This article explores the structure of pop music in Hungary, focusing on social factors under which the music has developed. A distinction is made between the mere existence of a musical idiom and that of the culture built around it. An understanding of this distinction helps explain points of pressure on the pop music industry in Hungary and offers a possible answer to the question of how an inherently anti-authoritarian type of art may develop under the control of authoritarian cultural politics.
Get full access to this article
View all access options for this article.
References
1.
BELZ, C.
(1974) “Relationships between the popular and fine arts: recent developments, pp. 84-88 in Bontinck (ed.) IMDT New Patterns of Musical Behavior: A Survey of Youth Activities in 18 countries. Vienna.
2.
BELZ, C.
(1969) The Story of Rock. New York: Oxford University Press.
3.
BOHN, C.
(1981) “Hungarian rhapsody and other Magyar melodies.”New Musical Express17 (January): 16-18.
4.
BOROS, L.
and L. KÉRI (1984) “Az ifjuság politikai szocializációja,” (The Political Socialization of Youth) pp. 176-200 in Békés (ed.) A Magyar ifjuság a nyolcvanas években. Budapest.
5.
CHAMBERS, I.
(1982) “Some critical tracks,” pp. 19-36 in Middleton and Horn (eds.) Popular Music Vol. 2. Theory and Method. New York: Cambridge University Press.
6.
CURRAN, J.
, M. GUREVITCH and J. WOOLLACOTT [eds.] (1977) Mass Communication and Society. London: Open University.
7.
EWBANK, A.
(1983) “Youth and the music industry in Britain.” Paper presented to a Wingspread Conference on Youth and the International Music Industry at the Wingspread Conference facility, Racine, Wisconsin, August 17-19.
8.
FRITH, S.
(1982) “The sociology of rock: notes from Britain,” pp. 142-154 in D. Horn and P. Tagg (eds.) Popular Music Perspectives. Göteborg and Exeter: IASPM.
9.
FRITH, S.
(1978) The Sociology of Rock. London: Constable.
10.
GRONOW, P.
(1983) “The record industry: the growth of a mass medium,” pp. 53-75 in R. Middleton and D. Horn (eds.) Popular Music Vol. 3: Producers and Markets. New York: Cambridge University Press.
11.
GROSSBERG, L.
(1983) “The politics of youth culture: some observations on rock and roll in American culture.”Social Text 8.
12.
HADAS, M.
(1983) “Ugy dalolok, ahogy én akarok.”A popzenei ipar müködésének vázlata. Valóság XXVI: 9 pp. 71-78.
13.
HANKISS, E.
(1984) “Második társadlom?”Kisérlet egy fogalom meghatározására és egy valóságtartalom leirására. Valóság XXVII: 11. pp. 25-44.
14.
HEBDIGE, D.
(1979) Subculture: The Meaning of Style. London: Methuen.
15.
HENNION, A.
(1983) “The production of success: an anti-musicology of the pop song,” pp. 159-193 in R. Middleton and D. Horn (eds.) Popular Music Vol 3: Producers and Markets. New York: Cambridge University Press.
16.
KOLTAY, G.
(1980) Szörényi - Bródy. Budapest.
17.
LEITNER, O.
(1983) Rockszene DDR: Aspekte einer Massenkultur im Sozialismus. Reinbek bei Hamburg.
18.
LÉVAI, J.
(1982) “Egy elkallódott forradalom után.”Kultura és Közösség. 1-2. pp. 202-214.
19.
MARÓTHY, J. (1982) Zenei tömegmüfajok Magyarországon 1956-81. Unpublished typescript.
20.
MIDDLETON, R.
(1983) “Popular music, class conflict and the music-historical field.” Paper presented at the 2nd International Conference of IASPM. Reggio Emilia, Italy, September 19-24.
21.
ROE, K.
(1983) Mass Media and Adolescent Schooling: Conflict or Co-existence?Stockholm: Almqvist & Wiksell.
22.
SEBÓK, J. (1983) Magya-rock. vol 1 1958-73. Budapest.
23.
SHEPHERD, J.
(1983) “Definition as mystification: a consideration of labels as a hindrance to understanding significance in music.” Paper presented at the 2nd International Conference of IASPM, Reggio Emilia, Italy, September 19-24.
24.
STRATTON, J.
(1983) “Capitalism and romantic ideology in the record business,” pp. 143-156 in R. Middleton and D. Horn (eds.) Popular Music Vol 3: Producers and Markets. Cambridge University Press.
25.
SZEMERE, A.
(1983a) “Some institutional aspects of pop and rock music in Hungary.” pp. 121-142 In R. Middleton and D. Horn (eds.) Popular Music Vol. 3. New York: Cambridge University Press.
26.
SZEMERE, A.
(1983b) “On avantegarde rock in Hungary.” Paper presented at the 2nd international conference of IASPM, reggio Emilia, Italy, September 19-24.
27.
TAGG, P.
(1982) “Analyzing popular music.” in Middleton and Horn (eds.) Popular Music. vol 2: Theory and Method. New York: Cambridge University Press.
28.
VITÁNYI, I.
(1974) “The musical and social influence of beat music in Hungary.” pp. 69-79 in Bontinck (ed.) IMDT New Patterns of Musical Behavior; A Survey of Youth Activities In 18 Countries. Vienna.
29.
VULLIAMY, G.
(1977) “Music and the mass culture debate,” pp. 179-200 in Shepherd et al. (eds.) Whose Music? a Sociology of Musical Languages. London.
30.
WALLIS, R.
and K. MALM (1984) Big Sounds from Small Peoples: The Music Industry in Small Countries. London: Constable,
31.
WILLIS, P.
(1978) Profane Culture. London: Routledge & Kegan Paul.
