Listen to part of a lecture in a music history class.
So, I just finish reviewing your papers on the influence of nationalism of composers' music.
And initially, I was surprised that none of you chose to write about Bella Bartok.
That isn't until I remembered that we haven't had a chance to discuss him in the class yet.
He was a wonderful and ground-breaking composer.
Bella Bartok was a Hungarian whose life stretched from the late 19th century to the middle of 20th century.
But he was not a fan of the romantic style of music that was popular in his homeland during his youth.
Wait, Hungary wasn't a country in 1900, was it?
You're right, I should have been clear.
Bartok was born in Austria- Hungary, a nation that broke apart when he was 40 years old.
Actually the town where he was born is presently part of Romania.
The political history of that region is complex.
Suffice it to say, Bartok is generally known as a Hungarian composer.
So, during Bartok's youth, the music played in the concert halls of the Austria-Hungary was dominated by romantic pieces by mostly German composers.
We discussed the romantic style last week.
These pieces were long and lyrical. They were meant to have a sort of grandeur about them.
And in the early 1900 composers worked in the romantic style were most popular in Austria-Hungary.
But Bartok, he was part of the musical community that was trying to change this.
And it led him to, well, the first thing it did was lead him to travel, he looked to the countryside for the music of the farmers and the people who lived in the small towns.
And their music, well, you can say he discovered the music that was popular in those areas.
What do you mean?
Well, all the music we've been talking about the past few weeks it really was all in the cities.
That's where the composers and the orchestras were.
Out in remote areas of the countryside in rural locations, music was more traditional.
The same song was enjoyed by previous generations.