Новото в българската музика през XIV век
The New In The Bulgarian Music In The Fourteenth Century

Summary/Abstract: The 14th century was one of the peak centuries in the history of Bulgarian Orthodox music. Two factors defined what was new in its development at the time: the affirmation of the new version of the Jerusalem Typikon and of the hesychasm. Both factors are conditioned by one goal – the unity of the Christian faith with functioning strong institutions. The affirmation of the new version of the Jerusalem Typikon led to the synthesis of the monastic and cathedral practices. This synthesis, in turn, led to the compilation of a new class of notated book, which included much of the repertoire previously transmitted exclusively in an oral away, and the establishment of a single notation system displacing the pre-existing such systems. The hesyhasm was revived for spiritual renewal of Christian values. The hesychasts paid special attention to the word. The “divine” beauty of the latter was sought. The style of “weaving of words” was developed. The aim was to return the “purity” of the sacred texts lost during the Latin occupation of Byzantium, as well as to update the liturgical texts according to the norms of the new Typikon. As examples of the affirmation of the new Jerusalem Typikon and of the hesychast ideas in music, the activity of one of the greatest medieval musicians, St. John Kukuzeles, about whose Bulgarian origin arguments are given, is discussed along with the established “kalophonic” or “beautiful-sounding” repertoire, an analogue of the style of “weaving of words”, and some particularly significant chants, such as those designated “Bulgarian”, defending the prestige of orthodoxy and testifying to the Bulgarian creative power. The chants in the Palauzov’s copy of the Synodikon of Tsar Boril, a re-actualized book as a result of the two councils against the heretics organized by Tsar Ivan Alexander, are also discussed.

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