An important feature of folk culture is that it is not passive and receptive, but active, creative, and dynamic. The folk games we know today have been shaped over generations into what we know them as today, as children have actively used and shaped them. In order for folk games to be used for educational and traditional purposes, researchers had to find a systemization principle that would allow all types of folk games to be included in a unified system. The systematization principles that emerged examined several aspects of the studied material: classification according to text, melody, spatial form, age, and geography. 1. György Kerényi found a unified system for all types of folk games in the game plot, and in Volume I of the Hungarian Folk Music Collection, he also published a classification based on the game plot, following Pál Járdányi's musical order.  2. The classification according to Klára Gazda can be found in the ethnographic monograph entitled Gyermekvilág Esztelneken (The World of Children in Esztelnek). 3. However, from the 1980s onwards, due to the more than fifteenfold increase in the amount of game material, it became necessary to review the principles applied and the order of games. Instead of the sometimes rambling plot, it was more practical to consider the essence of the game, the "melody core," as the basis. Katalin Lázár, a researcher at the Hungarian Academy of Sciences' Institute of Musicology, has compiled a new classification system for folk games that is still in use today. 1. Games with props; 2. Movement games; 3. Mental games; 4. Matching games; 5. Nursery rhymes; 6. Reading games. Singing games can be found among movement games, intellectual games, matchmaking games, and nursery rhymes. Our folk games differ in structure and sound from the verse structure of adult melodies, "because children's songs end where adult songs begin."