Anybody who decides to inquire into the features and development of contemporary Hungarian music is obliged to take Bartók and Kodály as points of departure. And by so doing one is not merely advancing from the familiar to the unknown. Admittedly in “foreign” eyes they, and they alone, represent the music of their native country. But at the same time they have provided the greatest stimulus to, and exerted the strongest influence on, practically all who have followed them. To these Bartók and Kodály were the archetypes of music, uniting progress and tradition, genuinely and characteristically Magyar elements and general, European standards of achievement. They appeared to complement one another in the nature of their art and personality. Significantly, they are often described by Hungarian commentators as Castor and Pollux, the twin gods of the nation's music. They have much in common: both were dissatisfied with the state of music as they found it within the confines of their native land and in Europe in general. But in addition to the need of speaking a new language, there was also the need of speaking a new, genuinely Hungarian language as well: both turned to the surviving musical traditions of the community as a regenerating source of inspiration.