Идея – понятие – термин II
Idea – Concept – Terminology II

Summary/Abstract: The present “thematic issue” is a continuation of Lubomir Kavaldjiev’s initiative which brought about the first thematic number of the journal, named Idea – Concept – Terminology (Bulgarian Musicology, 2008, № 3 – 4), five years ago. The title is kept here the way it originally appeared, with the hope that thus a tradition of focusing on the scholarly vocabulary could be established. Nowadays, musicology opens itself more and more – on the one hand, to the problems of the past centuries (with particular interest in medieval music), and on the other hand, to the appearances of the postmodern epoch. The second issue of Idea – Concept – Terminology confirms this tendency. Here, such articles predominate, which surround with detailed attention the terminology of both the Western and the Eastern medieval traditions in church music (Yavor Genov’s and Klara Mechkova’s texts), as well as investigations on the various aspects of existence of this terminology in Slavic languages and in Bulgarian cultural space during the decades after the Liberation (Asen Atanasov’s and Yulian Kuyumdzhiev’s articles). The work of the Finnish researcher Jaakko Olkinuora is an expression of a parallel tendency to expansion of the scholarly vision through the promising resources of interdisciplinary approaches (in this certain case – through the deep connection between hymnography and iconography). The presence of texts devoted to the postmodern epoch is also remarkable. They include: terminological reactions in the process of speculation on musical thinking and listening experience (in the conception of performative turn, presented in Angelina Petrova’s article); the communication problems between different scholarly branches in the global world and the difficulties in translating the Asian traditional terminology (Ivanka Vlaeva); the idea of a new sound sensuousness (in Elisaveta Valchinova-Chendova’s text on Dimiter Christoff ); a possible new vision for the musical style in the postmodern epoch (in Gheorghi Arnaoudov’s study). In this collection, Bulgarian researchers’ increasing interest to the problems of baroque and classicist musical culture is clearly outlined either. The articles of Petya Stefanova, Vesko Stambolov and Anna Petrova-Forster make their contributions to the idea of activating and putting into scholarly use of certain terms and knowledge which are supposed to resume the living bond with the “classical” European musical mentality and practice of performance. The variety of topics in the collection is accomplished by two more original investigations. One of them edges the attention to a musical appearance which seems familiar, but is still theoretically “untouched” – the lullaby (Rossitsa Draganova). And the other one speculates on the possibility of creating a contemporary dictionary of conductor’s terminology (Tsvetelina Slavova). Lozanka Peycheva’s and Tsenka Yordanova’s articles form a thematic block in the field of ethnomusicology...

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