A lament from Bartók's anatolian collection and its musical background

Abstract Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America, and in 1991 in Turkey. How Bartók's conclusions stand the test in the light of an examination on a larger Turkish material? I investigated this question in four of my books, and the detailed analysis points way beyond the scope of the present paper. This time I deal with a single melody, the No. 51 lament of Bartók's collection and with its larger Anatolian, Hungarian and other musical background. Can this melody be an important link between Hungarian and Anatolian folk music layers? If so, why did Bartók not realize this? Does Bartók's incredibly detailed way of transcription has practical benefits in the ethnomusicological research? Is the unique intonation of certain tones in some Anatolian and Hungarian laments accidental or do these tones show a consistent system? Can we find the musical form represented by this Turkish lament in the folk music of Turkic and other people; is yes, what kind of conclusion can be drown? Trying to find an answer to some of these questions I use the melodies and the results of my Turkish, Azeri, Karachay-Balkar, Kazakh, Mongolian and Kyrgyz researches of more then 7000 songs