Bulgarian Academy of Sciences
Institute of Art Studies
Search This Site The Web

Get a Search Engine For Your Web Site

General Info about the Institute of Art Studies
General info Administration Departments Libraries  Journals  Folklore Database  Links
GO TO: Department of MUSIC (general info)

Bulgarian Musicology - online

Issue 1/2002

1.  Table of Contents (English Version)

To Top


Rosemary Statelova        Meaningful Horizons of Contemporary Sorbian Music Culture.                                         34

Tsvetana Toncheva        Stephen Sondhime – Daring, Surprise, Adventure!                                                             56

Snejana Simeonova          More on the  Relation Text – Interpretation in Bach’s Keyboard Works.                          63

Rumiana Karakostova        Children’s Operetta in Bulgaria Repertory Catalogue 1906-1954                                   92

Svetlana Zaharieva        The Sonic Face of the Big Change
(A Conversation by Correspondence with  Mariela Hristova.)                                                                                      93
Konstantin Karapetrov        A Spark in our Cultural Dusk (A Monograph by Venelin Krustev „Emil Tabakov”.)      108
Rosalia Biks            An Event in our Opera Literature.                                                                                             111

Elisaveta Valtschinova- Tschendova        Going to the Opera in old Sofia.                                                             113

Elena Toncheva             „Paths and Bridges. East and West.”                                                                                   116

In Memoriam            Vidin Daskalov – the Legend.                                                                                                  118

To Top 
(in  English)

Stephen Sondhime – Daring, Surprise, Adventure

                Tsvetana Toncheva

    This is the first more complete presentation in Bulgaria of the composer, poet and librettist Stephen Sondhime – one of the leading authors of popular musical – scenic genres in the USA. The study examines his work in two main periods divided by the musical “The Company” – a cardinal work that has influenced the genre of the musical and its development in many respects. Sondhime’s creative work is examined within the basic context of his personal professional fulfillment and his popularity among the lovers of the musical stage. The material has taken into consideration studies of eminent American researchers, information from the web pages of Sondhime in Internet as well as recordings of his music available from the fund of Bulgarian National Radio.

To Top


                                                   Rumiana Karakostova

    The children’s or fairy tale operetta historically preceded the appearance of classical operetta in Bulgaria and played a favorable role for socializing the genre faster and more easily as well as for early discovering talented performers of this type of popular musical – scenic art. As repertory, mainly intended for performance by children,  the children’s operettas were brought from Europe to the Bulgarian stage at the beginning of XX c. by Czech bandmasters. The present repertory catalogue /of 50-year continuous musical – scenic practice in Bulgaria/ has been published for the first time,  and has been compiled on the basis of officially registered children’s performances in printed programs or announcements in the chronicle of local periodicals and reminiscences of the musical past in Bulgarian towns. The principle of arrangement is alphabetical /for the authors and the titles of the children’s operettas/ and chronological /for their opening performances/.

To Top

                IN BACH’S PIANO WORKS

                    Snezhana Simeonova

 The article proposes a practical approach, specifying the work of the pianist upon Bach’s piano works. It consists in ‘dissecting” the work /at an early working stage/ into sections, outlining the presence of full harmonic cadences. At these moments all or most participating polyphonic lines cadence i.e. they complete a stage of their development. Thus differentiated, though temporary, they become a clearer object of analysis on the part of the performer. The article connects this analysis with the character of movement of the horizontals and the ceaselessly changing growth of tension in them.
In conclusion, a characterization is made of some of Bach’s most striking approaches in building up the polyphonic lines in his piano works. They are directly connected with the choice of instrumental means for truthful re-creation of their essence.
To Top
                      MUSIC CULTURE
                                                      Rosemary Statelova

    The article presents the results of a one-month ethnic-musical study of the manifestations of contemporary Sorbian music culture. /Settling there as early as the VI century AD, the Sorb Slav national group inhabits the district of Lausitz in Germany,
located in the regions of Sachsen and Brandenburg/. The principal objects of the study, carried out on the basis of the cultural-anthropological approach, were the meaningful horizons and the contemporary state of the choral singing of the Sorbians, which developed very successfully during the Sorbian National Revival in XIX and XX centuries, being today  -according to the words of the Sorbian composer Detlef Kobjela – “a pillar of Sorbian musical culture.” Again according to Kobjela the density of the network of choirs among the Sorbs nowadays is greater than the usual for Germany – The Union of Sorb Choral Societies comprises over 25 choral groups. /For comparison, the Sorbian population today amounts to 50-60 thousand people, approximately one third from whom actively uses the Sorbian “mother tongue”/. The observation was carried out among the choirs “Meja”, Budysin”, “Lipa”, the choir of the Sorbian secondary school in the town of Bautzen, the vocal group “Wolbernosce”, Sunday mass in the town of Crostwtz. Conversations were conducted with Sorbian and German participants in choirs, conductors and composers, with representatives of Sorbian Cultural institutions and the Sorb Catholic Church.
    The principal value, determining the meaningful horizon of Sorbian choral singing today, proceeds from its significance as an important ethnic-cultural feature of /individual and group/ self-identification, its functioning as an aesthetic /holiday/ stimulus for using the Sorbian language. Consequently, today’s Sorb choral repertory is predominantly from the Sorb national classic, immensely popular and performed on a large-scale by people openly holding a pro-Sorb position. In the light of the above-said, the Sorbian amateur choral activities are both being admired as tradition keepers and criticized for conservatism and turning their back on today’s reality. The alternatives facing them are either opening towards contemporary musical art or – just the opposite – their repertory and performance orientation towards today’s popular show culture.

To Top


1999    Book 4

2000    Book 1

2000    Book 2

2000    Book 3

2000    Book 4

2001    Book 1

2001    Book 2

2001    Book 3

2001    Book 4

2002    Book 2

2002    Book 3

To Top
General Info about the Institute of Art Studies
General info Administration Departments Libraries  Journals  Folklore Database  Links
                                                !!! This site is under construction !!!
Back to Main Page