Десетилетия сравнително музикознание в Института за музика
Decades of comparative musicology at the Institute of Music

Summary/Abstract: The paper treats the term comparative musicology as used by Erich von Hornbostel rather as systematic (=theoretical) musicology, where collecting and processing material is more within the competence of ethnologists; his attempt to save comparative musicology in America facing a cultural anthropology there, that has led to the coining of the term ‘ethnomusicology’ by the pioneering scholar Jaap Kunst in the 1950s, and its use as a synonym in Bulgarian musical folkloristics all the way to the views of Svetlana Zacharieva of the 1990s of ‘music as culture’ (after Alan Merriam, 1973). The term cultural and historical was largely a working one in Bulgarian folk music studies. It ought to be understood as the other side of the historical and typological, which underpinned the content of History of Bulgarian musical culture. Vol. 1. Folklore by Iskra Racheva and Anna Ilieva (1998). A cultural and historical interpretation was supposed to refer to a certain period and space, causing the earliest problems (Nikolay. Kaufman, 1968). Research on coverage of certain historical events in folklore could only be possible if the musical component was incorporated in common semantic fields along with the rest of the events in a traditional culture (Botuscharov, 1984). The efforts of Ljuben Botuscharov defined by Rosemary Statelova (after Bruno Netll, 1992) as ‘evergreen’ on the occasion of the sixtieth anniversary of the Institute of Art Studies, led to his assumption of over four decades of establishing opportunities for a single cultural and historical notion of folklore (after Noam Chomsky and Heinrich Schenker, as consistent with Leon Moskona).

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