Свободните форми за лютня през ХVІ век

Author(s): Yavor Genov / Language(s): Bulgarian Issue: 2/2015

During the 15th century musical mentality in Europe has prepared for important and decisive changes. Frequently mentioned instrumental music in sources and documents in that time, and its explicit appearance is an important part of those changes. Another crucial moment of those changes is the lute, which gradually moves from monodic to polyphonic practice. Therefore, lute not only gain an important role in every aspect of the musical life in Europe, but became its symbol. In the end of the 15th and beginning of the 16th century the earliest lute sources recently known has appeared. They present the new, polyphonic function of the instrument and include compositions with new denotations, which not descend directly from the polyphonic choral tradition: prelude (praeambulum), recercar, fantasia. Those terms has appeared in different times and different instrumental sources during the period between the mid-15th and early 16th centuries. Their common connotation, generally speaking, is directed to the free, improvisational playing the music. The article in presence observes the appearance and spreading of the free forms in the lute music during the 16th century. Some important changes in the content of those terms as early as first decades of the century are stressed. While the prints of 1507–1508, published by the Venetian editor Petrucci contain idiomatic instrumental forms, related to the spontaneous improvising style, the next generations demonstrate a reinforced interest in adaptation of the contrapuntal techniques in their compositions. Thus the free forms became a place for development of compositional approaches and technical possibilities of the lute as well. The main purpose of this article is not to present a new discoveries rather to introduce to the chosen topic.

Мюзикълната фикция във филма „АкаТаМуС” (1988)

Author(s): Rumyana Karakostova / Language(s): Bulgarian Issue: 2/2015

The article is an abstract of a comprehensive study on the earliest Bulgarian musical films commissioned by the government under Socialism over the decades (since the mid - 1950s until the late 1980s). As the last in the research selection the movie AcaDaMuL (an abbreviation for Academy of Dance, Music and Lyric) is of interest due to both its genre style, being the first ever Bulgarian dance film musical, and from the vantage point of the complicated historical context and the concomitant social unrest immediately preceding the political changes. Made in 1988 and inspired by film director Georgi Djulgerov and choreographer Neshka robeva, its film score was written by five Bulgarian composers: Darin Burnev, Plamen Djurov, Stefan Dragostinov, Tsenko Minkin, Bojidar Petkov and jazz musicians Yildiz Ibrahimova and Theodosii Spassov. Made in a nonconformist vein, the movie remains unique in terms of its creative experiment in Bulgarian feature film: a new cinematic synthesis of stage media used in rhythmic gymnastics, pantomime, acrobatics and narrative folklore-based dance and contemporary auteur music. And though the movie has not been digitised and is not available online, AcaDaMuL has not slid into oblivion where cultural history of the previous century is concerned, which is proved by the present recognition and international creative achievements of the National Art dance company established by Neshka robeva years later and comprising gymnasts and folk dancers. Their production Twin Kingdoms (music by Georgi Andreev) ranked eighth among Broadway’s (this Mecca for musicals) best foreign show productions at the turn of the millennium. The stylistic invention, undoubtedly inspired by the experience gained in AcaDaMuL, has really acquired the significance of a musical stage phenomenon, which is now Bulgaria’s hallmark.

Танцуването по български като съвременно пътуване към себе си и света: опит за систематизация на феномена

