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                <text>A 1977 LP of various Hungarian Folk compositions by József Dóczy interpreted by several musicians and vocalists. As Benjamin Rajeczky writes in his 1960 article Old and New Singing Styles in Hungarian Folk Song from the Journal of the International Folk Music Council Vol. 12, due to “the difference between the old and new styles of his native folk song, the Hungarian folklorist... is confronted with the problem of changes in the manner of performance.” One should extend this problem to non-Hungarian folklorists and ethnomusicologists if they are to truly understand the nuances of Hungarian Folk. Rajeczky uses the composer Kodály as a guide to one summation of the changes that occur when examining old Hungarian folk musicas contrasted with new. It should be kept in mind that exceptions always arise. Rajeczky declares the Kodály conclusion as follows: “The old manner... is richly ornamented and has several registers; the new is simpler, but with one register.” This particular example of collected performances interpreting compositions by József Dóczy, who lived from 1863 to 1913, confronts us with the issue of old versus new. The songs as they exist on record are from 1970. They were, however, originally composed before 1913. Can one use this record to analyze the shift from old to new in Hungarian folk? Does it further complicate these distinctions? This record serves as a reference point with which to tackle such questions. &#13;
&#13;
Rajeczky, Benjamin. Journal of the International Folk Music Council Vol. 12 (1960), pp. 56-61</text>
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                <text>Alex Chuang</text>
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                <text>Kisz Központi Müvészegyüttes Raykó Zenekara, The Rayko Orchestra</text>
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                <text>Singer: Urbán, Katalin</text>
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                <text>Leader:  Lendvai Csósci, József</text>
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                <text>A vinyl recording of the Rayko Orchestra performing various popular songs, sung by  Katalin Urbán and directed by József Lendvai-Csósci. The Rayko, or Rajko, Orchestra, was founded in 1952 by Ivo Csampai and was directed by Pal Szigeti from 1950 to 1981 (“Az”). True to its name, “Rajko,”--meaning gypsy child--the state sponsored orchestra was made up of young, gifted Romani musicians who were frequently accompanied by a dance band (Horowitz). The orchestra is still active today and has performed internationally (“Az”). The band’s origins lie in the post-WWII state led movement to train young students in skilled labor, which also stressed cultural and sports groups (“Az”). Within a broader national and regional scope, this period marked a pattern of state-implemented assimilationist policies for Romani people in Eastern European communist regimes, as Roma were viewed as deviant and obstacles to a unified socialist state (Barany 114). While Hungary denied Romani people status as a national minority in 1950, the policies following this were less coercive than other nations. In 1958, the Hungarian Socialist Workers Party endorsed support for Roma culture, education, and Roma-led organizations (Barany 121). Despite a resolution in 1961 establishing  a program of forceful assimilation, future actions nevertheless supported Romani sociocultural groups and greater Roma autonomy (Barany 121). &#13;
&#13;
&#13;
Tracklist: &#13;
A Side&#13;
27'00" &#13;
1. Hullámzó Balaton Tetején (Hubay K) &#13;
(On The Waves of The Balaton) &#13;
2. Tavasi szél -- Tarka-barka rokolyának-- Én Ezutaán két szeretõt tartok (Farkas Gy. feld.) (Popular Songs) &#13;
3. Muzikálö havasok (Farkas Gy.) (Mountains Music) &#13;
4. Meg kell a buzának érni -- Erre gyere rózsám -- Sej. haj, haj -- Egy szem búza (Farkas Gy. feld.) (Popular Songs)&#13;
5. Czinka Panna (Farkas Gy.)&#13;
&#13;
B Side &#13;
26"00'&#13;
1. Csárdás rapszódia (Farkas Gyula) &#13;
2. Saátrunk elõtt -- Tinna nenene -- Adott vajda szekeret Nem szeretem én az ürgét (Popular Songs)&#13;
3. Kesergõ, palotás és friss (Csermák A.--Farkas Gy.) (Dances)&#13;
4. Álom,  álom -- Tarka szoknya -- Járd a táncodat Sűrűn szakad (Farkas Gy. feld) (Popular Songs)&#13;
&#13;
&#13;
Works Cited:&#13;
&#13;
“Az Együttes Története.” Translated by Google Translate, KISZ Központi Művészegyüttes, KISZ Központi Művészegyüttes, kkme.hu/az-egyuttesrol/tortenet/&#13;
&#13;
Barany, Zoltan D. The East European Gypsies: Regime Change, Marginality, and Ethnopolitics. Cambridge University Press, 2002.&#13;
&#13;
Horowitz, Joseph. “Rajko Orchestra and Dancers.” The New York Times, The New York Times, 28 Jan. 1979, www.nytimes.com/1979/01/28/archives/rajko-orchestra-and-dancers.html?mcubz=1.</text>
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&#13;
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&#13;
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Szomsźed Asszony (My She Neighbor)&#13;
Perdül A Kis Lány (Dancing Girl)&#13;
&#13;
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Az Ejjel Kimulation Magamat (Let's Make Merry)&#13;
