Year 10 (2018) | ALMANAC

Höranalyse: Unersetzbarer Gegenstand einer musikalischen Ausbildung oder trojanisches Pferd einer übertriebenen „modernen“ Pädagogik? Neues, zusätzliches pädagogisches Mittel, oder eigenes, selbständiges Fach?

Violaine de Larminat MUSIC THEORY AND HISTORY Year 10 (2018)

Wenn der aktuelle Musik-pädagogische Diskurs in Europa synthetisch dargestellt werden sollte, würden nur wenige Stichwörter ausreichen: attraktive Pädagogik, Nähe zur Musik-Praxis, Repertoire-orientiertes Unterrichtsmaterial, stilbezogene Übungen, fächerübergreifende Arbeit, strukturelles Hören. Höranalyse ist eine der Aufgaben, die einer solchen „modernen Pädagogik“ angehört. Was ist damit gemeint? Manche Lehrer drücken sich mit Begeisterung darüber aus, andere äußern ihrer […]

Historical Development of the Three-Stringed Double Bass and its Application in Contemporary Instrumental Practice

Hristo Ovcharov DÉBUTS Year 10 (2018)

The publication aims to present an objective view of the three-stringed double bass in historical terms, as well as in terms of contemporary music practice. Various documented views of the instrument by composers and performers over the centuries have been considered; especially performers and schools related to the three-stringed double bass and their contribution to […]

Interpretive and Analytical Approaches in “Keyboard Triptych” by Julia Tsenova

Gergana Nestorova PERFORMANCE PRACTICE Year 10 (2018)

Object of the following study is the first solo piece for piano by the Bulgarian composer Julia Tsenova – “Keyboard Triptych” (1996). It is analyzed from an interpretative point of view, as an artistic and a pianistic challenge. The analytical approach is the core and also the keystone in the text and it shows the […]

Lubomir Pipkov’s Late Piano Cycles in the Context of His Overall Œvre

Alexander Vassilenko PERFORMANCE PRACTICE Year 10 (2018)

There is an extraordinary idea in the artistic realization of the so called “Periodic Table” of the metro-rhythmic structures in the core of Pipkov’s late piano cycles composing – “Metro-Rhythmic Pictures and Studies”, “Spring Quirks”, “From 1 to 15”, and the unfinished “Children’s Joys”. At the same time, the plays that make up these cycles […]

The Vocal Ballad in the Works of Stanisław Moniuszko – Genre Fundamentals and Interpretation Aspects

Elena Karaliyska-Trapkova PERFORMANCE PRACTICE Year 10 (2018)

Stanisław Moniuszko (1819 – 1872) is one of the most prominent Polish composers of the Romantic era. Hе created, developed and democratized the Polish national opera and is the author of hundreds of songs accompanied by piano, combining romantic traditions with idioms of Polish folk music. His work embodies in musical forms the wonderful lyrics […]

Administrative Governance of the Peoples’ Amateur Music and Art Related Activities in Bulgaria between the Autumn of 1954 and 1960

Goritza Naydenova MUSIC THEORY AND HISTORY Year 10 (2018)

This article is a part of a broader survey, aiming to study the amateur art activity related to folklore, within the context of musical and general amateur art activity governance (amateur art activity = ‘samodeynost’). Administrative amateur art governance is being studied here, from the moment of the creation of a separate governing institution (Peoples’ […]

Fighting “Avant-Guarde Dictatorship”: Bulgarian Communist Party’s Kernel Organization as a Parallel Power Center inside the Union of the Bulgarian Composers 1965 – 1969

Angelina Petrova MUSIC THEORY AND HISTORY Year 10 (2018)

The period 1966 – 1969 in the UBC (Union of the Bulgarian Composers) features a unique situation of two-pronged power structures: on one hand, liberalization towards New Music events in the Secretariat’s administrative politics and the Presidium of UBC; and on the other, the restored primary party organization embedded in the UBC as a second […]

On the Matter of musica ficta and its Application in the Lute Intabulations of the 16th Century. With Attention to the Madrigal O s’io potessi donna from Wurstisen lute book

Yavor Genov MUSIC THEORY AND HISTORY Year 10 (2018)

Well known fact is that signs of alterations are written rather rarely in 16th century vocal polyphonic music sources. When and how a certain note is meant to be changed is a matter, which the singers adjust according to the rules of solmization and hexachordal organization. Even the very first lute prints reveal that the […]

Approaches to the Understanding of Formal Function Polysemy in Small Structural Units and Song Forms

Snezhina Vrangova MUSIC THEORY AND HISTORY Year 10 (2018)

Formal function polysemy is a state of form, which carries characteristics of different formal types due to the dynamic relations between function and scale. The article introduces this concept in order to summarize a set of theoretical and methodological approaches to the understanding of the interaction between the small structural units and forms – the […]

Ivan Hlebarov’s Music Historiography between Marxism and Nationalism: “Bogomilism” and its Demise

Patrick Becker-Naydenov MUSIC THEORY AND HISTORY Year 10 (2018)

Introduction Recent decades have seen an increased scholarly interest in musicology as a discipline. Contributions to the history of musicology encompass an area that stretches from early-modern discourses or 18th-century debates among the first music historians to recent attempts of introducing post-colonial critique into the discipline. As far as the 20th century is concerned, […]