Meždu seloto i vselenata: starata folklorna muzika ot Bălgarija v novite vremena
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Akad. Izdat. "Prof. Marin Drinov"
2008
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Between the village and the universe. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 582 S. |
| ISBN: | 9789543222575 |
Internformat
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| 245 | 1 | 0 | |a Meždu seloto i vselenata |b starata folklorna muzika ot Bălgarija v novite vremena |c Lozanka Pejčeva |
| 250 | |a 1. izd. | ||
| 264 | 1 | |a Sofija |b Akad. Izdat. "Prof. Marin Drinov" |c 2008 | |
| 300 | |a 582 S. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a PST: Between the village and the universe. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache | ||
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016801089&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1806960675350642688 |
|---|---|
| adam_text |
СЪДЪРЖАНИЕ
БЛАГОДАРНОСТИ
. 17
ВМЕСТО ПРЕДГОВОР
. 21
ВЪВЕДЕНИЕ
. 24
ПЪРВИ РАЗДЕЛ: ТЕОРЕТИЧНИ ПЕРСПЕКТИВИ
ПЪРВА ГЛАВА
МОДЕРНИЗАЦИЯ НА ФОЛКЛОРНА МУЗИКА ОТ БЪЛГАРИЯ
. 47
►
Посоки на модернизацията
. 47
•
Фолклорна музика в модерни полета
. 47
•
От предмодерен
folk
към модерен
ari
. 51
•
От предмодерен
folk
към модерен
pop
. 64
•
От предмодерен
folk
към реставриран
folk
. 72
•
От предмодерен
folk
към (българска) народна музика
._ 80
►
Аспекти на модернизацията
. 85
•
Огражданяване
/
Урбанизация
. 85
•
Диференциация
. 88
•
Публичност
. 91
•
Озападняване
/
Westernization
. 93
•
Рационализация: стандартизация, стереотипизация
. 96
•
Фиксация:
трансформиране на устното в писмено (нотопис/музикална
писменост)
. 101
•
Технологии
. 106
•
Комерсиализация
. 109
►
Организации
.'. 113
•
Държавни организации
. 116
•
Общностни организации
. 120
•
Читалището
.,. 121
•
Частни обществени и общностни организации
. 122
•
Семейството
. 123
ВТОРА ГЛАВА
ГЛОБАЛИЗАЦИЯ НА
ФОЛКЛОРНА МУЗИКА ОТ БЪЛГАРИЯ
. 125
►
Посоки на глобализацията
. 125
•
Фолклорна музика в глобални полета
. 125
•
Фолклорна музика като
world art.
128
•
Фолклорна музика като
world/global pop.
137
•
Фолклорна музика като
world folk
. 148
•
Фолклорна музика като
world music.
153
►
Аспекти на.глобализацията
. 161
•
Детериториализация, мобилност
. 162
•
Мрежи, потоци, коридори
. 166
•
Етнизация
. 169
•
Хибридизация
. 175
•
Музика на множество светове: транскултурация, дейерархизация
. 178
►
Дезорганизации
. 182
7
ВТОРИ
РАЗДЕЛ: ТРАЕКТОРИИ,
ТРАНСМИСИИ,
ТРАНСМУТАЦИИ
ТРЕТА
ГЛАВА
ФОЛКЛОРНА МУЗИКА
И СЦЕНА
. 191
►
Сцената като траектория на трансформационни процеси
. 192
►
Концерти
. 196
•
Концерти
с
програми от отделни музикални изпълнения
. 196
•
Концертни групи
. 197
•
Концерти на професионални формации
. 199
•
Концерти на самодейни формации
. 200
•
Концерти
—
спектакли
. 200
►
Събори на народното творчество
. 203
•
Хронологичен обзор
. 204
•
Организирани събори
с
фолклорна музика преди
1944
г
. 205
•
Възникване и утвърждаване на съборите
—
надпявания
. 206
•
Националният събор на българското народно творчество в Копривщица
208
.
Съборите след
1989. 211
•
Съборите на народното творчество като система
. 214
•
Роженски събор
. 214
•
Добруджански събор
. 215
•
„Пирин пее"
. 217
•
Други регионални събори
. 220
•
Съборите за народно творчество: коментари, анализи, оценки
. 221
•
Съборите за народно творчество: опит за обобщение
. 226
►
Фолклорни фестивали
. 231
•
Международни фолклорни фестивали в България
. 234
•
Етнофестивали в България
. 238
►
Други сценични форуми за фолклорна музика
. 242
•
Фестивали/Прегледи на художествената самодейност
. 242
•
Прегледи на държавните и професионалните ансамбли
. 246
•
Музикалният фолклор в прегледите „Нова българска музика"
. 248
•
Срещи/Надсвирвания на сватбарските оркестри
. 249
•
Надпявания и надсвирвания на името на известни народни изпълнители.
Музикални празници и конкурси
. 251
ЧЕТВЪРТА ГЛАВА
ФОЛКЛОРНА МУЗИКА И МЕДИИ
. 253
►
Медиите като фактор за трансформиране на фолклорната музика
. 253
•
Технологии и медии
. 257
•
Звукозапис и звуковъзпроизводство
. 260
•
Аудио-визуални технологии
. 264
•
Радиоизлъчване и разпространение
. 265
•
Медийната музика: организация на продукцията
. 266
►
Фолклорната музика в радиото
. 273
•
Исторически щрихи
. 274
•
Регионални радиа
. 282
•
Радиопрограмиране и радиопредавания,
радиостилистика
. 282
•
Радиофигури
. 286
►
Фолклорната музика в телевизията
. 289
8
•
Исторически
щрихи
. 290
•
Регионални ефирни телевизии
. 297
•
Частни телевизии
. 298
•
Музикалният фолклор сред телевизионните жанрове и стилистика
. 300
•
Телевизионни фигури
. 306
►
Фолклорната музика в нови медии
. 309
•
Технологии
—
комуникации
—
медии
—
музика.
. 310
•
Българска фолклорна музика
в интернет
. 312
►
Фолклорната музика в музикалната индустрия
. 317
•
Исторически щрихи
. 317
•
Фигури в музикалната индустрия
. 323
ПЕТА ГЛАВА
ПРЕДАВАНЕ НА ФОЛКЛОРНА МУЗИКА: УЧЕНЕ И ОБУЧЕНИЕ.
. 326
►
Предмодерно и модерно обучение по фолклорна музика
. 328
►
Образователната система: общообразователни и специализирани учебни
организации
. 332
•
Фолклорната музика в общообразователните училища
. 333
•
Предаване на фолклорна музика чрез други образователни звена и форми
338
•
Изучаване на фолклорна музика в специализирани средни и висши
училища
. 343
►
Специализирани училища за народна музика
. 346
•
СМУ Котел
. 346
•
СМУ Широка лъка
. 347
•
АМТИИ Пловдив
. 348
►
Учителите
. 350
•
Учители по автентична фолклорна музика.
. 351
•
Учители по обработена фолклорна музика и танци
. 353
►
Образователни форми, подходи, резултати
. 355
•
Образователни форми
. 355
•
Обучаващи подходи
. 358
•
Резултати от ученето и обучението
. 362
►
Усвояване на фолклорна музика от България от чужденци
. 363
ШЕСТА
DIABA
ФОЛКЛОРНА МУЗИКА В ДВЕ СФЕРИ
-
САМОДЕЙНОСТ (ЛЮБИТЕЛСКО
ТВОРЧЕСТВО) И ПРОФЕСИОНАЛИЗЪМ
. 372
►
Самодейност (любителско творчество)
. 373
•
Исторически бележки
. 376
•
Аспекти на връзката музикален фолклор—художествена самодейност
— 377
•
Медиатор в
демократизиране на изкуството
. 378
•
Естетизация
. 379
•
Масовизация
. 382
•
Приемственост
. 384
•
Разновидности
. 385
•
Формации
.■ ■ · 386
•
Българска фолклорна музика в любителски движения извън България
— 392
•
Връзката самодейност—професионализъм
. 399
►
Професионализъм
. 402
•
Теоретични уточнения.
