Hungarian instrumental music in the context of the formation of a national style

Abstract

The purpose of the article is to identify the historical preconditions for the formation and development of instrumental music of Hungary in the context of the establishment of a national style. The methodology of the article is to apply the general scientific principle of objectivity. The main methods in the study of the chronology of formation and the genesis of the national instrumental art of Hungary were: historical, source-study, analytical, structural-logical and the method of theoretical generalization. The scientific novelty of this work is that there was carried out a comprehensive retrospective review of the evolution of Hungarian music from the time of the formation of the nation, defined and systematized the characteristic features of the national style in musical art. In it, there were established elements that become fundamental in the further development of many genres of professional music in Hungary, especially the genre of Hungarian chamber-instrumental ensemble. Conclusions. It is explored that the unique style "verbunkos" is created as a result of the evolution of the instrumental musical art of Hungary. Born as ceremonial music, later it developed into a generalized musical style that combining features of national music on many levels (genre, intonation, musical harmony, rhythmic, artistic-figurative, etc.). Verbunkos synthesized elements of various historical stages of the formation of a national style, becoming a peculiar genetic code of the Hungarian people of the Romantic epoch. As a kind of instrumental music in its original version, the verbunkos became a solid foundation and a powerful impetus for the development of the national variety of the genre of chamber- instrumental ensemble, brightly presented in the works of Hungarian composers of the following generations: M. Moshonyi, J. Hubai, E. Dokhnanyi, J. Lendwai, E.Wyner, Z. Koday, B. Bartoka, and others.