Spinning and Singing: What Hungarian fonó can teach us about singing today

Type of Abstract (select): Paper presentation

Abstract (max. 250 words):
Hungarian village life was rich with song, and one primary place of music-making was the spinning room. But what exactly did that look like? When and where was it held, who was there, how did they spend the time together, and why was it such a crucial place for maintaining the songs passed down over centuries? Based on original research directly with village culture bearers across the Hungarian language area who grew up in this traditional practice, this paper will present not only the practical, tangible aspects of singing at the fonó, but also some of the intangible emotional, psychological, and relational functions it served. Today, many sing folk songs as a self-standing musical repertoire, without giving thought to its original context and how profoundly interwoven singing was with daily tasks, close relationships, and villagers’ overall well-being. Examining each element of that context can inform and in fact transform our thinking about music pedagogy and the practical, social, and emotional needs of music students and all those craving more music in their lives, in Hungary and across in the globe.


Brief Professional Bio (max. 100 words):
Zina Bozzay is an active performer, researcher, arranger, and teacher of traditional Hungarian village folk songs around the world. Trained in Hungary by master folk singers, she collects from last living village singers who learned in the oral tradition. She founded the Hungarian Folk Singing Circle (Népdalkör) in 2010, and since then has taught thousands of Hungarian speakers and non-speakers from 50 countries on six continents, including at the Hungarian Heritage House in Budapest. Zina holds a Masters degree in Music Composition and tours internationally with her ensemble Vadalma, performing her acclaimed original arrangements. www.zinabozzay.com.