. :. 402
•
Исторически уточнения
. 406
•
Професионални формации
. 407
•
Големи формации, изпълняващи аранжирана фолклорна музика
. 408
•
Духови професионални оркестри
. 411
•
Салонни и ресторантски оркестри до
1944
г
. 414
•
Малки (камерни) инструментални и вокални групи
. 416
•
Ансамбли за народни песни и танци
. 421
•
Сватбарски оркестри
. 423
•
Индивидуални изпълнители
. 427
•
Контексти и генератори на професионализъм
. 428
•
Персоналия
. 432
•
Българска фолклорна музика в репертоара на чужденци професионални
музиканти
. 435
ТРЕТИ РАЗДЕЛ: ЧОВЕШКИ ИЗМЕРЕНИЯ
СЕДМА
DIABA
БЪЛГАРИ: ОТ КОРЕНИТЕ КЪМ ВЪРХА
. 439
►
Две лица в панорамата на променящата се българска фолклорна музика.
. 439
►
Цветето от Лозен: Снежанка Борисова
. 443
•
Биографично
. 444
•
Фолклорно пеене и песен
. 445
•
Модернизация на фолклорното пеене и песен
. 448
•
Глобализация на
фолклорното пеене и песен
. 453
•
Неспирното завръщане
—
от глобалното към родното село
. 456
►
Силата на кавала: Теодосий Спасов
. 457
•
Биографично
. 457
•
Ревитализиране на традицията в плана на музицирането
. 464
•
Теодосий Спасов за музикалнофолклорното в плана на саморефлексията
470
ОСМАГЛАВА
ЦИГАНИ: СРЕД ПЛАМЪЦИТЕ НА ИНТУИЦИИТЕ
. 474
►
Цигани музиканти в българската народна музика
. 474
►
Циганското сърце на българския акордеон
. 477
•
Сведения за проникването на акордеона в България
. 477
•
Цигани акордеонисти в българската народна музика
. 478
•
Карлов, Лолов, Любенов
—
музикални емблеми
. 478
•
Борис Карлов: начало и връх.
. 479
•
Ибро Лолов: Да гориш на сцената
. 482
•
Мартин Любенов: За мене всичко е джаз
/
Нова глава е отворена
. 483
•
Тримата акордеонисти
—
знакови фигури от България
. 485
•
Акордеонът в България по ромски
—
озападняване на локалното, локализация
назападното
. 487
►
Хибридизация на локална музика от България: ролята на цигани кларинетисти
490
•
Кларинетът: хибридизацията като срастване на инструмент
с
локална
музика
. 491
10
•
Музикантът: хибридизацията като срастване на цигани кларинетисти
с
локална музика.
. 492
•
Кларинетисти
—
символи на българската народна музика
. 492
•
Епохата
на Рамадан
Лолов: 1930-те
— 1
950-те години
. 493
•
Епохата на Петко Радев:
1
950-те
—
1970-те години
. 496
•
Епохата на Иво Папазов-Ибрям: от 1980-те години
. 498
•
Музиката: хибридизацията като музикални сраствания
. 502
•
Свирене, тоноизвличане, саунд
. 502
•
Формообразуване
. 504
•
Ладово-тонално смесване
. 505
•
И още нещо за приносите на циганите кларинетисти
. 506
ДЕВЕТА ГЛАВА
ЧУЖДЕНЦИ: ПЕСЕН СИНОР НЯМА
. 509
►
Около чужденците, изпълнители на българска фолклорна музика
. 509
►
Избор
1:
Дейностите (пеене, свирене, танцуване)
. 512
•
Певци
. 513
•
Свирачи
. 514
•
Танцьори
. 515 '
►
Избор
2:
Стиловете и репертоарите
. 517
►
Избор
3:
Ученето
._. 521
•
Чрез учители
. 521
•
В групи
. 522
•
Самостоятелно
. 523
►
Избор
4:
Интерпретациите
. 525
►
Избор
5:
Защо се интересуват от българска фолклорна музика
. 529
•
Оценностяване на· български музикалнофолклорни стилове
. 530
•
Емоционални причини
. 533
•
Комуникативен потенциал на българската фолклорна музика
. 535
►
Избор
6:
Чуждата своя музика
. 537
►
Отвъд заявените избори
. 542
ОПИТ ЗА ЗАКЛЮЧЕНИЕ
. 546
БИБЛИОГРАФИЯ
. 553
РЕЗЮМЕ НА АНГЛИЙСКИ ЕЗИК
. 581
11
CONTENTS
ACKNOWLEDGEMENTS
. 17
FOREWORD
. 21
INTRODUCTION
. 24
PART ONE: THEORETICAL PERSPECTIVES
CHAPTER ONE
MODERNIZATION OF FOLK MUSIC FROM BULGARIA
. 47
►
Directions of modernization
. 47
•
Folk music in modern fields
. 47
•
From pre-modern folk to modern art
. 51
•
From pre-modern folk to modern pop
. 64
•
From pre-modern folk to restored folk
. 72
•
From pre-modern folk to (Bulgarian) folk music
. 80
►
Aspects of modernization
. 85
•
Urbanization
. 85
•
Differentiation
.'. 88
•
Publicity
. 91
•
Westernization
. 93
•
Rationalization: standardization, stereotypization
. 96
•
Fixation: transformation of the oral into written (musical notes)
. 101
•
Technologies
. 106
•
Commercialization
. 109
►
Organizations
.,. 113
•
State organizations
. 116
•
Communal organizations
. 120
•
The community centres (chitalishte)
. 121
•
Private social and communal organizations
. 122
•
The family
. 123
CHAPTER TWO
GLOBALIZATION OF FOLK MUSIC FROM BULGARIA
. 125
►
Directions of globalization
. 125
•
Folk music in global fields
. 125
•
Folk music as world art
. 128 -
•
Folk music as world/global pop
. 137
•
Folk music as world folk
. 148
•
Folk music as world music
. 153
►
Aspects of globalization
. 161
•
Deteritorialization, Mobility
. 162
•
Networks, Streams, Corridors
. 166
•
Ethnization
. 169
•
Hybridization
. 175
•
Music of many worlds: transculturation, dehieararchization
. 178
►
Disorganizations
. 182
12
PART TWO: TRAJECTORIES, TRANSMISSIONS, TRANSMUTATIONS
CHAPTERTHREE
FOLKMUSIC AND STAGE
. 191
►
The stage as a trajectory of transformation processes
. 192
►
Concerts
. 196
•
Concerts with programs of separate musical performances
. 196
•
Concert groups
. 197
•
Concerts of professional formations
. 199
•
Concerts of amateur formations
.
¡
. 200
•
Concert-shows
. 200
►
Folklore fairs
{sabori)
. 203
•
A chronological synopsis
. 204
•
Organized
sabori
with folk music before
1994. 205
•
Origin and establishment of
sabori
—
singing contests.
. 206
•
The national
sabor
of Bulgarian folklore in Koprivshtitsa.
. 208
•
The saborite after
1989._ 211
•
The folklore
sabori
as a system.
. 214
•
The Rhozhen
sabor
. 214
•
The Dobrudga
sabor
. 215
•
„Pirin
sings"
sabor
. 217
•
Other regional
sabori
. 220
•
The folklore
sabori:
comments, analyses, evaluations.
. 221
•
The folklore
sabori:
an attempt for generalization
. 226
►
Folk festivals
. 231
•
International folk festivals in Bulgaria
. 234
•
Ethno-festivals in Bulgaria
. 238
►
Other staged forums of folk music
.-----. 242
•
Festhais/Pregledi of amateur works
. 242
•
Pregledi
of state's and professional ensembles.
. 246
•
The musical folklore in "New Bulgarian Music"
pregledi.
