DOCSLIB.ORG

Bulgarian Musicology • 3/2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bulgarian Musicology • 3/2019 Българско музикознание / Bulgarian Musicology • 3/2019 ISSN 0204-823X Bulgarian Musicology ХLIII / 2019 / № 3 Българска академия на науките институт за изследване на изкуствата Bulgarian academy of sciences Institute of Art Studies Музика и информация Иванка Влаева Музикална информация с един „клик“............3 Венцислав Мицов Терминология в попмузиката – проблеми, реалности и парадокси ......................................22 Eтномузикология Валери Димчев Традиционното тамбурджийско свирене от югозападна българия днес в практиката на няколко изявени местни изпълнители......37 Музика и екран Валери За музикалната среда в документалния Пастармаджиев филм (представяне на културноисторическо наследство) ...................60 Дебюти Мила Наумова Хоралът на Филип Николай „Как хубаво свети Зорницата („Ein geistlich Braut-Lied der gläubigen Seelen/ von Jesu Christo irem himmlischen Bräutigam: Gestellt über 45-sten Psalm des Propheten Davids“) ...............................................74 Рецензии Стефанка Георгиева юлиан Куюмджиев: „Христо Манолов“.......109 Полина Антонова Ромео Смилков: „Клавирната музика на Димитър Ненов (от интерпретационна позиция)“.................113 Румяна Капка Лалова: „Одисеята на един артист. Каракостова Композиторката Пенка Кунева“ ...................117 Резюмета .............................................................120 Music and Information Ivanka Vlaeva One-click Music Information.................................3 Ventsislav Mitsov Pop Music Terminology: Problems, Realities and Paradoxes.........................................22 Ethnomusicology Valeri Dimchev Traditional Tamboura Playing in Bulgaria’s Southwest in the Practice of Currently Popular Local Players............................................37 Music and Screen Valeri Pastarmadjiev Of the Musical Environment of a Documentary (Presentation of Cultural and Historical Heritage)...................60 Debuts Mila Naumova Phillipp Nicolai’s Chorale “How Brightly Shines the Morning Star” (Ein geistlich Braut-Lied der gläubigen Seelen/ von Jesu Christo irem himmlischen Bräutigam: Gestellt über 45-sten Psalm des Propheten Davids).................................................74 Reviews Stefanka Georgieva Julian Kujumdziev: „Hristo Manolov“.............109 Polina Antonova Romeo Smilkov: „The Piano Music of Dimiter Nenov (from an Interpretational Standpoint)“............113 Rumyana Kapka Lalova: „An Artist’s Odyssey. Karakostova Composer Penka Kouneva“...............................117 Abstracts................................................................120 2 Abstracts Music and Information one-click music information Ivanka Vlaeva The twenty-first-century glo- of the phenomena in different balisation affects the existence, regions, cultural and musical dissemination, retention and layers, communities, and genres. more broadly, the knowledge of The Bulgarian experience of music. In the course of this process compiling dictionaries and music some issues arise in relation to encyclopaedias and the way paved the accessibility, authenticity and by them towards the creation of synthesis of information about databases has been traced. Databases music. Further, they have to do with created in Bulgaria and their types ethics, axiology and economy. In have been presented. The expansion an information society, increasing of research areas in contemporary numbers of people expect the musicology and the need for an needed information to be readily adequate use of their terminology accessible online. Nowadays has been analysed. Possible ave- products are released faster, while nues for providing information activities are superimposed and run about music in a globalising world in parallel. This is the reason why using music databases have been databases become fundamental considered. One of my goals is to to a quick and synthesized recep- offer guidelines for developing a tion of information, as well as dictionary of music in several fields: to its dissemination and use. In historical, geographical, theoretical, order for the established, new or organological, genre-related, plus rediscovered musical knowledge their application in creating music to be properly conceptualized, the databases by means of employing question should be answered as multi-tier architectonics. An to the content and uses of musical analysis of musical practices from terms in Bulgaria relating to different cultural and musical history, theory, ethnomusicology, layers and regions of the world pedagogy, and performing arts. provides the grounds for offering Terminology synthesizes and a systematization of the terms shows the most important specifics in several main groups: art/ 20 Българско музикознание / Bulgarian Musicology • 3/2019 compositional music; traditional various parameters (historical, music; pop music. Thus, every geographical, philosophical and term becomes a keyword for the religious, aesthetical; technical, quick and efficient finding and technological, functional, absorbing of musical knowledge organisational), which normally from the database. The terms work as a cohesive whole in have been defined depending on concrete practices. Keywords: music, information, terminology, dictionaries, encyclopaedias, databases, Bulgaria Pop music Terminology: Problems, realities and Paradoxes Ventsislav Mitsov The article offers a critical Bulgaria along with stereotypes view of pop music terminology, and