The Eighth Hungarian Tribe, 1985 (12. évfolyam, 1-11. szám)
1985-11-01 / 11. szám
readily understood and accepted by a generation which grew up on Brahms, Wagner, or Imre Kalman, and Elemer Szentirmay. At home, success was preceded by bitter resistance not only by the old guard of professionals, but by the Magyar Nota loving general public as well. The self-assured, erodite, and calm Kodály became the artistic and ideological leader of the new movement. The task, clearly became that of educating the public to be receptive to the new musical idom. No less had to be accomplished than elevation of the musical taste to a new, high level with the help of an efficient musical pedagogy. In order to achieve that goal, Kodály developed a whole new philosophy of what music education should be about. The essence of this philosophy is summed up in his well-known slogan: “music is for everyone’’. The goal was to reveal the beauty of musical masterpieces for the widest possible masses of the populace. * The most important means towards that end, Kodály professed, is teaching musical reading and writing (in fact thorough ear training) to all school age children. In order to establish a musical “mother tongue”, the best of Hungarian folklore became the core of the teaching material. The detailed techniques of Kodaly’s basic philosophy, which came to be called “the Kodály Method”, were worked out by his disciples (Jeno Adam, etc.) under Kodaly’s personal auspices. (The Method is currently being discovered and used all over the world, including the U.S. where a Kodály Training Institute has been established). Since teaching according to the method had to begin at an early age in order to prevent the brainwashing effects of the environment, a whole new generation had to grow up to bring it to fruition. The new pedagogical movement was launched in the 1930’s with Kodaly’s children’s choruses in the folk inspired, modern style. Other composers’ (Adam, Bardos, etc.,) contributions followed. The first written methodology book was published in 1943. After the war, a series of music books for class room use were published, then a great number of singing exercises for ear training, most by Kodály himself. The rest is history. Gradually the whole country was converted to the new methodology, and around the 1950’s, most of the goals were achieved. There is now a generation of professional musicians, in Hungary, famed around the world, but, more importantly, a new generation of people enriched by their ability to be part of Page 8 a highly sophisticated musical and cultural experience. Kodály and his associates succeeded in educating the great masses. The effects of the nation’s musical education are totally pervading. There are now thousands of amateur choral groups and ensembles in Budapest alone. In that city of about two million people there are two opera houses, five symphony orchestras, performing daily to capacity crowds. The side effects of this unique movement were just as important. Kodaly’s philosophy on music influenced just about every other form of art. The nation wore up to a realization that there are untold riches in its folk heritage in dance, poetry, art, and literature. National dance ensembles were established. Scores of amateur choirs and dance groups spring into existence. A folk-inspired wing of literature and poetry gained new strength. But that was not all. Kodály, in his musical works went beyond folk-songs using them as inspirational material. His scholarly research led him to a rediscovery of old Hungarian art music, ancient psalm tunes and church hymns, “flower songs”; in short, all that was musically valuable from our recent or distant past. All these elements, along with the best results of the Classical masters became part of the spiritual heritage incorporated into a uniquely individual Kodály style. Kodaly’s example was followed in every area of artistic and scholarly endeavors. In the process, we developed a nation of connoiseurs in every field of art. The cultural appetite of this small nation, be it in reading books, attending theaters, concerts, or exhibitions, is practically without parallel. In a yet larger context, Kodaly’s influence is something that can not be measured by publications, artistic successes, and statistical data. He gave us one thing our nation needed the most during the years darkened by Nazi and communist influence over our country. In times when there was ample reason for despair, Kodály provided us with a sense of pride and self-esteem. When we seemed to be defeated by acts of war and agression, our will to survive was helped by a deep belief in ourselves, and in our sense of destiny. We held on to our national cultural values to weather all adversity. Kodály not only provided spiritual leadership in those bleak periods, but actively fought for specific educationalpolitical issues, helped numerous individuals, and used his enormous prestige to steer officials towards the good of the Hungarian people. It was no accident, that in the turbulent days of the 1956 revolution, Kodaly’s setting of the rousing patriotic Petőfi poem, Nemzeti dal was performed as a symbol of the nation’s desire for freedom. He would have probably rejected the position of president in a newly formed republic, even if events would not have negated that possibility, but many people thought of him as the ideal choice at the time, and this testifies eloquently to the fact that the nation considered him far more than just a musical genius. Kodály became a symbol for everything that is noble and true in the Hungarian tradition. Letters Dear Sándor: Enclosed is a check for $20.00 for the Statue of Liberty-Ellis Island Fund. Enjoy the magazine. Keep up the good work. Sincerely, Dr. George C. Szegő Annapolis, Maryland Dear Sir; Enclosed is a check for $50.00 donation to the Statue of Liberty-Ellis Island Fund. I do enjoy your magazine very much. Sincerely, Gizella Koncz Bradenton, Florida Gentlemen: The enclosed gift of twenty dollars is given in memory of my late precious mother, Karolina Varadi, who passed away on June 29,1982, and my father, Bertalan Varady, for the Statue of Liberty-Ellis Island Fund. Please forward to the proper authorities to credit the Hungarian- American account. My parents arrived in America on ‘Ellis Island’ Christmas Day 1920. Pop from Bereg Megye, Bereg Szaz, and Mom from Vas Megye, Mura Sabota. And the beautiful “Lady of Liberty” was there to greet them, and to give them hope and encouragement in their new country of “America” where their dreams might be fulfilled. Let us cherish the “Mother” of our nation, and may her torch glow eternally beside the golden door to the land of freedom and opportunity. I am extremely proud of my Hungarian heritage, and may God Bless you all for your devotion to the Hungarians. Thank you! Very sincerely, Helen Varadi Keyser Bethlehem, Pennsylania Eighth Hungarian Tribe
