Bence Szabolcsi, however, claims that the Finno-Ugric and Turkish-Mongolian elements are present but "cannot be attached to certain, definite national or linguistic groups". Nonetheless, Szabolcsi claims links between Hungarian musical traditions and those of the Mari, Kalmyk, Ostyak, northwest Chinese, Tatar, Vogul, Anatolian Turkish, Bashkirian, Mongol and Chuvash musics. These, he claims, are evidence that "Asian memories slumber in the depths of Hungarian folk music and that this folk music is the last Western link in the chain of ancient Eastern cultural relations". According to Broughton, traditional Hungarian music is "highly distinctive" like the Hungarian language, which invariably is stressed on the first syllable, lending a strongly accented dactylic rhythm to the music". Nettl identifies two "essential features" of Hungarian folk music to be the use of "pentatonic scales composed of major seconds and minor thirds" (or "gapped scales") and "the practice of transposing a bit of melody several times to create the essence of a song". These transpositions are "usually up or down a fifth", a fundamental interval in the series of overtones and an indication perhaps of the "influence of Chinese musical theory in which the fifth is significant". According to Szabolcsi, these 'Hungarian transpositions', along with "some melodic, rhythmical and ornamental peculiarities, clearly show on the map of Eurasia the movements of Turkish people from the East to the West". The subsequent influence on neighbouring countries' music is seen in the music of Slovakia, Poland, and, with intervals of the third or second, in the music of the Czech Republic. Hungarian and Finnoic musical traditions are also characterised by the use of an ABBA binary musical form, with Hungary itself especially known for the A A' A' A variant, where the B sections are the A sections transposed up or down a fifth (A'). Modern Hungarian folk music evolved in the 19th century, and is contrasted with previous styles through the use of arched melodic lines as opposed to the more archaic descending lines. Music history The earliest documentation of Hungarian music dates from the introduction of Gregorian chant in the 11th century. By that time, Hungary had begun to enter the European cultural establishment with the country's conversion to Christianity and the musically important importation of plainsong, a form of Christian chant. Though Hungary's early religious musical history is relatively well documented, secular music remains mostly unknown, though it was apparently a common feature of community