. 248
•
Sraïtó/Playing
Competitions of the wedding orchestras
. 249
•
Singing and playing competitions devoted to famous folk performers. Musical
feasts and contests
. 251
CHAPTER FOUR
FOLKMUSIC AND MEDIA
. 253
►
The media as factor for transformation of the folk music
-----. 253
•
Technology and media
. 257
•
Sound-recording and sound-recreation
. 260
•
Audio-visual technologies
. 264
•
Radio broadcasting and popularization
. 265
•
The media music: organization of the production
. 266
►
The folk music in the radio
. 273
•
Historical outlines
. 274
•
Regional radio stations
. 282
•
Radio programs and shows, radio stylistics.
. 282
•
Radio figures
. 286
►
The folk music in the TV.
. 289
13
•
Historical outlines
. 290
•
Regional TV stations
. 297
•
Private TV stations
. 298
•
The musical folklore among the TV genres and stylistics
.----- 300
•
TV figures
.· 306
►
The folk music in new media
. 309
•
Technologies-communications-media-music
. 310
•
Bulgarian folk music in Internet
. 312
►
Folk music in the musical industry
. 317
•
Historical outlines
. 317
•
Figures in the musical industry
. 323
CHAPTERFIVE
DOWN-HANDING OF FOLK MUSIC: LEARNING AND TEACHING
. 326
►
Pre-modern and modern learning and teaching of folk music
. 328
►
The educational system: organizations for general and specialized education.
. 332
•
The folk music in the general schools
. 33.3
•
Teaching of folk music in other cultural institutions
. 338
•
Teaching of folk music in specialized schools and universities.
. 343
►
Specialized schools of folk music
. 346
•
The musical school in
Kotel
. 346
•
The musical school in Shiroka
Laka.
. 347
•
The academy of folk music and dance in Plovdiv
. 348
►
The teachers
.'. 350
•
Teachers of authentic folk music
. 351
•
Teachers of transformed folk music and dances
. 353
►
Educational forms, approaches, results
. 355
•
Educational forms:
. 355
•
Teaching approaches
. 358
•
Results of teaching and education
. 362
►
Learning of folk music from Bulgaria by foreigners
. 363
CHAPTERSDC
roLKMUSIcmTWOSPHERES-AMATEURPERFORMANCES
AND PROFESSIONALISM
. 372
►
Amateur performances
. 373
•
Historical notes
. 376
•
Aspects of the relation between musical folklore and amateur performances
377
•
Mediator in the democratization of the art.
. 378
•
Aesthetization
. 379
•
Popularization.
. 382
•
Continuity
. 384
•
Varieties
. 385
•
Formations
. 386
•
Bulgarian folk music in amateur movements outside Bulgaria
. 392
•
The relation between amateur performances and professionalism
. 399
14
►
Professionalism
. 402
•
Theoretical notes
. 402
•
Historical notes.
. 406
•
Professional formations.
. 407
•
Huge formations, performing arranged folk music
. 408
•
Professional Brass bands
. 411
•
Saloon and restaurant orchestras before
1944. 414
•
Small (chamber) instrumental and vocal groups
. 416
•
Ensembles of folk songs and dances
. 421
•
Wedding orchestras
. 423
•
Individual performers
. 427
•
Contexts and generators of professionalism
. 428
•
Personalia
. 432
•
Bulgarian folk music in the repertoire of foreign professional musicians
. 435
PART THREE: HUMAN DIMENSIONS
CHAPTERSEVEN
BULGARIANS: FROM THE ROOTS TO THE TREETOPS
. 439
►
Two faces on the landscape of the changing Bulgarian folk music
. 439
►
The flower from
Lozen: Snejanka Borisova.
. 443
•
Biography
.
і
. 444
•
Folk singing and songs
. 445
•
Modernization of the folk singing and songs
. 448
•
Globalization of the folk singing and songs
. 453
•
The never-ending return
—
from the global world to the village of birth
. 456
►
The power of the kaval: Theodosii Spassov
. 457
•
Biography
.·. 457
•
Re-vitalization of the tradition in the light of musicing
. 464
•
Theodosii Spassov anpit the musical-folk in the aspect of self-reflection
. 470
CHAPTEREIGHT
GYPSIES: AMONG THE FLAMES OF INTUITIONS
. 474
►
Gypsy musicians in the Bulgarian folk music
. 474
►
The Gypsy heart of Bulgarian accordion
. 477
•
On the appearance and popularization of accordion in Bulgaria
. 477
•
Gypsy accordionists in the Bulgarian folk music
. 478
•
Karlov,
Lolov, Lubenov
—
musical allegories
. 478
•
Boris
Karlov:
Beginning and peak
. 479
•
Ibro Lolov: Burning on the stage.
. 482
•
Martin Lubenov: All is jazz to me
/
A new chapter begins
. 483
•
The three accordionists
—
symbolic figures from Bulgaria
. 485
•
The accordion in Bulgaria in a Roma manner
—
westernization of the local
and localization of the western
.----- 487
►
Hybridization of local music from Bulgaria: the role of Gypsy clarinetists
. 490
•
The clarinet: hybridization as a coalescence of instrument and local music.
. 491
•
The musician: hybridization as a coalescence of Gypsy clarinetists and local
music
. 492
15
•
Clarinetists
—
symbols of Bulgarian folk music
. 492
.
The epoch of Ramadan Lolov:
1930s — 1950s. 493
.
The epoch of Petjco Radev:
1950s - 1970s. 496
•
The epoch of
Ivo Papazov-Ibryam:
since the
1980s. 498
•
The music: hybridization as musical coalescences.
. 502
•
Playing, tone-extraction and sound.
. 502
•
Form creation
.'. 504
•
Mode and tone mixing
. 505
•
More on the contribution of Gypsy clarinetists
. 506
CHAPTER NINE
FOREIGNERS: A SONG KNOWS NO BORDERS.
. 509
►
About foreigners, performers of Bulgarian folk music
. 509
►
Choice one: The activities (singing, playing, dancing)
. 512
•
Singers
. 513
•
Instrument players
. 514
•
Dancers
. 515
►
Choice two: The styles and repertoires
. 517
►
Choice three: The learning
. 521
•
Through teachers
. 521
•
In groups
. 522
•
On one's own
. 523
►
Choice four: The interpretations
. 525
►
Choice five: Why are they interested in Bulgarian folk music
. 529
•
High estimation of Bulgarian folk-musical styles
. 530
•
Emotional reasons
. 533
•
Communication potential of the Bulgarian folk music
. 535
►
Choice six: The foreign, yet one's own music
. 537
►
Beyond the selected choices
. 542
A TRY OF CONCLUSION
. 546
BIBLIOGRAPHY
. 553
SUMMARY IN ENGLISH
. 581
16
SUMMARY IN ENGLISH
The book Between the Village and the Universe: Old Folk Music from Bulgaria in
New Times was written after years of research. It raises various questions and seeks their
answers in order to gain and build a deeper knowledge and understanding of the move¬
ment (in the sense of transference, transmitting and reallocating) of folk (pre-modern,
rural, local) music from Bulgaria into modern and global times. Before taking the form of
a book, the text was successfully accepted as a second doctoral dissertation, forming the
basis for the conferment of the academic title Doctor of Sciences. This quite complex aca¬
demic procedure in Bulgaria provoked many useful discussions on many of the topics ex¬
amined in the book and led to the text's refinement.
In one way or another, being more or less distanced from its pre-modern, yet substan¬
tially similar structures, folk music from Bulgaria has penetrated into modern and global
worlds. While traversing different historical eras, as well as the minds of composers, mu¬
sicians, critics and audiences, folk music is in a process of constant change. It is included
in many specific
socio-cultural
contexts and contents; it connects with new group iden¬
tities; it transforms into a variety of phenomena, which penetrate into both historical
musical life and modern global realities.
