ISSN 0204-823X
Bulgarian Musicology
ХLII / 2018 / № 2 Българска академия на науките Институт за изследване на изкуствата Bulgarian academy of sciences Institute of Art Studies
Съвременна музика Елисавета Вълчинова- Звукът като ритуал в творчеството Чендова на композитора Георги Арнаудов...... 5
Музика и педагогика Росица Драганова Приспивни песни от български композитори в училищния репертоар от края на XIX и първата половина на ХХ век...... 23
Научна конференция Българското музикознание – ретроспективи и перспективи (70 години музикознание в БАН) Заседание Музикални процеси Иванка Стоянова Фолклорни и извъневропейски елементи в западноевропейската музика от втората половина на ХХ век: Лучано Берио...... 41 Patrick Becker Contemporary Music Without Theory? Bulgaria’s Musicology and its Relationship to the Bulgarian avant-garde in the first three decades of the People’s Republic of Bulgaria.....51 Ангелина Петрова Словесният коментар на българските композитори спрямо канона на соцреализма и авангардния канон ...... 59 Юлиан Куюмджиев Творческа свобода и идеологически натиск – авторски рефлексии, документирани в архива на Лазар Николов...... 70 Заседание Изследователски подходи Снежина Врангова Музикалният анализ в България в светлината на ХХI век. Идеи и актуални академични очертания на научната област в музикалнотеоретичните изследвания на Томи Кърклисийски...... 80 Полина Антонова Kомпозиторкият архив като предмет на историческото музикознание...... 90 Росица Тодорова Българската фолклорна монодия като обект на полифоничната наука...... 97 Заседание Ракурси към историята на западноевропейската музика Явор Генов Вариации върху „да кажеш нещо различно, е да кажеш нещо различно“...... 106 Стефан Далчев Музиката на барока в българското музикознание. Съвременна или историческа интерпретация...... 115
Рецензии Венцислав Димов Принос към историята на популярната музика в България...... 124
Резюмета...... 128
Българско музикознание / Bulgarian Musicology • 2/2018
contents
New Music Elisaveta Valchinova- Sound as a ritual in composer Chendova Gheorghi Arnaoudov’s work...... 5
Music and pedagogy Rositsa Draganova Lullabies by Bulgarian composers in school repertoires until the mid-twentieth century...... 23
Scientific Conference Bulgarian musicology in retrospect and perspective (70 years of musical studies at the Bulgarian Academy of Sciences) Session Processes in Music Ivanka Stoianova Folk and extra-European elements in Western European music of the late twentieth century: Luciano Berio...... 41 Патрик Бекер Съвременна музика без теория? Връзката на българското музикознание и българския авангард през първите три десетилетия на Народна република България...... 51 Аngelina Petrova Verbal commentaries by Bulgarian composers on the canons of Socialist Realism and the avant-garde...... 59 Julian Kujumdzhiev Freedom of artistic expression and ideological pressure: Lazar Nikolov’s reflections as recorded in his archive...... 70
Session Research Approaches Snezhina Vrangova Music analysis in Bulgaria in the light of the twenty-first century: Ideas and topical academic outlines of this research area in Tomi Karklisiyski’s studies...... 80 Polina Antonova Composers’ Archives as a Subject of Historical Musicology...... 90 Rositsa Todorova Bulgarian folk monody from the point of view of polyphonic science...... 97 Session Angles on the History of Western European Music Yavor Genov Variations upon When you say something differently, you say something different...... 106 Stefan Dalchev Baroque music in Bulgarian musicology. Contemporary or historical interpretation....115
Reviews Ventsislav Dimov A Contribution to the History of Popular Music in Bulgaria...... 124
Abstracts...... 128
Abstracts
abstracts
New Music
Sound as a ritual in composer Gheorghi Arnaoudov’s work Elisaveta Valchinova-Chendova
Thinking of music as of a new (b. 1957), his attitude towards sound sound space develops (constructs) underpins his ideas of developing a a ‘New Sound Sensuousness’. A series musical construction. Using various of articles by the author deals with compositional techniques and the cognitive processes underway their substantial reframing, a new in musicians’ minds – composers, musical sensuous field is achieved. performers, audiences, researchers Various models of work with sound themselves in their touch with the are highlighted that are, more sound reality (musical material often than not, successive stages in and sound structures), as well as Gheorghi Arnaoudov’s compositional with the central to the present time expression. In