though much of his activity was in Hungary, and he used their elements in his music. He was interested in all forms of folk music, while Kodály was more specifically Hungarian in his outlook. In contrast to previous composers who worked with Hungarian popular musical idioms, Kodály and Bartók drew a sharp line between the popular music played by Roma (also known as "magyarnóta", or Hungarian music or Gypsy music) and the music of farmers. Their work was a watershed that incorporated "every great tradition of the Hungarian people" and influenced all the later composers of the country. Later 20th century For the first half of the 20th century, Bartók and Kodály were potent symbols for a generation of composers, especially Kodály. Starting in about 1947, a revival in folk choir music began, ended as an honest force by 1950, when state-run art became dominant with the rise of Communism. Under Communism, "(c)ommitment and ideological affiliation (were) measured by the musical style of a composer; the ignominious adjectives 'formalistic' and 'cosmopolitan' gain currency ... (and the proper Hungarian style was) identified with the major mode, the classical aria, rondo or sonata form, the chord sequences distilled" from Kodály's works. Music was uniformly festive and optimistic, with every deviation arousing suspicion; this simplicity led to a lack of popular support from the public, who did not identify with the sterile approved styles. The most prominent composers of this period were Endre Szervánszky, Ferenc Szabó and Lajos Bárdos. Beginning in about 1955, a new wave of composers appeared, inspired by Bartók and breathing new life into Hungarian music. Composers from this era included András Mihály, Endre Szervánszky, Pál Kadosa, Ferenc Farkas and György Ránki. These composers both brought back old techniques of Hungarian music, as well as adapting imported avant-garde and modernist elements of Western classical music. György Ligeti and György Kurtág are often mentioned in the same sentence. They were born near each other in Transylvania and studied in Budapest in the 1940s. Both were influenced by Stockhausen. Kurtág's modernism borrowed many influences from the past. By contrast Ligeti invented a new language with chromatic tone clusters and elements of parody. Both were multi-lingual and became exiles. This is reflected in the texts for their works. The foundation of the New Music Studio in 1970 helped further modernise Hungarian classical music though promoting composers that felt audience education was as important