That which is lost in folk music during its historical movements is precisely its
pre¬
modern
structures, cultural functions, meanings and values. In other words, its immanent
features are lost. It is deprived of its typical characteristics, such as mythological ideas,
magical powers and sacral-festive rituals, and is introduced into modern and global times
through separate practices, structures, movements, symbols, ideals and codes. In the pro¬
cess of these different usages folk music not only undergoes deep structural changes in
style, genre and repertoire, but also acquires different
socio-cultural
functions and mean¬
ings.
This book aims at obtaining holistic knowledge of the changes that have occurred in
pre-modern rural music from Bulgaria, as it proceeds to the present and future and leaves
its immanent place in the past. The synthetic research perspective offered here casts light
on different aspects and fields of this huge transition and contributes to the comprehen¬
sion and understanding of the complex and multi-dimensional nature of the processes
(forces) and powers motivating these changes.
The conceptual scheme for coordinating the theoretical perspectives, trajectories of
transmission and anthropological dimensions of the changes is one way of seeking solu¬
tions to the problems raised by this subject, and represents only one of the many possible
methodological approaches to research on the transformation of pre-modern folk music
from Bulgaria. The creation of such complex multi-layered conceptual constructions is
based on certain methods that are usually associated with different fields within humani¬
tarian and social sciences: review of literature and sources,
synchronie
and diachronic
analyses, historiography, observation, interviews, biographical approaches and anthropo¬
logical interpretation. The advantage of such an interdisciplinary methodological per¬
spective comes from the fact that it offers a very wide conceptual horizon. The order and
581
Лозанка Пейчева
organization of this conceptual horizon was achieved through the combined usage of the
methodologies as instruments to achieve the basic research goal: to come to a rational,
penetrating and as comprehensive as possible understanding and interpretation of musi-
cal-folkloric transformations.
The approaches to methodologically processing the historical changes examined
here are the result of many years of gathering and accumulating experience, knowledge,
observations and partial interpretations (presented in dozens of publications) of the trans¬
formational processes being researched. While working on the book, all the facts were
chosen, compared, combined and considered so that they would form a coordinated,
methodologically ordered, comprehensive picture which shows
(1)
the broader contexts
and
(2)
the various forms of transmission of the transformation of pre-modera folk music
during its movements into modern and global epochs.
The text consists of a foreword, nine chapters (grouped in three parts: theoretical,
systematic and anthropological) and a conclusion.
Part OneiTheoretical Perspectives examines the two major forces transforming folk
music from Bulgaria
—
modernization and globalization. Theoretically distinct as two
levels of transformation and placed in one frame of research, the two forces are compre¬
hended as structuring processes with particular directions, aspects and organized/disor¬
ganized structures.
The first part offers a theoretical formulation of the particular dynamics of folk
music, related to the processes of modernization and globalization. The two chapters in
this part
—
„The Modernization of Folk Music from Bulgaria" and „The Globalization
of Folk Music from Bulgaria"
—
form a theoretical fundament that provides a basic over¬
view of the stable, durable and constant characteristics of the change that are exhibited in
the inclusion of folk music in the modern and global epochs. The two chapters outline the
directions, aspects and organizational-social structures and carefully examine the two
processes of modernization and globalization, which change and move pre-moderns folk
music forward in time. This brings together the theoretical premises related to the on-go¬
ing in-depth structuring of the two processes that cause folk music from Bulgaria to
change. The constructed theoretical level of knowledge allows the research to prepare and
move to the next conceptual level: that of the systematic and diachronic examination of
particular practices and forms of transmission of folk music from Bulgaria.
Part Two: Trajectories, Transmissions, Transmutations orders and systematizes the
fields and forms of existence of modernized and globalized folk music from Bulgaria. This
part contains four chapters: „Folk Music and the Stage", „Folk Music and the Media",
„The Handing Down of Folk Music: Learning and Teaching" and „Folk Music in Two
Spheres: Amateur Performances and Professionalism."
The second part covers (as system and history) the trajectories of modern and global
transmissions of pre-modern folk music, which are different in form. Each of the four
chapters in this part focuses on particular formats and practices, which facilitate the
transmission and transformation of folk music
—
the stage, media, education, and ama¬
teur and professional movements. The stage, the media, the educational system, and ama¬
teur and professional movements are pragmatic spheres of pre-modern folk music trans¬
mission, which is achieved by mastering and passing on skills. They are newly-formed
contexts, which breathe life into the musical-folklore structural units, and in which the
folk music undergoes changes not only in structure but also in meaning. The symbolic
uses of folk music receive their specific meanings in each of these contexts.
The stage transforms folk music into various cultural scenarios; the media
—
into vir¬
tual sounds, texts and images; the education system
—
into educational standards and
582
Между
Селото и Вселената.
programs, textbooks and lessons; the amateur and professional movements
—
into estab¬
lished practices, phenomena and formations.
On each of these trajectories of transmission, folk music is inevitably changed by for¬
matting procedures, which are external to the music itself, but which are internal and
uniquely specific to each of the examined spheres. There is division of labor in each of
these spheres, as well as specially trained experts (or amateurs), who deal with a particular
segment of the transformation of folk music. For these experts, their expertise and ability
to transform and format is „internal", whereas folk music is just the raw material which
they take and change to satisfy the particular needs of their spheres. This is how the
mechanisms of transmission of folk music from Bulgaria have been working
—
a never-
ending process of transformation of the internal into external and vice versa.
Part Three: Human dimensions presents the transformation of folk music from Bul¬
garia, with a focus of the research interest on the individual as the bearer and creator of
the innovations in this ever-changing folk music. The human dimensions are outlined in
three positions of distance from folk music from Bulgaria: of Bulgarian people them¬
selves, of close „others", of the distant „others", each personified respectively by Bulgar¬
ians (in the chapter „Bulgarians: From the Roots to the Tree-Tops"), Gypsies (in the chap¬
ter „The Gypsies: Among the Flames of Intuitions"), foreigners (in the chapter „Foreign¬
ers: A Song Knows no Borders").
In the third part, the interest is focused on the human dimensions of change. Using
anthropological methods (observation and interpretation), the author systematizes some
long-term and lasting, but at the same time changing tendencies, expressed in individual
stories or common interests of people whose lives have been linked to folk music from Bul¬
garia. Be they Bulgarians, Gypsies or foreigners, the performers of Bulgarian folk music
are the powerful human forces who are fundamental agents of change. They constantly
renew and develop pre-modern folk music by discovering different directions, generating
innovations, hybridizations, inventing new meanings and cultural translations.
The anthropological interpretation does not just offer additional explanation to help
understand these changes, but also leads to the clarification of certain individually sub¬
jective activities, which are factors for the construction of constantly changing folk mu¬
sic. The subjective dimensions in the analysis of folk music undergoing transformation
are research perspectives that provide the possibility of observing and finding different
internal details and spheres in which the human factor has instigated the movement of
the folk music.
The conclusion summarizes the idea that the processes of transformation of
pre¬
modern
rural folk music from Bulgaria into a variety of many-layered practices, move¬
ments and musical products, open new horizons for the future of folk music. The book
offers a very wide-ranged analytical approach, which may be useful not only for better
understanding and comprehension of the changes of rural folk music from Bulgaria that
have already taken place, but also for the development of adequate directions, flexible
strategies and cultural policies designed to influence future transmissions of Bulgarian
folk music. |
| adam_txt |
СЪДЪРЖАНИЕ
БЛАГОДАРНОСТИ
. 17
ВМЕСТО ПРЕДГОВОР
. 21
ВЪВЕДЕНИЕ
. 24
ПЪРВИ РАЗДЕЛ: ТЕОРЕТИЧНИ ПЕРСПЕКТИВИ
ПЪРВА ГЛАВА
МОДЕРНИЗАЦИЯ НА ФОЛКЛОРНА МУЗИКА ОТ БЪЛГАРИЯ
. 47
►
Посоки на модернизацията
. 47
•
Фолклорна музика в модерни полета
. 47
•
От предмодерен
folk
към модерен
ari
. 51
•
От предмодерен
folk
към модерен
pop
. 64
•
От предмодерен
folk
към реставриран
folk
. 72
•
От предмодерен
folk
към (българска) народна музика
._ 80
►
Аспекти на модернизацията
. 85
•
Огражданяване
/
Урбанизация
. 85
•
Диференциация
. 88
•
Публичност
. 91
•
Озападняване
/
Westernization
. 93
•
Рационализация: стандартизация, стереотипизация
. 96
•
Фиксация:
трансформиране на устното в писмено (нотопис/музикална
писменост)
. 101
•
Технологии
. 106
•
Комерсиализация
. 109
►
Организации
.'. 113
•
Държавни организации
. 116
•
Общностни организации
. 120
•
Читалището
.,. 121
•
Частни обществени и общностни организации
. 122
•
Семейството
. 123
ВТОРА ГЛАВА
ГЛОБАЛИЗАЦИЯ НА
ФОЛКЛОРНА МУЗИКА ОТ БЪЛГАРИЯ
. 125
►
Посоки на глобализацията
. 125
•
Фолклорна музика в глобални полета
. 125
•
Фолклорна музика като
world art.
