| Music of Hungary | ||||||
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| Nationalistic and patriotic songs | ||||||
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Hungarian folk music (Hungarian:magyar népzene,pronounced[ˈmɒɟɒrˈneːbzɛnɛ]) includes an array of styles, including the recruitment danceverbunkos, thecsárdás andnóta. It is characterised by complexmelodic patterns, rhythmic diversity,ornamentalisation and the use of a distinctive blend of traditional instruments. Instruments traditionally used in Hungarian folk music include thecitera,cimbalom,cobza,doromb,duda, kanászkürt,mandolin,tárogató,tambourine,tambura,tekero andütőgardon.
The nameNépzene 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-daySlovakia,Ukraine,Moldova (Csángó),Romania (Transylvania) (Székely),Croatia andSerbia.
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 composerFranz 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, likeJohannes Brahms, and laterZoltán Kodály andBéla 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 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.[1]
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