that they hear and it’s just the way you play.&quot ; George spoke about his personal enjoyment of Gypsy music. In contrast, he emphasized the lack of interest that the younger generation has for the traditional Gypsy music even though their grandfather and great-grandfather's played this kind of music. George also talked about how most musicians that play this genre of music are dispersed around the states and therefore it's hard for them to come together and play often. However, George, --- and ---- try to play together 5-6 times a year even though they live in separate cities. distance ; exotic songs ; meaning ; personal enjoyment ; playing intergenerational relations ; jazz ; music and intergenerational commmunication 17 1116 Current professional life &quot ; We like to stroll around the tables and play for the guests. In some places you can’t do that because the owner won’t allow it.&quot ; George played in Gypsy Cafe for 7 years. Now he plays Thursday nights at a Hungarian place on the north side of Pittsburgh called Usars??. After George started playing there, other restaurants started asking his group to play at their restaurants. The restaurant called Mezza in Pittsburgh wants them to play again after they played there a month ago. However, George explained how playing in restaurants is challenging at times due to restaurant owners that don't like when the musicians stroll around the tables and play close to audience members. George articulated how strolling around tables while people eat is part of the Gypsy music culture. But they do manage to play at restaurants that allow them to stroll and interact with the customers. Gypsy Cafe ; Gypsy music ; Hungarian food ; Hungarian restaurants ; playing ; restaurants ; strolling ethnic restaurants ; gigs (employment) ; musicians--Pennsylvania ; musicians--Romani 17 1223 About the Bands “My uncle tells these guys, ‘well you gotta hear my nephew play, you gotta hear my nephew’, so they says ‘well how old is he’, he says ‘I don’t know he’s like twelve or thirteen’, they’re like, ‘What!?’, he says ‘you gotta hear him play, he’s really good’. So I went there one time and they were rehearsing for a concert, there was like fifteen guys. So I’m sitting there listening to them or whatever. So the bass player says to the guys, ‘do you wanna hear him play’, they says ‘who’? ‘Him’, me, they says. So I got up and started playin’ and ever since then we’ve been friends”.... “They know the stuff”. George tells us both of his bands are called “Gypsy Strings”, and that he posts about his band on Facebook and on their website. He also explains about how the two bands are different. He plays faster, more technical stuff with his band in Pittsburgh. He says they don’t play “the real gypsy way” like his other band does. He discusses how he and the band members met, explaining family connections in Detroit, playing for the guys when he was only 12, landing him professional connections, and then performing with them in his late teens and beyond. band ; childhood ; community ; family ; history ; moving bands (music)--United States ; friendship ; gigs (employment) ; musicians (employment) ; social media 17 1562 Romani Community and Music “...In the two cities… everybody knew who they were. Because like when they would have a funeral they would march… and you’d have maybe like a hundred musicians marching in the street behind the hearse, playing…” George elaborates on the gypsy presence in his childhood ; Braddock Pennsylvania was home to many many Gypsy families, and he says “it was a big community”, however they have all left by now. Many moved to other cities like Chicago or Detroit. He then talks about the traditional, older style of musicians in Braddock, and their frequent performances in the area. He says the community isn't big any more, as many in Michigan have moved across the country to California or Florida. But they still gather for weddings, he says, though they don't play traditional gypsy music as much as R&amp ; B and other more modern styles. Braddock ; community ; Detroit ; family ; funeral ; musicians ; PA funeral music ; migration, internal--United States ; Romanies--music 17 1781 Discrimination Against Gypsies &quot ; ...we're playing at the restaurant and people come and say 'oh yeah we got the Gypsies playing it's so great you guys are great' and all this, so they really appreciate it which is good for us, you know. You are what you are.