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Adj Egy Csokot (Throw Me a Kiss)&#13;
&#13;
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&#13;
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&#13;
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Lange, Barbara Rose. "What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nóta.  Ethnomusicology, Vol. 41, No. 3 (1997), pp. 517-537.  http://www.jstor.org/stable/852762 .</text>
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Rare Grows The Wheat	&#13;
A Maiden Cries At Ake Balaton	&#13;
You Are My Man	&#13;
Ballad	&#13;
Little Picket Fence	&#13;
Long Ago	&#13;
Take Wing&#13;
&#13;
Side B:&#13;
My Sweetheart Will Never Be Mine	&#13;
Sad Song	&#13;
Outlaw's Song	&#13;
Gleaming Stars	&#13;
Berry Chant	&#13;
Secret Love	&#13;
Starlight Night	&#13;
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                <text>Works Cited:&#13;
Hooker, Lynn M. Redefining Hungarian Music from Liszt to BartoÌk. Oxford University Press, 2014.&#13;
&#13;
Lange, Barbara Rose. “‘What Was That Conquering Magic...": The Power of Discontinuity in Hungarian Gypsy Nota.” Ethnomusicology, vol. 41, no. 3, 1997, p. 517., doi:10.2307/852762.</text>
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&#13;
When "A Vén Cigany" Hungarian Gypsy Melodies came out in 1975, it was in the midst of a time of change within and around the Hungarian gypsy community. In the 1960s and 70s radios and televisions began appearing in gypsy settlements throughout Hungary (p 45.) The easier accessibility to mainstream popular culture posed a potential conflict to the ever traditional communities. Romani nomadism was already in decline during the interwar period, and by the 1970s, gypsies were obtaining regular employment more and more regularly  (p 45.) Since the beginning of the 1960s the guitar gained popularity steadily overall with Hungarian youth and community, but also in Romani settings. However, while the guitar symbolized more opportunities and expanding music to become more modern to the general public, to the Hungarian gypsy community, abandoning the traditional music style would have meant abandoning inherited communal traditions that had been around for centuries (p 47.) This commitment to traditional music, is echoed in Carol Silverman’s discussion of banning Romani wedding music and other traditions in Bulgaria resulting the continuation of traditions even under threat. This album represents a taste of the ever important traditional music for a gypsy audience, using more traditional instruments including violins and cellos. This more traditional music in the contemporary medium of an LP represents gypsy music staying true, while still evolving with the time.&#13;
&#13;
Works Cited:&#13;
Kovalcsik, Katalin. "Popular Dance Music Elements in the Folk Music of Gypsies in Hungary." Popular Music 6, no. 1 (1987): 45-65. http://www.jstor.org/stable/853165.&#13;
&#13;
Silverman, Carol. "Chapter 7." In Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press, 2011.</text>
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                <text>This LP was published by the American record label Fiesta Record Company, located in New York City, and the music itself was recorded in Europe. Fiesta was started in 1952 by José Morand, a Latin American band leader. While Fiesta started by only publishing Latin music, it eventually branched out into a wide variety of "ethnic" music. The artists Fiesta presented were usually unknown in America, but would sometimes be famous in their home countries (Schreiber 76). &#13;
&#13;
"Hungarian Folk songs and Csàrdàses" is a part of the William G. Lockwood Romani Music Collection at the Michigan State University Library. The collection contains a wide variety of music, ranging from albums by Romani artists to song titles that contain the word “gypsy”. Spanish, Greek, Romanian, Russian, and (as with this LP) Hungarian Romani artists are all represented as well as artists from other countries (MSULibraries). The collection is a good example of the cross-national groupings that happen within the Roma community. “The importance of music as a measure and medium of displacement…increasingly occupies a place in musicological and ethnomusicological approaches to migration in postcolonial Europe. Displacement allows individuals and communities to express their connection to a particular place even when they are not residents of the places from which they draw their identity” (Bohlman 159). The Lockwood Collection brings together disparate musical artists who may see no connection to each other otherwise. Some Romani artists may even be offended to be included in a collection with “gypsy” music. But there is still power in the representation of this kind of music, no matter how loosely it is grouped together. &#13;
&#13;
Bibliography:&#13;
&#13;
Bohlman, Philip Vilas. The Music of European Nationalism: Cultural Identity and Modern History. ABC-	CLIO, 2004. &#13;
&#13;
Schreiber, Norman. The Ultimate Guide to Independent Record Labels and Artists: an A-to-Z Source of Great	Music. Pharos Books, 1992. &#13;
&#13;