terms of aesthetics and creative problems: the quest for new style, these are well-reasoned in his aesthetics and a new musical language theoretical and other texts and can within Art Music. Identification, be traced in their visualisation in the objectification and terminologisation score. Ritual I (1988) and Ritual II of composers’ theoretical and auto- – Incarnation dans la lumiere for piano reflective aspirations and creative (1993); Ritual III – Borges Fragment findings are included at the level of (1993) and Ritual IV – Kells for contemporary music-theoretical tools. violoncello (1999) are a subject matter With composer Gheorghi Arnaoudov of analysis. Keywords: New Sound Sensuousness, postmodernism, minimalism, Gheorghi Arnaoudov, Rituals, sound structures
Music and pedagogy
Lullabies by Bulgarian composers in school repertoires until the mid-twentieth century Rositsa Draganova
This study deals with lullabies at the turn of the twentieth as well by Bulgarian composers composed until the mid-century. The specifics 128 Българско музикознание / Bulgarian Musicology • 2/2018 of this genre are interpreted in the abilities in the practice of Bulgaria’s light of the changed musical thinking music education. Information has been and the establishing of a national summarised of examples by Bulgarian composers’ school. The role of the and foreign authors published in 65 genre is broached in the development textbooks and collections grouped of a school repertoire that has been by time periods (until the end of the ultimately shaped into a music-cultural nineteenth century; until the 1930s and layer in the post-Liberation era. until the mid-twentieth century). Some Lullabies are defined as a tool of a kind of the most popular to this day lullabies meant to form and develop students’ by Bulgarian composers are presented. Keywords: music education, music pedagogical practice, school songs, lullaby
Scientific Conference Bulgarian musicology in retrospect and perspective (70 years of musical studies at the Bulgarian Academy of Sciences)
Session Processes in Music
Folk and extra-European elements in Western European music of the late twentieth century: Luciano Berio
Ivanka Stoianova
The use of folk elements has contemporary transcriptions of folk been a relatively rare occurrence in songs demonstrated here in the the Western European compositional oeuvre of Luciano Berio. Other trends practice ever since the 1950s, due evidencing the outgrowing of the both to the fact that there is no aesthetics of exoticism in a globalising living attractive folk tradition in contemporary world (such as the use Western Europe and the avant-garde of specific vocal and instrumental aesthetics that wittingly disregards techniques and seminal principles and any national elements for the sake of the invention of a new music matter by rational patterns of composing and means of contemporary technologies structuring the music material. Still, allowing the use of instrumental there were composers incorporating timbres unknown to the European folk elements. This paper commences tradition) will be presented through to present various trends in the the oeuvres of the next-generation adoption of extra-European influences composers Jean-Claude Eloy and José- and the earliest of those are the Luis Campana in a later publication. Keywords: folklore, transcription, exoticism, timbre, orchestration, Luciano Berio 129 Abstracts Съвременна музика без теория? Връзката на българското музикознание и българския авангардпрез първите три десетилетия на Народна република България
Патрик Бекер
По отношение на българския изразяване, докладът се позовава на авангард от първите десетилетия от редица съвременни изследвания и втората половина на ХХ век най-не- се стреми да преодолее монолитни- плодотворен източник на информа- те или бинарни модели за разбира- ция са публикациите на български- не на музикалните култури в социа- те музиколози от същото време. И, листическите страни по времето на което е по-лошо, наблюдава се оче- Студената война. Отчитайки ясното видна липса на автотеоретизации разграничение между работата на от самите български авангардни композиторите (като създатели на композитори или т.нар. трето по- творби) и музиколозите (като при- коление. Но внимателното вглежда- тежаващи единствения професио- не в източници като кореспонден- нален авторитет за теоретизиране цията между Константин Илиев и на тези творби), и съпоставяйки спе- Лазар Николов или като автобио- цифичната ситуация в България със графичните материали на Констан- съществуващата по същото време тин Илиев от 1954 разкрива, че тази липса на сериозни научни изследва- липса се дължи на недостига на ния върху авангардната музика в публични изяви. Вместо да омало- Западна Германия, се изказва теза- важи този проблем, приемайки го та, че тоталитаризмът дава път на като следствие на тоталитаризма и идеята на българския композитор станалите вече класически възгледи Иван Спасов за дисциплинарния за него като забраняващ свободното модел на музикална българистика. Ключови думи: български авангард, музика от времето на Студената война, композитор, музикална теория и естетика, тоталитаризъм, музикална българистика