clichйs in the public mind in databases and the lack of precise regard to what precisely constitutes differentiation of pop musical folk and pop music. The text treats styles in Bulgaria on the basis of the lack of a formal database of pop two researches: one conducted by music in this country referring to the Trend Research Centre in 2019 an amateur open-access database and the second, by South-West created by volunteers. It is a good University under a project of the case in point, but also a starting Balkans–Europe Regional Research point for future research into Centre, Bulgarian National Science pop music and the underground Fund, led by Assoc. Prof. Maria scene in Bulgaria. In conclusion, Serafimova in 2013. The article the paper offers a critical analysis seeks to ascertain whether the lack of certain stereotypes which have of precise terms in musical styles established themselves in society: and trends leads to a distortion What is classical music - Honegger of the sociological conclusions of or Clayderman? What is pop the conducted researches. Apart music: thrash metal or disco music? from the paradoxes of Bulgaria’s Proceeding from these issues, the music scene, this study dwells on author underscores once again that such world paradoxes as the 1989 a unified database of Bulgarian Grammy Award for Best Hard pop music needs to be created Rock/Metal Performance given to in order for us to differentiate its the British rock band Jethro Tull. styles, understand it better, and The author also considers the specify musical terminology with interpretations of folk music in a greater degree of precision. Keywords: pop music, databases, terminology, sources of information, unified register 2 Ethnomusicology Traditional Tamboura Playing in Bulgaria’s southwest in the Practice of currently Popular local Players Valeri Dimchev This article deals with this appropriate accompaniment; Bulgarian folk musical instrument it is suitable for both solo and the tamboura playing tradition (instrumental or instrumental/ in Bulgaria’s southwest. The role vocal) and group performances of the tamboura in the traditional (with a shepherd’s pipe, timbrel, way of life has been explored. In bagpipe); it simultaneously the course of study meetings have provides tune and rhythm; by been held and interviews taken playing the melody and holding with tambourists and tamboura the bourdon note at the same time teachers from various regions, it completely and authentically schools, ethnic or age groups. The reflects the traditional musical selection of tambourists’ accounts aesthetic of Bulgaria’s southwest; imply that the tamboura has been the materials for tamboura-making a must for people’s everyday lives are easily obtainable. As a result, it at working bees, weddings, family may be inferred that the traditional feasts, etc. Todor Preshelkov tambourian style typical of recalls that tambouras were to Bulgaria’s southwest is still extant be found in every house, which and practiced by many performers suggests that the instrument was within that region; the specific extremely popular across the tambourian two-part playing fully entire southwest of Bulgaria. The reflects the musical aesthetic of reason as to why and how it came the locals; the traditional playing to be the case is not easy to explain. of Bulgaria’s southwest has to be Still, several very important studied consistently at all levels factors could be defined: the of teaching and education, such tamboura has a natural dynamic as children’s centres for music, balance with the human voice, schools of music, as well as higher which presupposes its role as education institutions. Keywords: tambura/tamboura, Bulgarian, folk, ethno, music 22 Българско музикознание / Bulgarian Musicology • 3/2019 Music and Screen of the musical environment of a documentary (Presentation of cultural and Historical Heritage) Valeri Pastarmadjiev Cultural heritage preserva- impactive element with its own tion for posterity is a special specificities. The article presents challenge and an ever-topical some aspects of the interplay subject. There are a number
Load more

Recommended publications
  • The Politicization of Music During the Period of Totalitarian Rule in Bulgaria (1944 – 1989)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) DOI https://doi.org/10.2298/MUZ1825179D UDC 78:316.75(497.2)"1944/1989" 78.071.1(497.2)"1944/1989" The Politicization of Music During the Period of Totalitarian Rule in Bulgaria (1944 – 1989) Stanimira Dermendzhieva1 Independent scholar, Corfu, Greece Received: 15 September 2018 Accepted: 1 November 2018 Original scientific paper Abstract: Since this is a phenomenon of recent times, the signifcance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. Tis paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the feld of cultural studies, promoting a multidisciplinary approach in several felds. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century. Keywords: music, political aspects, Bulgaria, history of the twentieth century, Bulgarian composers Introduction This article focuses on the interplay between the political regime, musical life in Bulgaria and the status of Bulgarian composers between 1944 and 1989. My interest in the history and problems of Bulgarian composers and specifically in the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) stems from the early days of my musical career and my childhood. Music written by Bulgarian composers has significantly influenced me over the period of my formal education.
