styles died out and musicians looked more to other (Western) European styles for influence. The 18th century also saw the rise of verbunkos, a form of music initially used by army recruiters. Like much Hungarian music of the time, melody was treated as more important than lyrics, although this balance changed as verbunkos became more established. Folk music Hungarian folk music changed greatly beginning in the 19th century, evolving into a new style that had little in common with the music that came before it. Modern Hungarian music was characterised by an "arched melodic line, strict composition, long phrases and extended register", in contrast to the older styles which always utilize a "descending melodic line". Modern Hungarian folk music was first recorded in 1895 by Béla Vikár, setting the stage for the pioneering work of Béla Bartók, Zoltán Kodály and László Lajtha in musicological collecting. Modern Hungarian folk music began its history with the Habsburg Empire in the 18th century, when central European influences became paramount, including a "regular metric structure for dancing and marching instead of the free speech rhythms of the old style. Folk music at that time consisting of village bagpipers who were replaced by string-based orchestras of the Gypsy, or Roma people. In the 19th century, Roma orchestras became very well known throughout Europe, and were frequently thought of as the primary musical heritage of Hungary, as in Franz Liszt's Hungarian Dances and Rhapsodies, which used Hungarian Roma music as representative of Hungarian folk music Hungarian Romani music is often represented as the only music of the Roma, though multiple forms of Roma music are common throughout Europe and are often dissimilar to Hungarian forms. In the Hungarian language, 19th-century folk styles like the csardas and the verbunkos, are collectively referred to as cigányzene, which translates literally as Gypsy music. Hungarian nationalist composers, like Bartók, rejected the conflation of Hungarian and Roma music, studying the rural peasant songs of Hungary which, according to music historian Bruno Nettl, "has little in common with" Roma music, a position that is held to by some modern writers, such as the Hungarian author Bálint Sárosi. Simon Broughton, however, has claimed that Roma music is "no less Hungarian and... has more in common with peasant music than the folklorists like to admit", and authors Marian Cotton and Adelaide Bradburn claimed that Hungarian-Roma music was "perhaps... originally Hungarian in character, but (the