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AROUND 'GYPSYNESS' AS AN EMANATION OF NATIONALITY IN HUNGARIAN MUSIC

100%
Piotrowska A. G.
Sprawy Narodowościowe
|
2008
|
issue 32
87-97
EN
National perspective in the writings on so-called Gypsy music, resulting from the 19th century tendencies, dominated the musicological discourse. Due to the 1859 book by a renowned Hungarian composer Franz Liszt, 'Des Bohémiens et de leur musique en Hongrie', Gypsy music was proclaimed the only real source of Hungarian national music. Such a statement caused a lot of criticism in the intellectual circles of Hungarian middle class preferring to perceive the repertoire performed by Gypsy bands as purely Hungarian music. The misunderstanding rested, however, on strong bases: Hungarians themselves were more than willing to allow Gypsy musicians entertain them with the compositions meeting their own requirements. The ever growing, since the late 18th century, popularity of Gypsy musicians in Hungary constituted yet another factor complicating the issue. In the early 20th century, another Hungarian composer, Bela Bartok, presented a new outlook on Hungarian national music and its relation to Gypsy music. He proclaimed Hungarian peasant music the most important part of Hungarian folk music while attributing Gipsy bands only the role of propagators of Hungarian urban music. Nowadays research on music by Hungarian Gypsy concentrates on the problems of interior variety of styles, different for various Roma groups living in Hungary, and the question of the transformation of their music due to the globalization processes rather than on the issue to what extend Gypsy music should be considered national in Hungarian context.
2

'THE OTHER' IN MUSIC. BASED ON THE EXAMPLE OF GYPSY MUSIC

88%
Piotrowska A. G.
Kultura i Społeczeństwo
|
2007
|
vol. 51
|
issue 4
173-186
EN
Since the publication of Franz Liszt's book 'Des Bohemiens et de leur musique en Hongrie' in 1859 Gypsy music has become the constant cause of academic disputes. In European culture Gypsy music was described as an emanation of the concept of 'Others'. In musicological literature two dominant codes of presenting Gypsy music can be distinguished: the racial discourse - drawing heavily on Darwinian theory practices and national perspective resulting from the 19th century tendencies. Consequently Gypsy music was proclaimed the only real source of Hungarian national music. The writings on Gypsy music are also characterized by the evident fascination with non-European cultures and the exotic features of Gypsy music. The aim of the article is to outline how European authors undertaking the problem of Gypsy music (Franz. Liszt and Bela Bartok) mitigated between the two approaches depending on the historical context within which they wrote their works.
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