In the 17-18th century, a double reed-stringed instrument, called the Turkish whistle was called and from the end of the 19th century, it became the name of a new instrument with a monolingual reed whistle with a conical bore.The historical version of the toggle, the Turkish whip, was the most popular during the Rákoczi War of Independence when it functioned as a military whistle and also served entertainment.
Not only the Hungarians but also the Romains of Transylvania and the South Slavs are recognized as their folk instruments.
The musical instrument became fashionable through the Turks, as the name of the Turkish-whistle instrument may refer to. Its powerful and percussive voice was used not only during having fun but also on weddings, funeral rounds, and its prominent role as a military beacon of kuruc camps.
The modern whistle was associated with the name of Schunda and was also called the Schunda Whistle but the most popular among musicians, the most copied types are the Stowasser instruments who offered a total of seven different sizes from whistles.
The Schunda-Whistle was popular in Hungary in the first half of the 20th century, and was practically forbidden in the Rákosi era, tolerated in the Kádár era because of its adherent, undesirable nationalist and irredentist conceptions.
Sándor Burka was the only Hungarian musician who could make recordings with his phonograph in the Kádár system, his play had a great influence on Hungarian phonics.
This whistle is rarely used as a solo instrument in an instrumental ensemble. Popular with rural, urban amateurs, but also gypsy clarinetists who often perform with their band to perform a few tracks of ”kuruc”.