&quot ; George explains the varying ideas of Hungarians/Gypsies he's encountered. Some people, he says, are very curious about his heritage and he is hesitant to tell them about his family's origins since he has always lived in the U.S. Others assume because he's Hungarian he travels around in covered wagons, which he asserts is not the kind of Gypsy he is. George goes on to say that though discrimination exists, it is less prevalent now, as shown by people in restaurants being enthusiastic about their Gypsy style of music. covered wagons ; discrimination ; Gypsies ; homeland ; Hungary ; origin ; travelers discrimination ; Romanies--Hungary ; stereotypes (social psychology)--United States 17 1903 Performing Abroad &quot ; These guys have been all over too. Billy is 86. He get's around like he's 50! Unbelievable, Unbelievable&quot ; . George played in Canada for 9 months and played in Slovakia as well, and he plans to go to Hungary next year. He talks about the &quot ; Hundred Piece Gypsy Orchestra&quot ; in Hungary which travels all over the world. He hasn't been anywhere else but says he would like to. George has performed with his bands all over the United States, though. Canada ; Hungary ; orchestra ; perform ; Slovakia ; travel concert tours ; musicians--travel ; orchestra 17 2027 The Gypsy Style &quot ; There's a certain style, the way you play... your interpretation.. it's hard to explain, I'll have to show you... It's just like the feeling of the way you play it. You'll hear this singer sing it, and then you'll hear this singer sing it. And it's completely different!... The rhythm, the feeling of the song&quot ; . When asked what he means by &quot ; the Gypsy way&quot ; , George does not give a clear answer, but explains it has to do with the emotion of the song, and the impact on the listener. He talks about a bassist who said George was the best teacher because he did it in a way that taught the students without explicitly teaching them. George says that bassist and his band play really well but it's just a different style than authentic Gypsy music. emotion ; feeling ; Gypsy ; student ; style ; teaching Romanies--Music ; Romanies--social life and customs ; Romanies--United States 17 2146 Exoticisation of Gypsy Music? &quot ; [pushing back against stereotypes] doesn't work... you try but sometime's you just gotta go with the flow&quot ; . George says he's not sure, but he mentions people not considering his band the real thing, since they are not from the U.S., not Hungary. He says this is a form of stereotyping. He also talks about a European Gypsy band who he speaks in Hungarian and English with, and they assume he is a European Gypsy because of how he plays. He, too, considers European Gypsies &quot ; the original&quot ; , but says in America there's no one to teach you, and he had to listen to recordings to learn. He then says he doesn't really try to push back against stereotyping because it doesn't work. discrimination ; English ; European Gypsies ; Hungarian ; stereotype ; the real thing Hungarian language ; Music audiences ; Romanies--Europe--History ; Romanies--music ; Romanies--social life and customs 17 2328 Importance of Music, Young Musicians &quot ; I've been [playing music] for so long it's just natural&quot ; . George is thankful for having music because he never got into other things like drugs, and says music is a big part of his life. He talks about the few younger guys who are interested in learning Gypsy music and how he invites them to come watch. He says no one plays violin anymore, and that it's the hardest instrument to play. Getting the younger generation to play Gypsy music is tough, he says. Gypsy music ; music ; violin ; young musicians Music and youth ; Musicians, Romani ; Romanies--music 17 2478 Favorite Moments of Performance &quot ; We got the standing ovation, you know, and the people says &quot ; that was the best part of the opera, you guys were!