<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>In my paper, I wish to raise questions pertinent to the changing position of the composer, ethnomusicologist and musical educationalist Zoltan Kodály in the musical and cultural life of the Stalinist and post-Stalinist periods of Hungarian state socialism. Owing to his folkloristic and conservative musical style, and also his identity as “an educator of the people,” Kodály established his status as a fellow traveller of statesocialism in the early 1950s. The easiest way in Hungarian composition to satisfy the expectations of the political power, as inspired by Zhdanov’s aesthetics, was to follow the style of Kodály. At the same time, Kodály sustained his reputation as a “genuine” national icon whose music was capable of expressing, even if in riddle form, anti-Stalinist sentiments in the eyes of various political and cultural circles, especially after 1953. In spite of the fact that Kodály did not take any active part in the political struggles in the revolution of 1956, he was named as a candidate for head of state by important revolutionary forces.</p>
<p>Following the suppression of the revolution, the restored state socialist political power revised its practices in the field of art. The fact that the new cultural policy gave up the idea of a unified Hungarian art which is “national in form and socialist in content,” resulted in a temporary weakening of Kodály’s position. Kodály’s status was precarious, subjected to a challenge by avant-garde trends in composition and competing paradigms of musical education. From the early 1960s, however, when both the Western and Eastern political systems proposed strategies for long-term coexistence, Kodály gained a new function from the perspective of the political power. In Western cultural circles Kodály sustained a reputation as one of the great European humanists, and his music educational method generated a strong professional interest globally, and particularly in the <sc>usa</sc>. My paper also examines the cultural political impact of Kodály’s visit to Moscow in 1963. Kodály seems to have functioned as a mediator across the political divide. He had achieved great personal successes during his tours to the political West, and this reinforced his position in Hungary.</p>
</abstract>

In my paper, I wish to raise questions pertinent to the changing position of the composer, ethnomusicologist and musical educationalist Zoltan Kodály in the musical and cultural life of the Stalinist and post-Stalinist periods of Hungarian state socialism. Owing to his folkloristic and conservative musical style, and also his identity as “an educator of the people,” Kodály established his status as a fellow traveller of statesocialism in the early 1950s. The easiest way in Hungarian composition to satisfy the expectations of the political power, as inspired by Zhdanov’s aesthetics, was to follow the style of Kodály. At the same time, Kodály sustained his reputation as a “genuine” national icon whose music was capable of expressing, even if in riddle form, anti-Stalinist sentiments in the eyes of various political and cultural circles, especially after 1953. In spite of the fact that Kodály did not take any active part in the political struggles in the revolution of 1956, he was named as a candidate for head of state by important revolutionary forces.
Following the suppression of the revolution, the restored state socialist political power revised its practices in the field of art. The fact that the new cultural policy gave up the idea of a unified Hungarian art which is “national in form and socialist in content,” resulted in a temporary weakening of Kodály’s position. Kodály’s status was precarious, subjected to a challenge by avant-garde trends in composition and competing paradigms of musical education. From the early 1960s, however, when both the Western and Eastern political systems proposed strategies for long-term coexistence, Kodály gained a new function from the perspective of the political power. In Western cultural circles Kodály sustained a reputation as one of the great European humanists, and his music educational method generated a strong professional interest globally, and particularly in the usa. My paper also examines the cultural political impact of Kodály’s visit to Moscow in 1963. Kodály seems to have functioned as a mediator across the political divide. He had achieved great personal successes during his tours to the political West, and this reinforced his position in Hungary.

National Icon and Cultural Ambassador: Zoltán Kodály in the Musical Life of State Socialist Hungary

Musicology Department of the Liszt Academy of Music

Polski Rocznik Muzykologiczny

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

In my paper, I wish to raise questions pertinent to the changing position of the composer, ethnomusicologist and musical educationalist Zoltan Kodály in the...

National Icon and Cultural Ambassador: Zoltán Kodály in the Musical Life of State Socialist Hungary

Data publikacji: 12 lut 2022

Zakres stron: 147 - 181

DOI: https://doi.org/10.2478/prm-2021-0011

Słowa kluczowe
Zoltan Kodály, Stalinism, 1956 revolution, Post-Stalinism, Kodály method

© 2021 Lóránt Péteri, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

National Icon and Cultural Ambassador: Zoltán Kodály in the Musical Life of State Socialist Hungary

Data publikacji: 12 lut 2022

Zakres stron: 147 - 181

DOI: https://doi.org/10.2478/prm-2021-0011

Słowa kluczoweZoltan Kodály, Stalinism, 1956 revolution, Post-Stalinism, Kodály method

© 2021 Lóránt Péteri, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Słowa kluczowe
Zoltan Kodály, Stalinism, 1956 revolution, Post-Stalinism, Kodály method