Verbal commentaries by Bulgarian composers on the canons of Socialist Realism and the avant-garde Аngelina Petrova This paper sketches out the the processes of their destruction are clashes between the canon of Socialist considered in the light of the analysis Realism on the one hand and the of the positions and poetics of major avant-garde canon in the Western figures in Bulgaria’s New Music such European New Music on the other. Both as Konstantin Iliev, Lazar Nikolov, the establishing of both canons and Vassil Kazandjiev, Ivan Spassov, 130 Българско музикознание / Bulgarian Musicology • 2/2018
Bojidar Spassov, Wladimir Pantschev, the 1960s as part already of the post- as placed in the specific conditions of avant-garde paradigm, a national isolation and political dictation. The indicator of identification was searched commentaries of Bulgarian composers within the pluralistic culture of the New Lazar Nikolov, Konstantin Iliev, etc., Music. In the 1980s and the 1990s, both had not the faintest chance to break canons lost their distinctiveness. The through the Iron Curtain. Still, they compositional views of Bojidar Spassov corresponded to the avant-garde and Wladimir Pantschev of the tern of canon. After 1956, the destruction of the twenty-first century incorporated the canon of Socialist Realism began, a intercultural concepts of authors of process that gained momentum in the Bulgarian extraction that have come to 1960s. The interpretation of folklore in fruition in Austria and Germany. Keywords: canon in music, Socialist Realism, New Music, folklore, intercultural composition
Freedom of artistic expression and ideological pressure: Lazar Nikolov’s reflections as recorded in his archive Julian Kujumdzhiev
This paper is based on working work shows exceptional consistency with documents from the archive of in defending professional principles Lazar Nikolov, a composer, who has in an environment of ideologising redefined the established traditions and political pressure. In this regard of Bulgarian music aesthetically and the intention and realisation of his technologically. The text analyses Prometheus Bound was the culmination the composer’s attitudes towards the of his evolution in that period, and restrictions on artistic expression using Promethean stoicism became his documents of the 1950s and 1960s. His modus vivendi of a kind. Keywords: freedom of artistic expression, ideological pressure, Prometheus, Union of Bulgarian Composers, archival records
Session Research Approaches
Music analysis in Bulgaria in the light of the twenty-first century: Ideas and topical academic outlines of this research area in Tomi Karklisiyski’s studies Snezhina Vrangova Retrospectively, the paper in the vein of Formenlehre, this follows, in brief, the development of research area from its nascence to music analysis in Bulgaria. Tracing, its shaping and building on through 131 Abstracts the twentieth century, the paper authors of fundamental works in this pursues two main tasks, providing area. The second is the contemporary information about the dynamisms optics on it with its immense creative, and quests therein. The first task is to informational and technological give an outline of the dimensions to power, as well as the new avenues the academic tradition, established by provided in Tomi Karklisiyski’s works Dimitar Radev and Pencho Stoianov, of recent decades. Keywords: music analysis, Pencho Stoyanov, Tomi Karklisiyski, music genre analysis, research paradigm
