Funeral song poetry – source of the texts of funeral song collections

The present study focuses on sacred manuscripts related to Reformed funeral rites — the so-called funeral hymnals — based on ethnographic fieldwork conducted in Hungarian-speaking settlements of Transcarpathia, specifically in the former counties of Ugocsa and Bereg. Its aim is to analyse the texts of mortuary hymn poetry by tracing their sources and demonstrating how and through what means they were incorporated into manuscript collections. The examination of funeral hymnals and sacred manuscripts, as well as their texts, has only recently become a central topic of research. In Transcarpathia, their systematic uncovering has gained momentum and attracted greater scholarly attention in recent years. The analysis of these texts places the significance of the manuscripts in a new context. The study primarily examines selected manuscript examples and, at the same time, refutes the earlier claim that the hymns used during wakes and funerals were original compositions by Reformed cantors. The research clearly shows that although a few original compositions exist, the vast majority of funeral hymn texts derive from earlier printed sources. The study classifies the texts into two main categories: original compositions and texts borrowed from earlier printed or manuscript sources. Within the latter category, it distinguishes between texts adopted verbatim and those that were modified or adapted, with each case supported by specific examples. The research does not uncover primary sources in the strict sense but rather demonstrates the origins of the texts. Furthermore, the study addresses the practice of song dictation (énekdiktálás) — a singing custom and mood indispensable to understanding funeral hymnals, as the texts they contain were sung following dictation. It highlights an important aspect: the international parallels of this practice, which is known in scholarly terms as lining out. While the work does not undertake a comprehensive survey of such parallels, it cites the Scottish Gaelic singing tradition as an example and notes that many other analogues could be mentioned, further supporting the view that the singing practices of these communities have clear international counterparts.