Употребата на кавал и гайда в камерно-инструментални и вокални фолклорни състави
The use of kaval and bagpipes in chamber-instrumental and vocal folklore ensembles

Summary/Abstract: Ever since the emergence of the first instrumental folk groups – the 30s and 40s of the 20th century, the kaval has played a main role in their formation. Back then it was unthinkable (as it is now) that there could be an instrumental group without the presence of the kaval. Also the first recordings that were made in Radio Sofia over the course of these years were ones of instrumental groups formed at that time. Some of the first kaval players who took part in these recordings were Stanil Payakov, Tsvyatko Blagoev, Dragan Karapchanski, Nikola Ganchev, among others. These group performances were swiftly in- 81 corporated into folklore practice, some of them became over time exceptionally popular, and with their music and performance they left indelible traces in it. The role of the kaval in these groups, besides being a main and lead instrument, also establishes itself not only with regard to the leading main melody, but as an accompanying instrument as well. In the present report I described in detail the creation and development of group (chamber) music-making. I traced the problems related to the creation and building of musical work for this kind of groups as well as all specific features that accompany this issue. The kaval as an instrument, which has exceptional technical capabilities and multifunctionality, plays its huge role not only for the development of group (chamber) music-making but also for the general development of folk instrumental performing art.

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