Composers’ Archives as a Subject of Historical Musicology Polina Antonova The paper examines the issue of relating to the specific work with collections of documents, scores, letters composers’ archives are highlighted. and so on, in composers’ archives The problems with the preservation (referring mainly to the personal of the integrity of such collections of archives of Dimitar Nenov, Dobri papers are under consideration putting Hristov, Petko Staynov, Pyotr Ilyich an accent on the scores autobiographical Tchaikovsky) as a basic source material and epistolary material. Issues are dealt for shaping historical and scientific with relating to the identification of knowledge. The types of music music manuscripts and in some cases, manuscripts as well as the adopted to the fragmentation of the extant research methods are broached. Specific papers, using as a basis the personal research approaches and solutions archive of Dimitar Nenov. Keywords: composer’s archive, scores, correspondence, research approach, Dimitar Nenov, Petko Staynov
Bulgarian folk monody from the point of view of polyphonic science Rositsa Todorova
Bulgarian folk monody from the monody – in one’s capacity of general point of view of polyphonic science is sound stream with its vibrations, and treated by three men of science: Assen 2) melody – the crystallization of line Karastoyanov, Dimiter Christoff of intonation and rhythm. The author and Rositsa Todorova. Contains a analyzes its verbal and semantic chronology of the best important titles specifics as peculiarities of performer’s and represents the development of the action. She gives a new, comprehensive conception. Here Todorova derives definition for monody, which takes in in abstract two components in the all the historical, regional, cultural, texture of Bulgarian folk monody: 1) typical, stylistic et al. characteristics of 132 Българско музикознание / Bulgarian Musicology • 2/2018 monody through a new rationalization have an influence by means of vocal – as a kind of performer’s practice to expression. Keywords: Bulgarian folk monody, melody, folk song, polyphonic science, Assen Karastoyanov, Dimiter Christoff, Rositsa Todorova
Session Angles on the History of Western European Music
Variations upon When you say something differently, you say something different Yavor Genov When people of the 19th century reasons behind their relation remains have turned back to the art of past open. Florentine Camerata has desired ages, they have observed a matter to restore the Ancient drama and has rather unfamiliar for them in order searched to weave the expression to involve it in his own creations. of music and speech. Today is well Musical history of the 20th century known that they have not restored gradually changed its focus, reflecting the Antiquity. On the other hand, its objects as autonomous existing. they have changed the musical image Terms like “authenticity” and of their own time and the decades to “objectivity” became cross points come. Searching to restore music of for the historicism of the modern the past, people of today inevitably age but that pathos was overcame change their perspectives and points as well. Along with the musical of view, but behind all that, one is history as an academic discipline, or unchanged – the huge theoretical may be as its result appeared a new and performing energy, dedicated to performing movement at the 1960, music, whose context certainly cannot searching to embody in sound the be restored, is directed to ourselves ideas, accepted as historically correct. after all. As far as it is a way of our Thus, the musical historicism – both self-expression, the early music is on theoretical and performing level much less “historical artifact” rather experiences unique boom during than “modern, live music”. The article the last five decades. Of course, the in presence is a brief observation on foundation behind this musical reality changing the foundations of historical are revised periodically and if such musicology and performance practice points like “the historical reality” are during the last decades and defends no longer accepted without doubts, for the idea that the historical object the people of post-modern times who changes depending mostly on the find themselves related with music focus, background and purpose of its of the past, the question about the own observer. Keywords: history, musicology, historicism, authenticity, early music
133 Abstracts Baroque music in Bulgarian musicology. Contemporary or historical interpretation Stefan Dalchev
This paper makes an overview of baroque music that have become of the baroque performing art, the norm after the end of World War highlighting the challenges facing Two. The text follows how these were contemporary interpreters in the wake covered by Bulgarian musicology, of the changes in concert repertoires, as underscoring the challenges facing the well as the trends in the interpretation scholarly research into music.