128
•
Фолклорна музика като
world/global pop.
137
•
Фолклорна музика като
world folk
. 148
•
Фолклорна музика като
world music.
153
►
Аспекти на.глобализацията
. 161
•
Детериториализация, мобилност
. 162
•
Мрежи, потоци, коридори
. 166
•
Етнизация
. 169
•
Хибридизация
. 175
•
Музика на множество светове: транскултурация, дейерархизация
. 178
►
Дезорганизации
. 182
7
ВТОРИ
РАЗДЕЛ: ТРАЕКТОРИИ,
ТРАНСМИСИИ,
ТРАНСМУТАЦИИ
ТРЕТА
ГЛАВА
ФОЛКЛОРНА МУЗИКА
И СЦЕНА
. 191
►
Сцената като траектория на трансформационни процеси
. 192
►
Концерти
. 196
•
Концерти
с
програми от отделни музикални изпълнения
. 196
•
Концертни групи
. 197
•
Концерти на професионални формации
. 199
•
Концерти на самодейни формации
. 200
•
Концерти
—
спектакли
. 200
►
Събори на народното творчество
. 203
•
Хронологичен обзор
. 204
•
Организирани събори
с
фолклорна музика преди
1944
г
. 205
•
Възникване и утвърждаване на съборите
—
надпявания
. 206
•
Националният събор на българското народно творчество в Копривщица
208
.
Съборите след
1989. 211
•
Съборите на народното творчество като система
. 214
•
Роженски събор
. 214
•
Добруджански събор
. 215
•
„Пирин пее"
. 217
•
Други регионални събори
. 220
•
Съборите за народно творчество: коментари, анализи, оценки
. 221
•
Съборите за народно творчество: опит за обобщение
. 226
►
Фолклорни фестивали
. 231
•
Международни фолклорни фестивали в България
. 234
•
Етнофестивали в България
. 238
►
Други сценични форуми за фолклорна музика
. 242
•
Фестивали/Прегледи на художествената самодейност
. 242
•
Прегледи на държавните и професионалните ансамбли
. 246
•
Музикалният фолклор в прегледите „Нова българска музика"
. 248
•
Срещи/Надсвирвания на сватбарските оркестри
. 249
•
Надпявания и надсвирвания на името на известни народни изпълнители.
Музикални празници и конкурси
. 251
ЧЕТВЪРТА ГЛАВА
ФОЛКЛОРНА МУЗИКА И МЕДИИ
. 253
►
Медиите като фактор за трансформиране на фолклорната музика
. 253
•
Технологии и медии
. 257
•
Звукозапис и звуковъзпроизводство
. 260
•
Аудио-визуални технологии
. 264
•
Радиоизлъчване и разпространение
. 265
•
Медийната музика: организация на продукцията
. 266
►
Фолклорната музика в радиото
. 273
•
Исторически щрихи
. 274
•
Регионални радиа
. 282
•
Радиопрограмиране и радиопредавания,
радиостилистика
. 282
•
Радиофигури
. 286
►
Фолклорната музика в телевизията
. 289
8
•
Исторически
щрихи
. 290
•
Регионални ефирни телевизии
. 297
•
Частни телевизии
. 298
•
Музикалният фолклор сред телевизионните жанрове и стилистика
. 300
•
Телевизионни фигури
. 306
►
Фолклорната музика в нови медии
. 309
•
Технологии
—
комуникации
—
медии
—
музика.
. 310
•
Българска фолклорна музика
в интернет
. 312
►
Фолклорната музика в музикалната индустрия
. 317
•
Исторически щрихи
. 317
•
Фигури в музикалната индустрия
. 323
ПЕТА ГЛАВА
ПРЕДАВАНЕ НА ФОЛКЛОРНА МУЗИКА: УЧЕНЕ И ОБУЧЕНИЕ.
. 326
►
Предмодерно и модерно обучение по фолклорна музика
. 328
►
Образователната система: общообразователни и специализирани учебни
организации
. 332
•
Фолклорната музика в общообразователните училища
. 333
•
Предаване на фолклорна музика чрез други образователни звена и форми
338
•
Изучаване на фолклорна музика в специализирани средни и висши
училища
. 343
►
Специализирани училища за народна музика
. 346
•
СМУ Котел
. 346
•
СМУ Широка лъка
. 347
•
АМТИИ Пловдив
. 348
►
Учителите
. 350
•
Учители по автентична фолклорна музика.
. 351
•
Учители по обработена фолклорна музика и танци
. 353
►
Образователни форми, подходи, резултати
. 355
•
Образователни форми
. 355
•
Обучаващи подходи
. 358
•
Резултати от ученето и обучението
. 362
►
Усвояване на фолклорна музика от България от чужденци
. 363
ШЕСТА
DIABA
ФОЛКЛОРНА МУЗИКА В ДВЕ СФЕРИ
-
САМОДЕЙНОСТ (ЛЮБИТЕЛСКО
ТВОРЧЕСТВО) И ПРОФЕСИОНАЛИЗЪМ
. 372
►
Самодейност (любителско творчество)
. 373
•
Исторически бележки
. 376
•
Аспекти на връзката музикален фолклор—художествена самодейност
— 377
•
Медиатор в
демократизиране на изкуството
. 378
•
Естетизация
. 379
•
Масовизация
. 382
•
Приемственост
. 384
•
Разновидности
. 385
•
Формации
.■ ■ · 386
•
Българска фолклорна музика в любителски движения извън България
— 392
•
Връзката самодейност—професионализъм
. 399
►
Професионализъм
. 402
•
Теоретични уточнения.
. :. 402
•
Исторически уточнения
. 406
•
Професионални формации
. 407
•
Големи формации, изпълняващи аранжирана фолклорна музика
. 408
•
Духови професионални оркестри
. 411
•
Салонни и ресторантски оркестри до
1944
г
. 414
•
Малки (камерни) инструментални и вокални групи
. 416
•
Ансамбли за народни песни и танци
. 421
•
Сватбарски оркестри
. 423
•
Индивидуални изпълнители
. 427
•
Контексти и генератори на професионализъм
. 428
•
Персоналия
. 432
•
Българска фолклорна музика в репертоара на чужденци професионални
музиканти
. 435
ТРЕТИ РАЗДЕЛ: ЧОВЕШКИ ИЗМЕРЕНИЯ
СЕДМА
DIABA
БЪЛГАРИ: ОТ КОРЕНИТЕ КЪМ ВЪРХА
. 439
►
Две лица в панорамата на променящата се българска фолклорна музика.
