From the Village to the Táncház: The Revival Metamorphosis of a Peasant Flute Player

Abstract During an inevitable rural-to-urban conforming process, the Hungarian revival movement, known as táncházmozgalom, has left marks of change on the knowledge of tradition bearers, which is the very source and condition of its existence. The aim of preserving original cultural frames of music and dance in its new environment was obvious, and still active village musicians and dancers have been respected (or even idolized) as the protagonists of the movement from the onset. Still, their original social roles as well as the status and function of their knowledge have been misinterpreted in multiple cases. Despite deliberate attempts to maintain authenticity, the result is a brand-new milieu with new musical phenomena, differing greatly from the original forms of musical tradition. The case study presented here concerns one of the last living Hungarian peasant musicians, András Hodorog. He and his unique technique of playing the furulya (flute) are highly regarded in the movement. After nearly two decades of recording, learning, and researching Hodorog's flute technique, comparatively monitoring changes in his instrumental style and repertoire, I have discovered that certain aspects of his musical profile would not have evolved without the impact and demands of the Hungarian revival movement.