Keywords: Interpretation of the baroque: kinds, current condition in Bulgaria
Reviews A Contribution to the History of Popular Music in Bulgaria Mihail Lukanov. Milyo Basan: Life and Work. Sofia, Institute of Art Studies , 2017. pp. 130 (ISBN 978-954-8594-64-6). Ventsislav Dimov
Mihail Lukanov’s book is the deals with his career of a composer first successful attempt to highlight of theatrical music and schlagers that in a monograph the role of such an have appeared on vinyl recordings; all-round artistic figure as Milyo Chapter Three presents Milyo Basan Basan: composer, musician, orchestra as a historian of popular music in conductor, historian of popular music. Bulgaria, who has authored the earliest The article analyses both the imagery of comprehensive and reliable record of his songs and the documentary value the names, facts and events pertaining of his unpublished extensive notes to the advent and development of on a specific aspect of the history of popular music in this country, now Bulgarian music. Drawing on Basan’s kept at the archives of BAS. The book work and previous studies, Lukanov contains also three supplements authored and published the first ever structuring and retrieving the archival monograph on him: a composer and material about and the work of Basan, musician involved in the processes thus suggesting to those, who happen and a historian of Bulgaria’s popular to be interested, where and what music. Lukanov’s study contains three is available and retrievable of the chapters: Chapter One is dedicated to still unknown history of Bulgaria’s Milyo Basan’s life; the second chapter popular music.
134 АВТОРИТЕ В БРОЯ AUTHORS IN THIS ISSUE
Проф. д.изк. Елисавета Вълчинова- Prof. Elisaveta Valchinova-Chendova, Чендова DSc Департамент „Музика“, Music Department, Нов български унивеситет; New Bulgarian University Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: email: [email protected] email: [email protected]
Доц. д-р Росица Драганова Assoc. Prof. Rositsa Draganova, PhD Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: [email protected] email: [email protected]
Проф. д-р Иванка Стоянова Prof. Ivanka Stoianova, PhD Университет 8, Париж, Франция Université de Paris 8, France email: [email protected] email: [email protected]
Патрик Бекер Patrick Becker, Докторант, преподавател в PhD student, student teaching assistant at Хумболтовия университет, Humboldt-Universität, Берлин, Германия Berlin, Germany email: [email protected] email: [email protected]
Проф. д-р Ангелина Петрова Prof. Angelina Petrova, PhD Национална музикална академия “Professor Pancho Vladigerov” „Проф. Панчо Владигеров“ – София; National Academy of Music – Sofia; Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: [email protected] email: [email protected]
Проф. д-р Юлиан Куюмджиев Prof. Julian Kujumdziev, PhD Академия за музикално, танцово Academy of Music, Dance и изобразително изкуство – Пловдив and Fine Arts – Plovdiv email: [email protected] email: [email protected]
Доц. д-р Снежина Врангова Assoc. Prof. Snezhina Vrangova, PhD Национална музикална академия “Professor Pancho Vladigerov” „Проф. Панчо Владигеров“ – София National Academy of Music – Sofia email: [email protected] email: [email protected]
135 Гл. ас. д-р Полина Антонова Asst. Prof. Polina Antonova, PhD Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: [email protected] email: [email protected]
Доц. д-р Росица Тодорова Assoc. Prof. Rositsa Todorova, PhD Софийски университет Sofia University „Св. Климент Охридски“ – София “St. Kliment Ohridski” email: [email protected] email: [email protected]
Доц. д-р Явор Генов Assoc. Prof. Yavor Genov, PhD Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: [email protected] email: [email protected]
Ас. Стефан Далчев Asst. Stefan Dalchev Югозападен университет South-West University „Неофит Рилски“ – Благоевград “Neofit Rilski”, Blagoevgrad email: ms_daltchev@аbv.bg email: ms_daltchev@аbv.bg
Доц. д-р Венцислав Димов Assoc. Prof. Ventcislav Dimov, PhD Софийски университет Sofia University „Св. Климент Охридски“ – София; “St. Kliment Ohridski”; Сектор „Музика“, Music Department, Институт за изследване на изкуствата, Institute of Art Studies, Българска академия на науките Bulgarian Academy of Sciences email: [email protected] email: [email protected]
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