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[[Hungary]] has made many contributions to the fields of [[folk music|folk]], [[popular music|popular]] and [[classical music]]. Hungarian folk music is a prominent part of the national identity, and continues to play a major part of the Hungarian music scene {{ref|folkmusicimportance}}. Hungarian folk music has been influential in neighboring countries like southern [[Poland]], [[Romania]] and [[Slovakia]]; southern Slovakia and the Romanian region of [[Transylvania]] are also home to large numbers of Hungarians, who have brought with them their music {{ref|internationalinfluence}}. Hungarian folk music is especially strong and traditional in style in the southwest part of [[Transdanubia]], near the border with [[Croatia]], and the [[Szabolcs-Szatmár-Bereg|Szabolcs-Szatmár]] area {{ref|regions}}. The [[Busójárás Carnival]] in [[Mohács]] is also a major spot for roots-based music, formerly featuring the long time and well-regarded [[Bogyiszló orchestra]] {{ref|Carnivalorchestra}}.
==Characteristics==
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Many of the biggest names in modern Hungarian music emerged from the táncház scene, including [[Muzsikás]] and [[Márta Sebestyén]]. Other bands include [[Vujicsics]], [[Jánosi]], [[Téka]] and [[Kalamajka]], while singers include [[Éva Fábián]] and [[András Berecz]]. Famous instruments include the fiddler [[Csaba Ökrös]], cimbalomist [[Kálmán Balogh]], violinist [[Félix Lajkó]] (from [[Subotica]] in Serbia) and multi-instrumentalist [[Mihály Dresch]] {{ref|modernames}}.
==
[[Image:Oldhungariansheetmusic.png|thumb|right|15th century manuscript, depicting a movement for two voices]]
===Middle Ages===
Little is known about Hungarian music prior to the [[11th century]], when the first [[King of Hungary|Kings of Hungary]] were [[Christianization|Christianized]] and [[Gregorian chant]] was introduced; a [[bishop]] from [[Venice]] during this period wrote the first surviving remark on Hungarian folk song when he commented on the peculiar singing style of a maid {{ref|maidsong}}. Church schools taught the chants of Western christianity, especially in places like [[Esztergom]], [[Nyitra]], [[Nagyvárad]], [[Pannonhalma]], [[Veszprém]], [[Vác]] and [[Csanád]] {{ref|chant}}. Some schools later began focusing on singing, spreading Latin hymns across the country. Music education from this period is known due to manuscripts like the ''[[Notebook of László Szalkai]]'' and [[Jacobus de Liège]]'s ''[[Speculum musicae]]'' (from circa [[1330]]-[[1340]]), which mentions the use of [[solmization]] {{ref|musiceducation}}. Other music documents include the ''[[Codex of Hahót]]'', the ''[[Codex Albensis]]'' and the ''[[Sacramentarium of Zagreb]]''. The church Chorals were ncreasingly adapted and transformed to Hungarian culture, as evidenced by the ''[[Pray Codex]]'', a collection of "liturgical melodies... in neumatic notation... (and) containing among other things the earliest written record extant of the [[Hungarian language]], the ''Funeral Oration''... (and) independent forms of notation and even independent melodies (''Hymn to Mary'') {{ref|PrayCodex}}. In the middle of the [[13th century]], an unknown person translated a French poem into Hungarian, the first example of such a thing and the "first encounter with the more secular melodic world of the Western world" {{ref|firstpoem
Though virtually nothing is known about them, Hungarian [[minstrel]]s existed throughout the [[Middle Ages]], and may have kept ancient pagan religious practices alive {{ref|paganminstrels}}. Eventually, however, minstrels were a part of royal courts, and were employed by noblemen. This did not prevent the church from banning their congregation from listening to the minstrels at the [[Synod of Buda]] in [[1279]] {{ref|Buda}}. In the 14th century, instrumental music grew to be the most important part of the minstrels' performances, including those of the fiddlers, lutenists and flautists, while minstrels became known as ''igriceks'' {{ref|igricek}}. Courtly music had been oriented towards French models for much for the early Middle Ages before being opened to musicians from [[Flanders]], [[Italy]] and [[Germany]]; the golden age for this courtly music was during the reign of [[Matthias Corvinus of Hungary|Matthias Corvinus]] and [[Beatrice of Hungary|Beatrice]] {{ref|courtmusic}}. The foreign musicians in Hungary helped to revive interest in rural instrumental traditions.▼
===16th century===
The ''[[Nádor Codex]]'' of [[1508]] presents the first use of Gregorian melodies with Hungarian texts {{ref|nadorcodez}}. The same period saw the local folk styles grow more diverse, while political authorities railed against secular music. Szavolcsi notes the author of the ''[[Sándor Codex]]'' (early [[16th century]]), who described secular music as accompanied by "[[fiddle]], [[lute]], [[drums]] and [[cimbalom]]... and used [[tenor]], [[discant]] and [[contratenor" singers, meaning it was in the style of the [[motet]] {{ref|motet}}.