Author(s): Gergana Panova-Tekat / Language(s): Bulgarian Issue: 2/2015

The text analyses the proliferation of the Bulgarian traditional dances in the towns of Bulgaria and the Western World starting from the since 1950s. The author of the text compares dancing with the mode of communication of an infant and examines the individual or group dancing within the framework of a universal three dimensional “semantic star”, whose axes balance between continuity and innovation, individualism and collectivism, body and spirit. On a macro-political level the phenomenon of “dancing the Bulgarian way” varies between four models, which the author has identified in the course of a long-term empirical practice. Every one of the models represents a different way of viewing the world and finding out or proving to oneself, i.e. different semantic stars. The Soviet model was created, financed and rationalized within the context of Socialist Bulgaria. In it one can discern the emergence of not only a new genre of scenic professional art form – the „Bulgarian Folk Choreography”, but a new musical-dance national identity of the Bulgarian people. The American model was created on the other side of the Iron curtain. It represents an active hobby for modern and open minded foreigners, a source of information and more often than not – a source of love for Bulgaria. Of particular interest are the old “authentic” forms of the Bulgarian circle dance, which are thought and practiced regularly in private clubs and big camps. Gradually after 1989 the Bulgarians came up with two additional hybrid models of “dancing the Bulgarian way”. The Democratic model marks the accession of Bulgaria into the European Union and presents the resurgence of the national self- consciousness of the Bulgarian and a boom in the club dance form. The initiative comes from professionals of the Socialist model, who search for and teach traditional dance material. In the West we are witnessing a marked resurgence of ethnicity amongst the younger Bulgarian dancing diaspora. The emigrant model organizes amazing “Bulgarian festivals” and strives through the attractiveness of the Bulgarian stage folk dances to gain respect and equal status outside the borders of their homeland. The conditional differences and similarities uncovered in the process of systematization of the empirical material demonstrate the poly-valence and flexibility of the Bulgarian dance heritage on the crossroad between East and West, Socialism and Capitalism, locality and globalism. At the same time we reach some very general conclusions regarding the role of dancing in the human existence or way of life.

Концертите на Белградското певческо дружество в България в края на ХIХ и началото на ХХ век

Author(s): Elisaveta Valchinova-Chendova / Language(s): Bulgarian Issue: 3/2015

The paper comments on facts of the history of Bulgarian music in the late 19th and early 20th centuries, related to the visiting Belgrade Choral Society under the baton of famous Serbian conductor Stevan Mokranjac (1856–1914). With the choir of the Belgrade Choral Society he visited Bulgaria twice: in 1895 he gave concerts in the course of the tour Sofia – Constantinople – Plovdiv, and in 1904 he performed in Sofia. There are two reviews about the concerts given by the choir in Plovdiv; the one given in Sofia in 1895 was covered by a Serbian media and its programme was the same as that in Plovdiv. The first review in Plovdiv daily describes the performance of the choir of the Belgrade Choral Society as excellent. The second review was published in Kaval (Lom – Palanka) magazine: the concert was covered in details and special attention was paid to the high artistic level of the performance and the repertory. The choir of the Belgrade Choral Society visited Bulgaria once again to take part in the Anniversary Concert of the stenographers at the hall of Slavianska Beseda [Slavic Commune], held on 26 September 1904. The choir of Slavianska Beseda [Slavic Commune] conducted by Nikolay Nikolaev maintained active contacts with that of the Belgrade Choral Society spanning over the following decades. Of special importance were the cultural dialogues in the time of Kosta Manojlović (1890 – 1949), a renowned composer and conductor, president of the Yugoslav Choral Union, Belgrade, who supported choral work in Bulgaria and was Dobri Hristov’s personal friend. Kosta Manojlović led the choir from 1919 until 1931. The commented facts reveal contacts with the Belgrade Choral Society at various stages in the history of choral work in Bulgaria. Bulgarian choral companies modelled their activities on the activity of the Society in the implementation of the idea of expanding choral work. This idea was also related to bringing Slavic peoples together. The active contacts with the Belgrade Choral Society and its coaches and conductors allow for an insight into this bonding that defined the historical profile of choral work and musical culture in Bulgaria of those decades.