. 439
►
Цветето от Лозен: Снежанка Борисова
. 443
•
Биографично
. 444
•
Фолклорно пеене и песен
. 445
•
Модернизация на фолклорното пеене и песен
. 448
•
Глобализация на
фолклорното пеене и песен
. 453
•
Неспирното завръщане
—
от глобалното към родното село
. 456
►
Силата на кавала: Теодосий Спасов
. 457
•
Биографично
. 457
•
Ревитализиране на традицията в плана на музицирането
. 464
•
Теодосий Спасов за музикалнофолклорното в плана на саморефлексията
470
ОСМАГЛАВА
ЦИГАНИ: СРЕД ПЛАМЪЦИТЕ НА ИНТУИЦИИТЕ
. 474
►
Цигани музиканти в българската народна музика
. 474
►
Циганското сърце на българския акордеон
. 477
•
Сведения за проникването на акордеона в България
. 477
•
Цигани акордеонисти в българската народна музика
. 478
•
Карлов, Лолов, Любенов
—
музикални емблеми
. 478
•
Борис Карлов: начало и връх.
. 479
•
Ибро Лолов: Да гориш на сцената
. 482
•
Мартин Любенов: За мене всичко е джаз
/
Нова глава е отворена
. 483
•
Тримата акордеонисти
—
знакови фигури от България
. 485
•
Акордеонът в България по ромски
—
озападняване на локалното, локализация
назападното
. 487
►
Хибридизация на локална музика от България: ролята на цигани кларинетисти
490
•
Кларинетът: хибридизацията като срастване на инструмент
с
локална
музика
. 491
10
•
Музикантът: хибридизацията като срастване на цигани кларинетисти
с
локална музика.
. 492
•
Кларинетисти
—
символи на българската народна музика
. 492
•
Епохата
на Рамадан
Лолов: 1930-те
— 1
950-те години
. 493
•
Епохата на Петко Радев:
1
950-те
—
1970-те години
. 496
•
Епохата на Иво Папазов-Ибрям: от 1980-те години
. 498
•
Музиката: хибридизацията като музикални сраствания
. 502
•
Свирене, тоноизвличане, саунд
. 502
•
Формообразуване
. 504
•
Ладово-тонално смесване
. 505
•
И още нещо за приносите на циганите кларинетисти
. 506
ДЕВЕТА ГЛАВА
ЧУЖДЕНЦИ: ПЕСЕН СИНОР НЯМА
. 509
►
Около чужденците, изпълнители на българска фолклорна музика
. 509
►
Избор
1:
Дейностите (пеене, свирене, танцуване)
. 512
•
Певци
. 513
•
Свирачи
. 514
•
Танцьори
. 515 '
►
Избор
2:
Стиловете и репертоарите
. 517
►
Избор
3:
Ученето
._. 521
•
Чрез учители
. 521
•
В групи
. 522
•
Самостоятелно
. 523
►
Избор
4:
Интерпретациите
. 525
►
Избор
5:
Защо се интересуват от българска фолклорна музика
. 529
•
Оценностяване на· български музикалнофолклорни стилове
. 530
•
Емоционални причини
. 533
•
Комуникативен потенциал на българската фолклорна музика
. 535
►
Избор
6:
Чуждата своя музика
. 537
►
Отвъд заявените избори
. 542
ОПИТ ЗА ЗАКЛЮЧЕНИЕ
. 546
БИБЛИОГРАФИЯ
. 553
РЕЗЮМЕ НА АНГЛИЙСКИ ЕЗИК
. 581
11
CONTENTS
ACKNOWLEDGEMENTS
. 17
FOREWORD
. 21
INTRODUCTION
. 24
PART ONE: THEORETICAL PERSPECTIVES
CHAPTER ONE
MODERNIZATION OF FOLK MUSIC FROM BULGARIA
. 47
►
Directions of modernization
. 47
•
Folk music in modern fields
. 47
•
From pre-modern folk to modern art
. 51
•
From pre-modern folk to modern pop
. 64
•
From pre-modern folk to restored folk
. 72
•
From pre-modern folk to (Bulgarian) folk music
. 80
►
Aspects of modernization
. 85
•
Urbanization
. 85
•
Differentiation
.'. 88
•
Publicity
. 91
•
Westernization
. 93
•
Rationalization: standardization, stereotypization
. 96
•
Fixation: transformation of the oral into written (musical notes)
. 101
•
Technologies
. 106
•
Commercialization
. 109
►
Organizations
.,. 113
•
State organizations
. 116
•
Communal organizations
. 120
•
The community centres (chitalishte)
. 121
•
Private social and communal organizations
. 122
•
The family
. 123
CHAPTER TWO
GLOBALIZATION OF FOLK MUSIC FROM BULGARIA
. 125
►
Directions of globalization
. 125
•
Folk music in global fields
. 125
•
Folk music as world art
. 128 -
•
Folk music as world/global pop
. 137
•
Folk music as world folk
. 148
•
Folk music as world music
. 153
►
Aspects of globalization
. 161
•
Deteritorialization, Mobility
. 162
•
Networks, Streams, Corridors
. 166
•
Ethnization
. 169
•
Hybridization
. 175
•
Music of many worlds: transculturation, dehieararchization
. 178
►
Disorganizations
. 182
12
PART TWO: TRAJECTORIES, TRANSMISSIONS, TRANSMUTATIONS
CHAPTERTHREE
FOLKMUSIC AND STAGE
. 191
►
The stage as a trajectory of transformation processes
. 192
►
Concerts
. 196
•
Concerts with programs of separate musical performances
. 196
•
Concert groups
. 197
•
Concerts of professional formations
. 199
•
Concerts of amateur formations
.
¡
. 200
•
Concert-shows
. 200
►
Folklore fairs
{sabori)
. 203
•
A chronological synopsis
. 204
•
Organized
sabori
with folk music before
1994. 205
•
Origin and establishment of
sabori
—
singing contests.
. 206
•
The national
sabor
of Bulgarian folklore in Koprivshtitsa.
. 208
•
The saborite after
1989._ 211
•
The folklore
sabori
as a system.
. 214
•
The Rhozhen
sabor
. 214
•
The Dobrudga
sabor
. 215
•
„Pirin
sings"
sabor
. 217
•
Other regional
sabori
. 220
•
The folklore
sabori:
comments, analyses, evaluations.
. 221
•
The folklore
sabori:
an attempt for generalization
. 226
►
Folk festivals
. 231
•
International folk festivals in Bulgaria
. 234
•
Ethno-festivals in Bulgaria
. 238
►
Other staged forums of folk music
.-----. 242
•
Festhais/Pregledi of amateur works
. 242
•
Pregledi
of state's and professional ensembles.
. 246
•
The musical folklore in "New Bulgarian Music"
pregledi.
. 248
•
Sraïtó/Playing
Competitions of the wedding orchestras
. 249
•
Singing and playing competitions devoted to famous folk performers. Musical
feasts and contests
. 251
CHAPTER FOUR
FOLKMUSIC AND MEDIA
. 253
►
The media as factor for transformation of the folk music
-----. 253
•
Technology and media
. 257
•
Sound-recording and sound-recreation
. 260
•
Audio-visual technologies
. 264
•
Radio broadcasting and popularization
. 265
•
The media music: organization of the production
. 266
►
The folk music in the radio
. 273
•
Historical outlines
. 274
•
Regional radio stations
. 282
•
Radio programs and shows, radio stylistics.
. 282
•
Radio figures
. 286
►
The folk music in the TV.
. 289
13
•
Historical outlines
. 290
•
Regional TV stations
. 297
•
Private TV stations
. 298
•
The musical folklore among the TV genres and stylistics
.----- 300
•
TV figures
.· 306
►
The folk music in new media
. 309
•
Technologies-communications-media-music
. 310
•
Bulgarian folk music in Internet
. 312
►
Folk music in the musical industry
. 317
•
Historical outlines
. 317
•
Figures in the musical industry
. 323
CHAPTERFIVE
DOWN-HANDING OF FOLK MUSIC: LEARNING AND TEACHING
. 326
►
Pre-modern and modern learning and teaching of folk music
. 328
►
The educational system: organizations for general and specialized education.
. 332
•
The folk music in the general schools
. 33.3
•
Teaching of folk music in other cultural institutions
. 338
•
Teaching of folk music in specialized schools and universities.
. 343
►
Specialized schools of folk music
. 346
•
The musical school in
Kotel
. 346
•
The musical school in Shiroka
Laka.