[[image:1553song.png|thumb|right|Song by András Farkas from the 1533 ''Hofgreff Songbook'']]
The 16th century saw the rise of Transylvania, a region the Turks never occupied, as a center for Hungarian music {{ref|Transcenter}}, as well as the first Hungarian publications of music, both published in [[Cracow]]. [[István Gálszécsi]]'s songbook was the "first Hungarian gradual to the Gregorian hymn-melodies and German choral music of which we can see new Hungarian translations", while the ''[[Cronica of András Farkas]]'' includes the first surviving historical song {{ref|twopublications}}. About forty melodies are known from this era, and are already in a distinctively Hungarian style which took influences from across much of Europe in several dozen distinct forms that were "mostly notated in a rigid and clumsy way" but were "undoubtedly much more colourful and flexible in living performance" and were in reality "little masterpices of melodic structure" {{ref|distinctform}}. The most significant musician of this period was [[Sebestyén Tinódi]], the "greatest stylist and master of expression of ancient Hungarian epic poetry... whose heritage the people’s music of two centuries was unconsciously nourished" {{ref|Tinodi}}.
[[Accentuated declamation]] was fashionable in music education during the early 16th century; a more rigid choir style is represnted by a collection called the ''[[Melopoeiae]]'', from [[1507]] {{ref|choirs}}. A collecton by [[Johannes Honterus]] was the first Hungarian printed work with music, dating from [[1548]]. These collections were enriched by "melodic configurations" that, according to Bence Szabolcsi, could be explained by the arrival of the "song material of the [[Czech Reformation]], the melodic treasure of the [[German Reformation]] and the [[psalter]] of French [[Huguenot]]s" {{ref|Europe}}. The poet [[Bálint Balassi]] remains well-regarded for his poems from this period, which were based on Polish, Turkish, Italian and German melodies, and may have also been influenced by the [[villanella]] {{ref|Balassi}}. Some songs from this period, influenced by the music of the nobles and their minstrels from as far away as Italy, remained a part of the Hungarian folk tradition at least until modern song collection began. Religious and secular music were closely connected at this time, and documentation of the former grew with the publication of many songbooks filled with free psalm paraphrases called ''[[laud]]s'', facilitating the practice of communal singing among the nascent Protestant churches {{ref|religioussong}}. This conflation of religious and secular song was much criticized from the pulpit, from the both the Protestant and Catholic churches. The latter allowed popular songs after a [[1564]] edict from [[Ferdinand I of Germany|Ferdinand I]], which allowed the bishops to use them only after close scrutiny {{ref|Ferdinand}}. They were again banned in [[1611]], however, and a Catholic collection of Hungarian church songs was not agreed upon until [[1629]], at the [[Synod of Nagyszombat]]. The collection, [[Benedek Szőlősy]]'s ''[[Cantus Catholici]]'', was published in [[1651]], and wasn't followed by a Protestant version for about 90 years {{ref|catholiccolection}}.
Hungarian instrumental music was well-known in Europe in the 16th century. The lutenist and composer [[Bálint Bakfark]] was especially famous, known as a virtuoso player of the lute {{ref|famouslute}}; his works were collected and published as ''[[Intavolatura]]'' and ''[[Harmoniae musicae]]'' (published in [[1553]] and [[1565]] respectively) {{ref|Bakfark}}. He was one of the pioneers of a style based on vocal [[polyphony]]. Also important were the lutenist brothers, the [[Neusiedler]]s, and the author of an important work of music theory, ''[[Epithoma utriusque musices]]'', [[Stephan Monetarius]]'' {{ref|MonetariusNeusiedler}}.
===17th century===
During the 17th century, Hungary was divided into three parts, one the region of Transylvania, one controlled by the Turks, and another by the [[Hapsburg]]. Historic songs declined in popularity, replaced by lyrical poetry {{ref|historiclyrical}}. Minstrels were replaced by courtly musicians, who played the trumpet and whistle, or cimbalom, violin or bagpipes; many courts and households had large groups of instrumentals {{ref|courtlybands}}. Some of these musicians were German, Polish, French or Italian, and even included a Spanish guitarist at the court of [[Gábor Bethlen]], [[Prince of Transylvania]]. Little is known about the actual music of this time, however.
Instrumental music from the 17th century is known from the collections of various Upper Hungarian and Transylvanian collectors, such as [[János Kájoni]], who collected the ''[[Cantionale Catholicum]]'', ''[[Kájoni Codex]]'', ''[[Organo Missale]]'' and ''[[Sacri Concentus]]'' {{ref|Kajoni}}. The collectors of the ''[[Vietórisz Codex]]'', whose identities are unknown, and another anonymous collector from [[Lőcse]], also published "the first examples of autonomous, developed virginal music, equally accomplished in style, melodic texture and technique of adaptation" {{ref|anons}}. These songs were characterized by "flexible, finely shaded melodies, a tendency to create wider and looser forms, and a gradual independence of the forma (sic) principles of song melodies toward a clearly instrumental conception" {{ref|characterizing17th}}. At the same time, rhythm became more compliction and notation more general. The Lőcse manuscript also notably presents an arrangement of dances, the first example of the Hungarian cyclic form {{ref|cyclicform}}; this music and dance had similarities both to the [[music of Poland|Polish music]] of the time as well as the subsequent development of the verbunkos style.