&quot ; George recalls his favorite moments performing. He recounts a trip to a European music festival and starts playing with other musicians spontaneously. After playing for a moment, a huge crowd gathered around them. He also played in Canada, as well as Pittsburgh in a Gypsy Cafe. Many different types of musicians watched them, such as opera and symphony musicians. At one point, an opera director offers George's band a gig in an opera. The band gets a standing ovation and the audience members say that they were the best part of the opera. George's band also is hired at the Pittsburgh Symphony to play during intermissions or for receptions. George also recalls playing for the Pittsburgh Dance Ensemble. He thinks it was a weird modern dance performance, but says it was okay. Gypsy Cafe ; Hungarian Dance ; Pittsburgh Dance Ensemble ; Pittsburgh Symphony ; Street Performance Music audiences ; Romanies--music 17 2664 Dream of Touring &quot ; I'd like to put a group together that is willing to do tours, like to travel, maybe a three months tour, and then do another three months tour somewhere. It's hard for guys to do that&quot ; George talks about a desire to go on tour with an ensemble. Because many musicians have gotten married and now have kids, its hard for this to happen. He says he's talked about going on a 5 city tour with his band in Pittsburgh for about a month and a half. Right now, they're working on a making a CDR, so after that project is completed, the ensemble might to on tour. Gypsy ensemble ; Gypsy ensemble tour ; Gypsy music in Pittsburgh Romanies--music ; Sound recording industry 17 2752 Catholic Cemetery Job George has been working for a Catholic Cemetery for 18 years. Most of the people in his life growing up were catholics and all went to church. He discusses how Catholic cemeteries are supposed to be religified but they're not. Catholic Cemetery ; Catholicism ; romani religion Catholicism ; Christian cemeteries ; Religion ; Romanies--social life and customs 17 2830 Hungarian Dancers, Richie Balazs &quot ; They're all {??] university graduates, but uh you see them a dancer and they look professional, really professional. And they uh have instructors from Hungary come over and they taught them dances.&quot ; George discusses the Hungarian dancers who traveled with him. The dancers were all professional, having graduated university, and also had teachers that came to the US from Hungary to teach them. George specifically mentions Richie Balazs, a Roma dance instructor from Hungary. Balazs is in a dance group called Folk Factory, which performs dances form regions of Hungary. George recalls how Balazs approached him and suggested they play music together after hearing George's band from Pittsburgh play. folk factory ; gypsy music ; hungarian dance ; hungarian gypsy dance ; hungary ; romania ; romanian gypsy Folk dancing--Hungary ; Folk music--Hungary ; Romanies--social life and customs 17 2857 Younger Generation Plays Less Gypsy Music &quot ; Theres not--nobody else, they all play piano or the drums or guitar or bass, so, but really there's not too many violin players. They say it's the hardest instrument to play though. But uh, yeah it's tough&quot ; George admits that it's tough to keep music going in the younger Roma generation. Although George and his friends have talked to youth about 18 or 19 years old, because people live so far away, it's hard to learn. He recalls an interaction he has when he recently played in a Gypsy Jazz festival in Chicago at the Green Mill. There, he saw a young person learning violin, and told him to come watch George and his friends play violin to learn the right way of playing. The youth came and watched George's ensemble play, and George told the boy he would give him some books. George says that most young people these days play piano, drums, guitar, or bass, but there aren't many violin players. Youth say it's the hardest instrument to play. acculturation ; assimilation ; chicago ; green mill ; gypsy jazz ; gypsy music festival ; gypsy violin ; roma violin ; violin ; young gypsy ; young roma Acculturation ; Music and youth ; Musicians, Romani ; Romanies--music 17 2908 Music, Food, Culture, Enjoyment &quot ; But you gotta have good food, drinks too, you know, it goes with music, you know, hahahaha, but yeah that's my enjoyment [??] music drinks food&quot ; George recounts a time he almost quit playing music about eight years ago. He was working Monday to Friday and playing in a salsa club on Thursdays from 9-1. He would get home at 3am and get up at six to go to the cemetery. Because he was so tired, he almost quit ; however, people at a Gypsy cafe asked him to start playing regularly with them. He was originally resistant, but tried it, and began playing with them regularly. George says his brother doesn't understand how he (George) can travel and play all the time. George asserts that he will play until he dies. George's siblings still take part in Romani culture, such as participating in various