Архивни записи на турска музика
Records of Turkish Music in the Archives

Summary/Abstract: Amongst the multitude of materials collected by our folklorists, we can find not only Bulgarian folklore, but also folklore belonging to other communities inhabiting our lands. A part of it has been designated as “Turkish” during an inventory of the archival fund of the Institute of Art Studies. The interest in documenting a very wide range of cultural and musical facts, including Turkish songs, is connected with the strategy and the tasks, which the research workers at the Institute had in the 1950s- the principal objective was studying the folklore culture in our country. The present study describes and analyses the earliest records found so far of the songs and instrumental melodies marked as “Turkish” in the archives. They have been collected by different researchers. Their terrain work was carried out mainly in the 50s and 60s of XX century and was part of expeditions or recordings of singing contests at festivals. The studied records of the music material can be systematized in several groups according to kind of documenting: recording the name of the song; recording the word text; deciphering the music artifacts in notes; audio-recording. Most of the materials come from Northeastern Bulgaria and Dobrudja. Another substantial part comes from the Rhodopes. We canjudge about the music of the first documented Turkish songs and instrumental melodies only on the basis of the notated patterns. They present definite regularities of the melodies and the metre-and- rhythm. After analyzing the patterns studied here a unity has been established in the basic parameters of the music language both in Turkish and in Bulgarian songs within one folklore region. The present description and presentation of Turkish records from the archives of the Institute of Art Studies at the Bulgarian Academy of Sciences only aim to determine the parameters of the subject under study without any claims to exhaust it. In the course of the studies questions arise. It is difficult to answer all of them now, but on a small scale they pose the question of the entire music heritage on the Balkans as a whole, of its common characteristics and differences.

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