    [Show full text]
  • Ivajla Kirova – Biography
    Piano Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Contents: Karrah O’Daniel-Cambry Biography Opera and Marketing Manager [email protected] Curriculum Vitae Reviews Mailing Address: Press 1000 South Denver Avenue Interviews Suite 2104 Repertoire Tulsa, OK 74119 YouTube Video Links Website: Photo Gallery http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Ivajla Kirova – Biography Ivajla Kirova is an initiator for establishment of the Association for promotion of Bulgarian Music in Germany and Artistic Director of the “Bulgarian music evenings in Munich” festival. “The young Bulgarian pianist is an example of how the Bulgarian art can be developed and supported even beyond the country’s frontiers”… announces the Deutsche Welle Radio. Ms. Kirova started playing a piano at the age of 7 and at 16 she was the youngest student at the Sofia Music Academy in Bulgaria. Her career started early when she won prizes for talented pianists (for example the prize awarded by the Polish Culture Institute in Sofia, Artist Award by Bel Canto Festival in Kuala Lumpur etc.). She has graduated the Sofia Music Academy with excellent grades diploma and has master diplomas for piano and chamber music issued by the Munich University of Music and Theater. Since 1999 she lives in Germany after she has been invited to become an associate professor at the Munich University of Music and Theater at the age of 24 years.
    [Show full text]
  • Kosta P. Manojlović (1890–1949) and the Idea of Slavic and Balkan Cultural Unification
    KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF SLAVIC AND BALKAN CULTURAL UNIFICATION edited by Vesna Peno, Ivana Vesić, Aleksandar Vasić SLAVIC AND BALKANSLAVIC CULTURAL UNIFICATION KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF P. KOSTA Institute of Musicology SASA Institute of Musicology SASA This collective monograph has been published owing to the financial support of the Ministry of Education, Science and Technological Development of the Republic of Serbia KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF SLAVIC AND BALKAN CULTURAL UNIFICATION edited by Vesna Peno, Ivana Vesić, Aleksandar Vasić Institute of Musicology SASA Belgrade, 2017 CONTENTS Preface 9 INTRODUCTION 13 Ivana Vesić and Vesna Peno Kosta P. Manojlović: A Portrait of the Artist and Intellectual in Turbulent Times 13 BALKAN AND SLAVIC PEOPLES IN THE FIRST HALF OF THE 20TH CENTURY: INTERCULTURAL CONTACTS 27 Olga Pashina From the History of Cultural Relations between the Slavic Peoples: Tours of the Russian Story Teller, I. T. Ryabinin, of Serbia and Bulgaria (1902) 27 Stefanka Georgieva The Idea of South Slavic Unity among Bulgarian Musicians and Intellectuals in the Interwar Period 37 Ivan Ristić Between Idealism and Political Reality: Kosta P. Manojlović, South Slavic Unity and Yugoslav-Bulgarian Relations in the 1920s 57 THE KINGDOM OF SERBS, CROATS AND SLOVENES/YUGOSLAVIA BETWEEN IDEOLOGY AND REALITY 65 Biljana Milanović The Contribution of Kosta P. Manojlović to the Foundation and Functioning of the Južnoslovenski pevački savez [South-Slav Choral Union] 65 Nada Bezić The Hrvatski pjevački savez [Croatian Choral Union] in its Breakthrough Decade of 1924–1934 and its Relation to the Južnoslovenski pevački savez [South-Slav Choral Union] 91 Srđan Atanasovski Kosta P.
