Music research by archaeological method: putting together broken and disorganized fragments

The object of my research of more than 2000 year old ancient Hungarian instrumental music culture. We can ask why we did not hear about the Hungarian Maqam so far. There is answer. The history of the world, not only the Hungarian, has been adulterated by certain powers and persons. Hungarian history has also suffered a lot of adulterations. In the XIX. Century our origin has been overwritten and modified at many points. However all the happenings of the past can be tracked by studying and comparing others histories. This is like a puzzle. We can put it together finding the proper parts. I did this with the music: I studied all the music which can have relation with the ancient hypothetical Hungarian Maqam. Broken, disorganized smaller systems built into each other, can be restored again by knowing the larger systems which include the fragments.
I attempted to recall and restore and recreate the ancient music in a new modern way and that is why I named it
as Modern Hungarian Maqam.
One of the most important source is the Uighur maqam music from Xinjiang/North-China.
Beside studying and collecting musics from other cultures, another way also exists to recall music from the far past. I believe that the Akasha Chronicle of The Music exists somewhere and we can access it by proper initiation in an intuitive way. People who are very sensitive and have a special instinctive talent, are able to recall the ancient collective experiences of nations and cultures. This is what we can consider as the deepest mental roots. By this instinctive music recollection it is possible to bring up music. Shamans in the old times knew these techniques. Though we do not have that kind of method, but we have something else which is maybe more efficient in the music, it is the pure honest improvisation. I express myself musically mostly by improvisation. After 35 years of practice I developed a special intuitive techniques to access the deeper roots of the music.
In my researches I tried to find not the forgotten maqam pieces but the Archetype of the maqam which roots in a deeper reality. I felt credibility for this work because as Hungarians at the back of our mind we can access them because in the deepness of our mind there still exists a little piece of Ancient East.

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