The present study aims at interpreting the position and role of Hungary’s first experimental music studio (New Music Studio Budapest) in the context of the political opposition, the neo-avant-garde movements of the time and of Hungarian music life. I point out that while the democratic political opposition decided for united action and open resistance by signing Charter ’77 in 1977, the New Music Studio tried to break gradually free of their peripheral position in spite of friendly connections to the members of the opposition and successfully reached the centre of the official music life. The members of the New Music Studio – Zoltán Jeney (1943), László Sáry (1940) and László Vidovszky (1944) – worked with the experimental techniques of the neo-avant-garde; in their official statements, however, they used the means of ‘doublespeak’ to underpin their position in musical life