. 347
•
The academy of folk music and dance in Plovdiv
. 348
►
The teachers
.'. 350
•
Teachers of authentic folk music
. 351
•
Teachers of transformed folk music and dances
. 353
►
Educational forms, approaches, results
. 355
•
Educational forms:
. 355
•
Teaching approaches
. 358
•
Results of teaching and education
. 362
►
Learning of folk music from Bulgaria by foreigners
. 363
CHAPTERSDC
roLKMUSIcmTWOSPHERES-AMATEURPERFORMANCES
AND PROFESSIONALISM
. 372
►
Amateur performances
. 373
•
Historical notes
. 376
•
Aspects of the relation between musical folklore and amateur performances
377
•
Mediator in the democratization of the art.
. 378
•
Aesthetization
. 379
•
Popularization.
. 382
•
Continuity
. 384
•
Varieties
. 385
•
Formations
. 386
•
Bulgarian folk music in amateur movements outside Bulgaria
. 392
•
The relation between amateur performances and professionalism
. 399
14
►
Professionalism
. 402
•
Theoretical notes
. 402
•
Historical notes.
. 406
•
Professional formations.
. 407
•
Huge formations, performing arranged folk music
. 408
•
Professional Brass bands
. 411
•
Saloon and restaurant orchestras before
1944. 414
•
Small (chamber) instrumental and vocal groups
. 416
•
Ensembles of folk songs and dances
. 421
•
Wedding orchestras
. 423
•
Individual performers
. 427
•
Contexts and generators of professionalism
. 428
•
Personalia
. 432
•
Bulgarian folk music in the repertoire of foreign professional musicians
. 435
PART THREE: HUMAN DIMENSIONS
CHAPTERSEVEN
BULGARIANS: FROM THE ROOTS TO THE TREETOPS
. 439
►
Two faces on the landscape of the changing Bulgarian folk music
. 439
►
The flower from
Lozen: Snejanka Borisova.
. 443
•
Biography
.
і
. 444
•
Folk singing and songs
. 445
•
Modernization of the folk singing and songs
. 448
•
Globalization of the folk singing and songs
. 453
•
The never-ending return
—
from the global world to the village of birth
. 456
►
The power of the kaval: Theodosii Spassov
. 457
•
Biography
.·. 457
•
Re-vitalization of the tradition in the light of musicing
. 464
•
Theodosii Spassov anpit the musical-folk in the aspect of self-reflection
. 470
CHAPTEREIGHT
GYPSIES: AMONG THE FLAMES OF INTUITIONS
. 474
►
Gypsy musicians in the Bulgarian folk music
. 474
►
The Gypsy heart of Bulgarian accordion
. 477
•
On the appearance and popularization of accordion in Bulgaria
. 477
•
Gypsy accordionists in the Bulgarian folk music
. 478
•
Karlov,
Lolov, Lubenov
—
musical allegories
. 478
•
Boris
Karlov:
Beginning and peak
. 479
•
Ibro Lolov: Burning on the stage.
. 482
•
Martin Lubenov: All is jazz to me
/
A new chapter begins
. 483
•
The three accordionists
—
symbolic figures from Bulgaria
. 485
•
The accordion in Bulgaria in a Roma manner
—
westernization of the local
and localization of the western
.----- 487
►
Hybridization of local music from Bulgaria: the role of Gypsy clarinetists
. 490
•
The clarinet: hybridization as a coalescence of instrument and local music.
. 491
•
The musician: hybridization as a coalescence of Gypsy clarinetists and local
music
. 492
15
•
Clarinetists
—
symbols of Bulgarian folk music
. 492
.
The epoch of Ramadan Lolov:
1930s — 1950s. 493
.
The epoch of Petjco Radev:
1950s - 1970s. 496
•
The epoch of
Ivo Papazov-Ibryam:
since the
1980s. 498
•
The music: hybridization as musical coalescences.
. 502
•
Playing, tone-extraction and sound.
. 502
•
Form creation
.'. 504
•
Mode and tone mixing
. 505
•
More on the contribution of Gypsy clarinetists
. 506
CHAPTER NINE
FOREIGNERS: A SONG KNOWS NO BORDERS.
. 509
►
About foreigners, performers of Bulgarian folk music
. 509
►
Choice one: The activities (singing, playing, dancing)
. 512
•
Singers
. 513
•
Instrument players
. 514
•
Dancers
. 515
►
Choice two: The styles and repertoires
. 517
►
Choice three: The learning
. 521
•
Through teachers
. 521
•
In groups
. 522
•
On one's own
. 523
►
Choice four: The interpretations
. 525
►
Choice five: Why are they interested in Bulgarian folk music
. 529
•
High estimation of Bulgarian folk-musical styles
. 530
•
Emotional reasons
. 533
•
Communication potential of the Bulgarian folk music
. 535
►
Choice six: The foreign, yet one's own music
. 537
►
Beyond the selected choices
. 542
A TRY OF CONCLUSION
. 546
BIBLIOGRAPHY
. 553
SUMMARY IN ENGLISH
. 581
16
SUMMARY IN ENGLISH
The book Between the Village and the Universe: Old Folk Music from Bulgaria in
New Times was written after years of research. It raises various questions and seeks their
answers in order to gain and build a deeper knowledge and understanding of the move¬
ment (in the sense of transference, transmitting and reallocating) of folk (pre-modern,
rural, local) music from Bulgaria into modern and global times. Before taking the form of
a book, the text was successfully accepted as a second doctoral dissertation, forming the
basis for the conferment of the academic title Doctor of Sciences. This quite complex aca¬
demic procedure in Bulgaria provoked many useful discussions on many of the topics ex¬
amined in the book and led to the text's refinement.
In one way or another, being more or less distanced from its pre-modern, yet substan¬
tially similar structures, folk music from Bulgaria has penetrated into modern and global
worlds. While traversing different historical eras, as well as the minds of composers, mu¬
sicians, critics and audiences, folk music is in a process of constant change. It is included
in many specific
socio-cultural
contexts and contents; it connects with new group iden¬
tities; it transforms into a variety of phenomena, which penetrate into both historical
musical life and modern global realities.
That which is lost in folk music during its historical movements is precisely its
pre¬
modern
structures, cultural functions, meanings and values. In other words, its immanent
features are lost. It is deprived of its typical characteristics, such as mythological ideas,
magical powers and sacral-festive rituals, and is introduced into modern and global times
through separate practices, structures, movements, symbols, ideals and codes. In the pro¬
cess of these different usages folk music not only undergoes deep structural changes in
style, genre and repertoire, but also acquires different
socio-cultural
functions and mean¬
ings.
This book aims at obtaining holistic knowledge of the changes that have occurred in
pre-modern rural music from Bulgaria, as it proceeds to the present and future and leaves
its immanent place in the past. The synthetic research perspective offered here casts light
on different aspects and fields of this huge transition and contributes to the comprehen¬
sion and understanding of the complex and multi-dimensional nature of the processes
(forces) and powers motivating these changes.
The conceptual scheme for coordinating the theoretical perspectives, trajectories of
transmission and anthropological dimensions of the changes is one way of seeking solu¬
tions to the problems raised by this subject, and represents only one of the many possible
methodological approaches to research on the transformation of pre-modern folk music
from Bulgaria. The creation of such complex multi-layered conceptual constructions is
based on certain methods that are usually associated with different fields within humani¬
tarian and social sciences: review of literature and sources,
synchronie
and diachronic
analyses, historiography, observation, interviews, biographical approaches and anthropo¬
logical interpretation. The advantage of such an interdisciplinary methodological per¬
spective comes from the fact that it offers a very wide conceptual horizon. The order and
581
Лозанка Пейчева
organization of this conceptual horizon was achieved through the combined usage of the
methodologies as instruments to achieve the basic research goal: to come to a rational,
penetrating and as comprehensive as possible understanding and interpretation of musi-
cal-folkloric transformations.
