Hungarian folk music

This article will address Hungarian folk music, a topic of great relevance today that has generated extensive debate and questions in different areas. In order to provide a broad and enriching vision of this topic, various aspects will be analyzed that will allow us to understand its importance and impact on society. Through the information presented, it is intended to generate a critical and reflective analysis that contributes to the enrichment of knowledge about Hungarian folk music and encourages reflection on its impact on current reality.

Hungarian folk music (Hungarian: magyar népzene) includes a broad array of Central European styles, including the recruitment dance verbunkos, the csárdás and nóta. It is characterised by complex melodic patterns, rhythmic diversity, ornamentalisation and the use of a distinctive blend of traditional instruments. Instruments traditionally used in Hungarian folk music include the citera, cimbalom, cobza, doromb, duda, kanászkürt, mandolin, tárogató, tambourine, tambura, tekero and ütőgardon.

The name Népzene is also used for Hungarian folk music as an umbrella designation of a number of related styles of traditional folk music from Hungary and Hungarian minorities living in modern-day Austria, the, Czech Republic, Poland, Slovakia, central Romania (Transylvania) (Székely), Moldova (Csángó), and Serbia.

The obscure origins of Hungarian folk music formed among the peasant population in the early nineteenth century with roots dating even further back. However, its broader popularity was largely due to the Hungarian composer Franz Liszt, who in 1846 began composing 19 Hungarian Rhapsodies for piano, five of which were later orchestrated, thus being the first pieces of music by a major composer to incorporate sources from so-called “peasant music”. These works, which broke free from classical tradition, were often viewed by the elite as brash and unrefined, yet they deeply influenced others, like Johannes Brahms, and later Zoltán Kodály and Béla Bartók, even having an influence on American jazz.

During the 20th century, Hungarian composers were influenced by the traditional music of their nation which may be considered as a repeat of the early "nationalist" movement of the early 19th century (Beethoven) but is more accurately the artists' desire to escape the hegemony of the classical tradition manifold at that time. Béla Bartók took this departure into the abstract musical world in his appropriation of traditional Hungarian as the basis for symphonic creations.

Zoltán Kodály and Béla Bartók studied over 300 melodies, and noted that more modern tunes used for dancing featured pentatonic turns with frequent leaps in fourths.

Notable Hungarian folk bands and artists

Kaláka

See also

Notes

  1. ^ Elizabeth C. Rearick. 1939. Dance of the Hungarians. Teachers College, Columbia University; p. 48; citing Bartók's Hungarian Folk Music, page 80.
  2. ^ Tükrös Ensemble; songs.hu

External links