    [Show full text]
  • Bibliography
    BULGARIAN MUSICOLOGY CONTENT Musicology 1. Sofia, 1977 Our tasks... 3 Stoyanov, Stoyan. Musical Culture in Socialist Bulgaria... 7 Stoyanov, Pencho. Rethinking of the One Part Forms... 14 Zaharieva, Svetlana. The Period and the Bulgarian Folk Song in Conjunction with Genre Specifics... 29 Tontcheva, Elena. Does the Melodies from John Koukouzeles Sounded in Tarnovo During XIV c.?... 39 Racheva Iskra. Wilson Cooker. Music and Meaning... 53 Gajtandžiev, Genčo. Musicology – closer to life... 59 Musicology 2. Sofia, 1978 Kavaldzhiev, Ljubomir. Aesthetic System and the Musical Progress... 3 Karanlakov, Lachezar. The Chamber Symphony Music and Some of its Problems and Creativity of Contemporary Bulgarian Composers... 21 Biks, Rosalia. Traits of Female Characters in Parashkev Hadziev’s Operas... 33 Stanchev, Krasimir, Elena Toncheva. Bulgarian Chants in the Byzantine Akoluties... 39 Todorov, Todor. From the History of the Term “Folklore” and the ssubject of folklore... 71 * * * Preparatory Scientific Session 82... * * * On the Great October 83... * * * Musicological congress in Berkley... 83 * * * Two symposium in Austria... 85 Musicology 3. Sofia, 1979 Ilieva, Bagryana. Actual Methodological Problems in the Study of the Musical Language... 3 Botusharov, Ljuben. The Musical Folkloristics and the Information Systems... 18 Ilieva, Anna. Structural Development of Bulgarian Folk Dances as a Criterion for Historical Stratification... 29 Kujumdzhieva, Svetlana. To the Question of the Character and the Importance of the Rila Singer School Activity during the Renaissance... 41 Džidžev, Todor. A Contribution to the Methodology and Typology of Musical Folklore Study... 60 Kavaldzhiev, Ljubomir. The Third Musical Practice... 65 Krâstev, Venelin. With the Music of the Young Bulgarian Composers... 67 Botusharov, Luben. Reflections on Musicology Today..
    [Show full text]
  • Peter Christoskov's Twelve Caprices for Solo Violin, Opus 1: a Historical and Theoretical Analysis of the Work and Its Connection to Bulgarian Folk Music Borislava A
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 Peter Christoskov's Twelve Caprices for Solo Violin, opus 1: a historical and theoretical analysis of the work and its connection to Bulgarian folk music Borislava A. Iltcheva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Iltcheva, Borislava A., "Peter Christoskov's Twelve Caprices for Solo Violin, opus 1: a historical and theoretical analysis of the work and its connection to Bulgarian folk music" (2006). LSU Doctoral Dissertations. 1805. https://digitalcommons.lsu.edu/gradschool_dissertations/1805 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PETER CHRISTOSKOV’S TWELVE CAPRICES FOR SOLO VIOLIN, OPUS 1: A HISTORICAL AND THEORETICAL ANALYSIS OF THE WORK AND ITS CONNECTION TO BULGARIAN FOLK MUSIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Borislava Iltcheva B.M., State Academy of Music, Sofia (Bulgaria), 1995 M.M., Louisiana State University, 1998 May, 2006 ACKNOWLEDGMENTS This project would have not been possible without the help of several important people in my life. I would like to thank my teacher, mentor and friend Kevork Mardirossian.
    [Show full text]
  • A Comparison of Petar Christoskov's Op. 1 and Op. 24 Caprices for Solo
    A COMPARISON OF PETAR CHRISTOSKOV’S OP. 1 AND OP. 24 CAPRICES FOR SOLO VIOLIN: THE EFFECT OF THE CHANGING BULGARIAN POLITICAL CLIMATE ON HIS COMPOSITIONAL STYLE Veronika Vassileva, B.M., M.M., D.M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Susan Dubois, Major Professor Paul Leenhouts, Related-Field Professor Julia Bushkova, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of Toulouse Graduate School Vassileva, Veronika. A Comparison of Petar Christoskov’s Op. 1 and Op. 24 Caprices for Solo Violin: The Effect of the Changing Bulgarian Political Climate on his Compositional Style. Doctor of Musical Arts (Performance), May 2016, 111 pp., 11 figures, references, 49 titles. The goal of this document is to compare and contrast the two sets of Caprices for Solo Violin, Op. 1 and Op. 24, by investigating the development of Petar Christoskov's compositional style. I will argue that the constantly-changing political systems in twentieth-century Bulgaria had a direct impact on the composer's artistic output. After a historical overview of Bulgaria's music and political background, the two sets of caprices will be compared and contrasted by focusing on technical, musical, and sociological similarities and differences. In order to illustrate these similarities and differences, three caprices from each set will be selected and analyzed, as well as compared and contrasted with each other. The second part of the document will discuss the negative influence of the political climate on music and printing, with a focus on the difficulties of preserving Bulgarian culture itself.