Всичко, което върви през хората, по хората, е важно за фолклориста... Академик Николай Кауфман на 90 години

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 3/2015

Occasioned by Academician Nikolai Kaufman’s 90th anniversary, the paper recalls his wide-ranging and versatile activity of a fieldworker, scholar, folklorist, researcher and composer. All areas of his work are syncretically related: his fieldwork is correlatable with his work of an ethnomusicologist as empirical studies evolving into science. During his recording and collecting activities, he discovered the examples to be then developed by him into choral arrangements or ingenious ensemble pieces. The paper points to the enormous practical significance of Kaufman’s intensive fieldwork, the fundamental importance of his research production and the diversity of his oeuvre of a composer. The outlined main thematic areas of his work of a folklorist – the traditional rural music, urban folk music and topical issues of folk studies – establish the heuristic worth of his research work. The vantage point of, reflections on and evaluations by Kaufman himself of his own professional interests, experience and achievements in interviews given by him, are also provided.

Część monograficzna: Dobro – wartość realna czy pożądana? Refleksje z perspektywy potrzeby rewitalizacji dobra poprzez sztukę/teatr w codzienności przestrzeni społecznej

Author(s): Beata Mazepa-Domagała,Teresa Wilk / Language(s): Polish Issue: 44 (1)/2015

The presented article is a reflection of the authors on a scarcity of goodness in the social space. Taking into consideration that goodness is a prerequisite for a rewarding human existence, it is vital to be aware of the need for experiencing / the presence of goodness in all areas of human activity at every stage of human life. By recalling some titles of literature illustrating the manifestations of goodness in everyday social relationships, attitudes and actions, the authors would like to direct the readers’ attention to only selected areas which - at low cost of willingness, kindness, responsibility, may become a space where goodness will be not merely a sought-after value, but will become a genuinely real value. What is also worth noticing is the involvement and participation of art / theater in shaping positive needs, including the need for goodness.

„Музикалнокултурни практики”

Author(s): Rossitsa Draganova,Mihail Lukanov,Diana Danova-Damianova / Language(s): Bulgarian Issue: 1/2016

Since September 2015, a permanent seminar has been conducted at the Institute of Art Studies by the Musical Culture and Information research group. They make every effort the seminar’s editions to be attended by as many active participants as possible. Various topics are proposed every time by different members of the research group, who then open the discussions with keynote papers. Bulgarian Musicology journal would publish some of the papers as well as statements and communications made during the seminar. The topic of the first session, Short forms in music: aesthetics, history, modern times, was introduced by Assoc. Prof. Dr Rossitsa Draganova, who made a statement on Short forms in music and the other arts. Asst. Prof. Dr Mihail Lukanov and Asst. Prof. Dr Diana Danova-Damianova joined in, delivering papers on Short forms in music and Bulgarian schlager of the 1930s and Short forms in music in the programmes of ppIANISSIMO International Festival of Contemporary Piano Music respectively. Nadia Sotirova, director of Pancho Vladigerov’s museum, Sofia and Svetlana Avdala, a full-time doctoral student, Department of Music, presented the realised project Microcosm, performance of 60 one- minute pieces. Assoc. Prof. Dr Lubomir Kavaldjiev, founder of the research group, Prof. Elisaveta Valchinova- Chendova, DSc and Prof. Dr Rumyana Karakostova joined the discussion. The second session held in October dealt with the so-called free forms in music and particularly, with the free forms in the sixteenth-century lute repertory. Assoc. Prof. Dr Yavor Genov delivered a keynote paper on the topic. He believes that these forms have later generated a number of vital trends in instrumental thinking. Colleagues invited especially to take part in the seminar, Prof. Yavor Konov, DSc from NBU and Assoc. Prof. Dr Ivanka Vlaeva from SWU, an associate member of Department of Music, joined the discussion. The third session held in November was devoted to the nineteenth- and the twentieth-century song forms in music and to research aspects and issues related to them. A keynote paper on the specifics of some forms of the twentieth-century popular music (strophic, verse/ chorus, 32-bar and blues forms) was delivered by Asst. Prof. Dr Mihail Lukanov. Talking and arguing about these untraditional and at the same time topical issues, never broached for now in a special or a long-term study by any of the members of the Musical Culture and Information research group, proved to be intriguing and fruitful. There was a general sense of innovativeness, of refreshment of notions, generating resources of new approaches. New areas for discussion were established and formulated for the forthcoming editions of the seminar.