The approaches to methodologically processing the historical changes examined
here are the result of many years of gathering and accumulating experience, knowledge,
observations and partial interpretations (presented in dozens of publications) of the trans¬
formational processes being researched. While working on the book, all the facts were
chosen, compared, combined and considered so that they would form a coordinated,
methodologically ordered, comprehensive picture which shows
(1)
the broader contexts
and
(2)
the various forms of transmission of the transformation of pre-modera folk music
during its movements into modern and global epochs.
The text consists of a foreword, nine chapters (grouped in three parts: theoretical,
systematic and anthropological) and a conclusion.
Part OneiTheoretical Perspectives examines the two major forces transforming folk
music from Bulgaria
—
modernization and globalization. Theoretically distinct as two
levels of transformation and placed in one frame of research, the two forces are compre¬
hended as structuring processes with particular directions, aspects and organized/disor¬
ganized structures.
The first part offers a theoretical formulation of the particular dynamics of folk
music, related to the processes of modernization and globalization. The two chapters in
this part
—
„The Modernization of Folk Music from Bulgaria" and „The Globalization
of Folk Music from Bulgaria"
—
form a theoretical fundament that provides a basic over¬
view of the stable, durable and constant characteristics of the change that are exhibited in
the inclusion of folk music in the modern and global epochs. The two chapters outline the
directions, aspects and organizational-social structures and carefully examine the two
processes of modernization and globalization, which change and move pre-moderns folk
music forward in time. This brings together the theoretical premises related to the on-go¬
ing in-depth structuring of the two processes that cause folk music from Bulgaria to
change. The constructed theoretical level of knowledge allows the research to prepare and
move to the next conceptual level: that of the systematic and diachronic examination of
particular practices and forms of transmission of folk music from Bulgaria.
Part Two: Trajectories, Transmissions, Transmutations orders and systematizes the
fields and forms of existence of modernized and globalized folk music from Bulgaria. This
part contains four chapters: „Folk Music and the Stage", „Folk Music and the Media",
„The Handing Down of Folk Music: Learning and Teaching" and „Folk Music in Two
Spheres: Amateur Performances and Professionalism."
The second part covers (as system and history) the trajectories of modern and global
transmissions of pre-modern folk music, which are different in form. Each of the four
chapters in this part focuses on particular formats and practices, which facilitate the
transmission and transformation of folk music
—
the stage, media, education, and ama¬
teur and professional movements. The stage, the media, the educational system, and ama¬
teur and professional movements are pragmatic spheres of pre-modern folk music trans¬
mission, which is achieved by mastering and passing on skills. They are newly-formed
contexts, which breathe life into the musical-folklore structural units, and in which the
folk music undergoes changes not only in structure but also in meaning. The symbolic
uses of folk music receive their specific meanings in each of these contexts.
The stage transforms folk music into various cultural scenarios; the media
—
into vir¬
tual sounds, texts and images; the education system
—
into educational standards and
582
Между
Селото и Вселената.
programs, textbooks and lessons; the amateur and professional movements
—
into estab¬
lished practices, phenomena and formations.
On each of these trajectories of transmission, folk music is inevitably changed by for¬
matting procedures, which are external to the music itself, but which are internal and
uniquely specific to each of the examined spheres. There is division of labor in each of
these spheres, as well as specially trained experts (or amateurs), who deal with a particular
segment of the transformation of folk music. For these experts, their expertise and ability
to transform and format is „internal", whereas folk music is just the raw material which
they take and change to satisfy the particular needs of their spheres. This is how the
mechanisms of transmission of folk music from Bulgaria have been working
—
a never-
ending process of transformation of the internal into external and vice versa.
Part Three: Human dimensions presents the transformation of folk music from Bul¬
garia, with a focus of the research interest on the individual as the bearer and creator of
the innovations in this ever-changing folk music. The human dimensions are outlined in
three positions of distance from folk music from Bulgaria: of Bulgarian people them¬
selves, of close „others", of the distant „others", each personified respectively by Bulgar¬
ians (in the chapter „Bulgarians: From the Roots to the Tree-Tops"), Gypsies (in the chap¬
ter „The Gypsies: Among the Flames of Intuitions"), foreigners (in the chapter „Foreign¬
ers: A Song Knows no Borders").
In the third part, the interest is focused on the human dimensions of change. Using
anthropological methods (observation and interpretation), the author systematizes some
long-term and lasting, but at the same time changing tendencies, expressed in individual
stories or common interests of people whose lives have been linked to folk music from Bul¬
garia. Be they Bulgarians, Gypsies or foreigners, the performers of Bulgarian folk music
are the powerful human forces who are fundamental agents of change. They constantly
renew and develop pre-modern folk music by discovering different directions, generating
innovations, hybridizations, inventing new meanings and cultural translations.
The anthropological interpretation does not just offer additional explanation to help
understand these changes, but also leads to the clarification of certain individually sub¬
jective activities, which are factors for the construction of constantly changing folk mu¬
sic. The subjective dimensions in the analysis of folk music undergoing transformation
are research perspectives that provide the possibility of observing and finding different
internal details and spheres in which the human factor has instigated the movement of
the folk music.
The conclusion summarizes the idea that the processes of transformation of
pre¬
modern
rural folk music from Bulgaria into a variety of many-layered practices, move¬
ments and musical products, open new horizons for the future of folk music. The book
offers a very wide-ranged analytical approach, which may be useful not only for better
understanding and comprehension of the changes of rural folk music from Bulgaria that
have already taken place, but also for the development of adequate directions, flexible
strategies and cultural policies designed to influence future transmissions of Bulgarian
folk music. |
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| author | Pejčeva, Lozanka |
| author_GND | (DE-588)1028027400 |
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| author_role | aut |
| author_sort | Pejčeva, Lozanka |
| author_variant | l p lp |
| building | Verbundindex |
| bvnumber | BV035133612 |
| ctrlnum | (OCoLC)644545427 (DE-599)BVBBV035133612 |
| edition | 1. izd. |
| format | Book |
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| geographic | Bulgarien (DE-588)4008866-2 gnd |
| geographic_facet | Bulgarien |
| id | DE-604.BV035133612 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T22:25:17Z |
| indexdate | 2024-08-10T01:06:26Z |
| institution | BVB |
| isbn | 9789543222575 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016801089 |
| oclc_num | 644545427 |
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| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 582 S. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Akad. Izdat. "Prof. Marin Drinov" |
| record_format | marc |
| spelling | Pejčeva, Lozanka Verfasser (DE-588)1028027400 aut Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena Lozanka Pejčeva 1. izd. Sofija Akad. Izdat. "Prof. Marin Drinov" 2008 582 S. txt rdacontent n rdamedia nc rdacarrier PST: Between the village and the universe. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Musikethnologie (DE-588)4127833-1 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 g Volksmusik (DE-588)4063854-6 s Musikethnologie (DE-588)4127833-1 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016801089&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016801089&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Pejčeva, Lozanka Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena Musikethnologie (DE-588)4127833-1 gnd Volksmusik (DE-588)4063854-6 gnd |
| subject_GND | (DE-588)4127833-1 (DE-588)4063854-6 (DE-588)4008866-2 |
| title | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena |
| title_auth | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena |
| title_exact_search | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena |
| title_exact_search_txtP | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena |
| title_full | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena Lozanka Pejčeva |
| title_fullStr | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena Lozanka Pejčeva |
| title_full_unstemmed | Meždu seloto i vselenata starata folklorna muzika ot Bălgarija v novite vremena Lozanka Pejčeva |
| title_short | Meždu seloto i vselenata |
| title_sort | mezdu seloto i vselenata starata folklorna muzika ot balgarija v novite vremena |
| title_sub | starata folklorna muzika ot Bălgarija v novite vremena |
| topic | Musikethnologie (DE-588)4127833-1 gnd Volksmusik (DE-588)4063854-6 gnd |
| topic_facet | Musikethnologie Volksmusik Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016801089&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016801089&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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