A Békés Megyei Múzeumok Közleményei 34. (Békéscsaba, 2011)
Brauer-Benke József: A tárogató története
A tárogató története History of the Hungarian Double Reed Instrument - József Brauer-Benke - Resume In our days, the terms ’popular’ and ’national’ often get mixed up. However, ethnography has long demonstrated that popular culture can much better be identified in differentiating the various regions. Therefore, in vain are we familiar with the fact that, e.g. the Transdanubian long flute type of instrument with 3+2 finger holes has been preserved only in the circles of the Hungarian speaking shepherds living in Transdanubia, the instrument cannot be considered a national one. As opposed to that, the double reed instrument of the Kumts times and the subsequent single reed Schunda instrument were fully supported by national politics of the era, so national fame was attributed to them. Taking ethnographic analogies into account, the early double reed Hungarian instrument types without keyboard, considering their structure and names, can be related to the Croatian ’taroro’ or the Sorb ’tarakawa’. Their common characteristics is the cone-shaped inner bore-hole and the bell-shaped acoustic funnel separated with an O-ring, which characteristics can also be observed on the early oboe with two keys, of the late 17th century. Since historic evidence shows that the origin of reeds of the Hungarian double reed instrument type can be dated back to the 11th century, this instrument type must have been used for several centuries. Due to this and its military function during the Kuruts times, Reform Age politics may have been excused for feeling that this instrument was suitable for expressing Hungarian national character. However, to achieve that, the instrument had to be transformed and to be developed so that it could meet the musical demands of the era, through which the Schunda single reed instrument could worthily become a Hungarian national musical instrument. It should also be noted that, concerning other viewpoints as well, due to its prevalence among the shepherds, in addition to being Hungarian, the instrument can be considered Transilvanian Romanian and Southern Slav as well. Therefore, it should be emphasized that, as to musical instruments, the adjectives ’popular’ and ’national’ can only be used when considering certain given respects. Bauer-Benke József Liszt Ferenc Zeneművészeti Egyetem H-1061 Budapest, Liszt Ferenc tér 8. E-mail: brauerbenke@gmail.com 301