Обрати и дилеми на режисьорския театър в България през първото десетилетие след Втората световна война

Author(s): Kamelia Nikolova / Language(s): Bulgarian Issue: 1/2016

The defining periods in the development of director’s theatre in Bulgaria are especially important to its overall and precise comprehension: the 1920s, when it emerged and established itself; the first decade after the World War Two, when the entire Bulgarian theatre was programmatically transformed into director’s, and the recent two decades and a half, characterised by an intensive process of substantial changes in director’s status that led to overcoming the single model of director’s theatre and the advent of actual dramatic forms and aesthetics, including the directorial figure in the staging of a production in a new way. This article deals with the second of the said three periods, tracing the process of the programmatic transformation of Bulgarian theatre into director’s theatre following the political turn of the mid-1940s. That transformation was a key tool of the emergent communist state for a rapid, unconditional, and correct imposition of the theatre of Socialist Realism. To implement its project of an ‘ideologically right’ theatre, the communist authorities needed particular individuals that would endeavour to materialise it immediately. Owing to the crucial function of the sole shaper of a performance fulfilled by the director in the modern development of European theatre, director proved to be eminently suitable for being assigned the role of such an individual, after, of course, receiving the necessary training. The beneficial effect of this programmatic transformation of Bulgarian theatre into entirely director’s one in about the mid-1950s was its fast professionalisation as a whole. The negative one was the ideologization, unification, and formalisation of stage practices and audience perceptions. Thus,​ directors became the most powerful and significant figures at theatre, being though at the same time the most dependent, controlled and sanctioned for their departures from the imposed Socialist-Realist canon.

Идеология, теория и практики на българския социалистически реализъм в театъра

Author(s): Rumiana Nikolova / Language(s): Bulgarian Issue: 1/2016

The theatre from the communist period in Bulgaria could not be properly de- scribed and studied without having into consideration the Socialist Realism as one of the main starting points. Socialist Realism could be seen through the prism of its own postulates or through the critical evaluation of the historical distance. The phenomenon had been a constant subject of interest and research during communism and for some contemporary authors. The text tries to describe the phenomenon in some basic categories such as party-mindedness (partiinost), typicality, nationality, the problem of the good hero and others. Apart from these categories, the Socialist Realism be- comes more solid when opposing it- self to phenomena and trends such as formalism or bourgeois and apolitical art, etc. Those fundamental principles, along with the notions for ideological content, class-consciousness, and others provide for the normative character of Socialist Realism as the method/ doctrine, imposed upon theatre on all levels. The text traces the implantation of socialist realism on the theatre practice – from the text to the performance. The rules of the socialist-realistic drama are described through the basic for the communist theory of the drama categories such as conflict, action, good hero and subject theme. In order to apply the principles of Socialist Realism to the theatre performance, the communist activists had chosen a Soviet understanding of Stanislavsky’s system as the method to be followed in the work on the stage. During the whole socialist period the Bulgarian theatre had been judged according its level of adoption and application of Stanislavsky’s system as the only acceptable and demanded method. For years on end, the imposing of Stanislavsky’s system on the practices of Bulgarian theatre had been perceived as a battle for the imposition of Socialist Realism on the stage and as a struggle against formalism.

Включване на наратив в драматичното действие в съвременната мексиканска драматургия

Author(s): Elvira Popova / Language(s): Bulgarian Issue: 1/2016

The 2000s consolidated a trend in Mexican drama, which emerged in the late 1990s, i.e. inclusion of narrative in the dramatic construction. The relation between story and action has a history all the way back from ancient Greece until now, when narrativisation of drama, to some researchers, marks the peak of the crisis and to others, is a sign of its endless renovation. How does contemporary Mexican drama fit into the context of narrativisation of drama? Set around this issue and applying a dramatological perspective, this paper draws on works by playwrights Édgar Chías, Luis Enrique Gutierrez Ortiz Monasterio​ (LEGOm), Jaime Chabaud, Alejandro Román and Alejandro Ricaño.