    [Show full text]
  • The Influence of Bulgarian Folk Music on Petar Christoskov's Suites and Rhapsodies for Solo Violin
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2004 The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin Blagomira Paskaleva Lipari Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lipari, Blagomira Paskaleva, "The influence of Bulgarian folk music on Petar Christoskov's Suites and Rhapsodies for solo violin" (2004). LSU Major Papers. 47. https://digitalcommons.lsu.edu/gradschool_majorpapers/47 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE INFLUENCE OF BULGARIAN FOLK MUSIC ON PETAR CHRISTOSKOV’S SUITES AND RHAPSODIES FOR SOLO VIOLIN Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Blagomira Paskaleva Lipari B. M., State Academy of Music, Sofia, Bulgaria, June 1996 M. M., Louisiana State University, May 1998 August, 2004 ACKNOWLEDGMENTS This project could not have been possible without the support and encouragement of several people. Thanks to my violin professor Kevork Mardirossian for providing the initial inspiration for this project and for his steady guidance throughout the course of its completion. His professional dedication to music and teaching is a gift to all his students.
    [Show full text]
  • Sonatas for Violin and Piano by the Bulgarian Composers Pancho Vladigerov, Lubomir Pipkov, Dimitar Nenov, Veselin Stoyanov, and Marin Goleminov Lora V
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Sonatas for Violin and Piano by the Bulgarian Composers Pancho Vladigerov, Lubomir Pipkov, Dimitar Nenov, Veselin Stoyanov, and Marin Goleminov Lora V. Lipova Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SONATAS FOR VIOLIN AND PIANO BY THE BULGARIAN COMPOSERS PANCHO VLADIGEROV, LUBOMIR PIPKOV, DIMITAR NENOV,VESELIN STOYANOV, AND MARIN GOLEMINOV By LORA V. LIPOVA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2007 The Members of the Committee approve the treatise of Lora Vaskova Lipova defended on October 18th, 2007. _________________________ Alexander Jiménez Professor Directing Treatise _________________________ Jane Piper Clendinning Outside Committee Member _________________________ Beth Newdome Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to Nikola Lipov iii ACKNOWLEDGEMENTS I would like to thank the following people for their help: Alexander Jiménez, the professor directing my treatise. Dr. Jiménez graciously agreed to step in as the head of my committee. His continuous support is much appreciated; Jane Piper Clendinning, the outside member of my committee. Dr. Clendinnng worked hard with me in preparing the document; Beth Newdome, member of my committee; Karen Clarke, my violin professor; Pamela Ryan, my viola professor; Filka Borisova in the National Library “Ivan Vazov” in Plovdiv, Bulgaria; all of my close friends at the Florida State University College of Music for standing beside me; and finally, my wonderful family in Bulgaria for their continuous love and support.
    [Show full text]
  • The Violin Concerto and Its Development in Bulgaria Mario Dimitrov Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 The violin concerto and its development in Bulgaria Mario Dimitrov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Dimitrov, Mario, "The violin concerto and its development in Bulgaria" (2006). LSU Doctoral Dissertations. 2887. https://digitalcommons.lsu.edu/gradschool_dissertations/2887 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE VIOLIN CONCERTO AND ITS DEVELOPMENT IN BULGARIA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mario Dimitrov B.M., State Academy of Music, Sofia, Bulgaria, June 1999 M. M., Louisiana State University, May 2002 May, 2006 ACKNOWLEDGMENTS My project could not have been possible without the support, knowledge, and encouragement of several people who continue to be my mentors after the completion of me dissertation. The knowledge, dedication, and skills of my violin professor Kevork Mardirossian guided the writing of this project in a very steady and professional manner. His knowledge and skills as a performer of some of these concertos were valuable source and inspiration for me. Thanks to my committee professors Julian Shew, Jerzy Kosmala, and especially Jack May and Dennis Parker for their thoughtful suggestions and interest in my project.