holidays, funerals, and weddings. They live fairly close to each other but don't see each other often due to busy schedules. However, George fondly speaks about his nephew, who frequently texts to check up on George. His nephew, who works at Penn State, just visited George at one of his shows. George talks about the importance of food in his life, another way of staying in touch with Romani traditions. He says he is critical of outside restaurants that serve Hungarian food like Paprikash and stuffed cabbage. He recalls a night he was playing at a place called 8th wonder. The owner made traditional paprikash and asked him to try it. He also discusses a Hungarian restuarant in Michigan called The Rhapsody. George has played about four or five times there. He recounts an experience in which a old Hungarian women offered him pastries at one of his shows. He says its the best thing he's ever tasted. George asserts that good food, drinks, and music are his enjoyment. krémes Employment ; Musicians, Romani ; Practicing (Music) ; Romanies--music ; Romanies--social life and customs ; Violin 17 3302 Audience Interaction, Playing with Non-Gypsies &quot ; We have other people besides Romani musicians come and sing with us. Which is good. They says 'do you know this?' ''oh yeah we know how to play that stuff, don't worry about it'&quot ; George discusses the importance of audience reaction and interaction, saying that if the audience is having a good time, so are the musicians. He references a gig he played on Friday, in which the audience was singing along. He persuaded his friend, an opera singer who sings Italian and Irish music, to sing with his band. The singer blew the house away. Thus, George's gypsy ensemble also plays with non-Romani musicians. They are able to do this because they all have experience playing diverse styles of music. Fidler on the Roof ; Gypsy ensemble ; Romani ensemble Friendship ; Music audiences ; Music--Performance ; Musicians, Romani ; Romanies--music 17 3371 Teaching Violin to Non Roma or Kids &quot ; It's just like the style, it would be like the style for playing that kind of music. {??] you know, it can be taught, its gonna take a while, you know for somebody that don't know, but it can be taught. I don't want to teach the little kids HOW to play violin--its like the style&quot ; George says that Gypsy styles of playing could probably be taught to non-gypsies, although it would take a long time for someone who isn't familiar with the culture. He reveals his desire to teach Gypsy violin style, but not necessarily the basics of violin. George references experiences he has with one of the musicians he is performing with the night of the interview. The musician's son and daughter both are learning classical music. While the son is good, the daughter is great. George has told the father that he will teach them Gypsy music later down the line, after they learn the basics. George recalls a moment when the girl gives him a violin to see if he can play. She is amazed. They both compliment each other. Gypsy violin ; Music teaching ; Roma music teachers Music in education ; Music--Instruction and study ; Musical ability ; Musicians, Romani ; Romanies--music 17 audio 0 https://oberlincollegelibrary.org/ohms-viewer/render.php?cachefile= Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Batyi Interview Identifier An unambiguous reference to the resource within a given context OberlinCollegeIMC06 Format The file format, physical medium, or dimensions of the resource audio Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/43">Gipsy Stringz CD</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/47">"The Lark" cassette by Continental Gypsy Strings</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/79">Basav Roma Lavuta (Play Gypsy Violin)</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/41">Oct. 30th 2017 Gypsy Strings concert (second half)</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/463095300da6241999893827a607bdb4.png fe8126414e1472df3d464a0b8df17526 https://astoriedpeople.oberlincollegelibrary.org/files/original/f4d7b18dd587316af334a3db533b4680.JPG 301bb0201cda4a5dd7703d9429646529 https://astoriedpeople.oberlincollegelibrary.org/files/original/e856c63cad26d270eda587c88d5678d4.JPG 7d006588885096d1db5b1bc5a11c15b3 https://astoriedpeople.oberlincollegelibrary.org/files/original/cf50cdc2a59ff458e879cb985e33e23c.JPG 012fcd6b6d473609e48b0ae2f713b5bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Elia