За Книгата на Йоана Спасова-Дикова „Мелпомена зад желязната завеса”

Author(s): Zornitca Kamenova / Language(s): Bulgarian Issue: 1/2016

Emanuel Wurstisen’s manuscript (CH-Bu Ms. F.IX.70) as a source of German lute tablature

Author(s): Yavor Genov / Language(s): English Issue: 4/2015

The art of playing the lute has its “Golden age” during the 16th century. In that time lute became a symbol of the European culture in general. Development of lute music during the 16th century is widespread throughout whole Western part of the continent; contains a huge number of repertories, rich on varieties in form and style; is embodied by skilful virtuoso players and composers; continuously experiments and changes the instruments themselves. In that period lute music is notated on three main tablature systems, recently known as Italian, French and German tablatures. While the former two systems are “optical” and present pictorial vision of the lute fingerboard, the German tablature follows different mental path. The article in presence comments one of the distinguished lute manuscripts, created and preserved in Basel, Switzerland. The anthology by Emanuel Wurstisen is discussed as a source of late stage of German lute tablature. Discussion itself is preceded by information about the nature and peculiarities of German tablature in general. Based on that are the following observations on the problem of reading and using the manuscript, changes of the tablature, coming from changing the instruments around the time of Wurstisen. At the same time the article comments the manner of notating the book which is probably related to the origin of pieces themselves. Certain paleographical problems are put on discussion, supplied by comparative table of the character in usage. The latter has a certain practical purpose to supply the reader with a tool for easier working with the manuscript itself.

Приспивната песен в музикалнокултурното минало

Author(s): Rossitsa Draganova / Language(s): Bulgarian Issue: 4/2015

Lullabies are defined mainly pertaining to the primary function behind them (soothing infants to send them to sleep), underscoring the universality, expressed in their popularity as a genre of the traditional songness of different peoples. The tempo, dynamics, the character of the tonal movement are accentuated as well as the repetition of certain melodic and rhythmic figures. Synonymously, ‘cradle song’ is used instead of the term, which is possible only in certain languages. The paper seeks to present and problematize information of its aspects and specifics related to the analysis of particular music-cultural fields. Accumulating data builds on the notions of lullabies facilitating the comprehensive understanding of this multilayered phenomenon, varying from type to type of the music culture within which they function: traditional culture, works by European composers, pop music, everyday practices, etc. Data and sources of the parameters, the specifics and the role of ‘hushabies’: tunes for sending children to sleep in Bulgarian folklore are also commented. The ‘extra-regional’ nature of this traditional phenomenon is underscored, as well as the fact that the performance of lullabies or improvising versions of those seem to repeat that age-old archaic moment, when speech and singing have been a syncretic whole, revealing the deep nature of lullabies as the matrix of a kind of song and other genres. Another discussion area is shaped by the popular examples of the Europium past, analysed by Ella de Schultz–Adaïewsky in her study La berceuse populaire. Essaie d’étude rythmique et ethnologique préparée, published in Rivista Musicale Italiano (RIM) quarterly, in issues of 1894, 1895 and 1897. In the process of analysing the aforementioned areas, the issue of the ethnological similarities and particularities​ of lullabies of the musical and cultural past of various nations is commented. Socially and culturally and in terms of the parameters of the musical genre, this study enriches the notions of the role of this phenomenon.

