|
Little is known about Hungarian music prior to the 11th century, when the first Kings of Hungary were Christianized and Gregorian chant was introduced. During this period a bishop from Venice wrote the first surviving remark about Hungarian folk song when he commented on the peculiar singing style of a maid. Church schools in Hungary taught Western Christian chanting, especially in places like Esztergom, Nyitra, Nagyvárad, Pannonhalma, Veszprém, Vác and Csanád;〔 and later schools began focusing on singing, spreading Latin hymns across the country. Information about music education during this period is known thanks to manuscripts such as the ''Notebook of László Szalkai'', Jacobus de Liège's ''Speculum musicae'' (c. 1330-1340, which mentions the use of solmization〔), the ''Hahót Codex'', the ''Codex Albensis'' and the ''Sacramentarium of Zagreb''. The ''Pray Codex'' is a collection of "liturgical melodies ... in neumatic notation ... containing among other things the earliest written record extant of the Hungarian language, the ''Funeral Oration'', ... independent forms of notation and even independent melodies (''Hymn to Mary'')".〔 The first known example of exchange between Hungarian and Western European music is from the 13th century, the "first encounter with the more secular melodic world of the Western world".〔 The earliest documented instrumentation in Hungarian music dates back to the whistle in 1222, followed by the koboz in 1326, the bugle in 1355, the fiddle in 1358, the bagpipe in 1402, the lute in 1427 and the trumpet in 1428.〔 Thereafter the organ came to play a major role. Though virtually nothing is known about them, Hungarian minstrels existed throughout the Middle Ages and may have kept ancient pagan religious practices alive.〔 At the Synod of Buda in 1279 the church banned their congregation from listening to them, despite their having come to be employed by noblemen in courts. By the 14th century instrumental music had become their most important repertoire and minstrel singers had become known as ''igric''.〔 The golden age of courtly music (which had followed French models for most of the early Middle Ages before musicians from Flanders, Italy and Germany arrived) was during the reign of Matthias Corvinus and Beatrice.〔 ==16th century== The ''Nádor Codex'' of 1508 presents the first use of Gregorian melodies with Hungarian texts.〔 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.〔 The 16th century saw the rise of Transylvania, a region the Turks never occupied, as a center for Hungarian music,〔 as well as the first Hungarian publications of music, both published in Kraków. 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.〔 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 masterpieces of melodic structure".〔 The most significant musician of this period was Sebestyén Tinódi Lantos, the "greatest stylist and master of expression of ancient Hungarian epic poetry... whose heritage the people's music of two centuries was unconsciously nourished".〔 Accentuated declamation was fashionable in music education during the early 16th century; a more rigid choir style is represented by a collection called the ''Melopoeiae'', from 1507.〔 A collection 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 Huguenots".〔 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.〔 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 ''lauds'', facilitating the practice of communal singing among the nascent Protestant churches.〔 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, which allowed the bishops to use them only after close scrutiny.〔 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.〔 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;〔 his works were collected and published as ''Intavolatura'' and ''Harmoniae musicae'' (published in 1553 and 1565 respectively).〔 He was one of the pioneers of a style based on vocal polyphony. The lutenist brothers Melchior and Konrad Neusiedler were also noted, as was Stephan Monetarius, the author of an important early work in music theory, the ''Epithoma utriusque musices''.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music history of Hungary」の詳細全文を読む スポンサード リンク
|