In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).

中文翻译：

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文化、遗产、艺术：探索当代匈牙利民歌的真实性

在匈牙利，传统农民文化及其遗产的衰落促使城市复兴，导致匈牙利传统民歌被接受为一种表演艺术流派。本研究通过一系列深度访谈，展示了当代匈牙利民歌歌手如何在民俗音乐领域内驾驭（定义、学习、监管）不同形式的真实性。虽然我们发现客观化的真实性——传统的分类系统——是象征资本的主要形式，但更广泛的真实性象征经济因民间歌唱作为文化、遗产和艺术的不同定义而变得复杂。第三人称的真实性更受重视，但当代都市民谣歌手由于没有在农民社区社会化，所以更难做到。所以，他们使用客观的真实性，例如“原始录音”作为了解生活民俗文化的代理。尽管客观化的真实性限制了艺术表达的能动性，但它提供了歧视性的创造力（选择自己的曲目）和合理化的创造力（使传统材料适应外部价值和背景）。