Tzoukermann Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian Folk Music Creator An entity primarily responsible for making the resource Magyar Állami Népi Együttes Description An account of the resource The Hungarian State Folk Ensemble was formed in 1951 by Gypsy players from various cafes and restaurants around the county, primarily from Budapest (Hooker). On this record composers such as Liszt and Brahms are found along with traditional tunes. Liszt, who composed the "Hungarian Rhapsody" piece found in this record, was a Hungarian composer who is known for his musical “Hungarian-Gypsy style” (Hooker). Liszt was known for his “bold harmonic turns” and “the innumerable modulatory digressions (Hooker, 254).” One can find Liszt’s “Hungarian-Gypsy style” in both his violin concertos and Contrasts written in 1938 (Hooker). Gypsy nota is the popular music of Hungarian Gypsies, which is similar to other European music in terms of its four-line strophic structure and common compilation of voice, guitar, synthesizer and drum (Lange). Its unique style is “characterized by vagueness and irregularity in its access to experiences of a non-dominant character (Lange, 517).” The irregularity communicates the character of Rom music by expressing “that is it a form of play (Lange, 532).” Gypsy nota performers and listeners are mainly constituted of Roma people and therefore Gypsy nota music is not created for outsiders (Lange). Although Gypsies were discriminated and disliked as a peoplehood, many outsiders enjoyed their music. Format The file format, physical medium, or dimensions of the resource Two records with multiple tracks Vinyl, 12", LP, Reissue, Stereo Identifier An unambiguous reference to the resource within a given context CSC_GBA_08 VX26190 https://storiedpeople.oberlincollegelibrary.org/items/show/17 https://storiedpeople.oberlincollegelibrary.org/files/original/ac824bfdcdc37f6b64cdbe2dabae323b.png https://storiedpeople.oberlincollegelibrary.org/files/original/a6536b1872dab6b4706b0c1f8b7c95d6.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/065b20cd39e4ab1f9f26b271e7126d1a.JPG https://storiedpeople.oberlincollegelibrary.org/files/original/2e4374d2d3a0d22d8ea88fd528e9e876.JPG Language A language of the resource English French Publisher An entity responsible for making the resource available Vox Relation A related resource Works Cited: Hooker, Lynn M. Redefining Hungarian Music from Liszt to BartoÌk. Oxford University Press, 2014. Lange, Barbara Rose. “‘What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota.” Ethnomusicology, vol. 41, no. 3, 1997, p. 517., doi:10.2307/852762. Subject The topic of the resource Romanies Music Title A name given to the resource Gipsy Magic Magie Tzigane Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/8602b5b7a1682d5cb43120ce748bdb3e.png eed5eec1ab9e380e8253a9f5d82afb68 https://astoriedpeople.oberlincollegelibrary.org/files/original/2575f5ab0ce8a21b327fa01e7e5ea057.jpg 13e42a59956b1a258cde067ab2c8de2e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Batyi, George (Production, Arranger, Violin, Back-up Vocals); Sestili, Bob (Production, Tambura Bass, Back-up Vocals); Grcevich, Jerry (Arranger); Kosovec, Peter (Brac, Lead Vocal); Kosovec, David (Cello, Lead Vocal); Recorded by Imagine Audio and Media Date A point or period of time associated with an event in the lifecycle of the resource 21st-century Description An account of the resource Live performance by Gipsy Stringz at the Gypsy Cafe. Contemporary Roma Folk, Roma Quartet, self-described "Gypsy" Music Format The file format, physical medium, or dimensions of the resource CD disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_21 https://storiedpeople.oberlincollegelibrary.org/items/show/5 https://storiedpeople.oberlincollegelibrary.org/files/original/8df98642d3e4d54d49bccf0b2d1eb4cb.png https://storiedpeople.oberlincollegelibrary.org/files/original/eb5026be3a8d11461cd2f8e31a4fd8f3.jpg Language A language of the resource English Publisher An entity responsible for making the resource available Self-published by George Batyi Rights Information about rights held in and over the resource George Batyi Subject The topic of the resource Folk songs Hungary Title A name given to the resource Gipsy Stringz "Live" at the Gypsy Cafe Type The nature or genre of the resource CD Relation A related resource <a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/33">Jerry Grcevich Interview</a><br /><a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37">George Batyi Interview</a> https://astoriedpeople.oberlincollegelibrary.org/files/original/3a2382384d64c4810729189acd0fb26a.JPG 8a438f379a2d6244b3bc00a3a5dd8ba9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Shang Yasuda Creator An entity primarily responsible for making the resource Lajos, Bárdos (Compiler) Various artists Date A point or period of time associated with an event in the lifecycle of the resource Published in 1959 The pieces were individually published between 1913 to 1952 Description An account of the resource A book containing 92 Hungarian songs (with musical notation and lyrics) Format The file format, physical medium, or dimensions of the resource Bound songbook. 121 pages ; 14 cm Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/9 https://storiedpeople.oberlincollegelibrary.org/files/original/47861d4a0dbdb1ad4328e4138f720d67.JPG Language A language of the resource Hungarian Publisher An entity responsible for making the resource available Zenemükiadó Vállalat Published in Budapest, Hungary Subject The topic of the resource Hungarian songs Title A name given to the resource Gyöngyvirág 92 Magyar Népdal Lily of the Valley: 92 Hungarian People Type The nature or genre of the resource Print https://astoriedpeople.oberlincollegelibrary.org/files/original/6e2e0cc457034fceb97b83e5f40ef78a.jpg b8293771904ee1f0e209a21e4abdd18f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gypsy Memories Subject The topic of the resource Romanies Music Description An account of the resource The song book, Gypsy Memories, is compiled with songs as played by Harry Horlick and his A&P Gypsies. Born in Kiev, Russia Horlick was a violinist who performed in various venues until he was drafted into the Russian army during WWI. When he was freed from the war, Horlick moved to New York and began performing in cafes with a small six piece ensemble. Horlick’s group began to be sponsored by the A&P food store chain after its radio debut in the early ‘20s. A&P agreed to fund the band’s weekly radio show, leading to the creation and success of The A&P Gypsies. Horlick’s group hosted the most popular instrumental music program on air from 1924 to the 1930s, specializing in Gypsy music Horlick learned while traveling around eastern Europe. Sources categorize the group’s music in many ways including classical, semi-classical, folk and gypsy-inspired genres. The inconsistency in how the group’s music is categorized was most likely an intentional tool used by Horlick to boost his music’s popularity. Ethnomusicologist, Barbara Lange explains that maintaining a flexible public image is a fundamental tool Rom use in the U.S to cross ethnic boundaries and increase popularity. The group’s use of “impression management” allowed them to create a vague yet unique sound, which was favored by ethnically mixed audiences throughout the US. Creator An entity primarily responsible for making the resource Songs as played by Harry Horlick and his A & P Gypsies Stone, Gregory Source A related resource from which the described resource is derived Songs compiled and arranged for voice and piano by Gregory Stone Publisher An entity responsible for making the resource available Edward B. Marks Music Corporation Radio City, NY Date A point or period of time associated with an event in the lifecycle of the resource Copyright 1936 Contributor An entity responsible for making contributions to the resource Rae Friedman Rights Information about rights held in and over the resource International copyright secured, All rights reserved Format The file format, physical medium, or dimensions of the resource Bound songbook 42 pages ; 30 cm Language A language of the resource Russian English Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/1 https://storiedpeople.oberlincollegelibrary.org/files/original/a7f5a1ff59720452fbe7bdae55e77bd9.jpg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sheet music to be played by a pianist and singer https://astoriedpeople.oberlincollegelibrary.org/files/original/df8356e028f86c98a9765f40ff42dffd.jpg b24715ed9f97963147b812a2c3a5dec4 https://astoriedpeople.oberlincollegelibrary.org/files/original/b8ce29a9bc8a5137e3ff0a3b7041a06a.jpg c2c3df3b8ddde85fe81e5c7e0921735d https://astoriedpeople.oberlincollegelibrary.org/files/original/31223cd560b510f31a0b1fe64b97364c.jpg b96386348dbb19429c6e0c5d55596372 https://astoriedpeople.oberlincollegelibrary.org/files/original/db3917b3e08cb19e74dcf7761952cdcf.jpg 682d3fd5ccc3465476f39a1d789a5b07 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Phyllis Jones Creator An entity primarily responsible for making the resource Kárpáty Mihály and his Orchestra Description An account of the resource A recorded reportage on the day to day, routine life of a gipsy Primas in his home town. Recored at the restaurant of the Tisza Hotel of Szeged, Hungary, where Míhály Kárpáti and his orchestra play every evening. Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_06 London International SW 99451 https://storiedpeople.oberlincollegelibrary.org/items/show/39 https://storiedpeople.oberlincollegelibrary.org/files/original/8f164e849172bb7f4218a4aae7f7f441.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/bfbc196af6d906cb991df769dcb345c2.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/4c5521064dabecbe383c40162d43a28c.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/ba28fcc0da81f9fcd07becfbb3d6f9e8.jpg Language A language of the resource Hungarian English Publisher An entity responsible for making the resource available London International Subject The topic of the resource Romanies Music Title A name given to the resource Gypsy music from Hungary Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/805660e63995aaf082b182bda23226be.jpg d2c435c707ce1f7e62f997f365534751 https://astoriedpeople.oberlincollegelibrary.org/files/original/ce64f1e5a609c181f8e5d421be1f385e.jpg 3cfac5b07a4b4d3e73c4a4753d12b971 https://astoriedpeople.oberlincollegelibrary.org/files/original/f23151e5721d603285ff0e32dcd1165c.jpg 4aec37f80b9635dddeed5a5fac282a2f https://astoriedpeople.oberlincollegelibrary.org/files/original/f97311531a0415ee6ca86737548b336d.jpg 2e11da7625cd48bdf283912e52ebbf84 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Phyllis Jones Creator An entity primarily responsible for making the resource Yoska Nemeth and his Gypsy Orchestra Date A point or period of time associated with an event in the lifecycle of the resource 1957 Description An account of the resource Improvisations for violin and gipsy ensemble comprised of strings, 3 clarinets, and cimbalom Format The file format, physical medium, or dimensions of the resource 12" vinyl disc Identifier An unambiguous reference to the resource within a given context CSC_GBA_12 Vox VX 25.220 https://storiedpeople.oberlincollegelibrary.org/items/show/43 https://storiedpeople.oberlincollegelibrary.org/files/original/98f34d97b6caa82e3eccdc16644d53a2.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/448f4826e3a7e11ea0895f1973425c7a.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e2ceca7a07c9c4f8ddb398a9fcc2b257.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/46a24cfdb6c955d76f3d110b4dd7a912.jpg Language A language of the resource English Publisher An entity responsible for making the resource available Vox Subject The topic of the resource Romanies Music Title A name given to the resource Gypsy strings Type The nature or genre of the resource LP https://astoriedpeople.oberlincollegelibrary.org/files/original/d47ed86e47b0b3315ed9a50468dfe676.JPG b8c0ea881bfd631d1b758384b978021f https://astoriedpeople.oberlincollegelibrary.org/files/original/8c66c77fec7e4ba6f722643cbd0c5ba4.JPG bd8ba25ccf2c176a27f648195f67080a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Related Resources and Donations Subject The topic of the resource Romani Music Description An account of the resource Monographs and edited volumes of relevance to materials in the Batyi Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gypsy Violins: Hungarian-Slovak Gypsies in America (book) Subject The topic of the resource Romanies music Description An account of the resource Monograph on the history of Roma-Gypsy violin and cimbalom bands in the United States (donated to the Conservatory Library circulating collection by Steve Piskor) Creator An entity primarily responsible for making the resource Steve Piskor Source A related resource from which the described resource is derived http://obis.oberlin.edu/record=b6921126~S4 Publisher An entity responsible for making the resource available Saroma (Cleveland, Ohio) Date A point or period of time associated with an event in the lifecycle of the resource 2012 Contributor An entity responsible for making contributions to the resource Ian MacMillen Rights Information about rights held in and over the resource © Steve Piskor Relation A related resource