Към въпроса за ладовомелодичната терминология
On the Question of Modal–Melodic Terminology

Summary/Abstract: This study examines the typological characteristics and local specificity of two concepts – makam and raga. The first allows us to reconceptualize the art of makam and raga as universal for a very broad region. In the context of Bulgarian folkloristics, makam is understood as a mode with one or makam as a tonal series with chromaticisms represents one local Bulgarian conceptualization and theoretical rationalization. The psycho-aesthetic aspects of Bulgarian musicians’ understanding of this concept, which are connected with mastery, virtuosity and expressiveness, are also noted. A concept analogical to makam in South Asia is raga. It is usually defined as Indian, but on the present map of Asia it is fundamental to the culture of all neighboring countries where Indian classical music is performed. For raga, we can also outline several layers of meaning. The most widely distributed concept sees raga as a modalmelodic model upon which the compositions of Indian classical music are based; the most ancient conceptualizations show raga as something that beautifies the consciousness and provokes certain emotions in musicians and listeners. As a result of studying these two emblematic concepts – makam and raga, which arose within the theory of traditional classical musics – we can establish their borrowing by a theory that covers folk music. When applied to the analysis and systematization of folk models, they are used with more restricted meanings – mainly in terms of tonal series and emotional characteristics. This is most likely due to the more simple phenomena and to the specifics of local music, which need to be expressed terminologically. For this reason, the meanings of terms borrowed from classical theory also correspond to specific folk music phenomena.

• Details
• Contents