Bulgarian Academy of Sciences Institute of Art Studies

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Lubomir Kavaldjiev
Prefase by editor  (p. 3)

Bozidar  Karastojanov
Structural Units of the Second Level in Monody and their Formulaic Realizations  (p. 5)

Elisaveta Valtschinova-Tchendova
Genre Models in Bulgarian Composers’ Works During the Last Three Decades (p.16)

Rossitsa  Draganova
Mailing Lists or Melomanic in the  Conditions of Internet (p. 64)

Lubomir Kavaldjiev
Electro-acoustic Musical Practice in Bulgaria: Specifics and Approaches (p.82)

Rossitsa  Draganova
World Wide Web or About Open and Reduced Information Models (p. 92)

Claire Levy
Music and Technology: New Research Accents (p. 106)
Angelina Petrova
Genre Models in Bulgarian Composers’ Works During the Last Three Decades (p. 113)
Angelina Petrova
Structural Units of the Second Level in Monody and their Formulaic Realizations (p. 116)

Claire Levy
On „Otherness”: The Metaphors of     Yildiz Ibrahimova in her „Balkantolia” (p.118)

Petia Zlatanova
On the Culturological Typology of   Bulgarian Electronic Music. Four Profiles (p.136)
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 The traditional idea of the formulas in "Znamenen rospev" of the so
called popevki and fiti develops into a concept of complete regulation
of the melody. The formulaic realizations have all melodic units also
including the motifs forming the popevki and fiti.
The task to finds the formulas called kokizniki and fitnichi was set in
the past. Now the object of systematizing are the motif formulas, the
samples of which are noted down with flag notation and transcription,
included in tables.
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1. Characteristic genre features of contemporary Bulgarian music
The individual author’s approach determines, on the one hand, the lack
or the level of the specific "primary" refraction of the phenomena from
the world musical practice, on the other hand – their secondary
re-creation through already established traditions in Bulgarian music.
Generally these trends do not exist in pure form – their interweaving
leads to various artistic results. Conscious deviation from the
traditional genre code is characteristic for a number of the leading
models. The genre model that has been accepted as a basis may belong to
forms recognized for centuries, but it may have been created in our
lifetime. In this respect, the original author’s genre code mostly bears
the sign of innovation.
 The attitude to Bulgarian musical folklore is an opportunity of joining
Bulgarian authors to the European tendencies from the second half of XX
century and achieving creative identity in the post-modern situation of
disintegrating vanguard.
 The transformation of the idea of sound and musical time reflects upon
the preservation/renovation of genre. The composition experiments with
time continuum and the transformations of sound affect both the increase
in the possibilities of acoustic instruments and the sounds obtained
through the new electric-acoustic technique. Electronic music is
particularly interesting a new genre trend.
 "The planning of composers’ work in the past and at present is evident
in the great variety of composition solutions of the members of the
Union of Bulgarian Composers at the reviews of "New Bulgarian Music".
The presence of tradition is supported by the authors through a
conscious approach to continuity, in which the system of genres is
essential.
2. On some genre approaches
The chamber character of the opera genre is characteristic for the
musical stage works. The relation with the symphonic orchestra and
chamber-instrumental principles of development and the interaction with
cantata-oratorio, with conventional theatre are increased. Chamber
operas and works for children predominate. The contemporary dance
theatre and vanguard theatre offers interesting genre solution. The
popular musical stage genres are based on the comparison with world
genre models and stylistic standards, adopted in this country through
performance and mass media practices.
  In orchestra and instrumental music a tendency is evident towards a
chamber character of symphonic thought. Symphonies for chamber, string
and wing orchestras, concertos for orchestra have become genre models.
Another trend is "the big symphony’. In a number of works, however, it
is very difficult to point out the exact genre formulation
characteristic for them, although their names suggest their genre
belonging.