https://astoriedpeople.oberlincollegelibrary.org/items/show/39 https://astoriedpeople.oberlincollegelibrary.org/items/show/40 Format The file format, physical medium, or dimensions of the resource Softbound book, xxii, 221 pages : illustrations, maps, portraits, facsimiles ; 23 cm Language A language of the resource English Identifier An unambiguous reference to the resource within a given context DX201 .P575 2010 (Oberlin Library Call Number) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 20th century https://astoriedpeople.oberlincollegelibrary.org/files/original/28488df572843b640390e751cc69f13d.png 55c075eca95ca308d5de41858a924cd3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Recordings Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Elia Tzoukermann Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1923-1972 Creator An entity primarily responsible for making the resource Various artists Date A point or period of time associated with an event in the lifecycle of the resource 2013 Description An account of the resource Gypsy violin music by American Hungarian-Slovak Gypsies Format The file format, physical medium, or dimensions of the resource CD Identifier An unambiguous reference to the resource within a given context CSC_GBA_23 https://storiedpeople.oberlincollegelibrary.org/items/show/10 https://storiedpeople.oberlincollegelibrary.org/files/original/5ba17f14457b0d600c4629afeb1b5516.png Language A language of the resource English Text on CD Publisher An entity responsible for making the resource available Self-published Rights Information about rights held in and over the resource Copyright 2013 Source A related resource from which the described resource is derived Book: Gypsy Violins by Steve Piskor Subject The topic of the resource Romanies Music Title A name given to the resource Gypsy Violins: Hungarian-Slovak Gypsies In America (CD) Type The nature or genre of the resource CD https://astoriedpeople.oberlincollegelibrary.org/files/original/404cad296f1814d51784319b3f668c04.jpg cd5f4f6276940bca90fe130d25a12686 https://astoriedpeople.oberlincollegelibrary.org/files/original/f2f425da0db945a70b6a0d4b06137789.jpg fffd347507061098b53c29ca10ae28db https://astoriedpeople.oberlincollegelibrary.org/files/original/872ee50bc8c0059f4bda5b0076faa8dc.jpg 5ead1fc6d3d124ade891a1c7fd7ab9bf https://astoriedpeople.oberlincollegelibrary.org/files/original/c911db70bb0148c126634c6f94d87659.jpg dc83584b0c96b2006138c750ba5b0714 https://astoriedpeople.oberlincollegelibrary.org/files/original/70ebef46d53e5c1daae28190b584d8dc.jpg 86df13263e88b47c17f4a62d09d11bde https://astoriedpeople.oberlincollegelibrary.org/files/original/9e5df92a2c5db77bd5ce95405300f587.jpg 85a7f0cfd5b6127c6ec945e7b44823c1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheet Music Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gabrielle 'Teddy' Ment Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hungarian Folk Music Creator An entity primarily responsible for making the resource various artists translated to German by Imre Ormay Date A point or period of time associated with an event in the lifecycle of the resource 1956 Description An account of the resource énekhangra, zongorakîséttel (Hungarian) [singing, with piano] Format The file format, physical medium, or dimensions of the resource Sheet music. 51 pages ; 31 cm Identifier An unambiguous reference to the resource within a given context https://storiedpeople.oberlincollegelibrary.org/items/show/20 https://storiedpeople.oberlincollegelibrary.org/files/original/014c8d3124e0d44cbd54b730ac2066e1.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/772063734edd86c197b8640de6046eb8.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/3b9d78590f7f2c57b076c84d3652eb5f.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/60291302d85707a1f7691e775521775a.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e4231743c7da7e24ab93b6cf004b3960.jpg https://storiedpeople.oberlincollegelibrary.org/files/original/e4c92dd56f1311f6c005084be3ea2793.jpg Language A language of the resource Hungarian German Publisher An entity responsible for making the resource available Zenemûkiadó Véllalat, Budapest Subject The topic of the resource Magyar Dalok (Hungarian) [Hungarian Songs] Title A name given to the resource Jaj, de Szépen Muzsikálnak (Hungarian) [Hey, they are beautiful musicians] Hei, Wie Schön die Geigen Klingen (German) [Oh, how beautifully the violins play] Type The nature or genre of the resource Print