MSU Libraries: William G. Lockwood Romani Music Collection. Discogs.com, MSULibraries, 2016	p. 1, www.discogs.com/lists/MSU-Libraries-William-G-Lockwood-Romani-Music	Collection/281361?page=1, Accessed 4 Oct 2017.</text>
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&#13;
Tracklist&#13;
Side A:&#13;
ABLAKOMON BESUTÖTT AZ ESTI FÉNY (Moonlight on my window)&#13;
AKÁR MERRE HAJTOM FEJEM (Anywhere I turn my head...)&#13;
MANDULAFA, MANFULAFA (Almond tree, almond tree)&#13;
ÉDESANYÁM LAÁNYA VAGYOK (I am my mother's daughter)&#13;
KÉRGES A TENYEREM, A TENYEREM (My hands are rough)&#13;
FA LESZEK, HA FÁNAK VAGY VÍRÁGA (I'll be a tree, if you are a flower)&#13;
BICIKLI CSÁRDAS (Bicycle csardas)&#13;
&#13;
REPŰLJI FECSKÉM (Fly, my swallow)&#13;
&#13;
RÉGI DAL (The old song) &#13;
MIÉRT IS JÕTTÉL ŰVEGES HINTÓBA? (Why did you come in a glass coach?&#13;
HULLÁMMZÓ BALATON TETEJÉN... (On the waves of Lake Balaton)&#13;
FRISS (Fast csardas)&#13;
&#13;
Side B:&#13;
BIHARI KESERGÕ (Bihari lament)&#13;
KORCSMÁROSNÉ MÉG EGY ICÉT (Barmaid, another drink!&#13;
SZERETNEM HA JÕNNÉL KÉK KARTON RUHÁBA (Come to me in your blue cotton dress)&#13;
JUHÁSZ KUTYÁK UGATNAK (The sheep dogs are barking)&#13;
SOMBAT ESTE KIMENTEM A SZÕLLÕBE (Saturday night at the wineyard)&#13;
A FALUBA NINCS TÕBB KISLANY CSAK KETTÕ (There are but two girls in the village)&#13;
&#13;
UGY NÉZ FEL A BUNÕS EMBER (He has a guilty look)&#13;
PIROS CSAÁKOT KAPTAM (I have a red shako)&#13;
FEKETE ÉJSZAKA BORULJ A VILÁGRA (Cover the world, dark night) &#13;
ELMENT A LIDI NEÉNI (Aunt Lidi went away) &#13;
HEJ DALÁRÉ, DALÁRÉ (Hey Delare, Delare) &#13;
SZÁRAZ BABOT (I am cooking only dry bean for him)</text>
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Farkás, István, performer. Redefining Roma Culture. Produced by Open Society &#13;
     Foundaitons and Tímea Junhaus, 2017. Open Society Foundations, &#13;
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                <text>George Batyi is a world-renowned Romani violinist. He is considered by many to be the top player in the genre. Starting at a young age (seen in one of the pictures at around 7 years old) he is well versed across musical styles of eastern European origins, folk, classical, country-western, Latin and more. He has been a bandleader since the age of 13 and has attracted talented performers to play with him including Alex Uduary, considered the world’s greatest cimbalom players. His album was released in 2011 with Alex Uduary and Billy Rose. Batyi embodies how music can transcend human conflict and discrimination. Silverman writes “For Roma, musical performance has been one of the positively coded arenas in a long history of exclusion, and thus it charts a potential site of transformation” (Silverman 5). Batyi embodies the power of musical performance for Roma by remaining one of the most desired and well-known Gypsy musicians in the US. George Batyi shows his pride of his culture through his music while also revealing to the world similarities and beauty that remains in Romani Culture. His music ranges from traditional Hungarian and Romanian songs to classical composers such as Brahms as well as traditional tambura.&#13;
&#13;
Work Cited&#13;
George Batyi with Alex Uduary &amp; Billy Rose. “Basav Roma Lavuta (Play Gypsy Violin).”&#13;
Piskor, Steve. Gypsy Violins: Hungarian-Slovak Gypsies in America. Saroma, 2012.&#13;
Silverman, Carol. Romani routes: cultural politics and Balkan music in diaspora. Oxford University Press, 2014.</text>
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                <text>George Batyi with Alex Uduary &amp; Billy Rose</text>
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            <name>Date</name>
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              <elementText elementTextId="1005">
                <text>2011</text>
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          <element elementId="37">
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                <text>Gabrielle 'Teddy' Ment</text>
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                <text>© George Batyi</text>
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            <name>Language</name>
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                <text>Hungarian&#13;
Romani&#13;
English</text>
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                <text>CSC_GBA_22&#13;
https://storiedpeople.oberlincollegelibrary.org/items/show/25&#13;
https://storiedpeople.oberlincollegelibrary.org/files/original/934c8a03104ef8035e7d593b255d316a.jpg&#13;
https://storiedpeople.oberlincollegelibrary.org/files/original/a444a0dc24f2a55fc61c21bd48c6aeb2.jpg&#13;
https://storiedpeople.oberlincollegelibrary.org/files/original/359595c63a722693adcb7b2202dbc4e5.jpg&#13;
https://storiedpeople.oberlincollegelibrary.org/files/original/a8ec5c5ed6390381f45aeb75b9099209.jpg&#13;
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                <text>&lt;a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/37"&gt;George Batyi Interview&lt;/a&gt;&lt;br /&gt;&lt;a href="https://astoriedpeople.oberlincollegelibrary.org/items/show/35"&gt;Billy Rose Interview&lt;/a&gt;</text>
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