    [Show full text]
  • Booklet of the 56-Th Science Conference of Ruse University
    Booklet of the 56th Science Conference of Ruse University, Bulgaria, 2017 ABSTRACTS 44 Copyrights© http://conf.uni-ruse.bg Industry 4.0. Business Environment. Quality of Life. MAY RESEARCH CONFERENCE IN SILISTRA FRI-239-1-LTLH(S) FRI-239-1-LTLH(S)-01 CROSS-CULTURAL KNOWLEDGE IN THE CHINESE ‘CULTURAL BACKPACK’ Diana Bebenova-Nikolova, PhD Student Department of Business and Management, “Angel Kanchev” Univesity of Ruse Рhone: 082-888 212 Е-mail: [email protected] Prof. Juliana Popova, PhD Department of Business and Management, “Angel Kanchev” Univesity of Ruse Рhone: 082-888 212 Е-mail: [email protected] Associate Professor Lyudmila Mihailova Department of Business and Management, “Angel Kanchev” Univesity of Ruse Рhone: 082-888 212 Е-mail: [email protected] Abstract: The article contributes to the set of cross-cultural and linguistic knowledge by presenting some pragmatic failures in intercultural communication with Chinese, when Lingua franca is used. Communicators using a foreign language often unconsciously ‘transfer’ the forms and rules from their native language and culture into the target language. The generated message, although linguistically correct, might be interpreted wrongly by the receivers, based on their different cultural values and thus might lead to a cultural misunderstanding. Such cases raise the question of how to achieve a better competence in intercultural discourse. The presented communication situations were collected by the author of the article as a result of the implementation of an Erasmus + mobility project at the Hubei Technological University in Wuhan, China. The discussion on the cases follows the model of intercultural competence, described in a previous article "Integrated Process Model on Intercultural Competence" by the same author.
    [Show full text]
  • Bulgarian Musicology
    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
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS from The
    EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Composers S-Z DIMITAR SAGAEV (1915-2003, BULGARIAN) Born in Plovdiv. He studied piano and music theory with Asen Dimitrov, and later continued piano studies with Dimitar Nenov. He graduated from the Bulgarian Musical Academy where he was taught composition by Pancho Vladigerov, orchestration by by Vesselin Stoianov and piano by Panka Pelishek. His catalogue includes operas, ballets, symphonic, chamber, instrumental and vocal works. Among these are Piano Concertos Nos. 1 (1992) and 2 (1994), Violin Concerto No. 2 (1964). Cello Concerto (1997), Oboe Concertos Nos. 1 (1966) and 2 (1991), Flute Concerto (1976), Horn Concerto, Trumpet Concerto (1989) and Trombone Concerto 1988). Violin Concerto No. 1 (1963) George Badev (violin)/Ivan Voulpe/Sofia State Philharmonic Orchestra ( + Wieniavski: Concert Polonaise No. 1, Tchaikovsky: Valse-Scherzo and Saeasate: Introduction and Tarantella) BALKANTON BCA 423 (LP) (1960s) Bassoon Concerto (1973) Misak Godzhikan (bassoon)/Dragomir Nenov/Bulgarian Radio Opera-Symphony Orchestra ( + Shipchenskata Epopei) BALKAHTON BCA 2188 (LP) (c. 1980) TADEÁŠ SALVA (1937-1995, SLOVAK) Born in Lúčky. He studied composition at the Academy of Performing Arts in Bratislava with Alexander Moyzes and Ján Cikker and with Bolesław Szabelski in Katowice, Poland. He worked for the music departments of Slovak Radio and Television and taught at the Faculty of Education in Nitra. His catalogue includes operas, ballets, orchestral, chamber, instrumental, vocal and choral works. Among his other works are Slovak Liturgic Concerto Grosso for Violin, Viola, Cello, Double Bass and String Orchestra (1994), Slovak Rhapsody for Flute and String Orchestra (1975), Rhapsody for Violin and Orchestra (1981),Ballad-Symphony for Clarinet, Piston Trumpet, Timpani and String Orchestra (1988) and Slovak Concerto Grosso No.
    [Show full text]