Hungarian folk music includes a broad array of styles, including the recruitment dance verbunkos, the csárdás and nóta.
During the 20th century, Hungarian composers were influenced by the traditional music of their nation which may be considered as a repeat of the early "nationalist" movement of the early 19th century (Beethoven) but is more accurately the artists' desire to escape the hegemony of the classical tradition manifold at that time. Béla Bartók took this departure into the abstract musical world in his appropriation of traditional Hungarian as the basis for symphonic creations.
Zoltán Kodály and Béla Bartók observed that Hungarian "peasant music" use isometric (with an even number of structures) stophe structure and certain pentatonic (five tone) formations, along with a liking for tempo giusto (rhythm consisting chiefly of equal values). These features jointly may be considered as altogether typical, and differentiate "Hungarian peasant music" from that of any other nation. Bartók studied over 300 melodies, and noted that more modern tunes used for dancing featured pentatonic turns with frequent leaps in fourths.
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