Őriné Nagy Cecília (szerk.): A népművészet a 19-20. század fordulójának művészetében és a gödöllői művésztelepen (Gödöllői Múzeumi Füzetek 8. Gödöllői Városi Múzeum, 2006)
Folk Art as Reflected in the Art at the Turn of the 19,h and 20th Centuries and in the Art Colony of Gödöllő. Abstracts in English / Angol nyelvű összefoglalók
Abstracts in English 219 Virág BÜKY Junior research fellow at the Budapest Bartók Archives Bartók Archives of the Institute for Musicology of the Hungarian Academy of Sciences: FROM COLLECTOR TO SCHOLAR. FOLKSONG RESEARCH IN EARLY 20™ CENTURY HUNGARY 19 t h century independence movements raised the demand for the creation of an independent national art. The artistic means used for this purpose was taken from what nationalist composers believed to be their own national folk music. The same inspired Bartók and his contemporaries in their decision to create a specifically Hungarian musical language. Nevertheless, in Bartók's case, this romantic program was supplemented by a remarkable scientific interest. Between 1906 and 1918 he collected folk songs of Hungarian and non-Hungarian peoples. When, after the First World War, circumstances made field-work impossible on territories that were now parts of neighbouring countries, he focused on the classification and publication of his collections. Collecting made an enormous impact not only on the composer but also on the man himself. His scientific activity also served as refuge from disappointments he suffered in his professional and private life. However Bartók's interest was not restricted to folksong, he also collected artifacts of the peasantry. His increasing knowledge of the peasantry led him to alter his lifestyle, which assumed Rouseauesque colors, a characteristic trait that (among others) can also be detected in the artists of the Gödöllő colony. The present article first gives a survey of Bartók's collecting and publishing activity. After this an attempt is made to summarize Bartók's writings dealing with the influence of folk music on art music. Finally, those features are discussed which were common to the thinking, artistic means and purposes of both Bartók and the Gödöllő artists. (Translated by Virág Büky) Katalin KESERŰ art historian, University Loránd Eötvös, Budapest THE MUSEUM OF ETHNOGRAPHY IN BUDAPEST AND THE ARTISTS OF GÖDÖLLŐ The artists of Gödöllő and the students on scholarship of the Industrial Design School delegated to them have enriched the collection of the Museum of Ethnography of Budapest with folkloric objects as well as with graphics having sometimes artistic