3. Interpretations of genre models in descriptions of Bulgarian
composers’ works
The structuring of the works according to their genre features assumes
the existence of a theoretical model, which is in conformity with stable
models, recognized in theoretical musicology as well as with the
specifics of the individual creative expression. The chronological
approach and the genre approach complement each other, and the accent on
one of them depends on the task, set by the researcher – a historian or
a theoretician. A more complex and at the same time a more
representative scientific task is the attempt to study their
interweaving.
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 The study aims to analyze and interpret the discussions of music in
mailing lists and especially the stream of fans’ evaluations attracting
huge publicity now in the conditions of virtual reality. Both the
analysis and the conclusions about the cognitive peculiarities of
melomania are based on the material of a common Francophone list of
discussions in the field of classical music. It is emphasized that the
amateur knowledge of music is based mainly on concrete individual
perceptive experience; presented as an end in itself , without any link
with one’s experiences and/or the reflection of the beauty of music,
scientific truth remains without response, it does not excite the
melomaniacs, it does not change their cognitive and/or axiological
inclinations. Another virtual phenomenon is discussed too: the music
fans’ webs for music which satisfy a new need – the need for
objectifying the passion for music in the forms of the multimedia and in
the space of WWW; the need for carrying out a specific reflexive
activity in the conditions of  contemporary informational life.
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 The practice of contemporary Bulgarian electric-acoustic is analyzed in
some of its informational and theoretical, psychological and aesthetic
aspects with a view to its being included in information systems of
various types and purpose.
 Contemporary electric-acoustic music is defined as artistic activity,
in which sound creation and specific professional musical skills and
innovations predominate, even when the product contains elements from
other arts or activities (text, graphics, video). It is predominantly
instrumental music, the use of the human voice is admissible, but the
figure of the singer as a rule does not identify it before the listeners
as is often the case in pop and rock music. In it the principal thing is
the creative work with sound (sound design) and space (stereo, quadro,
surround), which frequently predetermines the character of the
composition itself. The creative (non-standard) use of electronic and
computer technique is obligatory in these processes as well as in the
final presentation in a studio or live performance. Along with
synthesizers, electric guitars, and computer generators of sound, the
electric-acoustic music today also uses traditional sources: human
voices, classical, folklore or exotic instruments, sounds from nature or
the urban medium, but they have to pass through essential treatment with
computers or other devices of contemporary electric-acoustic technique.
This is one of the principal reasons to call this music
electric-acoustic unlike the traditional purely electronic music of
vanguard character.
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 The article presents the types of information about music in World Wide
Web and formulates two basic principles for its structuring. The model
identification is based mainly on the analysis of several Bulgarian web
sites for Bulgarian music among which is prominent the web site of the
multimedia database for Bulgarian folklore music,
 realized by a team of the Institute for Art Studies at the Bulgarian
Academy of Sciences. The first principle that the sites are open is
determined as a compensatory mechanism against the very depth of
information as endless/variable, insufficient as well as a specific
corrective measure of the deceptive aspiration for thorough data. The
second principle defines the thematic/axiological reductions in the
sites. How the limiting of the information fields interacts with the
idea of World Wide Web as inexhaustible/multi-layer source of
information and with the view on Music as a category concept is being
analyzed, and the specific even paradoxical freedom of virtual behaviour
in the conditions of reduced thematic/axiological complementarity is
being formulated.
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The study argues on the changing attitudes towards the different/exotic,
seen in the context of a seemingly homogenizing global culture. Drawing
on the concepts of multiculturalism and aesthetical non-centrism
observed in different fields of contemporary music, the analysis
presents the personal artistic understanding for the freedom in music as
seen by the female Bulgarian-born jazz singer of Turkish descent Yildiz
Ibrahimova. The attention is focused on her 1997 album Balkanotolia
(labeled as ethno-jazz) and its specific nonverbal metaphors aiming to
tackle frozen categories of the self-other dichotomy by combining and
interpreting specific Bulgarian and Turkish folk material from the
pre-supposed „common Balkan stock".
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 The article presents, on the basis of terrain musical-anthropological
study, typological characteristics of four figures in Bulgarian
electronic music, who are representatives of different creative
generations. Ilia Fortunov comes from rock music due to thorough work on
the guitar sound. Liubomir Kavaldjiev is a musicologist, a philosopher,
a multi-media aesthete, presumably a representative of the academic
community, by nature – a typical representative of the Third Information
Wave. Vlatimir Djambazov is a follower of the traditional analytical
European conception of "Elektronische Musik" in a vanguard and
post-vanguard light. Ivan Dragolov is an interesting example of
purposefully laconic, but highly precise quests in programming
algorithmic music.
 The respective profiles of the four authors are also outlined according
to the functional model TIEM.
 After presenting the four models of musical behaviour some basic
aesthetic properties of the innovational electronic music in Bulgaria
are worked out.
- Superhuman message /supernatural, magic/, subconscious, implicit – as
frequently met categories in the aesthetics of Bulgarian electronic
music.
- Innovational quests and antagonistic attitudes to already created
rules and norms (projection of Vanguard).
- Tendency towards using various devices from other arts – cinema,
theatre, ballet, mimicry and gestures.
- Developing TEAM SENSE, as part of globalization within the context of
world culture and PROJECTION OF THE IDEA OF DECENTRALIZATION in the
third informational wave /after A.Toffler/.
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