Within the last ten or twelve years music in Hungary, as in most east European countries—has undergone radical changes in technique and thought, and is now, for the first time since the 1930s, making an important contribution within the fairly broad framework of the avant-garde. This change having taken place out of earshot, as it were, and now presenting itself as a fait accompli, the significance of its results is not easy for the English or American listener to assess—particularly as gramophone records are still not readily available and performances are rare.