Международен музиковедски форум в София

Author(s): Stefan Harkov / Language(s): Bulgarian Issue: 4/2015

The 11th Congress of South- East European Studies (XIe Congrès d’études du Sud-Est européen, http:// balkanstudies.bg/congress2015/en/2- uncategorised.html) was held on 31 August – 4 September 2015 in Sofia, mounted mainly by the International Association of South-East European Studies (AIESEE), a large authoritative organisation founded in 1963 and enjoying all along moral and financial support granted by UNESCO. The event was hosted by the Bulgarian Academy of Sciences and particularly, by the Institute of Balkan Studies and Centre of Thracology. Over 250 leading scholars from 26 countries, experts in economics, politics, defence, history, culture, arts, media, etc., arrived in Sofia. The musicological session was organized in cooperation with the International Musicological Society as the Sixth International Conference of the Regional Association for the Study of Music in the Balkans. A total of 25 presentations by 29 participants from 19 countries (Albania, Austria, Azerbaijan, Bulgaria, Croatia, Cyprus, Greece, Georgia, Germany, Hong Kong, Italy, Macedonia, Romania, Russia, Serbia, Switzerland, Turkey, UK, US) were selected to be made at the international musicological event. The- matically, ​the presentations were grouped in five panels and a roundtable; moderators: Cor. Mem. Prof. Svetlana Kuyumdzhieva, DSc and Prof. Dr Tilman Seebass in cooperation with Mirjana Veselinović-Hofman, Velika Stojkova-Serafimovska, Maria Alexandru, Stefan Harkov, Katy Romanou, Francis-Nectarios Guy, Tatjana Marković, Evanthia Nika-Sampson. The Conference decided upon founding an academic journal, Studies Musicologica Balcanica with the support of and applying the standards of the International Musicological Society. The next, Seventh International Conference of the Regional Association for the Study of Music in the Balkans, was slated for 2017 to be held in Nicosia, Cyprus.

Втори конгрес на Обществото за теория на музиката

Author(s): Ivan K. Yanakiev / Language(s): Bulgarian Issue: 4/2015

Tchaikovsky Moscow State Conservatory hosted the Second Congress of the Music Theory Society 26–29 September 2015. This year the biennial themed Schools and Trends in Musicology, Composition and Performing Art was occasioned by the 150th anniversary of Moscow P.I. Tchaikovsky Conservatory. It was held in 16 sections (http://www.mosconsv. ru/upload/images/Documents/Events/ program_congress_2015_eng.pdf). Some of the most intriguing papers delivered at the conference were as follows: Natalia Plotnikova (Moscow P.I. Tchaikovsky Conservatory): The Counterpoint of the Russian Baroque: Present-Day Problems of Study; Valentina Kholopova (Moscow P.I. Tchaikovsky Conservatory): Boris Asafiev: Innovations for Centuries to Come; Konstantin Zenkin (Moscow P.I. Tchaikovsky Conservatory): Concerning the Problems and the Semantic Potential of the Concept of ‘Intonation’; Vyacheslav Medushevsky (Moscow P.I. Tchaikovsky Conservatory): The Neuro-Semiotic Aspect of Musical Intonation; Simon Perry (SchoolofMusic,UniversityofQueensland, Australia): Notation, Enharmonicism and ‘Musical-Dramaturgy’ in Musorgsky’s Boris Godunov; David Haas (Hodgson School of Music, University of Georgia, USA): Devices from Bruckner: Toward an Understanding of Their Significance for Shostakovich’s Symphonies. Two traditions clashed in the discussion on Riemann and Schenker in Various National Traditions: the Russian school with their functional theory of traditions, school and trends and that of the American school of music theory, based on Schenker’s works. Most of those involved in the discussion are members of the IMS (International Musicological Society), where such a discussion is also led in absentia, through exc​hange of articles for instance. Ivan K. Yanakiev, a full-time PhD student at the Institute of Art Studies, BAS, Sofia delivered a paper in the Section of Students and Post-Graduate Students on Concerning the Question of Unequal Temperaments in the 20th Century: the Theory of Maria Renold, part of his doctoral thesis.

Избрана библиография на проф. Елена Тончева

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 2/2003

Избрана библиография на проф. Васил Стефанов

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 1/2003

Битката за „Благородникът” или предизвестеният край на българския театрален модернизъм

Author(s): Svetlana Baychinska / Language(s): Bulgarian Issue: 1/2003

Есе за писача на есета

Author(s): Romeo Popiliev / Language(s): Bulgarian Issue: 1/2003