Our research mainly focuses on the correlation of students' attitudes attending primary education and music lessons in Hungary. Among other goals our investigation also includes shedding light on students' habits of listening to music and deals with young people’s musical taste focusing primarily on classical music genre. Since the National Curriculum was created in Hungary in 1995, music lesson belongs to the content area of arts which resulted fewer music lessons per week (Takács, 2001; L. Nagy, 2012). From 1948, the Kodály concept is accepted as the dominant music concept in education with the nationalization of educational institution (L. Nagy, 2004) and when the First National Curriculum was introduced in 1996, the curriculum of music lessons was based on this concept. The Kodály concept is a widely used method around the world from Europe to America, contents of this curriculum as an applied repertoire in education begins with children's rounds, rhythm games, rhymes, verses etc. in kindergarten then traditional folk songs of the child's country, and finally classical music (Bagley, 2009; Comeau, 1995; Gönczy, 2009). Contemporary music such as pop music is accepted by music teachers but the basis of teaching has to be the valuable music which mediates character-shaping high-class value from an aesthetic aspect. L. Nagy underlines that although mass culture is not included in music education, but it has to be represented in it somehow. One has to move with the times thus understanding entertaining music genres like jazz, pop and contemporary music is important since this surrounds young people. In addition, since the democratic transformation of neighboring and related ethnicities’ music and ecclesial music contents are also important parts of the curriculum, without barriers (L. Nagy, OFI; Marosz, 2013). In Hungary, children's music learning in the curricular education scene is based on classical music and folk music althought people’s musical preferences and taste is influenced by social status as well (Hausmann, 2011). The present Hungarian National Curriculum comprises of only one music lesson per week which causes a deep impact on the quality of music education. Elementary schools of music are an exception regarding the number of lessons. These type of schools have four lessons per week and also choir sessions. In 2015, the idea of 'everyday singing' has appeared on a governmental level, the 'Committee of Everyday Singing' (Mindennapos Éneklés Bizottsága) was created for implementing that purpose. Smuta (2015) discusses about the educators’ role if that idea would come into use. Nemes's (2014) study reports about spread of musical ignorance and present issues of music teacher's efficiencies: a significant number of them are unmotivated and unprepared which has negative effects on students' attitude in connection with music lessons. It follows that nowadays music teaching represents lack of prestige as a profession (L. Nagy, 2004; Marosz, 2013; Nemes, 2014). The majority of children do not face valuable and demanding music at home, neither in everyday life (Marosz, 2013). Nemes expresses his aversion of today's music education in Hungary. According to him, instead of lexical knowledge endearing music would be the point and also indtroducing shared musical experience. This subject is characterized by underdevelopment in the ever-developing world (Nemes, 2014).

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