17th century Hungarian church music was revolutionized ater the [[1651]] publication of the ''[[Cantus Catholici]]'', in which genuine Hungarian motives played a major part. By [[1674]], the [[Hungarian Mass]] was also part of the ''Cantus Catholici'', followed by the adoption of Calvinist psalm tunes in [[1693]] and Hungarian choral music in [[1695]] {{ref|collectionsCatholic}}. János Kájoni ''Organo Missale'' of [[1667]] was the first experiment in the creation of a new kind of Hungarian church music, a style that strung together short motives that were shortened, extended or syncopated in a complex rhythmic structure {{ref|OrganoMissale}}. Italian religious music played an important role in this development, which was documented in an "unparalleled example of ancient Hungarian music", the ''[[Harmonia Caelestis]]'' of Prince [[Pál Eszterházy]] {{ref|Eszterházy}}, who tried to create a distinctively Hungarian style of church music using influences from [[opera]], [[oratio literature]], the German music of [[Kerll]] and [[Schmeltzer]], and the [[oratorio]] and [[cantata]] styles {{ref|influences}}. Eszterházy's efforts did not last, as the following century saw an influx of muic from Western Europe under the Hapsburgs.
Around the turn of the [[18th century]], however, the last national uprising of the period occurred, leading the spread of "[[Kuruc song]]s". These songs were authentically Hungarian and hold a "central position between the style of the ancient and the new folk music" {{ref|Kuruc}}. Their influences include elements of Polish, Romanian, Slovak and Ukrainian music in addition to Hungarian melodies.
▲Though virtually nothing is known about them, Hungarian [[minstrel]]s existed throughout the [[Middle Ages]], and may have kept ancient pagan religious practices alive {{ref|paganminstrels}}. Eventually, however, minstrels were a part of royal courts, and were employed by noblemen. This did not prevent the church from banning their congregation from listening to the minstrels at the [[Synod of Buda]] in [[1279]] {{ref|Buda}}. In the 14th century, instrumental music grew to be the most important part of the minstrels' performances, including those of the fiddlers, lutenists and flautists. Courtly music had been oriented towards French models for much for the early Middle Ages before being opened to musicians from [[Flanders]], [[Italy]] and [[Germany]]; the golden age for this courtly music was during the reign of [[Matthias Corvinus of Hungary|Matthias Corvinus]] and [[Beatrice of Hungary|Beatrice]] {{ref|courtmusic}}. The foreign musicians in Hungary helped to revive interest in rural instrumental traditions.
==Popular music==
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#{{note|regions}} Broughton, pg. 161
#{{note|Carnivalorchestra}} Broughton, pg. 161
#{{note|
#{{note|richpoor}} Szabolcsi, ''The Specific Conditions of Hungarian Musical Development''
#{{note|Bartok}} Broughton, pg. 159
#{{note|Kodaly}} Broughton, pg. 159
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#{{note|ABBA}} Nettl, pg. 85
#{{note|firstcollection}} Broughton, pg. 159
#{{note|
▲#{{note|richpoor}} Szabolcsi, ''The Specific Conditions of Hungarian Musical Development''
#{{note|chant}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|musiceducation}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|PrayCodex}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|firstpoem}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|nadorcodez}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''▼
#{{note|motet}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''▼
#{{note|instruments}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|paganminstrels}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|Buda}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|igricek}} Sisa, ''The Spirit of Hungary''
#{{note|courtmusic}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
▲#{{note|nadorcodez}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
▲#{{note|motet}} Szabolcsi, ''The Middle Ages: Church Music and Minstrel Music''
#{{note|Transcenter}} Sisa, ''The Spirit of Hungary''
#{{note|twopublications}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|distinctform}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|Tinodi}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|choirs}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|Europe}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|Balassi}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|religioussong}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|Ferdinand}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|catholiccolection}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|famouslute}} Sisa, ''The Spirit of Hungary''
#{{note|Bakfark}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|MonetariusNeusiedler}} Szabolcsi, ''The Sixteenth Century: Historic Song and Chorals''
#{{note|historiclyrical}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|courtlybands}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|Kajoni}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|anons}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|characterizing17th}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|cyclicform}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|collectionsCatholic}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|OrganoMissale}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|Eszterházy}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|influences}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|Kuruc}} Szabolcsi, ''The Seventeenth Century: Virginal Literature and Church Music''
#{{note|Budapest}} Broughton, pg. 161
#{{note|Tanchaztalalkozo}} Broughton, pg. 164
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